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Charles-André van Loo (1705-1765) was a French subject painter, son of the painter Louis-Abraham van Loo, a younger brother of Jean-Baptiste van Loo and grandson of Jacob van Loo. He was the most famous member of a successful dynasty of painters of Dutch origin. His oeuvre includes every category: religion, history painting, mythology, portraiture, allegory, and genre scenes. He was born in Nice, then part of the Duchy of Savoy. Van Loo followed his brother Jean-Baptiste to Turin, and then to Rome in 1712, where he studied under Benedetto Luti and the sculptor Pierre Le Gros. After leaving Italy in 1723, he worked in Paris, studied at the Académie Royale, where he gained first prize for drawing in 1723, and received the first prize for historical painting in 1727—as did his future rival François Boucher. After again visiting Turin in 1727, he was employed by king Victor Amadeus II of Sardinia, for whom he painted a series of subjects illustrative of Torquato Tasso. In 1734 he settled in Paris, and in 1735 became a member of the Académie royale de peinture et de sculpture and rose rapidly in the hierarchy of the academy. Madame de Pompadour and the French court were taking the artist under their patronage. He was decorated with the Order of Saint Michael and named First Painter to king Louis XV of France in 1762. He was a most successful court painter but his portraits as well as history paintings also enjoyed an enormous success throughout all Europe. He died in Paris on 15 July 1765. Work By his simplicity of style and correctness of design, the result of his study of the great Italian masters, he did much to purify the modern French school; but the praise that was later lavished upon his productions now appears undue and excessive. His patrons included members of the court, the Gobelins factory, private individuals, and the church. In the ensuing centuries, Van Loo's critical fortune has plummeted, although his ability remains admirable, and the quality and variety of his work command respect. His Marriage of the Virgin is preserved in the Louvre. The van Loo family - A dynasty of painters: Jacob van Loo (1614-1670) - https://youtu.be/PDZu8TB1OGI Jean-Baptiste van Loo (1684-1765) - https://youtu.be/LBq1YKblDaQ Charles-André van Loo (1705-1765) - This video Louis-Michel van Loo (1707-1771) - Coming soon Charles-Amédée-Philippe van Loo (1719-1795) - Coming soon Cesar van Loo (1743-1821) - Coming soon https://commons.wikimedia.org/wiki/Category:Van_Loo_family Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Lovell Birge Harrison (1854-1929) was an American genre and landscape painter, teacher, and writer. He was a prominent practitioner and advocate of Tonalism. Born in Philadelphia, Birge Harrison was the brother of artist T. Alexander Harrison. He studied first at the Pennsylvania Academy of the Fine Arts in 1874, and later credited Thomas Eakins as a positive influence on his own teaching style. He then went to Paris on the advice of John Singer Sargent to study with Carolus-Duran and at the École des Beaux-Arts under Cabanel. In 1881 Harrison exhibited at the Paris Salon, and in 1882 his Salon entry, Novembre, became one of the first paintings by an American artist to be purchased by the French government. Discussing the painting years later Harrison attributed its handling to "A Scandinavian painter (who) had shown me the secret of atmospheric painting....and....the importance of vibration and refraction in landscape painting." The paintings of this period included peasant subjects that showed the influence of Jules Bastien-Lepage. The limited palette and wistful mood of the early works would continue to be distinguishing features of Harrison's later landscape paintings. Harrison met the Australian painter Eleanor Ritchie in the course of his summer landscape travels; they married and returned to America, where he began to exhibit annually at the National Academy of Design, and after 1889 at the Pennsylvania Academy of the Fine Arts. Temporarily forced to stop painting on account of ill health, he spent considerable time between 1889 and 1893 traveling in Australia, the South Seas, and New Mexico, and wrote and illustrated articles for publication. In 1891 Harrison and his wife moved to California, but after her death in 1895 while expecting their first child, Harrison remarried and moved to Plymouth, Massachusetts, where he became a leader of the Tonalist school. He then relocated again, this time to Woodstock, New York at the turn of the century where he founded a school based on his experiments in Tonalism. In 1906 Harrison helped found the Art Students League Summer School in Woodstock, where his pupils would include his niece, the architect and painter Margaret Fulton Spencer. He became known especially for his paintings of landscapes in the snow. Harrison received numerous prizes and medals, including the gold medal at the Pennsylvania Academy of the Fine Arts in 1910. He became a member of the National Academy of Design in 1910, National Institute of Arts and Letters, New York Watercolor Club, Society of American Artists, and was director of the landscape school of the Art Students