Çàãàäêè - ðàçâëå÷åíèå äëÿ ëþáîçíàòåëüíûõ!

Gul íàïèñàë:

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Vincenzo Abbati
Åãî êàðòèíà,âåðîÿòíî, è åñòü îñíîâà äëÿ äàëüíåéøèõ âàðèàíòîâ (òî, ÷òî ìû âèäèì íà îòêðûòêàõ)

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Âîçìîæíî. À, âîçìîæíî, ÷üÿ òî-åùå. Íàïðèìåð, ó Robert Hubert (1733-1808) ìíîãî êàðòèí òóííåëÿ Ïîçèëëèïî - ýòî åùå 18 âåê.






Âîçìîæíî, ó íåãî åñòü è ñ êàïåëëîé.

Gul íàïèñàë:

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Ó Þáåðà íåò êàïåëëû...
Âñòðå÷àëàñü ëè Âàì èíôîðìàöèÿ î íåé?

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Ìîæåò áûòü, ðå÷ü èäåò î ðàçíûõ òóííåëÿõ? Ïîä õîëìîì Ïîçèëëèïî èõ íåñêîëüêî.

 âèêè åñòü îïèñàíèå Crypta Neapolitana - ñíàðóæè èìåííî òà ãàëåðåÿ, êîòîðàÿ èçîáðàæåíà íà êàðòèíàõ/ãðàâþðàõ

À çäåñü Ñîâðåìåííûå ôîòîãðàôèè

Íåóæåëè âíóòðè òàê óçêî è íèçêî? Õîòÿ íàïèñàíî, ÷òî âûñîòà ñâîäîâ - 5 ì.

Åñòü åùå Ãðîò Ñåéàíî

Ëþáîïûòíî, ÷òî àðõèòåêòîð òîò æå, âíóòðè ãàëåðåÿ ïîõîæà íà òå, ÷òî èçîáðàæåíû õóäîæíèêàìè.

Âîò, íàêîíåö-òî, íàøëà òîëêîâîå ðàçúÿñíåíèå: Èñòîðèÿ òóííåëåé

Îñòàëñÿ òîëüêî ñóùåñòâåííûé âîïðîñ - ó êàæäîãî èç òóííåëåé äîëæíî áûòü, ïî ëîãèêå, äâà âõîäà-âûõîäà È îáà âõîäà ìîãóò îòíîñèòüñÿ ê îäíîìó è òîìó æå òóííåëþ, òîëüêî ñ ðàçíûõ ñòîðîí.

À âîò åùå êàê ó Abbati è Nerly è â òå æå ãîäû:
Salvatore Candido (1814 - 1869)

Description: CANDIDO, SALVATORE
(Naples, 19th century)
Figures and livestock in a tunnel. 1838.
Oil on canvas.
Signed lower right: Sal. Candido Pinx. 1838.
52.5 x 39.5 cm.

Åñëè âåðèòü àòðèáóöèè, â 1838 ôîíàðèêè ïî áîêàì óæå áûëè.
È êðåñò íàä âõîäîì â êàïåëëó ïî ðàçìåðàì áîëüøå ïîõîæ íà èñõîäíóþ íàøó êàðòèíó, õîòÿ äâåðè äðóãèå.

OVerner íàïèñàë:

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Íî Ôðàí÷åñêî Ïèðàíåçè òîæå ïðîÿâèë ôàíòàçèþ ñî ñâåòèëüíèêîì.

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Ïèøóò, ÷òî îñâåùåíèå ìàñëÿíûìè ëàìïàìè áûëî ñäåëàíî â íà÷àëå XIX â. ïî èíèöèàòèâå Æîçåôà Áîíàïàðòà, Äþìà ïèñàë îá ýòîì: "Ìû áûëè âïå÷àòëåíû... óæàñíûì çëîâîíèåì, èñõîäÿùèì îò ñåìèäåñÿòè ÷åòûðåõ êåðîñèíîâûõ ñâåòèëüíèêîâ â ýòîé áîëüøîé äûðå".
Âèäèìî, ñíà÷àëà áûëè ìàñëÿíûå, à ñ ñåðåäèíû XIX â. èõ çàìåíèëè íà êåðîñèíîâûå.

Gul íàïèñàë:

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Ó Þáåðà íåò êàïåëëû...

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Ïîëàãàþ, âñå-òàêè, åñòü. Ñàéò àóêöèîííîãî äîìà «Ñîòáèñ».
Hubert Robert GROTTA DI POSILLIPO
monogrammed or inscribed on the verso: R
oil on earthenware plate diameter 6 1/8 in.; 15.5 cm.

Íà òþðåìíîé òàðåëêå! Ñâåòèëüíèê ïîä ïîòîëêîì êàê íà êàðòèíå Æàíà Äåïðå. È, åñëè ÿ íå îøèáàþñü, ôèãóðû ñïðàâà ìîëÿòñÿ ïåðåä âõîäîì â êàïåëëó. Âîçìîæíî, äàæå èçîáðàæåí ôðàãìåíò êàïåëëû - åùå ïðàâåå, ïåðåä ìîëÿùèìèñÿ. Ñîãëàñíû?

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On October 29, 1793, at the beginning of the Terror, Hubert Robert was arrested and jailed by the Revolutionary authorities for having failed to renew his citizen's card. He was held initially at the convent of Sainte-Pélagie and transferred, on the night of January 30-31, 1794, to the seminary of Saint-Lazare, the site of a former leper's house. He was not released until after the fall of Robespierre in July of that year. While imprisoned, he consoled himself by painting and drawing (fig. 1). Materials on which to paint were scarce and he began to use the earthenware prison plates on which his food was served as his "canvases." While some of these plates depict scenes of life within the prison, the majority are landscapes.

The present painting depicts a group of figures in the Grotta di Posillipo in Naples; its dark and dramatic lighting recalls the moody prison scenes of Magnasco and Goya, as well as the famous Carceri etchings by Piranesi. Robert spent a little over a decade in Italy, and during that time completed a drawing expedition to the southern city in 1760 with the Abbé de Saint-Non, whom he met in Rome. Robert, a prolific artist, would return to his sketches of Italy throughout his career for inspiration in his paintings, though it is likely that the present work (as it was painted while he was imprisoned) came from the artist's memory.

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