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In this special episode, John Leighton, director of the Van Gogh Museum in Amsterdam, tours the Van Gogh exhibit at the National Gallery with Charlie. »»﴿───► See more on the Artists and Art Playlist: https://www.youtube.com/playlist?list=PLIZqvqbtz9I3Awxq23UZKyGAzqzAJiUhN Check out the Patreon rewards! https://www.patreon.com/ManufacturingIntellect
Learn more about The Cloisters Museum & Gardens: http://www.metmuseum.org/cloisters/ Metropolitan Museum of Art Director Thomas P. Campbell explores the masterpieces, gardens, history, and architecture of The Cloisters Museum and Gardens with Peter Barnet, Curator in Charge of Medieval Art and The Cloisters. Producer and Director: Christopher Noey Editor: Jessica Glass Camera: Wayne De La Roche, Jessica Glass Sound: David Raymond Production Assistance: Kate Farrell, Sarah Cowan, Travis Kray
A major exhibition at Tate Britain, 'Picasso and Modern British Art' explored Picasso's extensive legacy and influence on British art, and how this played a role in the acceptance of modern art in Britain.
The V&A has one of the finest and most comprehensive collections of jewellery in the world. Over 3,000 jewels tell the story of jewellery in Europe from ancient times to the present day. Academy Award winning costume designer Alexandra Byrne, jewellery designer Stephen Webster, British Vogue jewellery editor Carol Woolton and V&A curator Clare Phillips reveal their highlights from the collection. http://www.vam.ac.uk/collections/jewellery
There are certain elements to any painting that makes it work, learn the three elements that Dr. Mark Sublette looks for in every painting before he buys. The tricks of the trade are shared through this highly informative video, great for beginners to serious collectors. Website: https://www.medicinemangallery.com Facebook: https://www.facebook.com/medicinemangallery Instagram: https://www.instagram.com/medicinemangallery Podcast: https://itunes.apple.com/us/podcast/art-dealer-diaries/id1384036101?mt=2 Tips on what makes a great painting, by an art dealer with twenty five years experience Today I want to talk about tips on what makes a great painting. Paintings come in a variety of types, design, and quality – some are great, some are terrible, and if you can't figure out what makes a great one from a terrible one, you've got to watch this video. You probably have all heard, “Oh, that guy has a great eye.” And what that means is that person that they're saying has a great eye understands the works of art and what makes something good or not. And pretty much having a great eye (means) you can learn a lot of the aspects by just seeing a ton of stuff and going to good galleries and museums, and seeing what's on the walls. Generally, they got there for a reason because the person who is making the decisions hopefully does have a good eye. This is what my eye tells me to look for when I'm looking at pieces of art, whether to buy, or in artists, to take in as a potential person for my stable. But, one is composition. The painting here to your right is a Maynard Dixon. Maynard Dixon had great composition, (it was) one of his strongest points. If you look at the piece, you can see that the tree is done just perfectly in the setting that you like, and see how the road kind of meanders into the distance. Everything about this works: with the tree and the way the mountains are on the back, and especially that road. This is very key to looking at a good painting. If the tree had been moved in a different position where it's jetted, it just doesn't flow. You have to feel a flow in a composition, and that's kind of what you look for. Two, is symmetry. Symmetry really, for me, refers to: did they get it right size-wise? Is the tree big enough in comparison to where it should be in the mountain? Is the road the right size, or is it off? And one of the things I look for: are the hands too big on a person or is the person's head out of proportion? Or, is the boat wrong compared to the water? Is the shadow incorrect? You know they have to get symmetry; they have to get this dimensionality on their pieces, especially if they're realism. It’s a little different in modern art, and I'll talk about that in another lecture, but it's very important that you look for symmetry. There's been many – a very important show that I've gone to that we, as dealers, or artists will come around, and we'll look at paintings and go, “Oh my gosh, they're giant people that are walking there,” because they just got the proportionality completely off to what they were doing against the landscape. So, it's very important. Make sure you look at that before you ever buy a painting. Three is color palette. Now: is it a pleasing color palette, or is it something that really just doesn't work for you? Part of this is personal and that's fine. Some people like bright colors (and) some people don't. These kinds of things are a little bit more on the subjective than objective (side), but what I like to look for: is it a pleasing mix? And more importantly, for me, does the artist have the same palette that I can always recognize? Because if I'm looking to buy a specific artist, let's say, Maynard Dixon, I want to know exactly what his color palette is. And I can tell on Dixon's, who I specialize in, from what time frame that painting is strictly by his color palette, because it changed over time – it went from a very bright to a little less bright to a flat. And that's okay, and artists do that, but I know that he was just in his transformation of how he saw his color in his color palette, and that's a very key thing. The final thing has to do with (and this is very interesting, and it may take you a little time to appreciate it) but actually brushstrokes. I can tell an incredible amount about artists by how they do their brush strokes. A very confident artist will leave just a single brush stroke each time. When they put their brush on that palette, mix the color, and put it on the canvas, they know where it's going, and I can tell that they knew where it was going. It's very distinctive where it's going...
Learn more about the exhibition Picasso in The Metropolitan Museum of Art on view at the Met April 27, 2010 - August 1, 2010: http://tinyurl.com/MetPicasso
This landmark exhibition is the first to focus exclusively on works by Pablo Picasso (Spanish, 1881 - 1973) in the Museum's collection. It features three hundred works, including the Museum's complete holdings of paintings, drawings, sculptures, and ceramics by Picasso—never before seen in their entirety—as well as a selection of the artist's prints. The Museum's collection reflects the full breadth of the artist's multi-sided genius as it asserted itself over the course of his long and influential career.
Notable for its remarkable constellation of early figure paintings, which include the commanding At the Lapin Agile (1905) and the iconic portrait of Gertrude Stein (1906), the Museum's collection also stands apart for its exceptional cache of drawings, which remain relatively little known, despite their importance and number. The key subjects that variously sustained Picasso's interest—the pensive harlequins of his Blue and Rose periods, the faceted figures and tabletop still lifes of his cubist years, the monumental heads and classicizing bathers of the 1920s, the raging bulls and dreaming nudes of the 1930s, and the rakish cavaliers and musketeers of his final years—are amply represented by works ranging in date from a dashing self-portrait of 1900 (Self-Portrait "Yo") to the fanciful Standing Nude and Seated Musketeer painted nearly seventy years later.
The exhibition and the catalogue are made possible by the Iris and B. Gerald Cantor Foundation.
Producer and Director: Christopher Noey
Camera: Wayne de la Roche, Jessica Glass
Editor: Kate Farrell
Sound Recording: David Raymond
Production Assistant: Stephanie Wuertz