Amaldus Clarin Nielsen (1838-1932) A collection of paintings 4K Ultra HD

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Peder Severin Krøyer (1851–1909) A collection of paintings 4K

Peder Severin Krøyer (1851-1909), professionally known as P. S. Krøyer, was a Danish painter. Krøyer was born in Stavanger, Norway, on 23 July 1851 to Ellen Cecilie Gjesdal. He was raised by Gjesdal's sister, Bertha Cecilie (born 1817) and brother-in-law, the Danish zoologist Henrik Nikolai Krøyer, after his mother was judged unfit to care for him. Krøyer moved to Copenhagen to live with his foster parents soon afterward. Having begun his art education at the age of nine under private tutelage, he was enrolled in Copenhagen's Technical Institute the following year. In 1870 at the age of 19 Krøyer completed his studies at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi), where he had studied with Frederik Vermehren. In 1873 he was awarded the gold medal, as well as a scholarship. His official debut as a painter was in 1871 at Charlottenborg with a portrait of a friend, the painter Frans Schwartz. He exhibited regularly at Charlottenborg throughout his life. In 1874 Heinrich Hirschsprung bought his first painting from Krøyer, establishing a long-standing patronage. Hirschsprung's collection of art forms the basis of the Hirschsprung Museum in Copenhagen. Travels Between 1877 and 1881, Krøyer travelled extensively in Europe, meeting artists, studying art, and developing his skills and outlook. He stayed in Paris and studied under Léon Bonnat, and undoubtedly came under the influence of contemporary impressionists – Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir and Édouard Manet. He continued to travel throughout his life, constantly drawing inspiration from foreign artists and cultures. Hirschsprung provided financial support during the early travels, and Krøyer continued exhibiting in Denmark throughout this period. In 1882 he returned to Denmark. He spent June–October at Skagen, then a remote fishing village on the northern tip of Denmark, painting themes from local life, as well as depictions of the artistic community there. He would continue to be associated with the developing art and literary scene at Skagen. Other artists at Skagen included writers Holger Drachmann, Georg Brandes and Henrik Pontoppidan, and artists Michael Ancher and Anna Ancher. Krøyer divided his time between rented houses in Skagen during the summer, a winter apartment in Copenhagen where he worked on his large commissioned portraits, and travel outside of the country. On a trip to Paris in 1888 he ran into Marie Martha Mathilde Triepcke, whom he had known in Copenhagen. They fell in love and, after a whirlwind romance, married on 23 July 1889 at her parents' home in Germany. Marie Krøyer, who was also a painter, became associated with the Skagen community, and after their marriage was often featured in Krøyer's paintings. The couple had one child, a daughter named Vibeke, born in January 1895. They were divorced in 1905 following a prolonged separation. Krøyer's eyesight failed him gradually over the last ten years of his life until he was totally blind. Ever the optimist, he painted almost to the end, in spite of health obstacles. In fact, he painted some of his last masterpieces while half-blind, joking that the eyesight in his one working eye had become better with the loss of the other eye. Krøyer died in 1909 in Skagen at 58 years of age after years of declining health. He had also been in and out of hospitals, suffering from bouts of mental illness. Krøyer's best known and best-loved work is entitled Summer Evening on Skagen's Southern Beach with Anna Ancher and Marie Krøyer (Sommeraften ved Skagen Sønderstrand med Anna Ancher og Marie Krøyer), 1893. He painted many beach scenes featuring both recreation life on the beach (bathers, strollers), and local fishermen. Another well-loved work is Midsummer Eve Bonfire on Skagen Beach (Sankthansbål på Skagen strand), 1906. This large-scale work features a great crowd of the artistic and influential Skagen community gathered around a large bonfire on the beach on Saint John's Eve (Midsummer Eve). Both of these works are in the permanent collection of the Skagens Museum which is dedicated to that community of artists, including those who gathered around Krøyer, a great organizer and bon vivant. Skagen Painters: https://www.youtube.com/playlist?list=PLA3DWLD8grG5PEjILDvKlUbLKTtnFByhm Christian Krohg (1852-1925): Coming soon Carl Locher (1851-1915): https://www.youtube.com/watch?v=mIL74ctj1-0 Laurits Tuxen (1853-1927): https://www.youtube.com/watch?v=Ryf8kThDjvA Viggo Johansen (1851-1935): https://www.youtube.com/watch?v=RGHfG1QBRtM Michael Peter Ancher (1849-1927): https://www.youtube.com/watch?v=nmxyxcIdzWs Anna Ancher (1859-1935): https://youtu.be/QCCRHQvLY-A Peder Severin Krøyer (1851–1909): This Video Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Helgeland - A journey to the north (4K)

