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Ary Scheffer volume 1 of 2 - The Portraits Ary Scheffer (1795-1858) was a Dutch-French Romantic painter. He was known mostly for his works based on literature, with paintings based on the works of Dante, Goethe, and Lord Byron, as well as religious subjects. Scheffer was the son of Johan Bernard Scheffer, a portrait painter born in Homberg upon Ohm or Kassel who had moved to the Netherlands in his youth, and Cornelia Lamme, a portrait miniature painter and daughter of the Dordrecht landscape painter Arie Lamme, after whom Arij (later Ary) was named. He had two brothers, the journalist and writer Karel Arnold Scheffer and the painter Hendrik Scheffer. He was taught by his parents and attended the Amsterdam drawing academy from the age of 11. In 1808 his father became court painter of Louis Bonaparte in Amsterdam, but he died a year later. Encouraged by Willem Bilderdijk, he moved to Lille for further study after the death of his father. In 1811 he and his mother, who had a large influence on his career, moved to Paris, where he studied at the École des Beaux-Arts as a pupil of Pierre-Narcisse Guérin. His brothers followed them later. In 1822, he became drawing teacher to the children of Louis-Philippe, the Duke of Orléans. Thanks to his connections with them, he was able to obtain many commissions for portraiture and other work. In 1830, riots against the rule of King Charles X resulted in his overthrow. On 30 July, Scheffer and influential journalist Adolphe Thiers personally rode from Paris to Orléans to ask Louis-Philippe to lead the resistance, and a few days later, he became "King of the French". On 16 March 1850 he married Sophie Marin, the widow of General Baudrand, and on 6 November of that year he finally became a French citizen. He continued his frequent travels to the Netherlands, and made trips to Belgium, Germany and England, but a heart condition slowed him down and eventually ended his life in 1858 in his summer house in Argenteuil. He is buried in the Cimetière de Montmartre. When Scheffer left Guérin's studio, Romanticism had come into vogue in France, with such painters as Xavier Sigalon, Eugène Delacroix and Théodore Géricault. Scheffer did not show much affinity with their work and developed his own style, which has been called "frigidly classical". Scheffer often painted subjects from literature, especially the works of Dante, Byron and Goethe. Two versions of Dante and Beatrice have been preserved at Wolverhampton Art Gallery, United Kingdom, and Museum of Fine Arts, Boston, US. Particularly highly praised was his Francesca da Rimini, painted in 1836, which illustrates a scene from Dante Alighieri's Inferno. In the piece the entwined bodies of Francesca di Rimini and Paolo Malatesta swirl around in the never-ending tempest that is the second circle of Hell. The illusion of movement is created by the drapery that envelopes the couple, as well as by Francesca's flowing hair. Scheffer's popular Faust-themed paintings include Margaret at her wheel; Faust doubting; Margaret at the Sabbat; Margaret leaving church; The garden walk, and Margaret at the well. In 1836, he painted two pictures of Goethe's character Mignon: Mignon desires her fatherland (1836), and Mignon yearns for heaven (1851). He now turned to religious subjects: Christus Consolator (1836) was followed by Christus Remunerator, The shepherds led by the star (1837), The Magi laying down their crowns, Christ in the Garden of Olives, Christ bearing his Cross, Christ interred (1845), and St Augustine and Monica (1846). One of the reduced versions of his Christus Consolator (the prime version today to be found in the Van Gogh Museum, Amsterdam), lost for 70 years, was rediscovered in a janitor's closet in Gethsemane Lutheran Church in Dassel, Minnesota in 2007. It has been restored and is on display at the Minneapolis Institute of Art. Scheffer was also an accomplished portrait painter, finishing 500 portraits in total. His subjects included composers Frédéric Chopin and Franz Liszt, the Marquis de la Fayette, Pierre-Jean de Béranger, Alphonse de Lamartine, Charles Dickens, Duchess de Broglie, Talleyrand and Queen Marie Amélie. https://en.wikipedia.org/wiki/Ary_Scheffer Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Sienese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo. His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better-known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre (illustrated here). Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival. Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the beautiful Virgin of the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre). In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work. The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome). Andrea's last work was an altarpiece representing The Assumption of the Virgin, left unfinished at his death and completed by Bernardino Campi about 1576. See also Gallery (below) for a selection of Solari's work. https://en.wikipedia.org/wiki/Andrea_Solari Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
