Coming in December 2018 from Master Painters 4K Ultra HD

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Ary Scheffer - The Portraits (1795-1858) A collection of paintings 4K Ultra HD

Ary Scheffer volume 1 of 2 - The Portraits Ary Scheffer (1795-1858) was a Dutch-French Romantic painter. He was known mostly for his works based on literature, with paintings based on the works of Dante, Goethe, and Lord Byron, as well as religious subjects. Scheffer was the son of Johan Bernard Scheffer, a portrait painter born in Homberg upon Ohm or Kassel who had moved to the Netherlands in his youth, and Cornelia Lamme, a portrait miniature painter and daughter of the Dordrecht landscape painter Arie Lamme, after whom Arij (later Ary) was named. He had two brothers, the journalist and writer Karel Arnold Scheffer and the painter Hendrik Scheffer. He was taught by his parents and attended the Amsterdam drawing academy from the age of 11. In 1808 his father became court painter of Louis Bonaparte in Amsterdam, but he died a year later. Encouraged by Willem Bilderdijk, he moved to Lille for further study after the death of his father. In 1811 he and his mother, who had a large influence on his career, moved to Paris, where he studied at the École des Beaux-Arts as a pupil of Pierre-Narcisse Guérin. His brothers followed them later. In 1822, he became drawing teacher to the children of Louis-Philippe, the Duke of Orléans. Thanks to his connections with them, he was able to obtain many commissions for portraiture and other work. In 1830, riots against the rule of King Charles X resulted in his overthrow. On 30 July, Scheffer and influential journalist Adolphe Thiers personally rode from Paris to Orléans to ask Louis-Philippe to lead the resistance, and a few days later, he became "King of the French". On 16 March 1850 he married Sophie Marin, the widow of General Baudrand, and on 6 November of that year he finally became a French citizen. He continued his frequent travels to the Netherlands, and made trips to Belgium, Germany and England, but a heart condition slowed him down and eventually ended his life in 1858 in his summer house in Argenteuil. He is buried in the Cimetière de Montmartre. When Scheffer left Guérin's studio, Romanticism had come into vogue in France, with such painters as Xavier Sigalon, Eugène Delacroix and Théodore Géricault. Scheffer did not show much affinity with their work and developed his own style, which has been called "frigidly classical". Scheffer often painted subjects from literature, especially the works of Dante, Byron and Goethe. Two versions of Dante and Beatrice have been preserved at Wolverhampton Art Gallery, United Kingdom, and Museum of Fine Arts, Boston, US. Particularly highly praised was his Francesca da Rimini, painted in 1836, which illustrates a scene from Dante Alighieri's Inferno. In the piece the entwined bodies of Francesca di Rimini and Paolo Malatesta swirl around in the never-ending tempest that is the second circle of Hell. The illusion of movement is created by the drapery that envelopes the couple, as well as by Francesca's flowing hair. Scheffer's popular Faust-themed paintings include Margaret at her wheel; Faust doubting; Margaret at the Sabbat; Margaret leaving church; The garden walk, and Margaret at the well. In 1836, he painted two pictures of Goethe's character Mignon: Mignon desires her fatherland (1836), and Mignon yearns for heaven (1851). He now turned to religious subjects: Christus Consolator (1836) was followed by Christus Remunerator, The shepherds led by the star (1837), The Magi laying down their crowns, Christ in the Garden of Olives, Christ bearing his Cross, Christ interred (1845), and St Augustine and Monica (1846). One of the reduced versions of his Christus Consolator (the prime version today to be found in the Van Gogh Museum, Amsterdam), lost for 70 years, was rediscovered in a janitor's closet in Gethsemane Lutheran Church in Dassel, Minnesota in 2007. It has been restored and is on display at the Minneapolis Institute of Art. Scheffer was also an accomplished portrait painter, finishing 500 portraits in total. His subjects included composers Frédéric Chopin and Franz Liszt, the Marquis de la Fayette, Pierre-Jean de Béranger, Alphonse de Lamartine, Charles Dickens, Duchess de Broglie, Talleyrand and Queen Marie Amélie. https://en.wikipedia.org/wiki/Ary_Scheffer Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Alexis Simon Belle (1674–1734) A collection of paintings 4K Ultra HD

