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Gucci Beauty ความงามแห่งศิลปะ แรงบันดาลใจของกุชชี่

September 18, 2018

LINE it!

• กุชชี่เปิดตัวอินสตาแกรมใหม่ Gucci Beauty ภายใต้การดูแลของอเลสซานโดร มิเคเล ผู้อำนวยการฝ่ายสร้างสรรค์ของกุชชี่

• ไม่ใช่แค่อินสตาแกรมสำหรับโพสต์ภาพผลิตภัณฑ์เครื่องสำอางของกุชชี่ แต่สร้างความน่าสนใจด้วยการเนรมิตอินสตาแกรมให้เป็นพิพิธภัณฑ์งานศิลปะ พาพวกเราไปชื่นชมกับงานศิลปะอันงดงามผ่านทางภาพหญิงชายจากหลากหลายยุคสมัยทั่วทุกมุมโลก ซึ่งสะท้อนให้เห็นถึงความหมายของคำว่า ‘beauty’ ในสายตาของอเลสซานโดร

• นอกจากคนดูจะได้ชื่นชมและศึกษางานศิลปะแล้ว ยังทำให้เราเห็นถึงแรงบันดาลใจจากงานศิลปะเหล่านี้ที่กลายเป็นผลงานแฟชั่นความบ้าคลั่งอันสวยงามของกุชชี่นั่นเอง

 

 

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Title: Portrait of a Woman, c. 1600
Author: British Painter Museum: Metropolitan Museum of Art, New York ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Though the identity of this woman and that of the artist who painted her are lost to history, we can infer her royal status through her luxuriant dress and jewelry. Her richly embroidered sleeves and enormous lace collar were typical of the highly rarified Elizabethan court, complete with a pearl-studded veil that enthroned her hair and shoulders. This portrait, now housed at the @metmuseum, was once definitively thought to be that of Queen Elizabeth, though historians today are less sure. Regardless, the anonymous British painter who captured her likeness did so with a striking attention to detail and level of interest in her fashion. #GucciBeauty #TheMet — @tatianaberg
Gift of J. Pierpont Morgan, 1911

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Title: Portrait of a Woman, 1890 Author: Louis Anquetin Museum: Musée des Beaux-Arts, Tournai⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ The French painter Louis Anquetin was one of many Post-Impressionist artists influenced by Japanese ukiyo-e prints. For Anquetin, this manifested in his use of bold, dark outlines filled with areas of flat, bright color; an aesthetic that can also be seen in the work of contemporaries like Gauguin and Toulouse-Lautrec. His work is held in museum collections all over the world, including the Musée des Beaux-Arts in Tournai, Belgium, where this intimate portrait from 1890 is kept. Executed more casually in pastel, here Anquetin’s line work is light and nimble. It’s easy to imagine the artist’s hand flitting quickly across the page, working to capture a fleeting moment and the coyness of his sitter’s gaze. #GucciBeauty — @tatianaberg Musée des Beaux-Arts, Tournai, Belgium / Bridgeman Images

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Title: Elizabeth I Author: English school Private collection ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀ ⠀ Queen Elizabeth I was crowned at the age of 25 and went on to rule England for over four decades. As an unmarried woman who was able to maintain control during her reign, she remains an unusual monarch in history. Her many royal portraits offer the chance of better understanding this charismatic figure, perhaps allowing us a glimpse of the real woman behind the throne. In this privately held painting, an unknown artist took pains to emphasize her two most famous features: her pale English skin and striking red hair. Elizabeth was often depicted adorned with pearls, as she is here, which came to symbolize her chastity and devotion to her subjects. #GucciBeauty — @tatianaberg Photo © Philip Mould Ltd, London / Bridgeman Images

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Title: Portrait of a Court Lady, Seated Half Length in an Embroidered Robe, Holding a Flower, mid 19th century Author: Chinese School Private Collection ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ The Shanghai School of painting introduced a fresh alternative to the then-dominating Literati style. Western-influenced brightly colored portraiture was among the newly adopted styles, a direct reaction to the demands of Shanghai’s mercantile elite who craved something distinct from the traditional aesthetics of the Chinese scholarly and gentry classes. This 19th-century portrait captures the era’s distinct stylistic elements, which included a brightly-colored palette (as depicted in the blues, greens, and reds of the subject’s clothing and large, dangly earrings) and exaggerated physical form. #GucciBeauty — @britticisms Photo © Christie’s Images / Bridgeman Images

