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Hot! Нидерландские живописцы 15-18 веков. ч.16

Lucas van VALKENBORCH (b. ca. 1530, Leuven - d. 1597, FrankfurtMain)

Valkenborch (or Valckenborch, or Valkenborgh), family of Netherlandish landscape and genre painters. The family was originally from Leuven but was one of many families who, for political or religious reasons, left the Spanish-occupied southern Netherlands and settled in the more tolerant German imperial cities, particularly Frankfurt am Main, where they often strongly influenced artistic developments. Of the 14 known painters in the family, only Marten van Valckenborch I (1535-1612), his brother Lucas van Valckenborch I and Marten's sons Frederik van Valckenborch and Gillis (Egidius) van Valckenborch (1570–1622) have so far been identified as significant from surviving works.

Lucas joined the Mechelen Guild in 1560 and in 1565 was in Antwerp. He married and had a son, Marten van Valckenborch II (b before 1566; d Vienna, 1597), also a painter, before fleeing to Liege to avoid persecution (he was a Protestant) in 1566 and then to Aachen, where his brother Marten I had settled. In 1574-5 Lucas returned to Antwerp and, in 1579, became court painter to the Habsburg archduke, Matthias, governor of the Spanish Netherlands in Brussels from 1577 to 1582 and later Emperor (reg 1612–19). He accompanied Archduke Matthias to Linz before settling in Frankfurt in 1593.

Lucas worked in the Bruegel tradition, and favoured the subject of the Tower of Babel. He also painted series of the Seasons, and his winter scenes are especially notable.

Нидерландские живописцы 15-18 веков. ч.16

Landscape in Spring
1587
Oil on canvas, 116 x 198 cm
Kunsthistorisches Museum, Vienna


The painting, which is part of a series of four depicting landscapes in the four seasons, represents a mixture of landscape and genre painting. The influence of both Bruegel and Patinir can be observed on this picture.

Нидерландские живописцы 15-18 веков. ч.16

Landscape in Summer
1585
Oil on canvas, 116 x 198 cm
Kunsthistorisches Museum, Vienna


The painting is part of a series of four depicting landscapes in the four seasons.

Нидерландские живописцы 15-18 веков. ч.16

Landscape with a Rural Festival
1588-92
Oil on canvas, 49 x 73 cm
The Hermitage, St. Petersburg


Нидерландские живописцы 15-18 веков. ч.16

The Massacre of the Innocents
1586
Oil on panel, 78 x 108 cm
Museo Thyssen-Bornemisza, Madrid


Valckenborch was a Flemish artist and a pupil of Pieter Brueghel the Younger, whose style he follows very closely in this painting.

Нидерландские живописцы 15-18 веков. ч.16

Mountainous Landscape
1582
Oil on panel, 25 x 36 cm
Rijksmuseum, Amsterdam


The painting is monogrammed (LVV) and dated. There exists an earlier version from 1580 in the Prado, Madrid.

Нидерландские живописцы 15-18 веков. ч.16

Rocky Landscape
1586
Oil on copper, 15 x 22 cm
Private collection


Such scenes by Lucas van Valkenborch may be seen as part of a long tradition of fantastic, rocky river landscapes, intended to appeal to the imagination, which originated with artists in the mid-16th century such as Herri met de Bles and continued until the end of the 17th century, with the exaggerated features of the Rhenish capriccios of Herman Saftleven.

Нидерландские живописцы 15-18 веков. ч.16

The Tower of Babel
1594
Oil on wood, 41 x 56 cm
Musee du Louvre, Paris


Нидерландские живописцы 15-18 веков. ч.16

View of Antwerp with the Frozen Schelde
1590
Oil on wood, 42,5 x 63,5 cm
Stadelsches Kunstinstitut, Frankfurt


Нидерландские живописцы 15-18 веков. ч.16

View of Huy from Ahin
Oil on panel, 24 x 33 cm


Landscape in 16th century art was not treated realistically in the sense that it was a portrayal of actual views. Compositions were developed using sketches from nature. In his view of Huy, Lucas van Valkenborch offers a detailed depiction of the town and its surroundings, but then calls upon his imagination in order to create a sense of harmony between the elements of the composition, the detail and the grey tones.

