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Fra Angelico (1395-1455) - A collection of paintings and drawings 2K HD 15th Century An Italian painter of the Early Renaissance, described by Vasari in his Lives of the Artists as having "a rare and perfect talent" He was known to contemporaries as Fra Giovanni da Fiesole (Brother John of Fiesole) and Fra Giovanni Angelico (Angelic Brother John). In modern Italian he is called Beato Angelico (Blessed Angelic One); the common English name Fra Angelico means the "Angelic friar". In 1982, Pope John Paul II proclaimed his beatification in recognition of the holiness of his life, thereby making the title of "Blessed" official. Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the name of the town where he took his vows as a Dominican friar, and was used by contemporaries to separate him from others who were also known as Fra Giovanni. He is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—"Blessed Giovanni of Fiesole, surnamed 'the Angelic' ". Vasari wrote of Fra Angelico that "it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety." https://en.wikipedia.org/wiki/Fra_Angelico
Curator of Later Italian, Spanish, and French 17th-century Paintings, Letizia Treves, guides you through the tumultuous life of Caravaggio. She looks at how his innovative style developed from a focus on nature and expression in his early works to the sophistication of his mature works. Would you like to attend our Lunchtime Talks? Take a look at our program: https://www.nationalgallery.org.uk/lunchtime-talks Follow us on social media: Twitter: https://twitter.com/NationalGallery Facebook: https://www.facebook.com/thenationalgallery/ Instagram: https://www.instagram.com/national_gallery/ Help keep the museum accessible for everyone by supporting us here: https://www.nationalgallery.org.uk/support-us The National Gallery houses the national collection of paintings in the Western European tradition from the 13th to the 19th centuries. The museum is free of charge and open 361 days per year, daily between 10.00 am - 6.00 pm and on Fridays between 10.00 am - 9.00 pm. Trafalgar Square, London, WC2N 5DN https://www.nationalgallery.org.uk
Oil Painting Landscape Yasser Fayad http://www.yasserfayadart.com/ https://www.facebook.com/Yasser-Fayad-Gallery-681843628580005/ https://www.facebook.com/yasser.fayad.58 https://twitter.com/YasserFayad4 https://plus.google.com/u/0/111102874290337021991 https://www.pinterest.com/yd26/ https://vk.com/yfayad
Giovanni Battista Moroni (1520-1579) was an Italian painter of the Late Renaissance period. He is also called Giambattista Moroni. Best known for his elegantly realistic portraits of the local nobility and clergy, he is considered one of the great portrait painters of sixteenth century Italy. Moroni was the son of architect Andrea Moroni. He trained under Alessandro Bonvicino "Il Moretto" in Brescia, where he was the main studio assistant in the 1540s, and worked in Trent, Bergamo and his home town of Albino, near Bergamo, where he was born and died. His two short periods in Trento coincided with the first two sessions of the Council of Trent, 1546–48 and 1551–53. On both occasions Moroni painted a number of religious works (including the altarpiece of the Doctors of the Church for the church of Santa Maria Maggiore, Bergamo) as well as the series of portraits for which he is remembered. During his stay in Trent he also made contact with Titian and the Count-Bishop, Cristoforo Madruzzo, whose own portrait is by Titian but for whom Moroni painted portraits of his sons. There were nineteenth-century claims that he was trained by Titian at Trento; however, it is improbable he ever ventured to the Venetian's studio for long, if at all. Moroni's period as the fashionable portraitist of Bergamo, nowhere documented but in the inscribed dates of his portraits, is unexpectedly condensed, spanning only the years ca. 1557–62, after which Bergamo was convulsed in internecine strife and Moroni retired permanently to Albino, (Rossi, Gregori et al.) where, in his provincial isolation, he was entirely overlooked by Giorgio Vasari. His output at Bergamo, influenced in part by study of the realism of Savoldo, produced in the few years a long series of portraits that, while not quite heroic, are full of dignified humanity and grounded in everyday life. The subjects are not drawn exclusively from the Bergamasque aristocracy, but from the newly self-aware class of scholars and professionals and exemplary government bureaucrats, with a few soldiers, presented in detached and wary attitudes with Moroni's meticulous passages of still life and closer attention to textiles and clothing than to psychological penetration. His output of religious paintings, destined for a less sophisticated audience in the local sub-Alpine valleys, was smaller and less successful: "the exact truth of parts nowhere added up, in his altar pictures, even to the semblance of credibility," Freedberg has observed of their diagrammatic schemes borrowed from Moretto and Savoldo and others. for example, he painted a Last Supper for the parish at Romano in Lombardy; Coronation of the Virgin in Sant'Alessandro della Croce, Bergamo; also for the cathedral of Verona, SS Peter and Paul, and in the Brera of Milan, the Assumption of the Virgin. Moroni was engaged upon a Last Judgment in the church of Gorlago, when he died. Overall, his style in these paintings shows influences of his master, Lorenzo Lotto, and Girolamo Savoldo. Giovanni Paolo Cavagna was an undistinguished pupil