Aerial and timelapse shots from Svartisen, Saltfjellet and Helgelandskysten in Norway. An epic journey in an epic landscape. Music: "An Epic Empire" by https://www.cayzland-music.de/ "The Low Hum" by Moby courtesy of Mobygratis.com http://www.mobygratis.com Filmed with: http://www.powervision.me http://www.orderastro.com

Pompeo Girolamo Batoni Volume one (1708-1787) A collection of paintings 4K

Pompeo Girolamo Batoni (1708-1787) was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their Grand Tour made the artist specialized in portraits. Batoni won international fame largely thanks to his customers, mostly British of noble origin, whom he portrayed, often with famous Italian landscapes in the background. Such "Grand Tour" portraits by Batoni were in British private collections, thus ensuring the genre's popularity in the United Kingdom. One generation later, Sir Joshua Reynolds would take up this tradition and become the leading English portrait painter. Although Batoni was considered the best Italian painter of his time, contemporary chronicles mention of his rivalry with Anton Raphael Mengs. In addition to art-loving nobility, Batoni's subjects included the kings and queens of Poland, Portugal and Prussia, the Holy Roman Emperors Joseph II and Leopold II (a fact which earned him noble dignity), as well the popes Benedict XIV, Clement XIII and Pius VI, Elector Karl Theodor of Bavaria and many more. He also received numerous orders for altarpieces for churches in Italy (Rome, Brescia, Lucca, Parma, etc.), as well as for mythological and allegorical subjects. Batoni's style took inspiration and incorporated elements of classical antiquity, French Rococo, Bolognese classicism, and the work of artists such as Nicolas Poussin, Claude Lorrain and especially Raphael. As such Pompeo Batoni is considered a precursor of Neoclassicism. Batoni owed his first independent commission to the rains that struck Rome in April 1732. Seeking shelter from a sudden storm, Forte Gabrielli di Gubbio, count of Baccaresca took cover under the portico of the Palazzo dei Conservatori on the Capitoline Hill. The Gabrielli Madonna obtained general admiration and by the early 1740s Batoni started to receive other independent commissions. His celebrated painting, The Ecstasy of Saint Catherine of Siena (1743) illustrates his academic refinement of the late-Baroque style. Another masterpiece, his Fall of Simon Magus was painted initially for the St Peter's Basilica. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 1761. Batoni befriended Winckelmann and, like him, aimed in his painting to the restrained classicism of painters from earlier centuries, such as Raphael and Poussin, rather than to the work of the Venetian artists then in vogue. Commenting on Batoni, the art historians Boni and de Rossi said of Batoni and Mengs the other prominent painter in Rome during the second half of the 18th century, that Mengs was made painter by philosophy: Batoni by nature...(Batoni) was more painter than philosopher, (Mengs) more philosopher than painter. In 1741, he was inducted into the Accademia di San Luca. He was greatly in demand for portraits, particularly by the British traveling through Rome, who took pleasure in commissioning standing portraits set in the milieu of antiquities, ruins, and works of art. There are records of over 200 portraits by Batoni of visiting British patrons. Such "Grand Tour" portraits by Batoni came to proliferate in the British private collections, thus ensuring the genre's popularity in the United Kingdom, where Reynolds would become its leading practitioner. In 1760 the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". His late years were affected by declining health; he died in Rome in 1787 at the age of 79, and was buried at his parish church of San Lorenzo in Lucina. Batoni's last will executors were cardinal Filippo Carandini and James Byres, the Scottish antiquary, but the estate was insolvent and his widow was forced by the events to petition the Grand Duke of Tuscany, whom Batoni had painted in 1769, for financial assistance, offering in exchange her husband's unfinished self-portrait, today at the Uffizi in Florence. According to a rumor, before dying in Rome in 1787, he bequeathed his palette and brushes to Jacques-Louis David, to whom, full of admiration for his Oath of the Horatii, Batoni would have confessed: "Only the two of us can call themselves painters". Jacques-Louis David: coming very soon https://en.wikipedia.org/wiki/Pompeo_Batoni Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Rosa Bonheur (1822–1899) A collection of paintings 4K Ultra HD