League. In 1909 Harrison's lectures were published in a book entitled Landscape Painting; the book was cited as "a standard work for students, and was referred to as "a fine commentary on the technique of the craft." According to art historian William H. Gerdts, Harrison was then "the leading writer in America on contemporary landscape painting." Harrison's writing reveals an interest in the retinal perception of color, and in tonal harmony; he believed that the term Impressionism was descriptive not merely of the recent movement in French painting, but referred to any work done "honestly and sincerely" before nature. Harrison's painting exemplified the lessons he taught, emphasizing the practice of open-air observation rather than technical facility. Harrison's pupils included Mary Gine Riley and Florence Thaw. Download: Landscape Painting By Birge Harrison PDF: https://ia800403.us.archive.org/19/items/landscapepaintin00harr/landscapepaintin00harr.pdf ePub: https://archive.org/download/landscapepainti01harrgoog/landscapepainti01harrgoog.epub Download: Uniting Man and Nature in Paint Lovell Birge Harrison, The Early Years (1881 to 1896) https://www.americanlegacyfinearts.com/wp-content/uploads/2010/06/Birge-Harrison_Spring2010.pdf https://en.wikipedia.org/wiki/L._Birge_Harrison Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Carel Pietersz Fabritius (1622-1654) was a Dutch painter. He was a pupil of Rembrandt and worked in his studio in Amsterdam. Fabritius, who was a member of the Delft School, developed his own artistic style and experimented with perspective and lighting. Among his works are A View of Delft (1652), The Goldfinch (1654), and The Sentry (1654). Carel Pieters. Fabritius was born in February 1622 in Middenbeemster, a village in the ten-year-old Beemster polder in the Dutch Republic, and was baptized on 27 February of that year. He was the son of Pieter Carelsz, a painter and schoolteacher, and he had two younger brothers Barent and Johannes, who also became painters. Initially he worked as a carpenter (Latin: fabritius). In the early 1640s he studied at Rembrandt's studio in Amsterdam, along with his brother Barent. In the early 1650s he moved to Delft, and joined the Delft painters' guild in 1652. Fabritius died young, caught in the explosion of the Delft gunpowder magazine on October 12, 1654, which destroyed a quarter of the city, along with his studio and many of his paintings. Only about a dozen paintings have survived. According to Houbraken, his student Mattias Spoors and the church deacon Simon Decker died with him, since they were working on a painting together at the time. Of all Rembrandt's pupils, Fabritius was the only one to develop his own artistic style. A typical Rembrandt portrait would have a plain dark background with the subject defined by spotlighting. In contrast, Fabritius' portraits feature delicately lit subjects against light-coloured, textured backgrounds. Moving away from the Renaissance focus on iconography, Fabritius became interested in the technical aspects of painting. He used cool colour harmonies to create shape in a luminous style of painting. Fabritius was also interested in complex spatial effects, as can be seen in the exaggerated perspective of A View of Delft, with a Musical Instrument Seller's Stall (1652). He also showed excellent control of a heavily loaded brush, as in The Goldfinch (1654). All these qualities appear in the work of Delft's most famous painters, Vermeer and de Hooch; it is likely that Fabritius was a strong influence on them. Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Dennis Miller Bunker (November 6, 1861 – December 28, 1890) was an American painter and innovator of American Impressionism. His mature works include both brightly colored landscape paintings and dark, finely drawn portraits and figures. One of the major American painters of the late 19th century, and a friend of many prominent artists of the era, Bunker died from meningitis at the age of 29. Bunker was born in New York City to Matthew Bunker, the secretary-treasurer of the Union Ferry Company, and his wife, Mary Anne Eytinge Bunker (sister of illustrator Sol Eytinge Jr.). In 1876 he enrolled at the Art Students League of New York and the National Academy of Design. By 1880 he was participating in the annual exhibitions of the National Academy, the American Watercolor Society, and the Brooklyn Art Association. In 1881 Bunker exhibited a watercolor at the Boston Art Club. He subsequently exhibited both oil paintings and watercolors at the Club in 1882 and 1883. In 1886, the American printmaker Louis Prang exhibited two of Bunker's works from his own collection at the Club. In 1882 Bunker left New York to study at the École nationale supérieure des Beaux-Arts in Paris, most notably with Jean-Léon Gérôme. In the spring of 1883, accompanied by fellow students Charles A. Platt and Kenneth R. Cranford, Bunker left Paris to travel through the French countryside and the coast of Normandy, returning to continue his studies in mid-October. The following year the three artists summered and painted in Brittany. By year's end Bunker had returned to New York City. In 1885 Bunker was elected to the Society