By ΠΠ²ΠΎΡΠΆΠ°ΠΊ ΠΠ°ΠΊΡ
ΠΠ²ΠΎΡΠΆΠ°ΠΊ ΠΠ°ΠΊΡ, 2025
Π ΡΡΠΎΡ ΠΊΠΎΠΌΠΏΠ»Π΅ΠΊΡ Π²ΠΎΡΠ»ΠΈ ΡΡΠΈ ΠΊΠ»ΡΡΠ΅Π²ΡΠ΅ ΡΠ°Π±ΠΎΡΡ ΠΠ°ΠΊΡΠ° ΠΠ²ΠΎΡΠΆΠ°ΠΊΠ°, Π°Π²ΡΡΡΠΈΠΉΡΠΊΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²ΠΎΠ²Π΅Π΄Π°, ΠΎΠΊΠ°Π·Π°Π²ΡΠ΅Π³ΠΎ ΠΎΠ³ΡΠΎΠΌΠ½ΠΎΠ΅ Π²Π»ΠΈΡΠ½ΠΈΠ΅ Π½Π° ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ ΡΠΈΠ»ΠΎΡΠΎΡΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π°. ΠΠ²ΠΎΡΠΆΠ°ΠΊ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π» ΠΈΡΠΊΡΡΡΡΠ²ΠΎ Π½Π΅ ΠΏΡΠΎΡΡΠΎ ΠΊΠ°ΠΊ ΡΠΌΠ΅Π½Ρ ΡΡΠΈΠ»Π΅ΠΉ, Π° ΠΊΠ°ΠΊ Π²ΡΡΠ°ΠΆΠ΅Π½ΠΈΠ΅ Π΄ΡΡ ΠΎΠ²Π½ΠΎΠΉ ΠΈΡΡΠΎΡΠΈΠΈ ΡΠ΅Π»ΠΎΠ²Π΅ΡΠ΅ΡΡΠ²Π°, ΠΊΠ°ΠΊ ΠΎΡΡΠ°ΠΆΠ΅Π½ΠΈΠ΅ Π΄ΠΈΠ°Π»ΠΎΠ³Π° ΠΌΠ΅ΠΆΠ΄Ρ ΡΠ²ΠΎΡΡΠ΅ΡΠΊΠΈΠΌ Π³Π΅Π½ΠΈΠ΅ΠΌ ΠΈ Π΅Π³ΠΎ ΡΠΏΠΎΡ ΠΎΠΉ. ΠΠ³ΠΎ Π½ΠΎΠ²Π°ΡΠΎΡΡΠΊΠΈΠΉ ΠΏΠΎΠ΄Ρ ΠΎΠ΄ ΠΈΠ·ΠΌΠ΅Π½ΠΈΠ» ΠΏΡΠΈΠ½ΡΠΈΠΏΡ ΠΈΠ·ΡΡΠ΅Π½ΠΈΡ ΠΊΡΠ»ΡΡΡΡΡ, ΡΠ΄Π΅Π»Π°Π² Π°ΠΊΡΠ΅Π½Ρ Π½Π° ΠΏΠΎΠ½ΠΈΠΌΠ°Π½ΠΈΠΈ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊΠ°ΠΊ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡΡΠ°Π»ΡΠ½ΠΎΠΉ ΠΈ Π΄ΡΡ ΠΎΠ²Π½ΠΎΠΉ ΡΠ΅Π²ΠΎΠ»ΡΡΠΈΠΈ.
