4 Like 0 Dislike
★Artistas y Títulos★ 0:00 1- Lakota Dreams Song. 4:41 2- Chirapaq. 8:29 3- Shaman. 14:09 4- A - La - Ke. 17:50 5- Munaq Killa. 22:13 6- Night Song. 27:17 7- Dancing Under The Moon. 32:20 8- Eagle Spirit. 36:54 9- Looking For North. 43:26 10- Freedom Dance. 49:18 11- Sunrise Feeling. 52:54 12- Cry Dance. 58:49 13- The Last Of The Mohicans. Twittter: https://twitter.com/JosmerDeAbreu Música para Relajarte - Relaxing Music, Indian Fusion, Chill Out & Electronic fusion, Tracklist: https://www.youtube.com/watch?v=W4bxpAx6ZIM&list=UUDh-JQZghdUfjizvXfLVsvQ Reggae Mix 2013 - The Best Reggae songs - Pure Hits - Tracklist HD: http://www.youtube.com/watch?v=66uV-yzZq-8&list=UUDh-JQZghdUfjizvXfLVsvQ&index=1 Reggae En Español Románticas y Movidas, Mix Completas, Solo Lo Mejor, Puro Exitos, TrackList HD: http://www.youtube.com/watch?v=yQNgl7nbkrw&list=UUDh-JQZghdUfjizvXfLVsvQ&index=1 Música Étnica Hindu - Hindu Ethnic Music - Raga Puriya Kalyan - Shivkumar Sharma & Zakir Hussain TrackList HD: http://www.youtube.com/watch?v=R31ZZEo4X5M&list=UUDh-JQZghdUfjizvXfLVsvQ Charlie Parker - The Cole Porter Songbook - FULL ALBUM - TrackList HD: http://www.youtube.com/watch?v=B1g6nAqGwNA&list=UUDh-JQZghdUfjizvXfLVsvQ&index=1 Buena música árabe instrumental - Good instrumental Arabic music - Mario Kirlis - TrackList HD: http://www.youtube.com/watch?v=3iPmajSKeC4&list=UUDh-JQZghdUfjizvXfLVsvQ&index=1 Good Celtic Music of Ireland - Hermosa Música Celta Irlandesa - Feet Of Flames - TrackList HD: https://www.youtube.com/watch?v=3M-mtErk2uI&list=UUDh-JQZghdUfjizvXfLVsvQ Beautiful Chill Out Arabic Music Oriental Mix - Hermosa Música Danza Árabe - HD: https://www.youtube.com/watch?v=Zk37c7i8dcw&index=6&list=UUDh-JQZghdUfjizvXfLVsvQ Fondo Flamenco ChillOut - Las Mejores Canciones Del Mundo Flamenco - Most Beautiful Spanish Guitar: https://www.youtube.com/watch?v=YU4K3Ex0FB0&index=5&list=UUDh-JQZghdUfjizvXfLVsvQ The Very Best Of Classical Chillout Gold - Relax At The Movies - Disc One - Tracklist HD: https://www.youtube.com/watch?v=z04PdUG_3LA&list=UUDh-JQZghdUfjizvXfLVsvQ 2 Hours Good French Music - Musette Accordeon - Andre Verchuren awesome accordion compilation album. https://www.youtube.com/watch?v=G-Wy89jH3h8&list=UUDh-JQZghdUfjizvXfLVsvQ
Jean-Auguste-Dominique Ingres (1780-1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. Ingres's style was formed early in life and changed comparatively little. His earliest drawings, such as the Portrait of a Man (or Portrait of an unknown, 3 July 1797, now in the Louvre) already show a suavity of outline and an extraordinary control of the parallel hatchings which model the forms. From the first, his paintings are characterized by a firmness of outline reflecting his often-quoted conviction that "drawing is the probity of art". He believed colour to be no more than an accessory to drawing, explaining: "Drawing is not just reproducing contours, it is not just the line; drawing is also the expression, the inner form, the composition, the modelling. See what is left after that. Drawing is seven eighths of what makes up painting." The art historian Jean Clay said Ingres "proceeded always from certitude to certitude, with the result that even his freest sketches reveal the same kind of execution as that found in the final works." Abhorring the visible brushstroke, Ingres made no recourse to the shifting effects of colour and light on which the Romantic school depended; he preferred local colours only faintly modelled in light by half tones. "Ce que l'on sait," he would repeat, "il faut le savoir l'épée à la main." ("Whatever you know, you must know it with sword in hand.") Ingres thus left himself without the means of producing the necessary unity of effect when dealing with crowded compositions, such as the Apotheosis of Homer and the Martyrdom of Saint Symphorian. