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8 changes: 8 additions & 0 deletions kb/concepts/painting/Van Gogh/HTML/almond_blossom_en.html
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<h1>Almond Blossom</h1>
Large blossom branches like this against a blue sky were one of Van Gogh’s favourite subjects. Almond trees flower early in the spring making them a symbol of new life. Van Gogh borrowed the subject, the bold outlines and the positioning of the tree in the picture plane from Japanese printmaking.
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<h1>Цветущий миндаль</h1>
Такие крупные цветущие ветви на голубом небе были одним из любимых предметов Ван Гога. Миндальные деревья цветут рано весной, что делает их символом новой жизни. Ван Гог заимствовал тему, смелые очертания и расположение дерева на плоскости изображения у японской гравюры.
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<h1>Les Alyscamps</h1>
This autumn landscape was created by Van Gogh in the French city of Arles during the two-month period of work with Paul Gauguin. Purple poplar trunks cut by frame exactly where the foliage begins. These trees, as columns, bordered by an alley, on both sides lined up a purple-blue Roman tombs. Earth is already littered with dense carpet of orange and yellow fallen leaves, and the new all fall down like snow flakes. The alley black figurines of lovers.
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<h1>Алискан</h1>
Этот осенний пейзаж был создан Ван Гогом во французском городе Арле во время двухмесячного периода работы с Полем Гогеном. Фиолетовые стволы тополя, срезанные по раме именно там, где начинается листва. Эти деревья, как колонны, окаймленные аллеей, с обеих сторон выстроились в пурпурно-голубые римские гробницы. Земля уже усеяна плотным ковром оранжевых и желтых опавших листьев, а новые все падают, как снежные хлопья. На аллее черные фигурки влюбленных.
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<h1>Avenue of Poplars in Autumn</h1>
This painting portrays a road, centered on the canvas, and a house in the far background. Van Gogh positioned a single character on the forefront wearing all black and walking across a small cross bridge. The road was painted with shades of brown, red and orange. The tall tree trunks take up almost all of the long, vertical canvas — highlighting the path even more — and have red, orange and green leaves on top that contrast with the blue sky. In this painting, the effect of light and shadow is not entirely realistic: the shadows cast by the trees do not fall in the same direction as those bast by the rails.
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<h1>Тополиная аллея осенью</h1>
На этой картине изображена дорога в центре на холсте и дом на заднем фоне. Ван Гог разместил одного персонажа на переднем фоне, одетого во все черное и идущего через небольшой перекрестный мост. Дорога была окрашена в оттенки коричневого, красного и оранжевого. Высокие стволы деревьев занимают почти весь длинный вертикальный холст - еще больше подчеркивая путь - и имеют красные, оранжевые и зеленые листья сверху, контрастирующие с голубым небом. На этой картине эффект света и тени не совсем реалистичен: тени, отбрасываемые деревьями, не падают в том же направлении, что и тени от рельсов.
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<h1>Bedroom in Arles</h1>
While he was in Arles, Van Gogh made this painting of his bedroom in the Yellow House. He prepared the room himself with simple furniture and with his own work on the wall. The bright colours were meant to express absolute ‘repose’ or ‘sleep’.The apparently odd angle of the rear wall is not a mistake on Van Gogh’s part – the corner really was skewed. Vincent told Theo in a letter that he had deliberately ‘flattened’ the interior and left out the shadows so that his picture would resemble a Japanese print.
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<h1>Спальня в Арле</h1>
Пока он был в Арле, Ван Гог сделал эту картину своей спальни в Желтом доме. Он сам подготовил комнату с простой мебелью и своими работами на стене. Яркие цвета предназначались для выражения абсолютного «покоя» или «сна». Очевидно, странный угол задней стены не является ошибкой со стороны Ван Гога - угол действительно был перекошен. В письме Винсент сказал Тео, что он намеренно «сплющил» внутреннюю часть и не учел тени, чтобы его изображение напоминало японский рисунок.
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<h1>Still Life with Bible</h1>
This hefty Bible had belonged to Van Gogh's father, a Protestant minister. Van Gogh painted it just after his father's death. He placed his own copy of Émile Zola's La joie de vivre next to it. That book was a kind of 'bible' for modern life. The books symbolize the different worldviews of Van Gogh and his father.