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Title: Woman at her toilet, c.1700
Author: François Boucher Private Collection ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀ ⠀⠀ ⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ François Boucher was one of the defining artists of France’s Rococo period, known for his voluptuous, romantic paintings depicting allegories and genre scenes. In particular, his paintings often have a kind of eroticism, emphasized by his soft rendering of flesh amid idyllic landscapes. In this 18th-century portrait of a woman at her toilet, Boucher depicts a rosy-cheeked woman gazing at herself in the mirror; her hands in particular have a plump sensuality. A lover is suggested by the portrait she holds in her hand, giving her placid, thoughtful expression a romantic feeling. #GucciBeauty — @lrsphm
Photo © Agnew’s, London / Bridgeman Images

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Title: Vanitas, a young woman seated at her dressing table, 1632
Author: Paulus Moreelse Private Collection ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ In his native city of Utrecht, Paulus Moreelse was a sought-after portraitist. He was especially appreciated for his rich use of color, often imbuing his figures with a lively, pink-cheeked vigor.
One of his favorite genres was playfully sensual portraiture of young women with tousled blonde
hair and overflowing décolletage. This privately held painting is a particularly memorable example, wherein he places the woman at her dressing table. Her gold jewelry is splayed out in pride on the tablecloth, an example of vanitas, a genre of painting meant to symbolize both the pleasure and ultimately futility of earthly delights. #GucciBeauty — @tatianaberg
Johnny Van Haeften Ltd., London / Bridgeman Images

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Title: Portrait of a young woman in red, A.D. 90–120
Museum: Metropolitan Museum of Art, New York ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ This striking portrait from the @metmuseum is a mummy portrait from Roman Egypt, meaning that it would have been painted on a panel that was attached to the wrapped corpse of its subject, the young woman in red. Despite being a funerary image, the woman it depicts is startlingly lifelike, even timeless: her large, dark eyes, emphasized by long lashes, seem to gaze directly at the viewer, framed by the loose curls of hair piled atop her head. The luminosity of her skin against the faded background and the clear features of her face make this portrait feel contemporary, though she lived almost two thousand years ago. #GucciBeauty #TheMet — @lrsphm
Rogers Fund, 1909

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Title: Woman from Constantinople, standing, c.1876
Author: Jean-Léon Gérôme (1824-1904) Private Collection ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ The French painter Jean-Léon Gérôme is the quintessential Orientalist painter, a European artist interested in a fantastical, stylized depiction of other cultures. After visiting Egypt in 1856 he became fascinated with the Middle East in particular and brought back local artifacts and costumes, which he used as props in his Paris studio. His work was extremely popular and much of it is now held in private collections, including this moody portrait. Gérôme wrapped his model in a translucent veil in a nod to her perceived exotic origins, drawing our attention to her languid gaze and ambiguous smile. Yet the image is theatrical, almost a fiction. #GucciBeauty — @tatianaberg
Photo © Christie’s Images / Bridgeman Images

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Title: Federico Gonzaga, 1510 Author: Francesco Francia Museum: Metropolitan Museum of Art, New York ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Francesco Francia, a painter from Bologna, created this 1510 commission for Marchesa Isabella D’Este. It is a portrait of her son, Federico II Gonzaga, who would go on to rule the city of Mantua.
The piece from the @metmuseum displays Francia’s trademark affinity for lush coloring and flattering, rounded figuration, which made him one of the more sought-after portrait painters of his time. The young boy is depicted with a soft, androgynous beauty; a light smile, rosy cheeks, and gold-embroidered attire fit for any royal heir. #GucciBeauty #TheMet— @sirsargent
Bequest of Benjamin Altman, 1913

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Title: Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray, 1778
Author: David Martin Museum: Scone Palace, Scotland ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ One of the subjects of this dual portrait from 1778 is Dido Elizabeth Belle, who was born into slavery — her mother was African and her father a Scottish admiral. Only when her mother died did her father come to claim her. Dido became an aristocrat — free and educated — raised among gentry like the other young woman pictured, Lady Elizabeth Murray. It was only in the 1990s that Dido’s identity in this work by an unknown artist (perhaps by David Martin) was determined. The canvas now occupies a place of pride in the Scone Palace. #GucciBeauty — @kchayka Image of Dido Elizabeth Belle and Lady Elizabeth Murray, daughters of Sir John Lindsay and David
2nd Earl of Mansfield by David Martin (1737 – 1797) from the Earl of Mansfield’s collection at Scone Palace, Scotland. Copyright © 2018 remains at all times with the Earl of Mansfield, Scone Palace, Scotland.

