By Sergei Vesnin
The Hermitage: A walk round the Halls and Galleries.
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32 underlined by scenes painted Lucas Cranach the Elder Venus and Cupid. 1509 Lucas Cranach the Elder Female Portrait. 1526 ^i#^^:-: Wedding goblet 15th century Germany. Silver freedom and immediacy in the treatment of his subject were demonstrated by Jean-Honore Fragonard (1732-1806) in The Stolen Kiss (late 1780s). This masterpiece by the darling came into "Frago" as he was affectionately known to his numerous advisors of the Pansian public Poland, of King last of the collection from former century the nineteenth in the late the Hermitage Striking mastery, — — Stanislas Poniatowski.
The main process lay difficulty of this in it and then with black paint the fact that the piece had be to times, as fired 10-15 each colour required a particular temperature. In the fif- teenth century multicolo- ured enamels were with gold paint and cabochons — large drops of translucent enamel placed on pieces of gold or silver in foil imitation of precious stones. Louis Le Nain Dairymaid's Family. 1640s Nicolas Poussin Landscape with Polyphemus. *AS The Alexander Hall In 1834 Alexander for a hall Alexander great Briullov dedicated fire.
1909 Maurice de Vlamlnck View of ttie Seine 1905-06 J>«fy Van Gogh and Cezanne. His palette is expressive and full of tension; his rhythms impulsive and staccato. Andre Derain (1880-1954) shared a studio with Vlaminck in the Parisian suburb Chatou during the Fauve period. At first passionately devoted to the same with linear ideas as Matisse, he soon took a rapid turn in the direction of Cubism. In his The Grove Derain's palette has become drab, twilit, composed of dull brownish and greenish combinations in which the trees no longer look like painting Raoul Dufy Regatta (Sail-Boats in the Dauville Harbour) Ca 1936 grey, bright flat patches.