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Giuseppe Arcimboldo (1527-1593) A collection of paintings and drawings 2K Ultra HD Silent Slideshow Italian painter best known for creating imaginative portrait heads made entirely of objects such as fruits, vegetables, flowers, fish, and books. Giuseppe's father, Biagio Arcimboldo, was an artist of Milan. Like his father, Giuseppe Arcimboldo started his career as a designer for stained glass and frescoes at local cathedrals when he was 21 years old. In 1562, he became court portraitist to Ferdinand I at the Habsburg court in Vienna, Austria and later, to Maximilian II and his son Rudolf II at the court in Prague. He was also the court decorator and costume designer. Augustus, Elector of Saxony, who visited Vienna in 1570 and 1573, saw Arcimboldo's work and commissioned a copy of his The Four Seasons which incorporates his own monarchic symbols. Arcimboldo's conventional work, on traditional religious subjects, has fallen into oblivion, but his portraits of human heads made up of vegetables, plants, fruits, sea creatures and tree roots, were greatly admired by his contemporaries and remain a source of fascination today. At a distance, his portraits looked like normal human portraits. However, individual objects in each portrait were actually overlapped together to make various anatomical shapes of a human. They were carefully constructed by his imagination. The assembled objects in each portrait were not random: each was related by characterization. In the portrait now represented by several copies called The Librarian, Arcimboldo used objects that signified the book culture at that time, such as the curtain that created individual study rooms in a library. The animal tails, which became the beard of the portrait, were used as dusters. By using everyday objects, the portraits were decoration and still-life paintings at the same time. His works showed not only nature and human beings, but also how closely they were related Arcimboldo is known as a 16th-century Mannerist. A transitional period from 1520 to 1590, Mannerism adopted some artistic elements from the High Renaissance and influenced other elements in the Baroque period. A Mannerist tended to show close relationships between human and nature. Arcimboldo also tried to show his appreciation of nature through his portraits. In The Spring, the human portrait was composed of only various spring flowers and plants. From the hat to the neck, every part of the portrait, even the lips and nose, was composed of flowers, while the body was composed of plants. On the other hand, in The Winter, the human was composed mostly of roots of trees. Some leaves from evergreen trees and the branches of other trees became hair, while a straw mat became the costume of the human portrait. Giuseppe Arcimboldo did not leave written certificates on himself or his artwork. After the deaths of Arcimboldo and his patron—the emperor Rudolph II—the heritage of the artist was quickly forgotten, and many of his works were lost. They were not mentioned in the literature of the 17th and 18th centuries. Only in 1885 did the art critic K. Kasati publish the monograph "Giuseppe Arcimboldi, Milan Artist" in which the main attention was given to Arcimboldi's role as a portraitist. With the advent of surrealism its theorists paid attention to the formal work of Arcimboldo, and in the first half of the 20th century, many articles were devoted to his heritage. Gustav Hocke drew parallels between Arcimboldo, Salvador Dalí, and Max Ernst's works. A volume monograph of B. Geyger and the book by F. Legrand and F. Xu were published in 1954. https://en.wikipedia.org/wiki/Giuseppe_Arcimboldo
Hans von Aachen (1552-1615) A collection of paintings and drawings 4K Ultra HD Silent Slideshow A German painter who was one of the leading representatives of Northern Mannerism. Hans von Aachen was a versatile and productive artist who worked in many genres. He was successful as a painter of princely and aristocratic portraits, and further painted religious, mythological and allegorical subjects. Known for his skill in the depiction of nudes, his eroticized mythological scenes were particularly enjoyed by his principal patron, Emperor Rudolf II. These remain the works for which he is best known. He also painted a number of genre paintings of small groups of figures shown from the chest upwards, laughing, often apparently using himself and his wife as models. Von Aachen usually worked on a small scale and many of his works are cabinet paintings on copper Hans von Aachen was a versatile artist who produced portraits, paintings of historical and religious subjects, genre pictures and allegories. He was one of the principal representatives of the late Mannerist style of art that had been nurtured at the court of Rudolf II in Prague around 1600. His style ranges between an idealized style of painting close to Roman and Florentine Mannerism as well as to Venetian masters Titian, Veronese and Tintoretto and the newly emerging tradition of northern realism. Von Aachen developed his own mannerist technique from his study of Tintoretto and Michelangelo's followers. Throughout his career his principal influences were the style of Bartholomeus Spranger and Hendrick Goltzius who dominated the art scene in Germany at the time. https://en.wikipedia.org/wiki/Hans_von_Aachen