Frederik van VALKENBORCH (b. 1566, Antwerpen - d. 1623, Nurnberg)

Valkenborch (or Valckenborch, or Valkenborgh), family of Netherlandish landscape and genre painters. The family was originally from Leuven but was one of many families who, for political or religious reasons, left the Spanish-occupied southern Netherlands and settled in the more tolerant German imperial cities, particularly Frankfurt am Main, where they often strongly influenced artistic developments. Of the 14 known painters in the family, only Marten van Valckenborch I (1535-1612), his brother Lucas van Valckenborch I and Marten's sons Frederik van Valckenborch and Gillis (Egidius) van Valckenborch (1570-1622) have so far been identified as significant from surviving works.

Frederik van Valckenborch was a painter and draughtsman, son of Marten van Valckenborch I (1534-1612). He must have received his first training in Antwerp, possibly from his father, although his earliest works, two drawings - the Deluge (1588; London, British Museum) and Moses Drawing Water from the Rocks (1589; Brunswick, Herzog Anton Ulrich-Museum) - contain figures of a completely different type from Marten's. This has prompted the theory that, whereas he studied landscape painting with his father, he must also have worked with an Antwerp figure painter. Jacob de Backer certainly influenced the young master strongly, but it would be premature to assume that Frederik was his pupil.

Нидерландские живописцы 15-18 веков. ч.16

Wooded River Landscape
1618
Oil on canvas, 67 x 95 cm
Private collection


This painting, depicting sportsmen and fishermen in a wooded landscape, is a late work by Valckenborch, painted in Nuremberg. It is signed with monogram and dated lower centre.

Lambert SUSTRIS (b. 1515-20, Amsterdam - d. after 1568, Padova)

Painter, part of a family of artists of Dutch descent, active in Italy and Germany. Lambert Sustris was a follower of Titian, and was influenced by Venetian and Florentine Mannerism. He trained in Amsterdam and by the early to mid-1530s was in Rome; a graffito with his signature is in the Domus Aurea next to that of Maartin van Heemskerck, who was there in 1532–36. He was probably in Venice c. 1535, in the studio of Titian. His characteristic thin, dry handling can be seen in the landscape of Titian’s Presentation of the Virgin (1539, Gallerie dell'Accademia, Venice). There is a similar landscape in the Rest on the Flight into Egypt (Alte Pinakothek, Munich) now attributed to Sustris. His presence in Titian's workshop in this period is supported by his Venus (Rijksmuseum, Amsterdam), a copy of Titian’s Venus of Urbino (Galleria degli Uffizi, Florence), which left Venice in 1538.

His son Friedrich Sustris became a leading exponent of Mannerism in Germany, where he worked as court artist to William V, Duke of Bavaria.

Нидерландские живописцы 15-18 веков. ч.16

The Baptism of the Ethiopian Eunuch by the Deacon Philip
1545-50
Oil on canvas, 71 x 132 cm
Musee du Louvre, Paris


The work of Sustris was heavily influenced by Titian whose workshop he had joined as a landscapist c. 1530. In the Baptism of the Ethiopian Eunuch by the Deacon Philip, an unusual theme drawn from the Acts of the Apostles, the importance given to the landscape follows the northern tradition, but its treatment suggests an assimilation of Venetian art.

Нидерландские живописцы 15-18 веков. ч.16

Landscape with Jupiter and Io
1557-63
Oil on canvas, 206 x 275 cm
The Hermitage, St. Petersburg


The subject of the picture was taken from Ovid's Metamorphoses: the jealous Juno catches Jupiter with Io. To save his lover Jupiter transforms her into a cow and entrust her to Argus.

The landscape is the main subject of the painting, the human figures are only staffages.

Earlier the painting was attributed to Andrea Schiavone.

Нидерландские живописцы 15-18 веков. ч.16

Venus and Cupid
c. 1560
Oil on canvas, 132 x 184 cm
Musee du Louvre, Paris


Lambert Sustris of Amsterdam worked with Titian in Venice.

Нидерландские живописцы 15-18 веков. ч.16

Virgin and Child with St Anne and the Infant St John
Oil on canvas
Galleria Borghese, Rome


Otto van VEEN (b. 1556, Leiden - d. 1629, Bruxelles)

Flemish painter. From c. 1575 to c. 1580 he was in Italy where he was a pupil of Federico Zuccaro, and after working in various places in Germany and Flanders he settled in Antwerp in 1592. He was an uninspired Mannerist painter, but he had a successful career by modelling his work on Italian masters such as Correggio and Parmigianino (The Mystic Marriage of St Catherine, Musйes Royaux, Brussels, 1589). His love of Italian art and his scholarly inclinations (he often Latinized his name to Octavio Vaenius) must have been appreciated by Rubens, who had his final training in van Veen's studio. It was also van Veen who advised Rubens to go to Italy in 1600.

