Hendrick Avercamp (1585-1634) - A collection of paintings & drawings 2K Ultra HD Silent Slideshow

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Edward Burne-Jones (1833-1898) A collection of paintings 4K Ultra HD

Sir Edward Coley Burne-Jones, 1st Baronet ARA (1833-1898) was an English artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain; his stained-glass include windows in St. Philip's Cathedral, Birmingham, St Martin in the Bull Ring, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Peter and St Paul parish church in Cromer, St Martin's Church in Brampton, Cumbria (the church designed by Philip Webb), St Michael's Church, Brighton, All Saints, Jesus Lane, Cambridge, St Edmund Hall and Christ Church, two colleges of the University of Oxford. Edward Coley Burne Jones was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his grieving father and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless and unintellectual local girl. He attended Birmingham's King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford. At Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a small group of Jones' friends from Birmingham known as the Birmingham Set, speedily formed a very close and intimate society, which they called "The Brotherhood". The members of the Brotherhood read John Ruskin and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discovered Thomas Malory's Le Morte d'Arthur which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew Gabriele Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote their ideas. Burne-Jones was elected an Associate of the Royal Academy in 1885, and the following year he exhibited at the Academy, showing The Depths of the Sea, a painting of a mermaid carrying down with her a youth whom she has unconsciously drowned in the impetuosity of her love. This picture adds to the habitual haunting charm a tragic irony of conception and a felicity of execution which give it a place apart among Burne-Jones's works. He formally resigned his Associateship in 1893. One of the Perseus series was exhibited in 1887, two more in 1888, with The Brazen Tower, inspired by the same legend. In 1890 the second series of The Legend of Briar Rose were exhibited by themselves, and won the widest admiration. The huge watercolor, The Star of Bethlehem, painted for the corporation of Birmingham, was exhibited in 1891. A long illness for some time checked the painter's activity, which, when resumed, was much occupied with decorative schemes. An exhibition of his work was held at the New Gallery in the winter of 1892–1893. To this period belong several of his comparatively few portraits. In 1894 Burne-Jones was made a baronet. Ill-health again interrupted the progress of his works, chief among which was the vast Arthur in Avalon. In the winter following his death a second exhibition of his works was held at the New Gallery, and an exhibition of his drawings at the Burlington Fine Arts Club. https://en.wikipedia.org/wiki/Edward_Burne-Jones Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Antonio Ermolao Paoletti (1834-1912) A collection of paintings 4K Ultra HD

Antonio Ermolao Paoletti (1834-1912) was an Italian painter, mainly of Venetian genre scenes, recalling Bamboccianti life of children and women, as well as sacred fresco work for churches in the Veneto. Antonio's father, Ermolao Paoletti, was a well known scholar and writer of Venice. He wrote a much cited expansive guide to its architecture, monuments, artistic works, and customs. He also wrote a dictionary of Venetian dialect. He was an engraver and painter, and was a professor at the Accademia di Belle Arti in Venice. Antonio attended course in the Accademia as a pupil of Pompeo Marino Molmenti, and as a colleague of the sculptor Antonio Dal Zotto and the Armenian painter and engraver Edgar Chahine. He displayed in various exhibitions, including Milan in 1872, where he displayed Ecco come va il vino nelle messe; at the 1884 Exhibition of Turin: Flowers for the Holy Virgin and Fa' caro al nonno!; at the 1884 Promotrice Popolana Venicena; il pesce addenti; and in 1885, Il venditore di pesce. Among his many frescoes is the main altarpiece depicting the Madonna of the Rosary with St Anthony and St Materno (1863) for the parish church of Melara. Like his father, Antonio also became a professor at the Accademia. https://en.wikipedia.org/wiki/Antonio_Ermolao_Paoletti Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Ilya Repin (1844-1930) A collection of paintings 4K Ultra HD

