By Michael Barthorp; G A Embleton
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Исследование англоязычного автора о военной авантюре Наполеона Бонапарта в Египте в 1799 году. Описаны все битвы и кампании Наполеона. Текст проиллюстрирован цветными вкладками. Обзорная книга для популяризации истории Великой Французской Революции, первой Империи. Особое внимание в книге уделено описанию морской битвы при Абукире, в которой Нельсон уничтожил французский флот.
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Engraving III, 1916. 5 x 16 cm. The State Tretyakov Gallery, Moscow. , Moscow. Red Square, 1916, The State Tretyakov Gallery), a sensation characteristic of the works of Delaunay and Chagall during this same period. His non-figurative compositions from the teens of this century were of primary importance for the future, a decisive step into that world of the spirit to which Kandinsky had aspired for so long and with such determination. He was already in his fifth decade. None of the titans of the avant-garde had ever come into his own at such a late age in life.
53. Blue Circle, 1922. Oil on canvas, 110 x 100 cm. The Solomon R. Guggenheim Museum, New York. 62 63 64 Would we be justified in calling these works “non-figurative”? This “something” is not seen from without, but it does exist in consciousness and, therefore, is not subject to the usual system of coordinates. In consciousness, what is seen now and what was seen long ago, the imaginary and the known, what has been retained in memory and what is hazily recalled, the apparent and the real, all exist on equal terms, outside of time, without the sense of near or far.
In mid-1910, Kandinsky brought a cyclopean and hitherto unseen universe crashing down onto the artistic consciousness of viewers and his own colleagues. Up until this time there had been very little abstract painting. Malevich’s experiments for the most part were interpreted as artistic manifestos rather than the emotional plasma, the visual lava, of modernist culture. It was from the paintings of Wassily Kandinsky that this lava came pouring forth. His early non-figurative compositions were by no means greeted as a joyous revelation (even the sunny and artless Impressionists were accepted slowly and unwillingly, after a number of scandals).