File:Munkácsy Siralomház I.jpg
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Captions
Summary
[edit]Mihály Munkácsy: The Condemned Cell I | |||||||||||||||||||||||||
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Artist |
artist QS:P170,Q551652 |
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Title |
The Condemned Cell (I.) |
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Object type | painting | ||||||||||||||||||||||||
Genre | genre art | ||||||||||||||||||||||||
Date |
1870 date QS:P571,+1870-00-00T00:00:00Z/9 |
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Medium |
oil on panel medium QS:P186,Q296955;P186,Q287,P518,Q861259 |
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Dimensions |
height: 139 cm (54.7 in); width: 193.5 cm (76.1 in) dimensions QS:P2048,139U174728 dimensions QS:P2049,193.5U174728 |
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Collection |
institution QS:P195,Q252071 |
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Accession number |
65.54T |
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References | |||||||||||||||||||||||||
Source/Photographer | (Painting size info from MNG home page) | ||||||||||||||||||||||||
Other versions |
Versions of the The Condemned Cell by Mihály Munkácsy:
Studies and sketches: Other versions of this file: |
Licensing
[edit]Public domainPublic domainfalsefalse |
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This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights. |
https://creativecommons.org/publicdomain/mark/1.0/PDMCreative Commons Public Domain Mark 1.0falsefalse
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current | 13:17, 19 December 2011 | 834 × 608 (73 KB) | Csanády (talk | contribs) | == Summary == {{Artwork |artist={{Creator:Mihály Munkácsy}} |title={{LangSwitch |en=''The Condemned Cell'' (I.) |hu=''Siralomház'' (I.) }} |description= |date=1870 |medium={{Technique|oil|wood}} |dimensions={{Size|unit=cm|width=115.7|height=87.5} |
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Metadata
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JPEG file comment | MUNKÁCSY Mihály
(1844, Munkács - 1900, Endenich) Siralomház 1869-72 Olaj, fa, 87,5 x 115,7 cm Magyar Nemzeti Galéria, Budapest A betyár élete és alakja Munkácsyt gyermekkora óta foglalkoztatta, "Emlékezései"-bõl tudjuk, hogy inaséveinek gyermeki gyötrelmei fonódtak egybe azzal a vággyal, hogy a szabad élet eszményképeként eleven betyárt láthasson, ha másként nem, a kocsmaasztal alól, ahonnan jöttét leste. A Siralomház drámai jelentében felbukkan a döbbent kisinas. Munkácsy nyomon követte hõsét, a betyárt már legkorábbi, 1867-es népéletképein, kõrajzú hírlap-illusztrációin. De sok mesterségbeli tudás kellett még ahhoz, hogy Düsseldorfban kellõ felkészültséggel adjon igaz képet a halálraítéltrõl, kit "három nappal elõbb kitesznek, jól táplálnak és gondoznak", s jöhetnek rokonai, barátai, ellenségei búcsút venni tõle. Felesége a sarokban zokog, kislánya mit sem sejtve tiblábol és majszol, a szegénylegény pedig elszámolt az élettel, s alighanem a túlvilággal is - földhözcsapja a bibliát. Hiába küldi a tömlöcbe üzenetét még a mennyezet rácsán keresztül a tenyérnyi kék ég, a festménynek az a tündöklõ emberiességû színfoltja... A mûrõl részletes elemzés a <A HREF="http://mek.oszk.hu/01300/01338/html/%22 TARGET="_blank">Száz szép kép</A> címû összeállításban olvasható, a <A HREF="http://mek.oszk.hu/html/kiallitas.html%22 TARGET="_blank">Magyar Elektronikus Könyvtár kiállítótermében.</A> MUNKÁCSY, Mihály (1844, Munkács - 1900, Endenich) The Condemned Cell 1869-72 Oil on wood, 87,5 x 115,7 cm Hungarian National Gallery, Budapest The outlaw's life and figure was a major concern for Munkácsy ever since his childhood. It is known from his "Memoirs" that he suffered much during the years of apprenticeship and that he always wanted to see a living outlaw as a symbol of free life even if he had to wait for him under a table in the inn. In the drama of "Condemned Cell", he painted the embarressed apprentice. Munkácsy had followed the life of his hero in his earliest genre pictures painted in 1867 or illustrations for journals. He needed an immense amount of skill in order to paint a true picture of a man condemned to death who had been given proper food and looked after for three days, and then his family, friends and enemies were to come to say good-bye to him. His wife is sobbing her heart out in a corner, his little daughter is pottering about not knowing what is going on and she is munching something. The outlaw must have resigned to his lot and has nothing more to expect of life: he throws the Bible to the ground. A patch of the blue sky becomes visible behind the bars. Type: genre Time-line: 1876-1900 Form: painting |
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