Alexis Simon Belle (1674-1734) was a French portrait painter, known for his portraits of the French and Jacobite nobility. As a portrait artist, Belle's style followed that of his master François de Troy, Hyacinthe Rigaud, and Nicolas de Largillière. He was the master of the painter Jacques-André-Joseph-Camelot Aved, The 17th day of January 1674 was baptized Simon-Alexis, son of Jean Belle, master painter, and of Anne de Champs his wife, the godfather Simon-Alexis Sourdeval, son of Guillaume Sourdeval; the godmother Marie Mercier, daughter of Louis Mercier. The godmother declared she could not sign. Louis Sourdeval, Jean Belle. Belle studied first under his father, then continued his training in the studio of François de Troy,, a painter at the court of King James II in exile at Saint-Germain-en-Laye. He began to produce work at Saint-Germain in the years 1698 to 1701. This was a period of peace between France and Great Britain, and Jacobites could cross the English Channel carrying portraits of James Edward Stuart and his sister Princess Louisa Maria. Troy was then James II's only court painter and needed the help of Belle, his best student, to produce all the portraits ordered from him. In August 1700, Belle won the Prix de Rome, but went on working at Saint-Germain instead of travelling to Italy. On 12 November 1701, Belle married the miniature painter Anne Chéron, when he was described as peintre ordinaire du Roy d'Angleterre (painter in ordinary to the King of England). As King James II had died a few weeks before, this was a reference to his son James Edward, who had been proclaimed king of England, Scotland and Ireland by King Louis XIV. Belle became the principal painter to the Jacobite court, where he and his wife settled and worked. After war broke out again between Great Britain and France in 1702, their portraits of James Edward Stuart and his sister the Princess Royal continued to be smuggled across the Channel, and Belle did other work for members of the court and for the English Augustinian convent in Paris. Several copies exist of his portrait of James Edward Stuart in armour and standing beside the English Channel, on which there are warships, pointing towards the cliffs of Dover. Belle's most famous portrait of James Edward Stuart dates from 1712, just before he left Saint Germain for Lorraine, and shows him in a tent in a military outfit. This became the standard image of the Old Pretender and was much copied. In an engraving of the painting by François Chéreau, Belle is described as peintre de S. M. Brit. In 1713, Chéreau also engraved a portrait by Belle of Princess Louisa Maria (who had died in 1712) which is now in Sizergh Castle, Cumbria. After the Pretender had left Saint Germain, Belle stayed there and painted some of the diplomats connected with the Treaty of Utrecht. However, in 1714 he joined James Edward's new court at Bar-le-Duc. During the years 1716 to 1719, Belle received many commissions from Jacobites in exile after the unsuccessful rising of 1715. By then, the Old Pretender was himself living in Italy. When Belle died in 1734, he was described as "painter to the king in his Royal Academy of Painting and Sculpture, comptroller of clergy stipends and comptroller of poultry", so his royal connections had evidently led to offices of profit under the crown. Belle died at Paris in 1734. His funeral is again recorded in some detail in the parish register of the church of Saint-Sulpice, as quoted in Eugène Piot's Le Cabinet de l'amateur. This states that Belle was buried on 22 November 1734. Apart from describing him as painter to the king in the Royal Academy of Painting and Sculpture, comptroller of clergy stipends and of poultry, the register entry says that Belle was the husband of Marie-Nicole Hortemels and had died at his house in the rue du Four on the previous day, 21 November. His age is given as "about 60 years, 10 months, 8 days", and it is also recorded that the funeral was attended by Clément Louis Marie Anne Belle and "N. Belle, privately baptized, aged 7 years", sons, and by "Fréderic-Eustache-Auguste Hortemels, copperplate engraver, Denis Hortemels, bookseller, Nicolas Tardien and Charles-Nicolas Cochin, engravers to the king, both brothers-in law to the deceased". Belle's son Clément-Louis became a history painter. When he died in 1806, he was described as "Rector of the Special School of Painting, Sculpture, Architecture and Engraving, and Professor of Design to the Imperial Manufactury of Gobelins". https://en.wikipedia.org/wiki/Alexis_Simon_Belle Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Andrea Solario (1460-1524) A collection of paintings 4K Ultra HD

Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Sienese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo. His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better-known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre (illustrated here). Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival. Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the beautiful Virgin of the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre). In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work. The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome). Andrea's last work was an altarpiece representing The Assumption of the Virgin, left unfinished at his death and completed by Bernardino Campi about 1576. See also Gallery (below) for a selection of Solari's work. https://en.wikipedia.org/wiki/Andrea_Solari Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Alfred Wahlberg (1834-1906) A collection of landscape paintings 4K Ultra HD

Herman Alfred Leonard Wahlberg (1834-1906) was a Swedish landscape painter from Stockholm. After receiving preparatory education at the Royal Swedish Academy of Arts, Wahlberg moved to Düsseldorf in 1857 to train—he was since associated with the Düsseldorf school of painting. He returned to Stockholm in 1862 and painted Svenskt insjölandskap från Kolmården (1866), which became very famous and was displayed at the National Museum of Arts. Wahlberg moved to Paris in 1866 and displayed two paintings at the 1868 Paris Salon. He became successful in Paris and was awarded with medals at the Paris Salon in 1870 and 1872. At the 1878 World's Fair in Paris, Wahlberg was recognized with a first class medal. Alfred Wahlberg was born on 13 February 1834 in Stockholm, Sweden. His father was a painter and his mother worked with carving. Wahlberg learned his father's profession as a child, but became a student at Royal Swedish Academy of Music after showing precocious musical talent. He studied piano and clarinet at the academy. After finishing his studies, Wahlberg joined the orchestra Göta gardes musikkår, and earned money (25–50 öre per hour) by giving piano lessons. He received preparatory education at the Royal Swedish Academy of Arts at the same time, although he never became a real student there. Wahlberg enjoyed painting and decided to pursue his father's profession. He started by drawing landscapes, and sold a painting for the first time in 1856 to Konstföreningen (English: The Art Union). In 1857, Wahlberg moved to the Kunstakademie Düsseldorf in Germany to train. He was a student of Hans Fredrik Gude for a short time, but made most of his paintings on his own. Wahlberg's paintings were sold either in Germany or to Konstföreningen in Sweden. Before returning to Stockholm in 1862, he made a trip to the Netherlands and Belgium to further his art studies. Wahlberg's fondness of romantic, dreaming, lyrical, and musical atmospheres is reflected in his paintings depicting the evening and the moonlight's play with tones and light. The most well-known paintings Wahlberg made while living in Düsseldorf are Solnedgång i Bohuslän and Vinterlandskap med björnjakt, both of which depict Swedish forest landscapes. After his return to Stockholm in 1862, Wahlberg painted Storm på holländska kusten (1863), Fors i svensk obygd (largely influenced by Andreas Achenbach), Borgruinen Niedeck vid Rhen (1863), Skogsparti från Särö (1865), Hörningsholm i månsken (1866), and Svenskt insjölandskap från Kolmården (1866). The later is a carefully composed view of an infinite forest (Kolmården), a lake, and a summer sky. The evening sky and the moonlight is depicted in mild, melting colors. The painting became very famous and was displayed at the National Museum of Arts. Although Wahlberg was still restricted by the limits of his technique, the painting was a large progress in his development as a painter. Wahlberg moved to Paris in 1866, and displayed two paintings at the 1868 Paris Salon—both depicting a fishing place in Bohuslän; one of them takes place during the night and one during a sunset. These two paintings mark Wahlberg's transition from a Düsseldorf technique to a then modern French technique. He learned by ease the French school's technique and approach to studies, without imitating the well-known French painters. Wahlberg earned success and was awarded with medals at the Paris Salon in 1870 and 1872, and was credited for bringing the then modern techniques of landscape art to Sweden. Almost every summer he made a short return to Sweden to study the nature in places such as Stockholm archipelago, Skåne, Halland, and Värmland. Among his most famous paintings from this period are Fiskläge vid bohuslänska kusten, Utsikt i Södermanland (view of a meadow and a lake in Södermanland, 1870), Landskap i månsken (landscape in moonlight, 1870), Månsken från södra Frankrike (moonlight in southern France, 1870), Nääs (a summer evening, 1871), I Vaxholm (an autumn day in Vaxholm, 1872), I Fontainebleauskogen (Fontainebleau forest, 1874), Maj i Nizza (May in Nice, 1878), Afton på Hallands Väderö (evening at an island, 1800), Fjällbacka (moonlight, 1881), and Svensk björkhage (1882). At the 1878 World's Fair in Paris, Wahlberg was recognized with a first class medal. Wahlberg's work from the late 1880s and forward includes Stockholms ström (1888), Månsken på Hallands Väderö (1889), Oktobernatt (1893), Popplar (1893), Sol på snö i Marstrand (1901), and Svensk sommarnatt (1901). He died on 4 October 1906 in Tranås. https://en.wikipedia.org/wiki/Alfred_Wahlberg Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

