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Workshop - http://volegov.com/workshops/ Instagram - https://www.instagram.com/artvolegov/ Facebook - https://www.facebook.com/VladimirVolegovOfficial/ My web: - http://www.volegov.com Order print on canvas: http://www.volegov.com/art/allposters.htm DVD instructional video: http://shop.volegov.com/product/dvd-instructional-video-the-figurative-painting-with-vladimir-volegov Book: http://shop.volegov.com/product/album-book-vladimir-volegov-the-master-of-light In this video I'm creating oil painting. It is good practice for you to see all process of creation oil painting, you will learn how to paint oil painting #Volegov #Art #Painting
Camille Pissarro Collection Movie by P. Gaillard - Star Arts Productions Camille Pissarro (10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St. Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54. In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality". Paul Cézanne said "he was a father for me. A man to consult and a little like the good Lord," and he was also one of Gauguin's masters. Renoir referred to his work as "revolutionary", through his artistic portrayals of the "common man", as Pissarro insisted on painting individuals in natural settings without "artifice or grandeur". Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, including Claude Monet, Paul Cézanne, Vincent van Gogh and Paul Gauguin. LINKS TO ART COLLECTIONS: https://www.facebook.com/StarArtsProductions https://www.facebook.com/MastersofArts https://www.facebook.com/PabloPicassoMusem Thanks for watching, If you like this describe It... For more info about Camille Pissarro: http://en.wikipedia.org/wiki/Camille_Pissarro
The Orientalist paintings A silent poetry, a part of infinitely History, a vision of the middle east, display their Characters, Civilizations and Social Life. - A people without the knowledge of their past history, origin and culture is like a tree without roots. "Marcus Garvey" ------------------------------------------------------------- Source Website: http://commons.wikimedia.org/wiki/Category:Orientalist_paintings
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. In 1879, at the age of 23, Sargent painted a portrait of teacher Carolus-Duran; the virtuoso effort met with public approval, and announced the direction his mature work would take. Its showing at the Paris Salon was both a tribute to his teacher and an advertisement for portrait commissions. Of Sargent's early work, Henry James wrote that the artist offered "the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn." After leaving Carolus-Duran's atelier, Sargent visited Spain. There he studied the paintings of Velázquez with a passion, absorbing the master's technique, and in his travels gathered ideas for future works. He was entranced with Spanish music and dance. The trip also re-awakened his own talent for music (which was nearly equal to his artistic talent), and which found visual expression in his early masterpiece El Jaleo (1882). Music would continue to play a major part in his social life as well, as he was a skillful accompanist of both amateur and professional musicians. Sargent became a strong advocate for modern composers, especially Gabriel Fauré. Trips to Italy provided sketches and ideas for several Venetian street scenes genre paintings, which effectively captured gestures and postures he would find useful in later portraiture. Upon his return to Paris, Sargent quickly received several portrait commissions. His career was launched. He immediately demonstrated the concentration and stamina that enabled him to paint with workman-like steadiness for the next twenty-five years. He filled in the gaps between commissions with many non-commissioned portraits of friends and colleagues. His fine manners, perfect French, and great skill made him a standout among the newer portraitists, and his fame quickly spread. He confidently set high prices and turned down unsatisfactory sitters. He mentored his friend Emil Fuchs who was learning to paint portraits in oils. During Sargent's long career, he painted more than 2,000 watercolors, roving from the English countryside to Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. Each destination offered pictorial stimulation and treasure. Even at his leisure, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night. His hundreds of watercolors of Venice are especially notable, many done from the perspective of a gondola. His colors were sometimes extremely vivid and as one reviewer noted, "Everything is given with the intensity of a dream." In the Middle East and North Africa Sargent painted Bedouins, goatherds, and fisherman. In the last decade of his life, he produced many watercolors in Maine, Florida, and in the American West, of fauna, flora, and native peoples. With his watercolors, Sargent was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes. It is in some of his late works where one senses Sargent painting most purely for himself. His watercolors were executed with a joyful fluidness. He also painted extensively family, friends, gardens, and fountains. In watercolors, he playfully portrayed his friends and family dressed in Orientalist costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions (The Chess Game, 1906). His first major solo exhibit of watercolor works was at the Carfax Gallery in London in 1905. In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the Brooklyn Museum. Evan