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Title: Aurelia (Fazio’s Mistress), 1863
Author: Dante Gabriel Rossetti
Museum: Tate, London ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Dante Gabriel Rossetti, a British-Italian painter, poet, and translator, made this c. 1863 portrait of a woman, held by the Tate, he could only imagine, taking his subject from the 14th-century Italian poet Fazio. In a poem, Fazio described his mistress’s “clear brows” and “white easy neck.” Rossetti used his own lover, Fanny Cornforth, as a model. Their affair lasted until Rossetti’s death in 1882; she was the subject of over 60 works. Rossetti is known for his role in co-founding the nostalgic Pre-Raphaelite Brotherhood, influenced by medieval art. Their goal was to be “direct and serious and heartfelt.” #GucciBeauty — @kchayka ©Tate, London 2018

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Title: Portrait of Maria de’ Medici Author: Agnolo Bronzino Museum: Uffizi Gallery, Florence ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Maria de’ Medici, depicted in this 16th-century Mannerist portrait, was a member of Italy’s famous Medici family, a powerful banking and political dynasty who also became patrons of the arts. Maria, a daughter of the Grand Duke of Tuscany, was a lovely, highly educated young woman, who tragically died at the age of seventeen. In this portrait, painted when she was eleven and in the @uffizigalleries, her delicate youth and beauty seem to radiate out of the canvas, forever preserving this beloved young woman in time. #GucciBeauty #Uffizi— @lrsphm
Courtesy of MIBAC/Gallerie degli Uffizi

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Title: Self Portrait, c.1902 Author: Maxwell Ashby Armfield Private Collection ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ The British artist Maxwell Ashby Armfield didn’t enjoy figure drawing during his education at the Birmingham School of Art. Instead, he leapt into the Arts & crafts Movement, which saw artists in the United Kingdom embracing decorative aesthetics, exaggerated forms, and inspiration from other cultures, including China, Japan, and the ancient Celts. In this tempera painting from 1902, from a private collection, Armfield depicts himself as a bohemian gentleman, his wavy hair echoing the fabric of his cravat. He collaborated closely with his wife, Constance Smedley.
#GucciBeauty — @kchayka ⠀⠀ ⠀⠀ ⠀⠀ ⠀⠀ ⠀⠀ ⠀⠀ ⠀⠀ © The Estate of Maxwell Armfield / Photo © Fine Art Society / Bridgeman Images

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Title: Portrait of Georgiana, Duchess of Devonshire, 1785
Author: Thomas Gainsborough
Museum: Chatsworth House, Derbyshire ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Although he much preferred landscape painting to portraiture, Thomas Gainsborough became the preeminent British portraitist during the mid-to late-18th century. Gainsborough painted Georgiana Cavendish, Duchess of Devonshire, numerous times, but this 1785 portrait of the English socialite, writer, and progressive political activist with a wild home and social life gained particular notoriety. It entered the collection of @chatsworthofficial in 1994. What most stands out most is the large black hat atop Georgiana’s head. Like always, the Duchess had the innate ability to make any look fashionable, including this hat, which soon became known as the “Gainsborough” or “portrait” hat. #GucciBeauty #GucciPlaces — @britticisms © Chatsworth House Trust

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Title: Portrait of a Woman, 1653 Author: Adriaen Hanneman Museum: Metropolitan Museum of Arts, New York ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ The portrait painter Adriaen Hanneman was very popular in his lifetime, gaining renown for his Van Dyck-inspired, cosmopolitan portraits. This 1653 portrait of a woman, in the collection of the @metmuseum, showcases her elegant style, with careful attention lavished on her jewelry, emphasizing her taste and status. The gems of her brooch, necklace, and hairpiece sparkle against the muted backdrop; her eyes, too, have the same glint, as she demurely gazes at the viewer.
#GucciBeauty #TheMet — @lrsphm Marquand Collection, Gift of Henry G. Marquand, 1889

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Title: Woman At Toilette / Keshō no onna, 1918
Author: Hashiguchi Goyō Museum: LACMA, Los Angeles ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Ukiyo-e, a Japanese movement, was characterized by its depictions of beautiful women and landscapes that reflected the newly hedonistic “floating world” created by Tokyo’s economic growth in the Edo period. In this 1918 portrait, Hashiguchi Goyō, a woodblock artist, uses delicate lines to render a beautiful woman applying powder to her skin. Her fully exposed shoulder is alluring in contrast to her demure expression, and she seems to be caught in a personal, domestic moment — underscoring the tension and seduction in the delicate balance between public beauty and private adornment. The image is in the collection of @LACMA, one of the #GucciPlaces.
#GucciBeauty — @lrsphm Image courtesy of LACMA

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Source: The Cut
Images: Instagram/guccibeauty

 

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