Rosa Bonheur, (1822-1899) was a French artist, an animalière (painter of animals) and sculptor, known for her artistic realism. Her best-known paintings are Ploughing in the Nivernais, first exhibited at the Paris Salon of 1848, and now at the Musée d’Orsay in Paris, and The Horse Fair (in French: Le marché aux chevaux), which was exhibited at the Salon of 1853 (finished in 1855) and is now in the Metropolitan Museum of Art, in New York City. Bonheur was widely considered to be the most famous female painter during the nineteenth century. Bonheur was born on 16 March 1822 in Bordeaux, Gironde, the oldest child in a family of artists. Her mother was Sophie Bonheur (née Marquis), a piano teacher; she died when Rosa Bonheur was eleven. Her father was Oscar-Raymond Bonheur, a landscape and portrait painter who encouraged his daughter's artistic talents. Though of Jewish origin, the Bonheur family adhered to Saint-Simonianism, a Christian-socialist sect that promoted the education of women alongside men. Bonheur's siblings included the animal painters Auguste Bonheur and Juliette Bonheur and the animal sculptor Isidore Jules Bonheur. Francis Galton used the Bonheurs as an example of "Hereditary Genius" in his 1869 essay of the same title. Bonheur moved to Paris in 1828 at the age of six with her mother and siblings, her father having gone ahead of them to establish a residence and income. By family accounts, she had been an unruly child and had a difficult time learning to read, though even before she could talk she would sketch for hours at a time with pencil and paper. Her mother taught her to read and write by asking her to choose and draw a different animal for each letter of the alphabet. The artist credits her love of drawing animals to these reading lessons with her mother. At school she was often disruptive, and she was expelled from numerous schools. After a failed apprenticeship with a seamstress at the age of twelve, her father undertook to train her as a painter. Her father allowed her to pursue her interest in painting animals by bringing live animals to the family's studio for studying. Following the traditional art school curriculum of the period, Bonheur began her training by copying images from drawing books and by sketching plaster models. As her training progressed, she made studies of domesticated animals, including horses, sheep, cows, goats, rabbits and other animals in the pastures on the perimeter of Paris, the open fields of Villiers near Levallois-Perret, and the still-wild Bois de Boulogne. At fourteen, she began to copy paintings at the Louvre. Among her favorite painters were Nicholas Poussin and Peter Paul Rubens, but she also copied the paintings of Paulus Potter, Frans Pourbus the Younger, Louis Léopold Robert, Salvatore Rosa and Karel Dujardin. She studied animal anatomy and osteology in the abattoirs of Paris and by dissecting animals at the École nationale vétérinaire d'Alfort, the National Veterinary Institute in Paris. There she prepared detailed studies that she later used as references for her paintings and sculptures. During this period, she befriended father-and-son comparative anatomists and zoologists, Étienne Geoffroy Saint-Hilaire and Isidore Geoffroy Saint-Hilaire. Bonheur exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. Though she was more popular in England than in her native France, she was decorated with the French Legion of Honour by the Empress Eugénie in 1865, and was promoted to Officer of the order in 1894. She was the first female artist to be given this award. Women were often only reluctantly educated as artists in Bonheur's day, and by becoming such a successful artist she helped to open doors to women artists that followed her. Bonheur can be viewed as a "New Woman" of the 19th century; she was known for wearing men's clothing, but she attributed her choice of trousers to their practicality for working with animals (see Rational dress). In her romantic life, she was fairly openly a lesbian; she lived with her first partner, Nathalie Micas, for over 40 years until Micas' death, and later began a relationship with the American painter Anna Elizabeth Klumpke. At a time when lesbian sex – particularly tribadism – was regarded as animalistic and deranged by most French officials, Bonheur's outspokenness about her personal life was groundbreaking. Bonheur died on 25 May 1899 at the age of 77, at Thomery (By), France. She was buried together with Nathalie Micas (1824 – June 24, 1889), her lifelong companion, at Père Lachaise Cemetery, Paris, and later Klumpke joined them. Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Amaldus Clarin Nielsen (1838-1932) was a Norwegian painter.