George Stubbs - Horses (1724-1806) A collection of paintings of horses 4K Ultra HD

George Stubbs ARA (1724-1806) was an English painter, best known for his paintings of horses. Stubbs was born in Liverpool, the son of a currier, or leather-dresser, John Stubbs, and his wife Mary. Information on his life until the age of 35 or so is sparse, relying almost entirely on notes made by Ozias Humphry, a fellow artist and friend; Humphry's informal memoir, which was not intended for publication, was based on a series of private conversations he had with Stubbs around 1794, when Stubbs was 70 years old, and Humphry 52. Stubbs worked at his father's trade until the age of 15 or 16, at which point he told his father that he wished to become a painter. While initially resistant, Stubbs's father (who died not long after, in 1741), eventually acquiesced in his son's choice of a career path, on the condition that he could find an appropriate mentor. Stubbs subsequently approached the Lancashire painter and engraver Hamlet Winstanley, and was briefly engaged by him in a sort of apprenticeship relationship, probably not more than several weeks in duration. Having initially demonstrated his abilities and agreed to do some copying work, Stubbs had access to and opportunity to study the collection at Knowsley Hall, the estate where Winstanley was then residing; however, he soon left when he came into conflict with the older artist over exactly which pictures he could work on copying. Thereafter as an artist he was self-taught. He had had a passion for anatomy from his childhood, and in or around 1744, he moved to York, in the North of England, to pursue his ambition to study the subject under experts. In York, from 1745 to 1753, he worked as a portrait painter, and studied human anatomy under the surgeon Charles Atkinson, at York County Hospital, One of his earliest surviving works is a set of illustrations for a textbook on midwifery by John Burton, Essay towards a Complete New System of Midwifery, published in 1751. In 1754 Stubbs visited Italy. Forty years later he told Ozias Humphry that his motive for going to Italy was, "to convince himself that nature was and is always superior to art whether Greek or Roman, and having renewed this conviction he immediately resolved upon returning home". In 1756 he rented a farmhouse in the village of Horkstow, Lincolnshire, and spent 18 months dissecting horses, assisted by his common-law wife, Mary Spencer. He moved to London in about 1759 and in 1766 published The anatomy of the Horse. The original drawings are now in the collection of the Royal Academy. His most famous work is probably Whistlejacket, a painting of the thoroughbred racehorse rising on his hind legs, commissioned by the 2nd Marquess of Rockingham, which is now in the National Gallery in London. This and two other paintings carried out for Rockingham break with convention in having plain backgrounds. Throughout the 1760s he produced a wide range of individual and group portraits of horses, sometimes accompanied by hounds. He often painted horses with their grooms, whom he always painted as individuals. Meanwhile, he also continued to accept commissions for portraits of people, including some group portraits. From 1761 to 1776 he exhibited at the Society of Artists of Great Britain, but in 1775 he switched his allegiance to the recently founded but already more prestigious Royal Academy of Arts. Stubbs also painted historical pictures, but these are much less well regarded. From the late 1760s he produced some work on enamel. In the 1770s Josiah Wedgwood developed a new and larger type of enamel panel at Stubbs's request. Stubbs hoped to achieve commercial success with his paintings in enamel, but the venture left him in debt. Also in the 1770s he painted single portraits of dogs for the first time, while also receiving an increasing number of commissions to paint hunts with their packs of hounds. He remained active into his old age. In the 1780s he produced a pastoral series called Haymakers and Reapers, and in the early 1790s he enjoyed the patronage of the Prince of Wales, whom he painted on horseback in 1791. His last project, begun in 1795, was A comparative anatomical exposition of the structure of the human body with that of a tiger and a common fowl, fifteen engravings from which appeared between 1804 and 1806. The project was left unfinished upon Stubbs's death at the age of 81 on 10 July 1806, in London. https://en.wikipedia.org/wiki/George_Stubbs Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

