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Работы удивительного голландского живописца и гравера Геркулеса Сегерса

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Пейзажи Сегерса (ок.1589–1638) в технике цветного офорта, изображающие просторы равнин или суровые горные ландшафты, отличаются широтой и монументальной героичностью замысла, скрытым драматизмом световых и фактурных эффектов, выразительностью динамичного ломкого штриха.

Distant View with a Road and Mossy BranchesRijksmuseumc.1615 - c.1630Uitgestrekt fantasielandschap met rechts heuvels en op de voorgrond een sparretak.
Distant View with a Road and Mossy BranchesRijksmuseumc.1615 - c.1630Uitgestrekt fantasielandschap met rechts heuvels en op de voorgrond een sparretak.

Творчество Сегерса многогранно: марины, лесные, горные и равнинные пейзажи, городские и сельские виды. Многообразием отличается и манера исполнения этого уникального автора — он писал штрихами, длинными или короткими линиями, точками, его палитра могла быть прозрачной и светлой или густой и яркой. В то время как современники Сегерса писали интимные пейзажи, изображая непритязательные голландские ландшафты, художник увлекался большими панорамами, представляющими природу во всех ее сложных проявлениях. Сегерса притягивали бескрайние просторы и далекие горизонты, стихийная мощь и движение. Его пейзажи драматичны, проникнуты героическим пафосом и одновременно взволнованны и тревожны.

The Tomb of the Horatii and CuriatiiRijksmuseumc.1615 - c.1630Depicted is an ancient tomb on the Via Appia Antica at Albano. The sky is covered with light and dark blue oil paint. This colouration may not have been finished, and the ruins and vegetation were also still meant to be coloured.
The Tomb of the Horatii and CuriatiiRijksmuseumc.1615 - c.1630Depicted is an ancient tomb on the Via Appia Antica at Albano. The sky is covered with light and dark blue oil paint. This colouration may not have been finished, and the ruins and vegetation were also still meant to be coloured.

Автор, отвергающий идею статичности и однообразия гравюры, экспериментатор и фантазер сумел полностью переработать и переосмыслить этот непростой жанр. Сегерс превратил свои впечатления от окружающего мира в уникальные и завораживающие работы, от которых невозможно оторвать глаз. Любимая автором миниатюрная живопись представляется целым миром, полным эмоций и многогранных ощущений. Любимый художник великого Рембранта, Геркулес Сегерс — это абсолютно точно неповторимый стиль и потрясающая атмосфера.

(Материалы статьи: Herkules Segers by Kurt Pfister, 1921; Выставка в MET (The Metropolitan Museum of Art ): The Mysterious Landscapes of Hercules Segers, "Афиша" NYC, 2017)

Castle with Tall TowersRijksmuseumc.1615 - c.1630Kasteel met twee hoge torens en een kleinere toren.
Castle with Tall TowersRijksmuseumc.1615 - c.1630Kasteel met twee hoge torens en een kleinere toren.
The Lamentation of ChristRijksmuseumc.1615 - c.1630Segers overpainted an impression in blue of the same etching with body colour and oil paint. He overpainted no other print with so many different colours.
The Lamentation of ChristRijksmuseumc.1615 - c.1630Segers overpainted an impression in blue of the same etching with body colour and oil paint. He overpainted no other print with so many different colours.
Landscape with a Plateau, a River in the DistanceRijksmuseumc.1615 - c.1630This may be the earliest example of what is called printing in register. The blue prepared paper makes the scene look like a nocturnal landscape over which an invisible moon casts its light.
Landscape with a Plateau, a River in the DistanceRijksmuseumc.1615 - c.1630This may be the earliest example of what is called printing in register. The blue prepared paper makes the scene look like a nocturnal landscape over which an invisible moon casts its light.
The Mossy TreeRijksmuseumc.1615 - c.1630This is not just simply a tree, but rather some kind of calligraphy. The mossy branches are linked together solely with thin lines and seem to float before the delicately coloured background.
The Mossy TreeRijksmuseumc.1615 - c.1630This is not just simply a tree, but rather some kind of calligraphy. The mossy branches are linked together solely with thin lines and seem to float before the delicately coloured background.
A SkullRijksmuseumc.1615 - c.1630The meticulousness with which the old, battered skull is depicted with a muddle of scratches suggests that Segers was here working ‘from life.’
A SkullRijksmuseumc.1615 - c.1630The meticulousness with which the old, battered skull is depicted with a muddle of scratches suggests that Segers was here working ‘from life.’
Valley with a River and a Town with Four TowersRijksmuseumc.1615 - c.1630From the direction of the spots it is clear that the sheet was upside down when moisture partly dissolved the paint in the sky and made it run.
Valley with a River and a Town with Four TowersRijksmuseumc.1615 - c.1630From the direction of the spots it is clear that the sheet was upside down when moisture partly dissolved the paint in the sky and made it run.
Still Life with BooksRijksmuseumc.1615 - c.1630While Segers’ stack of books looks unassuming enough, it is entirely original, and may even be the earliest still life in European graphic art. While still lifes frequently feature in 17th-century paintings, they are rarely found in black-and-white (in prints).
Still Life with BooksRijksmuseumc.1615 - c.1630While Segers’ stack of books looks unassuming enough, it is entirely original, and may even be the earliest still life in European graphic art. While still lifes frequently feature in 17th-century paintings, they are rarely found in black-and-white (in prints).
Landscape with an Oak Tree and a Distant ViewRijksmuseumc.1615 - c.1630
Landscape with an Oak Tree and a Distant ViewRijksmuseumc.1615 - c.1630