Нидерландские живописцы 15-18 веков. ч.16

Distribution of Herring and White Bread during the Siege of Leiden
1574
Oil on panel, 40 x 60 cm
Rijksmuseum, Amsterdam


Нидерландские живописцы 15-18 веков. ч.16

The Artist Painting, Surrounded by his Family
1584
Oil on canvas, 176 x 250 cm
Musee du Louvre, Paris


The artist depicts a scene which occurred on 3 October 1574 after the Water Beggars raised the siege of Leiden during the revolt against Spanish in the Netherlands.

Нидерландские живописцы 15-18 веков. ч.16

The Last Supper
1592
Oil on canvas, 350 x 2247 cm
O.-L. Vrouwekathedraal, Antwerp


Jesus and his disciples take their meal in a room with columns, oil-lamps, a sofa and an amphora that give it a classical feel. A glowing light in the dark background illuminates the Bible.

The artist shows the moment at which Christ blesses the bread and wine before his agitated disciples. Christ has just suggested that one of them would betray him. They began to be distressed and to say to him one after another, 'Surely, not I?' To the viewer, however, it is clear that the man who turns away from the group as his wine is poured and who secretively clutches a purse is the traitor Judas.

The painting originally served as an altarpiece in a chapel devoted to the Eucharist. It is considered to be one of Van Veen masterpieces.

Нидерландские живописцы 15-18 веков. ч.16

Lycurgus Demonstrares the Importance of Education
1607
Engraving


This print appeared in the emblem book 'Emblemata Horatiana', conceived as a mirror for princes. The best known edition was published in 1646, with the Lycurgus emblem as a frontispiece. The book was dedicated by van Veen to the queen mother of France expressing the hope that it would be useful for the education of the young Louis XIV.

Нидерландские живописцы 15-18 веков. ч.16

Portrait of Nicolaas Rockox
Oil on panel, 26,5 x 35 cm
Rubens House, Antwerp


Nicolaas Rockox (1560-1640) was the burgomaster (mayor) of Antwerp. His fame is largely attributed to his friendship to Rubens and the commissions he gave to this artist. His 17th-century patrician is housing a fine collection of Flemish art.

Нидерландские живописцы 15-18 веков. ч.16

Xantippe Dousing Socrates
1607
Engraving


This engraving is an illustration in the Emblemata Horatiana published in 1607 by Otto Veen.

Нидерландские живописцы 15-18 веков. ч.16

Emblem
1607
Engraving
Koninklijke Bibliotheek, The Hague


Diligent males studying at night or in early morning appear in seventeenth-century emblems, such as that shown here. It is from "Quinti Horatii Flacci emblemata," published in 1607 in Antwerp. The image contrasts a virtuous, attentive man with his sleepy counterpart, whose torpor has been induced by dissipation.

Marten de VOS (b. 1532, Antwerpen- d. 1603, Antwerpen)

Netherlandish painter active mainly in his native Antwerp. In 1552 he went to Italy and studied in Rome, in Florence, and with Tintoretto in Venice. In 1558 he was back in Antwerp where after the death of Frans Floris in 1570 he became the leading Italianate artist in that city. The altarpieces that make up the bulk of his output are typically Mannerist in their strained, slender elegance.

Нидерландские живописцы 15-18 веков. ч.16

Portrait of Antonius Anselmus, His Wife and Their Children
1577
Oil on oak, 103 x 166 cm
Musees Royaux des Beaux-Arts, Brussels


Family harmony is a source of prosperity and happiness. So proclaims the Latin inscription in the cartouche at the top of the picture. This is the message of this family portrait, which does much more than simply depict wealthy members of Antwerp high society. Antonius Anselmus, an alderman of the city from 1580 to 1582, and his wife Joanna Hooftmans, the daughter of a wealthy merchant, are placed in front of a neutral background, accompanied by their two children, both born in Antwerp, Gillis in 1575 and Joanna in 1576. A third child was to be born in Hamburg, where the family sought refuge for a time after the city of Antwerp was returned to the Catholics. The Anselmus family, like the Hooftmans, were Calvinists.