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<h1>Натюрморт с библией</h1>
Эта здоровенная Библия принадлежала отцу Ван Гога, протестантскому священнику. Ван Гог нарисовал картину сразу после смерти своего отца. Рядом с ним он поставил свою собственную копию «Радости жизни» Эмиля Золя. Эта книга была своего рода «библией» для современной жизни. Книги символизируют различные мировоззрения Ван Гога и его отца.
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<h1>Still Life with Cabbage and Clogs</h1>
The painting was primarily an exercise in colour, surfaces and brushwork. It must have been a great challenge for Van Gogh to convey the different textures of the tabletop, the potatoes and the fabric. It was his first attempt and shows no sign as yet of the characteristic Van Gogh style.
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<h1>Натюрморт с капустой и деревянными башмаками</h1>
Картина была в основном упражнением в цвете, поверхности и мазке. Должно быть, Ван Гогу было непросто передать различные текстуры столешницы, картофеля и ткани. Это была его первая попытка, которая пока не демонстрирует характерного стиля Ван Гога.
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<h1>Cafe Table with Absinthe</h1>
Van Gogh painted this café table with a view in highly thinned oil paint with thin brushes. The result looks something like a watercolour. The glass holds absinthe, a popular aperitif. Its alcohol content was 60 to 70%, and it was often mixed with water. Van Gogh drank it frequently. Absinthe was very bad for one's health.
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<h1>Кафейный столик с абсентом</h1>
Ван Гог раскрасил этот кофейный столик с сильно разбавленной масляной краской тонкими кисточками. Результат выглядит как акварель. Стакан содержит абсент, популярный аперитив. Содержание алкоголя составляло от 60 до 70%, и его часто смешивали с водой. Ван Гог часто пил его. Абсент был очень вреден для здоровья.
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<h1>Chrysanthemums and Wild Flowers in a Vase</h1>
This still life is not mentioned in Van Gogh’s letters and has puzzled scholars as to its place in his artistic production. The subject enjoys a certain rapport with the mixed bouquets of summer flowers he made in Paris; the quasi-abstract floral wallpaper design in the Berceuse of Arles , and the white porcelain vase in the Irises of Saint-Rémy .
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<h1>Хризантемы и полевые цветы в вазе</h1>
Этот натюрморт не упоминается в письмах Ван Гога и озадачил ученых его местом в его художественном творчестве. Субъект наслаждается определенной связью со смешанными букетами летних цветов, которые он сделал в Париже; квазиабстрактный цветочный дизайн обоев в колыбели Арля и белая фарфоровая ваза в ирисах из Сен-Реми.
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<h1>Vase with Cornflowers and Poppies</h1>
Among the flower still-lifes the present canvas is perhaps the most brilliant and exuberant of its kind. It is characterized by luxurious colour and spontaneous but sure brushwork. Against a loosely painted blue background the artist placed a bouquet of bright red poppies, intensely blue cornflowers, and creamy white marguerites. The narrow vase is placed on a shimmering, but loosely defined surface. The composition vibrates with colour and capture the moment of summer at which these flowers would have been in bloom.
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<h1>Ваза с васильками и маками</h1>
Среди цветочных натюрмортов данное полотно является, пожалуй, самым ярким и ярким в своем роде. Характеризуется роскошным цветом и спонтанным, но уверенным мазком. На слабо раскрашенном синем фоне художник разместил букет из ярко-красных маков, ярко-синих васильков и кремово-белых маргариток. Узкая ваза помещена на мерцающую, но слабо выраженную поверхность. Композиция вибрирует цветом и улавливает момент лета, когда эти цветы были в цвету.
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<h1>The Cottage</h1>
The old cottage beneath the red evening sky presents an idyllic picture of rural life. Van Gogh called these humble farmhouses 'people's nests'. He felt they had a sheltering quality. This cottage contains two houses with two front doors and a shared chimney. That type of dwelling was then on the brink of disappearing. 'The thing struck me greatly; those two cottages, half decayed under one and the same thatched roof, reminded me of a couple of worn-out old folk who make up just one single being and whom one sees supporting each other,' he wrote.
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<h1>Хижина</h1>
Старый коттедж под красным вечерним небом представляет идиллическую картину сельской жизни. Ван Гог назвал эти скромные фермерские дома «людскими гнездами». Он чувствовал, что у них есть укрытие. Этот коттедж состоит из двух домов с двумя входными дверями и общей дымовой трубы. Этот тип жилья был на грани исчезновения. «Это поразило меня очень сильно; эти два коттеджа, полуразрушенные под одной и той же соломенной крышей, напомнили мне пару изношенных пожилых людей, которые составляют всего одно существо и которого можно увидеть, поддерживая друг друга », - написал он.
