4 Like 0 Dislike
Bartolomeo or Bartolommeo Vivarini (1432-1499) was an Italian Renaissance painter, known to have worked from 1450 to 1499. Bartolomeo's brother Antonio Vivarini, and his nephew (also possibly his pupil) Alvise Vivarini, were also painters. He learned oil painting from Antonello da Messina, and is said to have produced, in 1473, the first oil picture done in Venice. Housed in the basilica of San Zanipolo, it is a large altar-piece in nine divisions, representing Augustine and other saints. Most of his works, however, are in tempera. His outline is always hard, and his colour good; the figures have much dignified and devout expression. As "vivarino" means in Italian a goldfinch, he sometimes drew a goldfinch as the signature of his pictures. The Getty Museum, Harvard University Art Museums, the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery of Art (Washington D.C.), the National Gallery, London, the New Orleans Museum of Art, the Philadelphia Museum of Art, Pinacoteca Ambrosiana (Milan), Pinacoteca Nazionale di Bologna, Pinacoteca Provinciale di Bari, the Rijksmuseum and the Uffizi are among the public collections holding works by Bartolomeo Vivarini. https://en.wikipedia.org/wiki/Bartolomeo_Vivarini Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Marc Gabriel Charles Gleyre (1806-1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, James Abbott McNeill Whistler, Auguste Toulmouche, Louis-Frederic Schützenberger, and Henry-Lionel Brioux. Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert. It was through Vernet's recommendation that he was chosen by the American traveller John Lowell Jr. to accompany him on his journeys round the eastern Mediterranean, recording the scenes and ethnographic subjects they met with. They left Italy in spring 1834 and visited Greece, Turkey and Egypt, where they remained together until November 1835, when Lowell left for India. Gleyre continued his travels around Egypt and Syria, not returning to France until 1838. He returned to Lyons in shattered health, having been attacked with ophthalmia, or inflammation of the eye, in Cairo, and struck down by fever in Lebanon. On his recovery he proceeded to Paris, and, establishing a modest studio in the rue de Université, began carefully to work out the ideas which had been slowly shaping themselves in his mind. Mention is made of two decorative panels Diana leaving the Bath, and a Young Nubian as almost the first fruits of his genius; but these did not attract public attention until much later, and the painting by which he practically opened his artistic career was the Apocalyptic Vision of St John, sent to the Salon of 1840.This was followed in 1843 by Evening, which received a medal of the second class, and afterwards became widely popular under the title Lost Illusions. In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, under Louis Philippe, his studio had been the rendezvous of a sort of liberal club. To the last—amid all the disasters that befell his country—he was hopeful of the future, "la raison finira bien par avoir raison". It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles from Alsace and Lorraine, that he died suddenly on 5 May 1874. He had never married. He left unfinished the Earthly Paradise, a picture, which Taine described as "a dream of innocence, of happiness and of beauty—Adam and Eve standing in the sublime and joyous landscape of a paradise enclosed in mountains", a worthy counterpart to the Evening. His other works include Deluge, which represents two angels speeding above the desolate earth from which the destroying waters have just begun to retire, leaving visible behind them the ruin they have wrought; the Battle of the Lemanus, a piece of elaborate design, crowded but not encumbered with figures, and giving fine expression to the movements of the various bands of combatants and fugitives; the Prodigal Son, in which the artist has ventured to add to the parable the new element of mother's love, greeting the repentant youth with a welcome that shows that the mother's heart thinks less of the repentance than of the return; Ruth and Boaz; Ulysses and Nausicaa; Hercules at the Feet of Omphale; the Young Athenian, or, as it is popularly called, Sappho; Minerva and the Nymphs; Venus and Adonis; Daphnis and Chloë; and Love and the Parcae. He also left a considerable number of drawings and watercolours, and a number of portraits, among which is the sad face of Heinrich Heine, engraved in the Revue des deux mondes for April 1852. In Clement's catalogue of his works there are 683 entries, including sketches and studies. https://en.wikipedia.org/wiki/Charles_Gleyre Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
This film is an invitation to witness the unique techniques of Andre Desjardins' "Visual Emotionism" style of painting, to glimpse into the mind of a master, and to partake of a rare opportunity to feel the transference of emotion directly onto a blank canvas. From empty canvas to finished masterpiece, this film gives the viewer the opportunity to see thie work of Desjardins from his own viewpoint and to feel his emotional intensity and focus as he applies and manipulates both raw and blended pigments with bare hands and brush to create a hauntinly beautiful face.
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
Discover a purple night-sky scene with mountain overlooking a little falling river -- Bob Ross creates a spectacular masterpiece today. Season 6 of The Joy of Painting with Bob Ross features the following wonderful painting instructions: Blue River, Nature's Edge, Morning Mist, Whispering Stream, Secluded Forest, Snow Trail, Arctic Beauty, Horizons West, High Chateau, Country Life, Western Expanse, Marshlands, and Blaze of Color. Subscribe to the official Bob Ross YouTube channel - http://bit.ly/BobRossSubscribe Season 6 Playlist: https://www.youtube.com/playlist?list=PLAEQD0ULngi5UR35RJsvL0Xvlm3oeY4Ma
Almeida Júnior (1850-1899) A collection of paintings & drawings 4K Ultra HD Silent Slideshow / Screensaver
Jos Ferraz de Almeida commonly known as Almeida Júnior, was a Brazilian artist and designer; one of the first there to paint in the Realistic tradition of Gustave Courbet and Jean-François Millet. The "Dia do Artista Plástico" (Day of Fine Artists in Brazil) is celebrated on his birthday.
His art career began while he was working as a bell-ringer at the church of "Our Lady of Candelária" and created some small works on religious themes. The head priest there was sufficiently impressed to hold a fundraiser, so Júnior could go to Rio de Janeiro and take formal art lessons.
In 1869, he enrolled at the Academia Imperial de Belas Artes, where he studied with Victor Meirelles and Pedro Américo. His simple, country speech and manners reportedly were the source of much interest and, one might suppose, amusement.
After graduating, he chose not to compete for a travel award to Europe, returning instead to Itu, and setting up a studio.
He was apparently destined to see Europe, however. In 1876, during a tour of the São Paulo region, Emperor Pedro II saw Júnior's work, was impressed, and personally offered his financial support.
Later that year, a Royal Decree awarded Júnior 300 Francs per month (USD $60/month) for the purpose of studying in Paris.
He soon settled in Montmartre and enrolled at the École des Beaux-Arts, becoming one of the many students of Alexandre Cabanel. While there, he participated in four of the Salons.
He remained in Paris until 1882 then, after a brief trip to Italy, returned to Brazil and exhibited the works he had created during his absence. The following year, he opened a studio in São Paulo and gave lessons. He also held exclusive art exhibitions and executed portraits of notable people, ranging from coffee barons to Republican politicians. In 1884, he held a showing at the "Exposição Geral de Belas Artes" and was made a Knight in the Order of the Rose
A year later, Victor Meirelles offered to give Júnior his position as Professor of History Painting at the Academy, but Júnior refused the offer, preferring to stay in São Paulo.
From 1887 to 1896, he made three more trips to Europe. During this period, he would increasingly turn from Biblical and historical works in favor of regionalist themes, depicting the everyday life of the "caipiras" and leaving the Academic style behind while gradually approaching Naturalism. Despite these changes, his reputation at the Academy remained unchallenged and he received the Gold Medal there in 1898.