The family's high social ranking is immediately visible in the various items of decor: the carved furniture, the silver inkwell on the table, and the fragile Venetian glass vase, as well as the costly lace on the parents' garments and the children's aprons. The little girl holds a sumptuous vermeil rattle, a prestigious object symbolising the wealth of the newly born child. This object was offered to very young children by a godfather or an important person. The one represented here has at one end a whistle and at the other a wolf's tooth, to which popular belief attributed the double power of protecting children against the evil eye and reducing teething pain. On the table between the couple are the marriage gloves and a rose, symbols of the love that unites them. The children express the prosperity of the couple as does the fruit being held by the elder. At the same time the tame bird on his shoulder is a metaphor for a successful education.

Maerten de Vos, who excelled in the portrait genre, was also known for his religious paintings, producing, among other works, six paintings of episodes from the life of St Paul for the dining room of Gillis Hooftmans, Joanna's father. It is possibly following this commission that he painted the family portrait. By creating a unified and enveloping space around the figures, the artist succeeded in given a new dimension to the genre, intensifying both the psychological study and the allegorical significance. A partial replica of this painting, containing the head of Joanna, is conserved at the Wallraf Richartz-Museum in Cologne.

Нидерландские живописцы 15-18 веков. ч.16

The Emperor's Toll
1601
Oil on panel
Koninklijk Museum voor Schone Kunsten, Antwerp


The Emperor's Toll was the central panel of the triptych of the Coin-Makers' Guild from St Andrew Church, Antwerp. It is a late work by De Vos who died in 1603.

Нидерландские живописцы 15-18 веков. ч.16

Allegory of the Seven Liberal Arts
1590
Oil on oak panel, 147 x 200 cm
Private collection


The depictions of the Liberal Arts: Grammatica, Dialectica, Rhetorica, Arithmetica, Musica, Geometrica, Astrologia, are undoubtedly influenced by those of De Vos' teacher Frans Floris, painted for Nicolaes Jonghelinck's house in Antwerp, and popularized by Cornelis Cort's engravings. The artist combined the liberal arts into one painting thus creating an influential model for subsequent Antwerp painters.

Нидерландские живописцы 15-18 веков. ч.16

Scene from the Life of the Virgin
c. 1600
Panel
Cathedral, Tournai


Нидерландские живописцы 15-18 веков. ч.16

St Luke Painting the Virgin Mary
1602
Oil on panel, 270 x 217 cm
Koninklijk Museum voor Schone Kunsten, Antwerp


Maarten De Vos, who founded the fraternity of Romanists in Antwerp, was Frans Floris' best pupil and successor. His works are clear precursors of the 17th century Baroque. The Saint Luke painting the Virgin Mary is a late work by De Vos who died in 1603. His rich and varied use of colour might be attributable to the six years he spent in Florence, Rome and Venice (where he studied with Tintoretto); his paintings are clear, balanced and often symmetrical in composition, and despite his preference for shallow spaces, he succeeded in creating a strong sense of drama and plasticity. On the other hand, although a Lutheran for a long time, De Vos was also a figure-head of the Counter Reformation. The best evidence of this is to be found in the monumental scale of his works and his strict adherence to the iconographical precepts laid down by the Council of Trent.

Нидерландские живописцы 15-18 веков. ч.16

The Marriage at Cana
1596-97
Oil on panel, 268 x 235 cm
O.-L. Vrouwekathedraal, Antwerp


The painting shows Christ's first miracle. When the wine ran out at a wedding at which Jesus and his mother were guests, he changed the water into the finest wine - a perfect theme for the Tavern-Keepers' altar in the Antwerp Cathedral. The guild commissioned from marten de Vos, who was a very famous artist at the time. The time he spent in Venice had a noticeable effect on his work.

The wedding reception is set in an attractive Renaissance interior with a table full of fine food and expensive crockery, and festively dressed guests. Three lute-players and a young singer play from a gallery. Most of the guests look like 16th-century Westerners. The three crowns above the bride and her immediate neighbours were a customary feature of weddings in de Vos's time. He tried, nevertheless, to evoke a somewhat Oriental, biblical atmosphere - several guests wear turbans, the bridegroom has a laurel crown and some of the servants' costumes are vaguely Roman. The large wine-jugs in the foreground have an especially classical appearance. Jesus and his mother stand out because of their simple, 'biblical' clothes. The guests are sure to include several senior members of the Tavern-Keepers' Guild.

