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Angiolo Tommasi (1858-1923) was an Italian painter, active in the Macchiaioli movement. He was the brother of the painter Ludovico and cousin of the painter Adolfo Tommasi; all three were influential for the arts in their native Tuscany in the late 19th and early 20th-centuries. Angiolo painted both genre and landscape themes. Angiolo first studied at the Scuola Comunale di Disegno in his native city under professor Natale Betti and Angiolo Lemmi, and then moved to Florence, where he enrolled for 2 years in the Academy of Fine Arts under Giuseppe Ciaranfi. Afterwards he was mentored, like his other family members in painting landscapes by Silvestro Lega. His first works at the 1882 Promotrice of Florence were small vedute: Via Torretta a San Salvi and Lo scoglio della Madonna ad Antignano, accompanied by Una festa di vecchio; and the next year: Pensiero; Il desinare di Bussotto; Sull' Ema; In podere; Sull'Arno; and Ricomincia a piovere. With regards to his 1885 Studio dal vero painting. Gubernatis said: depicts the moment of raising the eucharist just outside a small parrochial church during a peasant festival, when the townsfolk can not be accommodated inside the church, and, as is their custom, crowd outside of the door. For the solemn ceremony, some of peasants are prostrate on his knees, others, head bowed, reverent, all collected in themselves. The figures are many. The canvas will immediately attracts to itself for what is spontaneous, simple, large, well thought out, nor caricature, nor ostentation, nor charlatanism, nor adherence to the in voices that call him to join the crowd, nor looking for cheap tricks, nothing theatrical: the natural observed calmly, without fever and without dismay, by a man sure of himself. He did not give his picture a pompous title, bit simply called it: Studio dal Vero. The young Angelo Tommasi inspires already a deep respect . You find a soul, and a soul that has something important to say. In this painter is a man who thinks, and in his work a concept. He subsequently exhibited: The smoker (il fumatore); Washerwomen at Etna; and an outdoor portrait of his sister. He also painted Sull'aia' ; La nonna; Il Gabbro; and a half-figure of Ciociaro. In 1886 at Livorno, he exhibited another Studio dal vero; and the next year, at Florence: Studio di vecchia; and il Ritorno dalla Fonte. To Venice he sent: Il riposo delle Gabbrigiane. After this he completed: Mattina d'estate, Bella Marina, which won a bronze medal at the 1889 Paris Exhibition, and was later exhibited in Chicago. At the 1889 Promotrice of Florence, Tommasi exhibited: Il pescatore di rezzaglio; Dopo il libeccio; Marina and, Ultime vangate. This last painting was awarded first prize, the Prize of Florence (2000 lire). Tommasi also painted portraits, for example: of signor Samama of Livorno, of signor Malenchini, of signor De Witt, of the naval engineer Orlando, and Comm. Costella, Sindaco of Livorno. In 1885, he exhibited a A figure of a Lady. Tommasi also sent to the Exposition a large canvas titled: Studio dal vero. In relation to the painting Contadini che vangano (Ultime vangate), Gubernatis states that: the artist lives the life of its models, because it invokes a feeling of fatigue and of piety, noting that poor people sentenced to work so rude; .... the large canvas by Angiolo Tommasi does not, however the feeling that animates the paintings of Niccolò Cannicci but imposes the tough reality, just posits what the eye sees ... Three and two peasant farmers who excavate the earth, turning their backs to the viewer, which is before a vague expanse of fields, already immersed in the calm evening light, the sun has set, and the smoking chimneys of the nearby village proclaim dinner time . The five figures have life, movement, energy, the country opens up before you, realistic, ample, spacious, and the eye goes for a long stretch and lose to the last line of the distant horizon. The Tommasi house in Florence was a meeting place for painters and artists including Fattori, Borrani, and Colcos and other members of the circle of artists at the Caffè Michelangiolo. Tommasi also completed a number of trips to South America, including Patagonia and Tierra del Fuego. Painting for these trips, sometimes commissioned by the Argentine government, were exhibited in Buenos Aires. Returning from Argentina, he moved to Torre del Lago where he was surrounded by the "Club della Bohème", which included artists Giacomo Puccini, Ferruccio Pagni, Francesco Fanelli, Plinio Nomellini, and Raffaello Gambogi. https://en.wikipedia.org/wiki/Angiolo_Tommasi Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Follow along throughout the process of conserving an old master painting with Julian Baumgartner of Baumgartner Fine Art Restoration in Chicago. Working with detail and care Julian labors to repair damage, stabilize, clean and restore this master work to honor the artist's vision. Using archival and reversible materials and techniques, the work executed will do no harm to the painting and ensure that generations to come will be able to enjoy this work. While not meant to be instructional and edited for brevity this video allows art lovers and the curious to see how artworks are conserved. View the non-narrated version here: https://youtu.be/3_5HRj32YeQ http://bfar.com https://facebook.com/baumgartnerfineartrestoration/ https://instagram.com/baumgartnerrestoration/