of American Artists. In October of that year, at the recommendation of James Carroll Beckwith, he moved to Boston to teach at the Cowles Art School, where he was the chief instructor of figure and cast drawing, artistic anatomy, and composition. He lived and taught in the art school building. Concurrently Bunker was given his first solo exhibition, at Noyes and Blakeslee Gallery in Boston. Despite these successes, Bunker was homesick for France, and wrote of feeling "supremely ridiculous" in "this atmosphere of wealth and respectability". While meager finances prevented him from staying in Boston during the summer, let alone traveling to Europe, Bunker did accept an invitation from Abbott Handerson Thayer to join him and paint in South Woodstock, Connecticut in 1886. In that year he also met Isabella Stewart Gardner, who would prove to be a valuable friend and patron. Bunker painted portraits during the winter of 1887, and spent the summer in Newburyport, Massachusetts with artist friends; including Henry Oliver Walker. In November he met John Singer Sargent in Boston, during the latter's first working trip to America. In 1888 Bunker undertook a number of portrait commissions of important Bostonians, including members of the Gardner family, Samuel Endicott Peabody, and J. Montgomery Sears. Bunker spent the summer in England, where he joined Sargent and his family in Calcot, painting during the day and playing tennis in the evening. During the spring of 1889 Bunker resigned from the Cowles Art School. At a reception he met Eleanor Hardy, whom he would marry the following year. In the summer Bunker stayed at a boarding house in Medfield, Massachusetts, and enjoyed his most productive season of painting. In the fall he returned to New York, writing daily to Hardy in Boston. By this time, Bunker's circle of friends included not only Sargent, Gardner, and Platt, but Thomas Wilmer Dewing, William Merritt Chase, Stanford White, William Dean Howells, Charles Martin Loeffler, and Augustus Saint-Gaudens, as well. In 1890 Bunker first exhibited his impressionist landscapes at the St. Botolph Club in Boston. He received an offer to teach at the Metropolitan Museum of Art, and planned to take over William Merritt Chase's class in Brooklyn that winter. In June he visited the art colony at Cornish, New Hampshire, and in July returned to paint further at Medfield. On October 2 Bunker married Eleanor Hardy in Boston. The couple then moved to New York. Returning to Boston to celebrate Christmas with the Hardy family, Bunker fell ill. On December 28 he died of heart failure, probably caused by cerebro-spinal meningitis. He was Buried at Milton Cemetery, Milton, MA and his tombstone was designed by his friends Stanford White and Augustus Saint-Gaudens. See here: Platt and other friends organized a memorial exhibition at the St. Botolph Club, held in 1891. wikiLink Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Arthur Hughes (1832–1915) was an English painter and illustrator associated with the Pre-Raphaelite Brotherhood.
Hughes was born in London. In 1846 he entered the art school at Somerset House, his first master being Alfred Stevens, and later entered the Royal Academy schools. Here he met John Everett Millais and Holman Hunt, and became one of the Pre-Raphaelite group of painters. His first picture, Musidora, was hung at the Royal Academy when he was only 17, and thenceforth he contributed almost annually not only to the Royal Academy but later also to the Grosvenor and New Gallery exhibitions.
In 1855 Hughes married Tryphena Foord, his model for April Love. Hughes died in Kew Green, London in 1915, leaving about 700 known paintings and drawings, along with over 750 book illustrations. Following the death of Tryphena Hughes in 1921, their daughter Emily had to move to a smaller house. There was, therefore, a shortage of space. As a result, she had her father’s remaining preparatory sketches, and all his private papers and correspondence, destroyed. He was the father of the English painter Arthur Foord Hughes and the uncle of another, Edward Robert Hughes.
Hughes is buried in Richmond Cemetery.
His best-known paintings are April Love and The Long Engagement, both of which depict troubled couples contemplating the transience of love and beauty. They were inspired by John Everett Millais's earlier "couple" paintings but place far greater emphasis on the pathos of human inability to maintain the freshness of youthful feeling in comparison to the regenerative power of nature.
Like Millais, Hughes also painted Ophelia which is housed at Toledo Museum of Art and illustrated Keats's poem The Eve of St. Agnes. Hughes's version of the latter is in the form of a secular triptych, a technique he repeated for scenes from Shakespeare's As You Like It. His works are noted for their magical, glowing colouring and delicate draughtsmanship.
The oil portrait Springtide, first exhibited in Dublin in 1855, features his wife Tryphena.
Hughes was in close contact with the writer George MacDonald and illustrated some of his books, as well as producing numerous illustrations for Norman MacLeod's monthly magazine, Good Words.
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