Albert Bierstadt (1830-1902) A collection of paintings 2K Ultra HD Silent Slideshow A German-American painter best known for his lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century. Born in Prussia, Bierstadt was brought to the United States at the age of one by his parents. He later returned to study painting for several years in Düsseldorf. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along the Hudson River. Their style was based on carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. An important interpreter of the western landscape, Bierstadt, along with Thomas Moran, is also grouped with the Rocky Mountain School Bierstadt was born in Solingen, Prussia, the son of Christina M. (Tillmans) and Henry Bierstadt, a cooper. He had a brother who was 6 years older, the later photographer Edward Bierstadt. In 1831, when Albert was just one year old his family immigrated to New Bedford, Massachusetts. At an early age he made clever crayon sketches in his youth and developed a taste for art In 1858, Bierstadt exhibited a large painting of a Swiss landscape at the National Academy of Design, which gained him positive critical reception and honorary membership in the Academy. Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. He was part of a group of artists known as the Hudson River School https://en.wikipedia.org/wiki/Albert_Bierstadt
Niccolo dell Abbate (1509-1571) A collection of paintings an d drawings 4K Ultra HD Silent Slideshow An Italian Mannerist painter in fresco and oils. He was of the Emilian school, and was part of the team of artists called the School of Fontainebleau that introduced the Italianate Renaissance to France. He may be found indexed under either "Niccolò" or "Abbate", though the former is more correct. Niccolò is best known for his mythological landscape subjects, which introduced the Flemish world landscape into French art, such as the Orpheus and Landscape with the Death of Eurydice in the National Gallery, London and the Rape of Prosperine in the Louvre, and for his profuse and elegant drawings. Not many of his frescoes have survived; however the Louvre does have a collection of his drawings. Many of his canvasses were burnt in 1643, by the Austrian regent, Anne Some of his landscapes for Charles IX were influential for the 17th century painters Claude Lorrain and Nicolas Poussin. https://en.wikipedia.org/wiki/Niccol%C3%B2_dell%27Abbate
Jos Ferraz de Almeida (1850-1899) A collection of paintings & drawings 4K Ultra HD Silent Slideshow / Screensaver 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. https://en.wikipedia.org/wiki/Jos%C3%A9_Ferraz_de_Almeida_J%C3%BAnior
Albrecht Samuel Anker (1831-1910) A collection of paintings and drawings in 2K HD. Silent slideshow.
was a Swiss painter and illustrator who has been called the "national painter" of Switzerland because of his enduringly popular depictions of 19th-century Swiss village life.
During his studies, Anker produced a series of works with historical and biblical themes, including paintings of Luther and Calvin. Soon after returning to Ins, though, he turned to what would become his signature theme: the everyday life of people in rural communities. His paintings depict his fellow citizens in an unpretentious and plain manner, without idealising country life, but also without the critical examination of social conditions that can be found in the works of contemporaries such as Daumier, Courbet or Millet. Although Anker did paint occasional scenes with a social significance, such as visits by usurers or charlatans to the village, his affirmative and idealistic Christian world-view did not include an inclination to issue any sort of overt challenge.
Also prominent in Anker's work are the more than 30 still lifes he created. They depict both rural and urban table settings in the tradition of Chardin, their realist solidity reflecting Anker's vision of a harmonic and stable world order. In addition, Anker created hundreds of commissioned watercolours and drawings, mostly portraits and illustrations, including for an edition of Jeremias Gotthelf's collected works. To provide for a steady income, Anker also decorated more than 500 faience plates for the Alsatian producer Théodore Deck.
Anker was quick to reach his artistic objectives and never strayed from his chosen path. His works, though, exude a sense of conciliation and understanding as well as a calm trust in Swiss democracy; they are executed with great skill, providing brilliance to everyday scenes through subtle choices in colouring and lighting. Their parochial motives belie the open-mindedness towards contemporary European art and events that Anker's correspondence reflects.