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Alessandro Zezzos (1848-1914) was an Italian painter of genre scenes, costume scenes, portraits, and vedute, in watercolors and oils. He studied under Giacomo Favretto, Alessandro Milesi, and Luigi Nono at the Academy of Fine Arts in his native Venice. In 1873, he exhibited in Venice: Né sposo né figlio and Scena famigliare. In 1877 at Paris, Les saltimbanques and Les pingeons de Saint Marc. He was active as a painter in Venice. Among his watercolors are Le rondini, exhibited at 1880 at Turin; Una calle, exhibited at the 1891 Mostra Triennale of the Brera Academy. In 1881 at Milan, displayed the paintings: Mercante di ventagli; At the Predica, Half-figure of a Girl; and Popolana. In 1883 in Rome, exhibited: The Lovers. He painted Love Letter, Una fuga nel 1700; and The Dockside of San Marco. He sent to Paris in 1877-1878, the paintings: Pigeons of St Mark, El-Mazrama (Mouchoir of the Sultan), Los Saltimbanques, and A venetian - A Daughter of the People. He had a retrospective exhibit at the Castello Sforzesco of Milan in 1937. Umberto Boccioni was one of his pupils. Among his colleagues and fellow pupils of Favretto were Bartolomeo Bezzi, Guglielmo Ciardi, Antonio Dal Zotto, Pietro Fragiacomo, Emilio Marsili, Luigi Nono, Augusto Sezanne, and Ettore Tito. Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
John Singer Sargent (1856-1925) was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian era luxury. In 1879, at the age of 23, Sargent painted a portrait of teacher Carolus-Duran; the virtuoso effort met with public approval, and announced the direction his mature work would take. Its showing at the Paris Salon was both a tribute to his teacher and an advertisement for portrait commissions. Of Sargent's early work, Henry James wrote that the artist offered "the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn." After leaving Carolus-Duran's atelier, Sargent visited Spain. There he studied the paintings of Velázquez with a passion, absorbing the master's technique, and in his travels gathered ideas for future works. He was entranced with Spanish music and dance. The trip also re-awakened his own talent for music (which was nearly equal to his artistic talent), and which found visual expression in his early masterpiece El Jaleo (1882). Music would continue to play a major part in his social life as well, as he was a skillful accompanist of both amateur and professional musicians. Sargent became a strong advocate for modern composers, especially Gabriel Fauré. Trips to Italy provided sketches and ideas for several Venetian street scenes genre paintings, which effectively captured gestures and postures he would find useful in later portraiture. Upon his return to Paris, Sargent quickly received several portrait commissions. His career was launched. He immediately demonstrated the concentration and stamina that enabled him to paint with workman-like steadiness for the next twenty-five years. He filled in the gaps between commissions with many non-commissioned portraits of friends and colleagues. His fine manners, perfect French, and great skill made him a standout among the newer portraitists, and his fame quickly spread. He confidently set high prices and turned down unsatisfactory sitters. He mentored his friend Emil Fuchs who was learning to paint portraits in oils. During Sargent's long career, he painted more than 2,000 watercolors, roving from the English countryside to Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. Each destination offered pictorial stimulation and treasure. Even at his leisure, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night. His hundreds of watercolors of Venice are especially notable, many done from the perspective of a gondola. His colors were sometimes extremely vivid and as one reviewer noted, "Everything is given with the intensity of a dream." In the Middle East and North Africa Sargent painted Bedouins, goatherds, and fisherman. In the last decade of his life, he produced many watercolors in Maine, Florida, and in the American West, of fauna, flora, and native peoples. With his watercolors, Sargent was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes. It is in some of his late works where one senses Sargent painting most purely for himself. His watercolors were executed with a joyful fluidness. He also painted extensively family, friends, gardens, and fountains. In watercolors, he playfully portrayed his friends and family dressed in Orientalist costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions (The Chess Game, 1906). His first major solo exhibit of watercolor works was at the Carfax Gallery in London in 1905. In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the Brooklyn Museum. Evan Charteris wrote in 1927: To live with Sargent's watercolors is to live with sunshine captured and held, with the luster of a bright and legible world, 'the refluent shade' and 'the Ambient ardours of the noon.' Although not generally accorded the critical respect given Winslow Homer, perhaps America's greatest watercolorist, scholarship has revealed that Sargent was fluent in the entire range of opaque and transparent watercolor technique, including the methods used by Homer. John Singer Sargent - Volume 1 - https://youtu.be/N-H22PGlwYg John Singer Sargent - Volume 3, 4 & 5 - coming soon https://en.wikipedia.org/wiki/John_Singer_Sargent#Watercolors 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.
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