Нидерландские живописцы 15-18 веков. ч.16

Nativity
1577
Oil on panel, 106 x 75 cm
O.-L. Vrouwekathedraal, Antwerp


Three little angels kneel with Mary and Joseph in worship of the newborn Child. The ox and the ass stand behind them. Other angels in the distance announce the birth of Christ to a group of shepherds. The ruin behind Joseph symbolises the defeat of paganism by the coming of the Saviour. The artist has made the symbolism even plainer by including a relief in the classical ruin - a recumbent female nude, possibly Venus, and several playful little naked figures. These represent the pagan world and 'impure', earthly love, as opposed to the divine love in which Christ was conceived.

Marten de Vos spent some time in Italy, where he familiarised himself with the new art of the Renaissance. This is apparent in details like the lively poses, the realistic approach to the anatomy and the references to classical antiquity. The divided upper zone, one half containing an architectural setting and the other a deep landscape, was also typical of 16th-century Venetian art.

Нидерландские живописцы 15-18 веков. ч.16

The Temptation of St Antony
1591-94
Oil on panel, 280 x 212 cm
Koninklijk Museum voor Schone Kunsten, Antwerp


This characteristic creation of Flemish mannerist painting was the centre panel of a triptych and originally decorated the St. Antony altar of the cathedral in Antwerp. In the background we can see several episodes from the lives of St. Antony the Hermit and St. Paul, such as their miraculous feeding by the raven, their conversation with an architect concerning the building of a monastery (which is also visible in the centre of a forest), the burial of St. Paul, and the kidnapping of St. Antony by demons.

In the fifteenth century they often used the episode of St: Antony's temptation as the illustration for one of the four human temperaments, and in this they utilized their astrological theory. The pensiveness of the monk who withdrew from human society and dedicated himself to God is similar to the immersion into a state of melancholy. "Thinking about matters which are not to be thought about and understanding things which do not exist", so goes an eleventh-century Arab doctor's definition of melancholy (Constantinus Africanus Opera I, 287, Basel, 1536). At the same time, however, melancholy is a demonic state ("In Saturni parte sunt diabolici"), and this provides direct contact with the temptation scene.

In this context, music appears on Satan's side as an instrument of temptation. The beautiful female figure wearing antlers and carrying a gold-filled box is escorted by fantastic figures. Among them we can see a couple dancing and two musicians dressed in a peculiar manner. Music, however, appears in the same picture in a positive role as well. The ceremony of St. Paul's burial is accompanied by singing and music-making animals who pay him their last respects in this way.

This, however, is not the only example of the twofold interpretation of the symbols in the painting. It is a well-known fact that one of the attributes of St. Antony the Hermit is the swine, as - among others - he was the patron saint of domestic animals. The malady called St. Anthony's fire (herpes zoster) that ravaged Europe from the ninth to the thirteenth centuries, was cured with lard and the sick were cared for by Antonites in their own hospitals. In Martin de Vos's painting the swine-headed figure holding a book, who accompanies the Hermit, also plays a positive part. At the same time, however, the demonic female figure is also escorted by a swine, this time symbolizing temptation.

Нидерландские живописцы 15-18 веков. ч.16

The Family of St Anne
1585
Oil on panel, 155,3 x 170 cm
Museum voor Schone Kunsten, Ghent


The painting is a classic example of the Italian influence on Antwerp painting in the 16th century and illustrates the secularisation of religious painting on the eve of the Baroque. What makes this particular work so interesting is not so much its overall impact as the refined treatment of the individual figures and the realistic rendering of the various objects.

The painting is signed and dated upper centre on the frieze of the portico: FECIT MERTINO DE VOS 1585.

Нидерландские живописцы 15-18 веков. ч.16

The Family of St Anne (detail)
1585
Oil on panel
Museum voor Schone Kunsten, Ghent


What makes this particular work so interesting is not so much its overall impact as the refined treatment of the individual figures and the realistic rendering of the various objects.

Нидерландские живописцы 15-18 веков. ч.16

St Paul Bitten by a Viper on the Island of Malta
c. 1567
Oil on wood, 124 x 199 cm
Musee du Louvre, Paris


Нидерландские живописцы 15-18 веков. ч.16

The Tribunal of the Brabant Mint in Antwerp
1594
Oil on panel, 157 x 215 cm
Rockox House, Antwerp


With Pieter Bruegel, the great era of the Flemish Primitives reached a new zenith, and at the same time the beginning of the end. With the death of this master whose art was firmly rooted in the fatherland, the coast was clear for the invasion of foreign ideas from Italy. There were successive influxes of imported art from Rome, Venice and Florence, and much work produced by Flemish artists in the Italianate style, some of it without a clear understanding of the principles involved. But in all this, there was nothing which could spark off a new creative development of specifically Flemish art.