Charteris wrote in 1927: To live with Sargent's watercolors is to live with sunshine captured and held, with the luster of a bright and legible world, 'the refluent shade' and 'the Ambient ardours of the noon.' Although not generally accorded the critical respect given Winslow Homer, perhaps America's greatest watercolorist, scholarship has revealed that Sargent was fluent in the entire range of opaque and transparent watercolor technique, including the methods used by Homer. John Singer Sargent - Volume 1 - https://youtu.be/N-H22PGlwYg John Singer Sargent - Volume 3, 4 & 5 - coming soon https://en.wikipedia.org/wiki/John_Singer_Sargent#Watercolors Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Antonio Sicurezza (1905-1979) was an Italian painter. His work is representative of the Italian figurative art of that period. His artistic production includes still life, portraits, landscapes, nudes, and altar pieces. Sicurezza studied at the Academy of Fine Arts in Naples, winning a scholarship to fund his studies. He obtained a diploma in painting training under masters such as Carlo Siviero, Vincenzo Volpe, Vincenzo Migliaro and Paolo Vetri. He moved to Formia in 1933–1934, when he was called to paint the chapel of St. Anthony in the church of Maranola. Here he met Virginia Mastrogiovanni whom he married in 1934. In the hardest times of World War II he, his wife, and their four children, fled first into the mountainous caves in Coreno Ausonio, then through the warfront to Calabria. After the war, the family returned to Formia. The war had destroyed and damaged the churches in the area, which held many of Sicurezzas work. Among them were Angeli musicanti (Angels Playing Music), a fresco he painted for the chapel of Our Lady of Pompei and two oval portraits of Pope Leo XIII and Blessed Bartolo Longo. The search for new altar pieces, replacing the ones destroyed, it is not easy for both the difficult economic situation and the clergy that requires religious representations in line with the traditional iconography, which the artist sometimes agrees not to foreclose future commissions. When Antonio Sicurezza could finally express himself more freely, he had artistically valuable results, such as the works of the apse of St. John, St. Albina in the church of Saint Erasmus, and then, above all, the paintings of St. Francis and of the Annunciation at the church of Our Lady of Carmine and that of Saint Roch in Pico. It is valuable to note that the landscape behind the figures is represented in a deliberately simple manner, so that the faithful can recognize immediately the local sights and monuments, as in St. Albina and in St. Francis, in which it is particularly significant the view of the large Gaeta gulf. In the summertime he worked outside to paint landscapes and alleys, while during the rest of year he worked in his studio mainly with charcoal and watercolors or tempera. He produced sketches and studies for religious themes or he painted still lives with immediacy and lightness. After the summer of 1965 he left teaching and set up the large study that, among carob trees and prickly pears, he had built on the land of Santa Maria la Noce. It was now easier to prepare sketches and large cartoons for religious works and then – limiting the charcoal and pastel studies – he could systematically focus on oil painting, especially of the human figures and still lives. In fact the style change, which made him prefer oil painting and saw the use of systematic and almost exclusive spatula instead of a brush, occurred in the late Fifties. Some of the paintings exhibited in Rome in July 1961, including two paintings that were awarded to the contemporary art exhibition held in Turin in the context of the events of Italy '61, already put in evidence the use of the spatula to illustrate the human figure and objects. In the following years he devoted a greater commitment to personal and collective exhibitions, with a lack of direction, but without referring to a gallery or an agent and tied to a provincial reality. Despite this, he won several distinctions and awards, and news about him with reproductions of his works can be found in various catalogues of contemporary artists. With advancing age, Antonio Sicurezza and his wife moved to the centre of Formia. The last house was more chaotic for the desire of finding the proper light for each painting. Yet, despite his age and disorder, the work was intense. To complete a painting he took around five sessions, which meant at least two new works every week. He worked both mornings and afternoons, often devoting first energies to harder works such as the naked human figures. In the living room the walls are covered with framed paintings, while others are simply placed in the corners. It is here that he received friends and admirers. It was during this period the groups of young people with musical instruments that the artist calls concerts, many nudes, vigorous still lives and some outside scenes were painted. Exceptionally, in August 1978 Antonio Sicurezza did not go to Santa Maria Capua Vetere for the annual celebration of the Assumption. It was the beginning of the sickness that, a year later, August 29, 1979, brought the artist to die at the age of 74 years. https://en.wikipedia.org/wiki/Antonio_Sicurezza Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Alberto Pasini (1826-1899) was an Italian painter. He is best known for depicting Orientalist subjects in a late-Romantic style.
