ΠΠ΅Ρ ΠΎΡΠ·ΡΠ²ΠΎΠ²
ΠΠ½Π½ΠΎΡΠ°ΡΠΈΡ
| ΠΠ·Π΄Π°ΡΠ΅Π»ΡΡΡΠ²ΠΎ | |
|---|---|
| ΠΠ΅ΡΠ΅ΠΏΠ»Π΅Ρ | ΠΡΠ³ΠΊΠΈΠΉ ΠΏΠ΅ΡΠ΅ΠΏΠ»ΡΡ |
| Π‘ΡΡΠ°Π½ΠΈΡ | 470 |
| ΠΠΎΠ΄, ΡΠΈΡΠ°ΠΆ | 2018 |
ΠΠ΅ Π² Π½Π°Π»ΠΈΡΠΈΠΈ
ΠΡΠ·ΡΠ²Ρ
0ΠΠΏΠΈΡΠ°Π½ΠΈΠ΅ ΠΈ Ρ Π°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈ
In the 1880s, Suzanne Valadon was considered the Impressionistsβ most beautiful model. But behind her captivating facade lay a closely-guarded secret. Born in poverty in rural France, as a teenager in Montmartre, Suzanne began posing for β and having affairs with β some of the ageβs most renowned painters. Then Renoir caught her indulging in a passion she had been trying to conceal: the model was herself a talented artist. Some found her vibrant still lifes and frank portraits as shocking as her bohemian lifestyle. At eighteen, she gave birth to an illegitimate child, future painter Maurice Utrillo. But her friends Toulouse-Lautrec and Degas could see her skill. Rebellious and opinionated, she refused to be confined by tradition or gender, and in 1894, her work was accepted to the Salon de la Societe Nationale des Beaux-Arts, an extraordinary achievement for a working-class woman with no formal art training.
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| ΠΠΎΠ΄ | 2696933 |
|---|---|
| ΠΠ·Π΄Π°ΡΠ΅Π»ΡΡΡΠ²ΠΎ | |
| ΠΠ΅ΡΠ΅ΠΏΠ»Π΅Ρ | ΠΡΠ³ΠΊΠΈΠΉ ΠΏΠ΅ΡΠ΅ΠΏΠ»ΡΡ |
| ΠΠΎΠ»-Π²ΠΎ ΡΡΡΠ°Π½ΠΈΡ | 470 |
| ΠΠΎΠ΄ ΠΈΠ·Π΄Π°Π½ΠΈΡ | 2018 |
| ISBN | 978-1-78-578404-0 |
| Π Π°Π·Π΄Π΅Π» | ΠΡΠΎΡΠΈΠ΅ ΠΈΠ·Π΄Π°Π½ΠΈΡ Π½Π° Π°Π½Π³Π»ΠΈΠΉΡΠΊΠΎΠΌ |
| Π Π°Π·ΠΌΠ΅ΡΡ | 3.5 ΡΠΌ Γ 12.8 ΡΠΌ Γ 19.7 ΡΠΌ |
| ΠΠ΅Ρ | 0.53 ΠΊΠ³ |