In the second half of the 16th century, many Italianate painters looked to the work of Frans Floris, which was based on the formal language of Michelangelo, and Titian and Tintoretto's use of colour, as their ideal. One of his followers in Antwerp was Maarten de Vos, who was strongly influenced by Venetian art, but did not adopt Michelangelo's muscular figures. He was the inspiration behind these late Mannerists and the most productive painter of his time; his death marked the end of a period in the history of art in Antwerp. Shortly after, Rubens was to return from Italy in 1608 and give a powerful new impetus to the School of Antwerp.

The Tribunal of the Brabant Mint in Antwerp is a representative example of the work of de Vos, not just as a figure painter but also as a portraitist.

The painting, which is a tableau representing justice, was painted in 1594 to hang in the Law Court of the 'Minters' of the Duchy of Brabant. Such paintings were intended to remind both Judges and those seeking justice of their duty and responsibilities.

The members of the Brabant League of Minters commissioned the painting, and had themselves depicted (from the waist up) in the background, behind the symbolic figures from classical antiquity surrounding Justitia herself. Justitia, crowned with laurels and holding the scales of justice and a sword, triumphs over deceit and violence, symbolised by a masked woman caught in her own web and a violent miscreant who has been disarmed.

In the foreground on the left, Moses is depicted with the Tables of the Law, and on his right the Emperor Justinian, the codifier of Roman Law. On the right there is the bearded Numa Pompilius, the second king of Rome, who compiled sacred laws inspired by his wife, the nymph Egeria. On the far right, Pliny the Elder can be seen, with his left hand resting on the 37 scientific works he wrote.

In a nutshell, the message of this scene is that justice triumphs over deceit and violence, and that judges should judge according to sacred and civil law, guided by knowledge and science.

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Snadis, bazura, bikoz, Suzen, NatkaZG, SergeP, всем привет! v Извиняйте за аглицкий, не хотел криво переводить tongue
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surkova
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Сколько всего интересно привез нам ГРАФ из дальних странствий! Спасибо тебе, СЕРЖ! Будем просвещаться...
love love love
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А Lucas van VALKENBORCH - удивительно похож на Брейгеля lol
surkova
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Цитата: Kaggy-Karr
А Lucas van VALKENBORCH - удивительно похож на Брейгеля

Я вот тоже это заметила...Вначале так и подумала. что это Брейгель...А потом вижу - фамилия другая... lol ...Но правда, очень похож...
diana oficerova
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Цитата: Kaggy-Karr
А Lucas van VALKENBORCH - удивительно похож на Брейгеля

Когда увидела Вавилонскую башню, подумала, кто у кого спёр , настолько похоже... Спасибо Граф!
Цитата: grafoman x
Извиняйте за аглицкий, не хотел криво переводить

По мне лучше криво, чем никак tongue
grafoman x
Флудер и Танцор
Награды:

Цитата: diana oficerova
По мне лучше криво, чем никак

таааак, какие ещё предложения будут? tongue в следующий раз без сопроводиловки или лучше криво перевести? belay
NatkaZG
Награды:

Серега, мне все равно. Я и перевести смогу, при необходимости. А если тебе нужны предложения.... То, вот еще такое - заказать обзорную статью писателю. laughing Среди посетителей сайта таковые имеются wink
surkova
Белая и Пушистая
Награды:

Цитата: grafoman x
в следующий раз без сопроводиловки или лучше криво перевести?

Сергей, не слушай никого...Главное - чтоб картинок побольше... lol cool
grafoman x
Флудер и Танцор
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Цитата: NatkaZG
заказать обзорную статью писателю. Среди посетителей сайта таковые имеются

ну-ка писатель не стыдись, и предо мной скорей явись lol v
Цитата: surkova
Главное - чтоб картинок побольше..

побольше?... мугу... wink
diana oficerova
Немезида
Награды:

Графуша дорогой! Поступай как тебе угодно! Ты просто избаловал нас красотой, вот мы и привередничаем tongue Главное чтобы в погоне за совершенством не потерять главного для тебя( выбери сам что именно) kiss love ok
grafoman x
Флудер и Танцор
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Цитата: diana oficerova
лавное чтобы в погоне за совершенством не потерять главного для тебя( выбери сам что именно)

так, шош главное?... (чухает голове) это - нет, это - нет... ааа, знаю! от шо главноя lol
kiss kiss kiss
love love love

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