Pablo Picasso: A collection of 855 works (HD) Description: "Pablo Picasso was the most dominant and influential artist of the first half of the twentieth century. Associated most of all with pioneering Cubism, alongside Georges Braque, he also invented collage and made major contributions to Symbolism and Surrealism. He saw himself above all as a painter, yet his sculpture was greatly influential, and he also explored areas as diverse as printmaking and ceramics. Finally, he was a famously charismatic personality; his many relationships with women not only filtered into his art but also may have directed its course, and his behavior has come to embody that of the bohemian modern artist in the popular imagination. It was a confluence of influences - from Paul Cézanne and Henri Rousseau, to archaic and tribal art - that encouraged Picasso to lend his figures more structure and ultimately set him on the path towards Cubism, in which he deconstructed the conventions of perspective that had dominated painting since the Renaissance. These innovations would have far-reaching consequences for practically all of modern art, revolutionizing attitudes to the depiction of form in space. Picasso's immersion in Cubism also eventually led him to the invention of collage, in which he abandoned the idea of the picture as a window on objects in the world, and began to conceive of it merely as an arrangement of signs that used different, sometimes metaphorical means, to refer to those objects. This too would prove hugely influential for decades to come. Picasso had an eclectic attitude to style, and although, at any one time, his work was usually characterized by a single dominant approach, he often moved interchangeably between different styles - sometimes even in the same artwork. His encounter with Surrealism, although never transforming his work entirely, encouraged not only the soft forms and tender eroticism of portraits of his mistress Marie-Therese Walter, but also the starkly angular imagery of Guernica (1937), the century's most famous anti-war painting. Picasso was always eager to place himself in history, and some of his greatest works, such as Les Demoiselles d'Avignon (1907), refer to a wealth of past precedents - even while overturning them. As he matured he became only more conscious of assuring his legacy, and his late work is characterized by a frank dialogue with Old Masters such as Ingres, Velazquez, Goya, and Rembrandt." --- SUBSCRIBE: www.youtube.com/c/LearnFromMasters?sub_confirmation=1 Facebook: https://www.facebook.com/LearnFromMasters/ Google+: https://plus.google.com/+LearnFromMasters Contact: LearnFromMasters01@gmail.com --- Thanks for all support!
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. He was born in Florence to American parents, and trained in Paris before moving to London, living most of his life in Europe. He enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his Portrait of Madame X, was intended to consolidate his position as a society painter, but instead resulted in scandal. From the beginning his work is characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. Art historians generally ignored "society" artists such as Sargent until the late 20th century. Sargent is a descendant of Epes Sargent, a colonial military leader and jurist. Before John Singer Sargent's birth, his father, FitzWilliam (b. 1820 Gloucester, Massachusetts), was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854. After John's older sister died at the age of two, his mother, Mary Newbold Singer (née Singer, 1826–1906), suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives. Although based in Paris, Sargent's parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, because of a cholera epidemic. Sargent was born there in 1856. A year later, his sister Mary was born. After her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wife's request to remain abroad. They lived modestly on a small inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world. Four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more interested in outdoor activities than his studies. As his father wrote home, "He is quite a close observer of animated nature." His mother was convinced that traveling around Europe, and visiting museums and churches, would give young Sargent a satisfactory education. Several attempts to have him formally schooled failed, owing mostly to their itinerant life. His mother was a capable amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions. Sargent worked on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his son's interest in ships and the sea might lead him toward a naval career. At thirteen, his mother reported that John "sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist." At the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was fluent in English, French, Italian, and German. At seventeen, Sargent was described as "willful, curious, determined and strong" (after his mother) yet shy, generous, and modest (after his father). He was well-acquainted with many of the great masters from first hand observation, as he wrote in 1874, "I have learned in Venice to admire Tintoretto immensely and to consider him perhaps second only to Michelangelo and Titian." John Singer Sargent Volume 2: The landscapes: https://youtu.be/ysHIlpDsEDI John Singer Sargent Volume 3 - Female Portraits - l https://youtu.be/NrA6iyDtb0g John Singer Sargent Volume 4 & 5 - coming soon Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Andy Warhol - The Complete Picture
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.
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