of Moroni; however, it is said that in following generations, his insightful portraiture influenced Fra' Galgario and Pietro Longhi. S.J. Freedberg notes that while his religious canvases are "archaic", recalling the additive compositions of the late Quattrocento and show stilted unemotive saints, his portraits are remarkable for their sophisticated psychological insight, dignified air, fluent control and exquisite silvery tonality. Patrons for religious art were not interested in an individualized, expressive "Madonna"; they desired numinous archetypal saints. On the other hand, patrons were interested in the animated portraiture. The National Gallery (London) has one of the best collections of his work, including the celebrated portrait known as Il sarto (The Tailor). Other portraits are found in the Uffizi (the Nobleman Pointing to Flame inscribed "Et quid volo nisi ut ardeat?"), Berlin Gallery, the Canon Ludovico de' Terzi and Moroni's self-portrait; and in the National Gallery, Washington, the seated half-figure of the Jesuit Ercole Tasso, traditionally called "Titian's Schoolmaster", although there is no real connection with Titian. https://en.wikipedia.org/wiki/Giovanni_Battista_Moroni Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
A fantastic 2001 documentary, with a huge chunk exploring Vermeer's compositional methods and techniques. Narrated by Meryl Streep My rebuttal to Tim's Vermeer: It's obvious that Vermeer played around with a camera obscura, but the more likely explanation is that he became so familiar with its optical distortion that he 'became' a camera obscura (he adopted its way of seeing as his aesthetic). The placement of his pointillist highlights on the bread in the Milkmaid (for example) is like a how a camera obscura would place highlights on a highly reflective object, but NEVER a loaf of bread. He placed them there because he was creating it in his imagination to look how shinier objects would look through a camera obscura, because he consciously enjoyed the effect of it and created it thus. If Vermeer were dependent on a bulky optical device he would never have painted the View of Delft -- a massive outdoor landscape scene that was certainly created at home. It was generally impossible before the advent of tubed paint to work alla prima outside, and if the camera obscura were a trade secret he would have never have risked using it in public. Vermeer worked it up (along with the 'Little Street') from drawings and returned to the studio to make it. Vermeer painted all of his interiors in the same room of his small house in Delft, yet the windows, the floor, the walls etc. always look different. Why? Because he was creating them in his head to look like a camera obscura, but not slavishly with a camera obscura. Finally, X rays of Vermeer's paintings show that he reworked the placement of things over and over -- meaning he was building from imagination, not directly from an optical device.
Albrecht Altdorfer (1480-1538) - A collection of paintings and drawings in 2K HD. Silent slideshow.
A German painter, engraver and architect of the Renaissance working in Regensburg. Along with Lucas Cranach the Elder and Wolf Huber he is regarded to be the main representative of the so-called Danube School setting biblical and historical subjects against landscape backgrounds of expressive colours. As an artist also making small intricate engravings he is seen to belong to the Nuremberg Little Masters.
Altdorfer was the pioneer painter of pure landscape, making them the subject of the painting, as well as compositions dominated by their landscape; these comprise much of his oeuvre. He believed that the human figure should not disrupt nature, but rather participate in it or imitate its natural processes. Taking and developing the landscape style of Lucas Cranach the Elder, he shows the hilly landscape of the Danube valley with thick forests of drooping and crumbling firs and larches hung with moss, and often dramatic colouring from a rising or setting sun.
His Landscape with Footbridge (National Gallery, London) of 1518–1520 is claimed to be the first pure landscape in oil. In this painting, Altdorfer places a large tree that is cut off by the margins at the center of the landscape, making it the central axis and focus within the piece. He uses anthropomorphism to give the tree human qualities such as the drapery of its limbs.
He also made many fine finished drawings, mostly landscapes, in pen and watercolour such as the Landscape with the Woodcutter in 1522. The drawing opens at ground level on a clearing surrounding an enormous tree that is placed in the center, dominating the picture. It poses and gesticulates as if it was human, splaying its branches out in every corner. Halfway up the tree trunk, hangs a gabled shrine. At the time, a shrine like this might shelter an image of the Crucifixion or the Virgin Mary, but since it is turned away from the viewer, we are not sure what it truly is. At the bottom of the tree, a tiny figure of a seated man, crossed legged, holds a knife and axe, declaring his status in society/occupation
Altdorfer often distorts perspective to subtle effect. His donor figures are often painted completely out of scale with the main scene, as in paintings of the previous centuries. He also painted some portraits; overall his painted oeuvre was not large. In his later works, Altdorfer moved more towards mannerism and began to depict the human form to the conformity of the Italian model, as well as dominate the picture with frank colors.