He was born in Halse as a son of ship-master and merchant Niels Clemetsen Nielsen (1795–1845) and his wife Andrea Marie Møller (1802–1866).

He grew up in Mandal in Vest-Agder county, Norway. He lived most of his childhood and adolescence without a father. He received some tuition from a traveling drawing teacher and traveled to Copenhagen to study in 1854.

After one year of painting studies in Copenhagen, he enrolled at the Academy of Art in 1855. He failed to progress in the academy's system, but with financial support from his brother and business owner Diderik Cappelen (1856–1935), he studied under Hans Gude at the Düsseldorf Academy from 1857 to 1859.

He spent the years 1859 to 1863 travelling over Western and Southern Norway, and spent 1863 to 1864 in Düsseldorf again. He is associated with the Düsseldorf school of painting. He then travelled home due to illness, moved to Christiania where he sealed a deal to make paintings that the Christiania Kunstforening would sell at auctions, securing a steady income. He spent the years 1867 to 1868 in Karlsruhe before finally settling at Majorstuen in 1869.

He painted in the naturalist style, and has been called "Norway's first naturalist painter". Important paintings include Hvalørhei (1874), Skovbillede (1896), Morgen ved Ny-Hellesund (1885, one of several from Ny-Hellesund), Ensomt sted (1901), Fra Bankefjorden (1910) and Kveld på Jæren (1925) Most of his paintings portrayed Western and Southern Norway, but also Østfold.

He participated almost annually in the Autumn Exhibit between 1883 and 1911, and held notable exhibitions in Christiania Kunstforening (1895, 1906, 1924, 1931), at the 1862 International Exhibition, the Exposition Universelle of 1889 and in Munich in 1913.

Eleven of his works are owned by the National Museum of Art, Architecture and Design. He is also represented in Mandal Kunstforening and Mandal Bymuseum, but is perhaps best known for the collection of about 300 works which was donated to Oslo municipality by Nielsen's heirs in 1933.

Since 1994 this collection is on permanent exhibit in the Stenersen Museum. Nielsen was also decorated as a Knight, First Class of the Royal Norwegian Order of St. Olav in 1890. The square Amaldus Nielsens plass, which includes a bust of Nielsen, was named after him.

In October 1868 in Christiania he married Johanne Nicoline Augusta Vangensteen, born 1845 as a daughter of district stipendiary magistrate Ove Bodvar Hussein Vangensteen (1806–1859).

The couple had eleven children. Both his wife and three children died in March 1886 from a diphtheria epidemic. After a period of grief, he married Laura Tandberg (1857–1928) in February 1888 in Risør. Nielsen died in December 1932, aged 94, from pneumonia.

https://en.wikipedia.org/wiki/Amaldus_Nielsen

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