Ilya Yefimovich Repin (1844-1930) was a Russian realist painter. He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature. He played a major role in bringing Russian art into the mainstream of European culture. In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first. In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg. He was awarded the title of academician in 1876. In 1901 he was awarded the Legion of Honour. In 1911 he traveled with his common-law wife Natalia Nordman to the World Exhibition in Italy, where his painting 17 October 1905 and his portraits were displayed in their own separate room. In 1916 Repin worked on his book of reminiscences, Far and Near, with the assistance of Korney Chukovsky. He welcomed the February Revolution of 1917, but was rather skeptical towards the October Revolution. Soviet authorities asked him a number of times to come back, he remained in Finland for the rest of his life. Celebrations were held in 1924 in Kuokkala to mark Repin's 80th birthday, followed by an exhibition of his works in Moscow. In 1925 a jubilee exhibition of his works was held in the Russian Museum in Leningrad. Repin persistently searched for new techniques and content to give his work more fullness and depth. Repin had a set of favorite subjects, and a limited circle of people whose portraits he painted. But he had a deep sense of purpose in his aesthetics, and had the great artistic gift to sense the spirit of the age and its reflection in the lives and characters of individuals. Repin's search for truth and for an ideal led him in various directions artistically, influenced by hidden aspects of social and spiritual experiences as well as national culture. Like most Russian realists of his times, Repin often based his works on dramatic conflicts, drawn from contemporary life or history. He also used mythological images with a strong sense of purpose; some of his religious paintings are among his greatest. His method was the reverse of the general approach of impressionism. He produced works slowly and carefully. They were the result of close and detailed study. With some of his paintings, he made one hundred or more preliminary sketches. He was never satisfied with his works, and often painted multiple versions, years apart. He also changed and adjusted his methods constantly in order to obtain more effective arrangement, grouping and coloristic power. Repin's style of portraiture was unique, but owed something to the influence of Eduard Manet and Diego Velázquez. Repin was the first Russian artist to achieve European fame using specifically Russian themes. His 1873 painting Barge Haulers on the Volga, radically different from previous Russian paintings, made him the leader of a new movement of critical realism in Russian art. He chose nature and character over academic formalism. The triumph of this work was widespread, and it was praised by contemporaries like Vladimir Stasov and Fyodor Dostoyevsky. The paintings show his feeling of personal responsibility for the hard life of the common people and the destiny of Russia. In the 1880s he produced many of his most famous works, and joined the Itinerants' Society. Repin died in 1930 and was buried at the Penates. https://en.wikipedia.org/wiki/Ilya_Repin Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Allan Ramsay (1713-1784) A collection of paintings 4K Ultra HD

Allan Ramsay (1713-1784) was a prominent Scottish portrait-painter. Allan Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and author of The Gentle Shepherd. From the age of twenty he studied in London under the Swedish painter Hans Hysing, and at the St. Martin's Lane Academy; leaving in 1736 for Rome and Naples, where he worked for three years under Francesco Solimena and Imperiali. On his return in 1738 to the British Isles, he first settled in Edinburgh, attracting attention by his head of Duncan Forbes of Culloden and his full-length portrait of the Duke of Argyll, later used on Royal Bank of Scotland banknotes. He later moved to London, where he was employed by the Duke of Bridgewater. His pleasant manners and varied culture, not less than his artistic skill, contributed to render him popular. One of his drawing pupils was Margaret Lindsay, eldest daughter of Sir Alexander Lindsay of Evelick and Amelia Murray. He later eloped with her and on 1 March 1752 they married in the Canongate Kirk, Edinburgh; her father never forgave her for marrying an artist. Ramsay already had to maintain a daughter from his previous marriage and his two surviving sisters, but told Sir Alexander that he could provide Margaret with an annual income of £100. He said it would increase ‘as my affairs increase, and I thank God, they are in a way of increasing’ and that his only motive for the marriage was ‘my love for your Daughter, who, I am sensible, is entitled to much more than ever I shall have to bestow upon her’. Three children survived from their long and happy marriage, Amelia, Charlotte, and John. Ramsay and his new wife spent 1754 to 1757 together in Italy, going to Rome, Florence, Naples and Tivoli, researching, painting and drawing old masters, antiquities and archaeological sites. He earned income painting Grand Tourists' portraits. This and other trips to Italy involved more literary and antiquarian research than art. After their return, Ramsay in 1761 was appointed to succeed John Shackelton as Principal Painter in Ordinary to George III, beating Hudson to the post. The king commissioned so many royal portraits to be given to ambassadors and colonial governors, that Ramsay used the services of numerous assistants—of whom David Martin and Philip Reinagle are the best known. He gave up painting in about 1770 to concentrate on literary pursuits. His health was shattered by an accidental dislocation of the right arm and his second wife's death in 1782. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time, and then started for his beloved Italy. He left a series of 50 royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken. He died at Dover on 10 August 1784. Among his most satisfactory productions are some of his earlier ones, such as the full-length of the duke of Argyll, and the numerous bust-portraits of Scottish gentlemen and their ladies which he executed before settling in London. They are full of both grace and individuality; the features show excellent draughtsmanship; and the flesh-painting is firm and sound in method, though frequently tending a little to hardness and opacity. His full-length of Lady Mary Coke is remarkable for the skill and delicacy with which the white satin drapery is managed; while the portrait of his brown-eyed second wife Margaret, in the Scottish National Gallery, is described as having a sweetness and tenderness. The portrait of his wife also shows the influence of French art, which Ramsay incorporated into his work. The large collection of his sketches in the possession of the Royal Scottish Academy and the Board of Trustees, Edinburgh also show this French elegance and soft colours. Ramsay has paintings in the collection of a few British institutions including the National Gallery in London, Sheffield, Derby Art Gallery (attributed), Glasgow Museum and Newstead Abbey. According to Mario de Valdes y Cocom in 2009 on an edition of PBS Frontline, in several paintings of Queen Charlotte, Ramsay deliberately emphasised "mulatto features" which the queen supposedly inherited via descent from a 13th-century Moorish ancestor. Valdes suggests that copies of these paintings were sent to the colonies to be used by abolitionists as a de facto support for their cause. Other historians question whether the 13th-century ancestor, referred to in various places as a 'Moor' and Berber, was black African. In any event, they contend that the connection, nine and 15 generations removed, was too distant to consider Charlotte 'black' in any cultural way, as her other ancestors were all European https://en.wikipedia.org/wiki/Allan_Ramsay_(artist) Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Ivan Aivazovsky (1817-1900) - A collection of paintings & drawings 2K Ultra HD Silent Slideshow

