A t dusk among the rocks and the other world comes Christ. M agdalene stretches out her hands to him and wants to kiss the hem of his garment, but the movement of the hands of Christ stops it. T he whole scene is built on the contrast filled light of Jesus and hidden in a thick shadow of his successor.
T hey seem to embody on — the life, even though he is dead, and the other is death, even though she is alive. T his inimitable piece is the greatest silent and divine reality. The painting «The return of the prodigal son» is considered as an epilogue of Rembrandt’s work. And there is not many works that have such a powerful emotional impact.
T he story of the biblical parable of the wayward son who left home and returned it after much tribulation, when all the relatives thought he was dead, deeply and fully reflected the feature of Rembrandt’s approach to the biblical and mythological narrative. H e always followed the story, reproducing the required attributes of the action, but it was saturated with real feeling, real thought was given to their live credibility. R embrandt, like no other, able to convey the polysemy of the biblical text, not only its letter but the spirit.
F allen before the father on his knees prodigal son, come down in their wanderings to the last degree of poverty and humiliation, embodied a tragic way of learning. A nd the image of the father embodied not only the joy of the meeting hands of the elder, hugging the shoulders of the son, convey a whole range of feelings: boundless love, the long wait, hope, fading, then flaring up again, the shock, and finally gaining happiness. A special place in the works of Rembrandt has a portrait painting. I n world history, the portrait is a kind of peak not only in the external appearance, but also in revealing the inner essence of the human being. I.
n every portrait there is a sense of human destiny. I t is not surprising, since Rembrandt’s external life is a reflection primarily of inner feelings and experiences. P ortraits of destiny, portraits-biography: «Portrait of grandmother», «Hendrik at window», «Reading Titus», «David and Uriah» .The painting «David and Uriah» depicts the moment when king David sends his commander Uriah to war with the Philistines, where he will be killed. T his event has its own history. David's face reflects a complex range of emotions: he recognizes his weakness and inexpiable guilt, understands that doing the noble, but passion leaves no time for reasonable reflection.
U riah humbly put his hand to his chest, ready to execute any order of the king, but the sad drooping eyes, sadly closed lips and his whole appearance indicate wild despair. Coloring, built on the combination of red, gold and brown tones, exacerbates the tense atmosphere. R ed coat of Uriah, smoldering in a thick brown dusk, supports anxiety, and in the radiance of the white, shimmering gold turban of David, in a fragile plastic on his face to guess the echo of the other noble qualities of his nature, appeared weak in the face of love. The paintings of Rembrandt reached in the late period of his creative work the exclusive power not only on the degree of emotional intensity, but the intensity of colorful sound. T.
he paint on his paintings as if to emit light, and the coloring is based on a combination of glowing red, gold and dull brown colours. T his special nature of color-sound Rembrandt paintings in an amazing way identified, said, was aggravated by the dramatic nature of their content. Another link between connoisseurship and sociability is architecture. A t the period of 1500−1700s in architecture thrived the Baroque art that characterized by optimism, integrity, commitment to the ensemble and the synthesis of the arts (ensemble of the square St.
P eter’s in Rome, etc.). In works of this style were oppositions of the earthly and the heavenly, the real and the fantastic, spiritual and physical. T he art of Rococo was formed under the influence of the aristocracy (from the 1720s).
I t combined the enjoyment of life, frivolity and attraction to the exotic, the paradoxical, and sophistication, a brilliant artistic culture, creativity (A. Watteau, J. O. F ragonard, etc.).Classicism took a sample of ancient art and art of the Renaissance (architect K. N. L edoux, painter J.
L. D avid, N. P oussin, etc.). Great importance was given to logic, poise and clarity of the volume. I n the sculpture of classicism, even the movement does not violate the isolation of forms (E. Falcone, J.
A. H oudon). L ate classicism (Empire style) has acquired the features of pomp and splendor (1st third of the 19th century). D ue to the crisis of educational ideology, the destruction of the aesthetic ideal of the Enlightenment in the 1st half of the 19th century in architecture and the arts has confirmed a new ideological and artistic movement called romanticism. The Enlightenment released not only the mind, but also the surge of emotion in art, which, reaching the flourishing, there was almost half a century underthe title «romanticism». Rationalists believe that the Nature is the infinite source of reason and romantics extolled it assomething rebellious, untamed and foreverchanging. In my opinion, the people who lived in the period of prosperity the creative work of the reviewed artists were accustomed to connoisseurship and it wasa tool of everyday communication and socialization.
I n our days in our modern cities we often find lack the exposition to the connoisseurship. Bibliography:Devdaraidze, Y.A. (2011). S ocializatsiakrasoty.
V estnikOmskogouniversiteta, # 3. Gerami, S., Ranogajec, P., Webster, S (2016) A Collegial Response to «Whither Connoisseurship?». Panorama: Journal of the Association of Historians of American Art (summer 2016).Ilsink, M (2015) Jheronimus Bosch and Connoisseurship. C odarteZine. # 7. Janson, H.W. (1997) History of Art.
L ondon: Thames and Hudson. K ant, I.
(1994) Kritikasposobnostisuzhdeniya. M oskva: Iskusstvo. Markuze, G. (1995) Eros I tsivilizatsiya.
K iev: Bibliotekadlyajunoshestva.www.ru.wikipedia.org. Jheronimus Bosch.