New videos coming for December 2018 from Master Painters.

Sofonisba Anguisciola (1532–1625)
Antonio Ermolao Paoletti (1834-1912)
Attilio Pratella (1856-1932)
Adrian Ludwig Richter (1803-1884)
Alexander Roslin (1718-1793)
Allan Ramsay (1713-1784)
Anne-Louis Girodet de Roucy-Triosson (1767-1824)
Anthonie Palamedez (1601-1673)
Antoniazzo Romano (1430-1508)
Adolf Schreyer (1828-1899)
Aleksey Savrasov (1830-1887)
Alfred Stevens (1823-1906)
Andrea Sacchi (1599-1661)
Andrea Schiavone (1515–1563)
Andrea Solario (1460-1524)
Andreas Schelfhout (1787-1870)
Anthony Frederick Sandys (1829-1904)
Antonio Sicurezza (1905-1976)
Ary Scheffer (1795-1858)
Giovanni Battista Salvi (1609-1685)
Andrea del Sarto (1486-1531)
Andrea del Sarto (1486-1531) - Frescos
Andrea del Sarto (1486-1531) - Madonnas
Andrea del Sarto (1486-1531) - Portraits
Andrea del Sarto (1486-1531) - Religious paintings
Andrea del Sarto (1486-1531) - The Last Supper
Arthur Streeton (1867-1943) - Landscapes
Arthur Streeton (1867-1943) - Still life
Edward Burne-Jones (1833-1898)
Paul Gauguin (1848-1903)
Claude Monet (1840-1926) part #5
Pablo Picasso (1881-1973) - Blue periodd
Rembrandt van Rijn (1606–1669) Biblical & Mythological
Rembrandt van Rijn (1606–1669) Groups
Rembrandt van Rijn (1606–1669) Landscapes
Rembrandt van Rijn (1606–1669) Portraits 1
Rembrandt van Rijn (1606–1669) Portraits 2
Rembrandt van Rijn (1606–1669) Self Portraits
Ilya Repin (1844-1930)
John Singer Sargent (1856-1925)
Francesco Bacchiacca (1494-1557)
Abbott Handerson Thayer (1849-1921)
Adolfo Tommasi (1851-1933)
Angiolo Tommasi (1858-1923)
Archibald Thorburn (1860-1935)
Auguste Toulmouche (1829-1890)
Aleksander świeszewski (1839-1895)
Alfred Wahlberg (1834-1906)
Andrew Wyeth (1917–2009)
Antoine Watteau (1684-1721)
Alessandro Zezzos (1848-1914)
Anders Zorn (1860-1920)
Ángel Zárraga (1886-1946)

And many more.


Wishing you all a very merry Christmas and a wonderful New Year.

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