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<h1>Cottages</h1>
The paint on this canvas contains a lot of sand. It must have blown onto it while Van Gogh was working outdoors. If you zoom in, you can see the bright grains against the dark paint.
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<h1>Хижины</h1>
Краска на этом холсте содержит много песка. Должно быть, его принес ветер, когда Ван Гог работал на улице. Если приблизить картину, можно увидеть яркие зерна на темной краске.
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<h1>Exterior of a Restaurant in Asnieres</h1>
This is a simple composition painted in a limited range of summer colors. The green of the shutters returns in the plant-containers, and the yellow wall gives way to the yellow of the paving. Vincent creates a feel for midday in the summer in Asnieres.
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<h1>Экстерьер ресторана в Аньере</h1>
Это простая композиция, окрашенная в ограниченную гамму летних цветов. Зеленый цвет ставней возвращается в контейнеры для растений, а желтая стена сменяется желтой на асфальте. Винсент создает ощущение полудня летом в Аньер.
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<h1>The Factory at Asnieres</h1>
Van Gogh was identified as one of the first, with other Impressionist and post-Impressionist painters, to depict industrial landscapes such as The Factory at Asnières.
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<h1>Завод в Аньере</h1>
Ван Гог был идентифицирован как один из первых, вместе с другими художниками-импрессионистами и постимпрессионистами, для изображения индустриальных пейзажей, таких как «Фабрика в Аньере».
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<h1>Field with Irises near Arles</h1>
In the landscape, he felt he could see a reflection of the world he knew from his collection of Japanese prints. Japanese artists used large areas of colour in their compositions, often with a sharp diagonal. They also regularly zoomed in on a detail in the foreground. Van Gogh adopted these elements in his paintings. It was just like 'a Japanese dream,' he wrote in a letter to his brother Theo.
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<h1>Вид Арля с ирисами на переднем плане</h1>
Он чувствовал, что в пейзаже может увидеть отражение мира, который он знал по своей коллекции японских гравюр. Японские художники использовали большие цветовые области в своих композициях, часто с четкой диагональю. Они также регулярно увеличивают детали на переднем плане. Ван Гог принял эти элементы в своих картинах. Это было похоже на «японскую мечту», - написал он в письме своему брату Тео.
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<h1>Gauguin's Chair</h1>
This painting of Paul Gauguin's chair is a 'portrait' of Van Gogh's friend and fellow artist. The modern novels and burning candle on the green seat cushion symbolize the character of the absent painter. Using mainly red and green hues, Van Gogh tried to suggest the mood of night.
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<h1>Кресло Гогена</h1>
Эта картина на стуле Поля Гогена является «портретом» друга и коллеги Ван Гога. Современные романы и горящая свеча на зеленой подушке сиденья символизируют характер отсутствующего художника. Используя в основном красные и зеленые оттенки, Ван Гог пытался подсказать настроение ночи.
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<h1>Head of a Skeleton with a Burning Cigarette</h1>
This skeleton with a lit cigarette in its mouth is a juvenile joke. Van Gogh painted it in early 1886, while studying at the art academy in Antwerp. The painting shows that he had a good command of anatomy.Drawing skeletons was a standard exercise at the academy, but painting them was not part of the curriculum.
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<h1>Череп с горящей сигаретой</h1>
Этот скелет с зажженной сигаретой во рту - юношеская шутка. Ван Гог написал его в начале 1886 года, когда учился в художественной академии в Антверпене. Картина показывает, что он хорошо знал анатомию. Рисование скелетов было стандартным упражнением в академии, но рисование их не было частью учебной программы.
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<h1>Head of a Woman</h1>
In the winter of 1884-1885, Van Gogh made a large series of paintings in Nuenen (NL): studies of farm workers' heads. Peasant women in Brabant really did wear white headdresses in those days. These intrigued Van Gogh because of the contrast with their faces, which remained partly in shadow. At first glance, this woman's headdress looks white, but if you look more carefully you can see that Van Gogh used a variety of colours. Out of all the study heads from Nuenen, this woman is the only one whose name is known: Gordina de Groot.
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