His father was a commissioner for his district, a post analogous to a sub-prefect. But orphaned of father in 1828, his mother moved to Parma, where enrolled at the age of 17 years, in the Academy of Fine Art of Parma, studying landscape painting and drawing.
In Parma, he was helped early on by Alberto's uncle, the painter and manuscript illuminator, Antonio Pasini, who painted for the local nobility and collaborated with the publishing house established by Giovanni Battista Bodoni.
By 1852, he exhibited a series of thirty designs, made into lithographs, depicting various castles around Piacenza, Lunigiana and Parma. He was noticed by the artist Paolo Toschi, who encouraged Pasini to travel to Paris, where Pasini first joined the workshop of Charles and Eugène Ciceri, of the so-called School of Barbizon.
In 1853 his lithograph of The Evening gained him admittance to the Paris Salon, and to the workshop of the famous Théodore Chassériau. The eruption of the Crimean War offered a new opportunity, when in February 1855, this latter painter recommended Pasini to replace him on the entourage of the French plenipotentiary minister Nicolas Prosper Bourée to Persia. Pasini accompanied him, returning through the north of Persia and Armenia before reaching the port of Trebizond.
In subsequent trips, he visited Egypt, the Red Sea, Arabia, Istanbul, and Persia. Pasini parlayed his exposures during this trip into numerous highly detailed paintings of orientalist subjects. He left again for Istanbul in October 1867, summoned by the French Ambassador Bourée. He returned to Turkey in 1876 to execute the four paintings commissioned by Sultan Abdul Aziz. He was about to return to Istanbul the next year, when his patron, the Sultan, died.
In 1865, he spent some time in Cannes, painted landscapes of the Riviera. During the Franco-Prussian War of 1870, he returned to Italy, settling in Cavoretto, on the hills around Turin. He continued to travel, closer to his home, with trips to Venice and two sojourns in Spain in 1879 and 1883.
In 1862 at Istanbul, he painted a canvas depicting a Victory by the Turks led by Sultan Abdul Mezid. He exhibited at Paris: The Druze attack a Maronite Village, Falcon hunt in plains of Ispahan, The Bazaar of Istanbul, and The stage of the caravan, found in the Museum of Parma.
In Venice, and began painting vedute of the city, among other subjects including works depicting the Ponte dei Santi Apostoli, the ferry Cassou and the Rio Marin, Canal Grande; Traghetto San Tom; Venice from the Giudecca ; Palazzo Grimani; Rio San Severo, Rio a Santa Maria Formosa; and Palazzi Rezzonico, Foscari e Balbi.
He also painted Porta di un bazar; Panorama of the Sierra Nevada; Porta del vino, Alhambra Porta of the sala delle due sorelle; Interno dello moschea dell'Alhambra; Porta d'una moschea, and Palazzo del Generalife; Porta di un vecchio arsenale; Mercato del lunedì nella piazza of the Moschea a Costantinopoli; Cavalli al pascolo in Siria; Cortile di un vecchio joly; La sentinella; Le staffette (Group of irregular cavalry at the door of a mosque in Asia Minor); Courtyard of the Lions in Granada; Gruppo di case nel Rubatto Yesel Giani; Un'arcata of the facciata di San Marco; Porta del Palazzo Moriani; and La Salute.
Gubernatis quotes the contemporary art critic Virgilio Colombo as saying of his paintings:
Pasini faithfully reproduces the architectural accessories, which sparkle in the sun and bathe in the blue shadows: in this, he is unrivaled and shows extraordinary ingenuity to create huge paintings in small canvases. What skill in painting finger-high figures, fine horses, grim and thoughtful knights, with sumptuous trappings, damask-decorated weapons, kiosks, markets and menageries, saddles encrusted with gems, the turbans, the fabrics, the courtesans of princesses, the military camps, the intimate recesses of the harem, the profiles of city with jagged spires and minarets, and the hunts through the interminable space of the plains. The oriental scenes are exquisitely treated, not by way of searching for the usual sunsets and fiery skies. The atmosphere is fine and transparent and stretches across a silvery coat all grace and subtlety
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