Ivan Aivazovsky (1817-1900) - A collection of paintings and drawings 2K HD Silent slideshow Russian Romantic painter who is considered one of the greatest masters of marine art. Baptized as Hovhannes Aivazian, he was born into an Armenian family in the Black Sea port of Feodosia in Crimea and was mostly based there. Following his education at the Imperial Academy of Arts in Saint Petersburg, Aivazovsky traveled to Europe and lived briefly in Italy in the early 1840s. He then returned to Russia and was appointed the main painter of the Russian Navy. Aivazovsky had close ties with the military and political elite of the Russian Empire and often attended military maneuvers. He was sponsored by the state and was well-regarded during his lifetime. The saying "worthy of Aivazovsky's brush", popularized by Anton Chekhov, was used in Russia for describing something lovely. He remains highly popular in Russia. One of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russia. He held numerous solo exhibitions in Europe and the United States. During his almost 60-year career, he created around 6,000 paintings, making him one of the most prolific artists of his time. The vast majority of his works are seascapes, but he often depicted battle scenes, Armenian themes, and portraiture. Most of Aivazovsky's works are kept in Russian, Ukrainian and Armenian museums as well as private collections. https://en.wikipedia.org/wiki/Ivan_Aivazovsky

Hendrick Avercamp (1585-1634) - A collection of paintings and drawings in HD.

Hendrick Avercamp (January 27, 1585 (bapt.) – May 15, 1634 (buried)) was a Dutch painter. Avercamp was born in Amsterdam, where he studied with the Danish-born portrait painter Pieter Isaacks (1569–1625), and perhaps also with David Vinckboons.

In 1608 he moved from Amsterdam to Kampen in the province of Overijssel. Avercamp was deaf and mute and was known as "de Stomme van Kampen" (the mute of Kampen).

Avercamp probably painted in his studio on the basis of sketches he had made in the winter. Avercamp is famous even abroad for his winter landscapes. The passion for painting skating characters probably came from his childhood: he was practising this hobby with his parents. The last quarter of the 16th century, during which Avercamp was born, was one of the coldest periods of the Little Ice Age.

The Flemish painting tradition is mainly expressed in Avercamp's early work. This is consistent with the landscapes of Pieter Bruegel the Elder. Avercamp painted landscapes with a high horizon and many figures who are working on something. The paintings are narrative, with many anecdotes. For instance, naughty details are included in the painting "Winter landscape with skaters": a couple making love, buttocks and a peeing male.

Later in his life drawing the atmosphere was also important in his work. The horizon also gradually dropped down under more and more air.

Avercamp used the painting technique of aerial perspective. The depth is suggested by a change of colour in the distance. To the front objects are painted, such as trees or a boat. This technique strengthens the impression of depth in the painting.

Avercamp has also painted cattle and seascapes.

Sometimes Avercamp used paper frames, which were a cheap alternative to oil paintings. He first drew with pen and ink. This work was then covered with finishing paint. The contours of the drawing remained. Even with this technique, Avercamp could show the pale wintry colours and nuances of the ice.

Avercamp produced about a hundred paintings. The bulk of his artwork can be seen in the Rijksmuseum in Amsterdam, the Mauritshuis in The Hague and abroad.

From November 20, 2009, to February 15, 2010, the Rijksmuseum presented an exhibition of his work entitled "Little Ice Age".

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

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