ΠΠ΅ΡΠ²ΡΠΉ ΡΠΎΠΌ, Β«ΠΡΡΠΎΡΠΈΡ ΠΈΡΠ°Π»ΡΡΠ½ΡΠΊΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π° Π² ΡΠΏΠΎΡ Ρ ΠΠΎΠ·ΡΠΎΠΆΠ΄Π΅Π½ΠΈΡ (XIV ΠΈ XV ΡΡΠΎΠ»Π΅ΡΠΈΡ)Β», ΠΏΠΎΡΠ²ΡΡΠ΅Π½ Π°Π½Π°Π»ΠΈΠ·Ρ ΡΠ°Π½Π½Π΅Π³ΠΎ ΠΈ Π·ΡΠ΅Π»ΠΎΠ³ΠΎ Π Π΅Π½Π΅ΡΡΠ°Π½ΡΠ°, Π½Π°ΡΠΈΠ½Π°Ρ Ρ ΠΠΆΠΎΡΡΠΎ ΠΈ Π·Π°ΠΊΠ°Π½ΡΠΈΠ²Π°Ρ ΠΠ΅ΠΎΠ½Π°ΡΠ΄ΠΎ Π΄Π° ΠΠΈΠ½ΡΠΈ. Π§ΠΈΡΠ°ΡΠ΅Π»Ρ ΡΠ²ΠΈΠ΄ΠΈΡ, ΠΊΠ°ΠΊ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΎΡΠ²ΠΎΠ±ΠΎΠΆΠ΄Π°Π»ΠΎΡΡ ΠΎΡ ΡΡΠ΅Π΄Π½Π΅Π²Π΅ΠΊΠΎΠ²ΡΡ ΠΊΠ°Π½ΠΎΠ½ΠΎΠ², ΠΊΠ°ΠΊ ΡΠ°Π·Π²ΠΈΠ²Π°Π»ΠΈΡΡ Π½ΠΎΠ²ΡΠ΅ ΡΠΎΡΠΌΡ Π²ΡΡΠ°ΠΆΠ΅Π½ΠΈΡ, ΠΊΠ°ΠΊ ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π»Π°ΡΡ ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π° Ρ ΠΡΡΠ½Π΅Π»Π»Π΅ΡΠΊΠΈ ΠΈ ΠΊΠ°ΠΊ ΡΠ°Π·Π²ΠΈΠ²Π°Π»Π°ΡΡ ΡΠΌΠΎΡΠΈΠΎΠ½Π°Π»ΡΠ½Π°Ρ ΡΠΊΡΠ»ΡΠΏΡΡΡΠ° ΠΠΎΠ½Π°ΡΠ΅Π»Π»ΠΎ. ΠΠ²ΠΎΡΠΆΠ°ΠΊ ΠΏΠΎΠΊΠ°Π·ΡΠ²Π°Π΅Ρ, ΡΡΠΎ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΡΡΠ°Π»ΠΎ Π½Π΅ ΠΏΡΠΎΡΡΠΎ Π½Π°Π±ΠΎΡΠΎΠΌ ΡΠ΅Π΄Π΅Π²ΡΠΎΠ², Π° ΡΠ·ΡΠΊΠΎΠΌ ΡΠ²ΠΎΠ±ΠΎΠ΄Ρ ΠΈ ΡΠΏΠΎΡΠΎΠ±ΠΎΠΌ ΠΏΠΎΠ·Π½Π°Π½ΠΈΡ ΠΌΠΈΡΠ°.
ΠΡΠΎΡΠΎΠΉ ΡΠΎΠΌ ΠΎΡ Π²Π°ΡΡΠ²Π°Π΅Ρ XVI ΡΡΠΎΠ»Π΅ΡΠΈΠ΅, ΡΠΏΠΎΡ Ρ ΠΡΡΠΎΠΊΠΎΠ³ΠΎ ΠΠΎΠ·ΡΠΎΠΆΠ΄Π΅Π½ΠΈΡ ΠΈ ΠΌΠ°Π½ΡΠ΅ΡΠΈΠ·ΠΌΠ°, Ρ Π°ΠΊΡΠ΅Π½ΡΠΎΠΌ Π½Π° ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ ΠΠΈΠΊΠ΅Π»Π°Π½Π΄ΠΆΠ΅Π»ΠΎ, Π Π°ΡΠ°ΡΠ»Ρ ΠΈ Π’ΠΈΡΠΈΠ°Π½Π°. ΠΠ½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ ΠΏΠ΅ΡΠ΅Ρ ΠΎΠ΄ ΠΎΡ ΠΈΠ΄Π΅Π°Π»ΠΎΠ² Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ ΠΊ Π΄ΡΠ°ΠΌΠ°ΡΠΈΠ·ΠΌΡ ΠΈ ΡΠ»ΠΎΠΆΠ½ΠΎΡΡΠΈ, ΠΎΡΡΠ°ΠΆΠ°ΡΡΠΈΠΉ ΠΊΡΠΈΠ·ΠΈΡ ΡΠ΅Π½Π΅ΡΡΠ°Π½ΡΠ½ΠΎΠ³ΠΎ ΠΎΠΏΡΠΈΠΌΠΈΠ·ΠΌΠ°. ΠΡΠΊΡΡΡΡΠ²ΠΎ ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΡ ΡΠΎΡΠΌΠΎΠΉ ΡΠΈΠ»ΠΎΡΠΎΡΠΈΠΈ, Π³Π΄Π΅ Β«Π‘ΡΡΠ°ΡΠ½ΡΠΉ ΡΡΠ΄Β» ΠΠΈΠΊΠ΅Π»Π°Π½Π΄ΠΆΠ΅Π»ΠΎ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΠ΅Ρ ΡΠΎΠ±ΠΎΠΉ ΡΠΏΠΎΡ ΠΎ Π³ΡΠ΅Ρ Π΅ ΠΈ ΡΠΏΠ°ΡΠ΅Π½ΠΈΠΈ, Π° ΠΏΠΎΡΡΡΠ΅ΡΡ Π’ΠΈΡΠΈΠ°Π½Π° β ΡΠ°Π·ΠΌΡΡΠ»Π΅Π½ΠΈΡ ΠΎ Π²Π»Π°ΡΡΠΈ ΠΈ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ.