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures, such as Oedipus, The Half-Length Bather, Odalisque, and The Spring, subjects only animated by the consciousness of perfect physical well-being. Ingres was averse to theories, and his allegiance to classicism—with its emphasis on the ideal, the generalized, and the regular—was tempered by his love of the particular. He believed that "the secret of beauty has to be found through truth. The ancients did not create, they did not make; they recognized." In many of Ingres's works there is a collision between the idealized and the particular that creates what Robert Rosenblum termed an "oil-and-water sensation". This contradiction is vivid in Cherubini and the Muse of Lyric Poetry (1842), for example, in which the detailed rendering of the 81-year-old composer is juxtaposed with an idealized muse in classical drapery. Although capable of painting quickly, he often laboured for years over a painting. Ingres's pupil Amaury-Duval wrote of him: "With this facility of execution, one has trouble explaining why Ingres' oeuvre is not still larger, but he scraped out frequently, never being satisfied ... and perhaps this facility itself made him rework whatever dissatisfied him, certain that he had the power to repair the fault, and quickly, too." The Source, although dated 1856, was painted about 1820, except for the head and the extremities; Amaury-Duval, who knew the work in its incomplete state, professed that the after-painting, necessary to fuse new and old, lacked the vigour and precision of touch that distinguished the original execution of the torso. Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Miller was an intelligent and original artist, and recognized his own potential to lead, releasing a re-cut of his own track 'Tenement Yard' with the title 'Too Much Imitator', a straight out attack on those trying to copy his style.
1) 00:00 - 06:58 ---- Prayer for the Four Directions 2) 07:00 - 15:47 ---- Sunset Ceremony 3) 15:49 - 21:37 - Call of the Medicine Drum 4) 21:39 - 30:09 ---- Descent to the Lowerworld 5) 30:11 - 39:38 - Dancing for a Vision 6) 39:40 - 49:01 ---- Power Animals 7) 49:02 - 57:43 ----- Guardian Spirit 8) 57:44 - 1:06:32 ---- Return Journey 9) 1:06:33 - 1:20:29 ---- Sun Rise in Peace
Alfred Jacob Miller ( 1810-1874) was an American artist best known for his paintings of trappers and Native Americans in the fur trade of the western United States. He also painted numerous portraits and genre paintings in and around Baltimore during the mid-nineteenth century.
Miller was born in Baltimore, Maryland, the eldest of nine children of George W. and Harriet J. Miller. Miller's father was a merchant and tavern keeper in central Baltimore, and also had a farm in Hawkins Point. Miller attended a private school in Baltimore, John D. Craig's Academy, but did not receive formal art instruction there.
He may have received his first lessons in art from Thomas Sully. In 1832, with the financial support of his family and art patrons in Baltimore, Miller traveled to Paris to study art. He was admitted as an auditor to life drawing classes at the École des Beaux-Arts, and copied paintings in the collections of the Louvre. In 1833, he traveled to Italy, visiting Bologna, Florence, and Venice before settling in Rome, where he studies at the English Life School. During his travels in Europe, he became friends with the Danish sculptor Bertel Thorwaldsen and studied with the French painter Horace Vernet.
He returned to Baltimore in 1834, where he opened a downtown studio and advertised himself as a painter of portraits and Old Master copies. Professional and financial difficulties may have prompted his decision to move to New Orleans in 1837. The city was a relatively open market for artists, and Miller quickly established a studio on Chartes Street and began receiving orders for portraits.
It was in his studio that he met the Scottish aristocrat and adventurer, Sir William Drummond Stewart, who hired Miller to accompany him and record his hunting journey to the Rocky Mountains. That same year, along with representatives of the American Fur Company, they ventured as far as Fort William and Green River.
After returning to New Orleans later that year, Miller started working up his sketches in watercolors and oils. The scenes and incidents of the hunting journey were the foundation of a series of paintings documenting Native Americans of the United States. In July 1838 Miller was able to arrange an exhibition in New Orleans. In October 1840 he traveled with his paintings to Stewart's Murthly Castle in Scotland, where a collection of his commissioned work was ultimately hung.
After spending a year in Scotland and another in London, Miller returned to Baltimore in April 1842. He established himself as an acknowledged portrait artist in the city. He died on June 26, 1874.
Thank you, please subscribe for future videos