Π’ΡΠ΅ΡΡΡ ΠΊΠ½ΠΈΠ³Π°, Β«ΠΡΡΠΎΡΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊΠ°ΠΊ ΠΈΡΡΠΎΡΠΈΡ Π΄ΡΡ Π°Β», ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΠ΅Ρ ΡΠΎΠ±ΠΎΠΉ ΠΌΠ°Π½ΠΈΡΠ΅ΡΡ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΠ³ΠΈΠΈ ΠΠ²ΠΎΡΠΆΠ°ΠΊΠ°. ΠΠ½ ΠΏΡΠΎΡΠ»Π΅ΠΆΠΈΠ²Π°Π΅Ρ ΡΠ²ΠΎΠ»ΡΡΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΎΡ ΡΠ°Π½Π½Π΅Ρ ΡΠΈΡΡΠΈΠ°Π½ΡΠΊΠΈΡ ΠΊΠ°ΡΠ°ΠΊΠΎΠΌΠ± Π΄ΠΎ ΠΌΠ°Π½ΡΠ΅ΡΠΈΠ·ΠΌΠ°, ΠΏΠΎΠΊΠ°Π·ΡΠ²Π°Ρ, ΠΊΠ°ΠΊ Π΄ΡΡ ΡΠΏΠΎΡ ΠΈ Π½Π°Ρ ΠΎΠ΄ΠΈΡ ΡΠ²ΠΎΠ΅ Π²ΡΡΠ°ΠΆΠ΅Π½ΠΈΠ΅ Π² Π²ΠΈΠ·ΡΠ°Π»ΡΠ½ΡΡ ΠΎΠ±ΡΠ°Π·Π°Ρ . ΠΠ²ΠΎΡΠΆΠ°ΠΊ ΠΎΠ±ΡΡΡΠ½ΡΠ΅Ρ, ΠΏΠΎΡΠ΅ΠΌΡ Π³ΠΎΡΠΈΠΊΠ° β ΡΡΠΎ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ Π°ΡΡ ΠΈΡΠ΅ΠΊΡΡΡΠ½ΡΠΉ ΡΡΠΈΠ»Ρ, Π½ΠΎ ΠΈ ΠΌΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠ΅ ΡΡΡΠ΅ΠΌΠ»Π΅Π½ΠΈΠ΅, ΠΈ ΠΊΠ°ΠΊ ΠΌΠ°Π½ΡΠ΅ΡΠΈΠ·ΠΌ ΠΏΡΠ΅Π΄Π²ΠΎΡΡ ΠΈΡΠΈΠ» ΡΠΊΠ·ΠΈΡΡΠ΅Π½ΡΠΈΠ°Π»ΡΠ½ΡΠΉ ΠΊΡΠΈΠ·ΠΈΡ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΡΡΠΈ. ΠΡΠ° ΠΊΠ½ΠΈΠ³Π° β ΠΊΠ»ΡΡ ΠΊ ΠΏΠΎΠ½ΠΈΠΌΠ°Π½ΠΈΡ Π²Π½ΡΡΡΠ΅Π½Π½Π΅ΠΉ Π±ΠΎΡΡΠ±Ρ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° Ρ ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»ΡΠ½ΡΠΌ ΠΌΠΈΡΠΎΠΌ.
Max DvoΕΓ‘k, 2025
This set includes three key works by Max DvoΕΓ‘k, an Austrian art historian who profoundly influenced modern art philosophy. DvoΕΓ‘k viewed art not merely as a succession of styles but as an expression of humanity's spiritual history, a reflection of the dialogue between creative genius and its era. His innovative approach transformed the principles of cultural study, emphasizing art as an intellectual and spiritual revolution.
The first volume, "History of Italian Art in the Renaissance (14th and 15th Centuries)," analyzes the early and mature Renaissance, from Giotto to Leonardo da Vinci. Readers will witness art's liberation from medieval canons, the development of new forms of expression, the formation of perspective by Brunelleschi, and the evolution of emotional sculpture by Donatello. DvoΕΓ‘k demonstrates that art became not just a collection of masterpieces but a language of freedom and a means of understanding the world.
The second volume covers the 16th century, the era of the High Renaissance and Mannerism, focusing on the works of Michelangelo, Raphael, and Titian. It analyzes the transition from ideals of harmony to drama and complexity, reflecting the crisis of Renaissance optimism. Art becomes a form of philosophy, where Michelangelo's "Last Judgment" represents a dispute about sin and salvation, and Titian's portraits are reflections on power and time.
The third book, "The History of Art as the History of the Spirit," is a manifesto of DvoΕΓ‘k's methodology. He traces the evolution of art from early Christian catacombs to Mannerism, showing how the spirit of the era finds its expression in visual images. DvoΕΓ‘k explains why Gothic art is not just an architectural style but a mystical aspiration, and how Mannerism foreshadowed the existential crisis of modernity. This book is a key to understanding the artist's inner struggle with the material world.