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Paul Gauguin: A collection of 283 paintings (HD) Description: "Eugène Henri Paul Gauguin, the most exotic of the Post-Impressionists, was born in Paris, France. The son of a French journalist and a Peruvian woman, Gauguin spent his early childhood in Peru, attended a boarding school in France, and was a merchant seaman before becoming a stockbroker's assistant in 1871. An occasional painter at first, Gauguin frequented the Nouvelle Athenes Café where he met Pissarro and the Impressionists, whose works he purchased. Gauguin had married in 1873, and it was not until 10 years later that he decided to give up the business world and devote himself to art. After a period in Rouen where he stayed with Pissarro, Gauguin went to Copenhagen with his Danish wife, only to leave his family forever a few months later. Gauguin was past age 35 and almost penniless, though a loan from Degas, who approved of his theories on the importance of line, permitted him to go to Pont-Aven. At Pont-Aven Gauguin and Emile Bernard would develop Synthetism, a style in which the expression of ideas and emotions are more important than naturalistic representations, and flat color areas reminiscent of Japanese woodcuts are outlined by heavy black lines in the manner of cloisonné enamels or stained-glass windows. Gauguin, abandoning his earlier Impressionism, painted in this manner and also made ceramics and wood carvings to earn money. These were decorative, finely conceived Art Nouveau pieces, with a symbolism learned from Puvis de Chavannes, whom he had also admired. In 1887, Gauguin made an unsuccessful trip to Martinique to search for a primitive way of life. He spent 1888, the year of his great Synthetist work "The Yellow Christ", in Arles with Vincent van Gogh. This adventure ended in near tragedy, as Vincent van Gogh exhibited signs of madness. Gauguin returned shortly to Brittany before leaving for Tahiti on his constant quest for the simple life and the peace of mind he would never really find. Gauguin's style, developed in the South, is a fusion of Oriental influences, personal symbolism, strong design, warm color, and musically rich expression that offers a spiritual image of the creative artist constantly seeking the unattainable. Gauguin remained in Tahiti until 1893, when poor health and lack of funds forced his return to Paris. He remained there until 1895, when he again settled in Tahiti. Gauguin's stay there ended in 1901 when he became seriously ill with syphilis and in trouble with the French authorities. He moved to the Marquesas, seeking an easier and cheaper life. His health, unfortunately, deteriorated further, but he continued to paint until he died on May 8, 1903." Feel free to subscribe!
Allan Ramsay (1713-1784) was a prominent Scottish portrait-painter. Allan Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and author of The Gentle Shepherd. From the age of twenty he studied in London under the Swedish painter Hans Hysing, and at the St. Martin's Lane Academy; leaving in 1736 for Rome and Naples, where he worked for three years under Francesco Solimena and Imperiali. On his return in 1738 to the British Isles, he first settled in Edinburgh, attracting attention by his head of Duncan Forbes of Culloden and his full-length portrait of the Duke of Argyll, later used on Royal Bank of Scotland banknotes. He later moved to London, where he was employed by the Duke of Bridgewater. His pleasant manners and varied culture, not less than his artistic skill, contributed to render him popular. One of his drawing pupils was Margaret Lindsay, eldest daughter of Sir Alexander Lindsay of Evelick and Amelia Murray. He later eloped with her and on 1 March 1752 they married in the Canongate Kirk, Edinburgh; her father never forgave her for marrying an artist. Ramsay already had to maintain a daughter from his previous marriage and his two surviving sisters, but told Sir Alexander that he could provide Margaret with an annual income of £100. He said it would increase ‘as my affairs increase, and I thank God, they are in a way of increasing’ and that his only motive for the marriage was ‘my love for your Daughter, who, I am sensible, is entitled to much more than ever I shall have to bestow upon her’. Three children survived from their long and happy marriage, Amelia, Charlotte, and John. Ramsay and his new wife spent 1754 to 1757 together in Italy, going to Rome, Florence, Naples and Tivoli, researching, painting and drawing old masters, antiquities and archaeological sites. He earned income painting Grand Tourists' portraits. This and other trips to Italy involved more literary and antiquarian research than art. After their return, Ramsay in 1761 was appointed to succeed John Shackelton as Principal Painter in Ordinary to George III, beating Hudson to the post. The king commissioned so many royal portraits to be given to ambassadors and colonial governors, that Ramsay used the services of numerous assistants—of whom David Martin and Philip Reinagle are the best known. He gave up painting in about 1770 to concentrate on literary pursuits. His health was shattered by an accidental dislocation of the right arm and his second wife's death in 1782. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time, and then started for his beloved Italy. He left a series of 50 royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken. He died at Dover on 10 August 1784. Among his most satisfactory productions are some of his earlier ones, such as the full-length of the duke of Argyll, and the numerous bust-portraits of Scottish gentlemen and their ladies which he executed before settling in London. They are full of both grace and individuality; the features show excellent draughtsmanship; and the flesh-painting is firm and sound in method, though frequently tending a little to hardness and opacity. His full-length of Lady Mary Coke is remarkable for the skill and delicacy with which the white satin drapery is managed; while the portrait of his brown-eyed second wife Margaret, in the Scottish National Gallery, is described as having a sweetness and tenderness. The portrait of his wife also shows the influence of French art, which Ramsay incorporated into his work. The large collection of his sketches in the possession of the Royal Scottish Academy and the Board of Trustees, Edinburgh also show this French elegance and soft colours. Ramsay has paintings in the collection of a few British institutions including the National Gallery in London, Sheffield, Derby Art Gallery (attributed), Glasgow Museum and Newstead Abbey. According to Mario de Valdes y Cocom in 2009 on an edition of PBS Frontline, in several paintings of Queen Charlotte, Ramsay deliberately emphasised "mulatto features" which the queen supposedly inherited via descent from a 13th-century Moorish ancestor. Valdes suggests that copies of these paintings were sent to the colonies to be used by abolitionists as a de facto support for their cause. Other historians question whether the 13th-century ancestor, referred to in various places as a 'Moor' and Berber, was black African. In any event, they contend that the connection, nine and 15 generations removed, was too distant to consider Charlotte 'black' in any cultural way, as her other ancestors were all European https://en.wikipedia.org/wiki/Allan_Ramsay_(artist) Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Mikhail Tkachenko: A collection of 62 paintings (HD) Description: "Mikhail Davidovich Natarevich was born September 29, 1907, in Vitebsk, a small Belarusian town, has gone down in the history of the 20th-century art world with Chagall and Malevich. Natarevich started his artistic education in Vitebsk at the art school of Yehuda Pen, whose students included Marc Chagall, Osip Zadkine and Lazar Lissitzky. In 1934 Natarevich came to Leningrad and joined the painting department of the Leningrad Institute of Painting, Sculpture and Architecture. He studied with Semion Abugov, Alexander Savinov and Mikhail Bernshtein. In 1940 Natarevich graduated from Leningrad Institute of Painting, Sculpture and Architecture in Boris Ioganson personal art studio. His graduation work was a historical painting named Kotovsky, dedicated to the legendary hero of the Civil War in Russia. From 1941 to 1945 Natarevich served in the Great Patriotic War as a member of the Red Army. Since 1941 Michael Natarevich has participated in Art Exhibitions. He painted portraits, genre and historical paintings, landscapes, worked in oil and tempera painting. Solo Exhibitions by Michael Natarevich were in Leningrad (1981) and Saint Petersburg (2008). Natarevich was a member of the Leningrad Union of Artists since 1946. Mikhail Davidovich Natarevich died on February 23, 1979 in Leningrad in his seventy-second year. Paintings by Natarevich reside in the State Russian Museum and in art museums and private collections in Russia, China, Israel, the US, England, Japan, and throughout the world." --- 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 SUPPORT MY WORK AT: https://www.patreon.com/LearnFromMasters LIST OF ARTISTS already posted on LearnFromMasters: https://goo.gl/hri4HE --- Thank you so much for your support!
Lucian Freud was regarded by many as one of the most important painters of modern times. Matthew Cain managed to get an exclusive tour of the studio, which the public will now not get to see.
Take a walk with Bob Ross down a little lakeside path in a secluded place; you’ll delight in the discovery of a small uninhabited island. Season 29 of The Joy of Painting with Bob Ross features the following wonderful painting instructions: island in the Wilderness, Autumn Oval, Seasonal Progression, Light at the Summit, Countryside Barn, Mountain Lake Falls, Cypress Creek, Trapper’s Cabin, Storm on the Horizon, Pot O’ Posies, A Perfect Winter Day, Aurora’s Dance, and Woodman’s Retreat. Subscribe to the official Bob Ross YouTube channel - http://bit.ly/BobRossSubscribe Season 29 Playlist: https://www.youtube.com/playlist?list=PLAEQD0ULngi6c0D5_ELtW5p_NLShDktAN The Joy of Painting Season 20 is now on iTunes! - http://bit.ly/iTunesBobRoss Official Bob Ross website - http://www.BobRoss.com Official Bob Ross Twitch.tv Stream! - http://twitch.tv/BobRoss Official Bob Ross Twitter Account - https://twitter.com/bobrossofficial All episodes of Bob Ross are now live on Roku - http://bit.ly/BobRossOnRoku Originally aired on 8/24/1993
Thomas Pollock Anshutz (1851-1912) - A collection of paintings and drawings 2K HD Silent slideshow
An American painter and teacher. Co-founder of The Darby School and leader at the Pennsylvania Academy of Fine Arts, Anshutz was known for his award-winning portraiture work and working friendship with Thomas Eakins.
Thomas Anshutz was born in Newport, Kentucky in 1851. He grew up in Newport and Wheeling, West Virginia. His early art instruction took place at the National Academy of Design in the early 1870s, where he studied under Lemuel Wilmarth. In 1875, he moved to Philadelphia and took a class taught by Thomas Eakins at the Philadelphia Sketch Club, a class which would solidify a close relationship and influence between Eakins and Anshutz. In 1892 Anshutz married Effie Shriver Russell. The two spent their honeymoon in Paris, where Anshutz attended classes at Académie Julian. In 1893 they returned to Philadelphia.
Later in his life he proclaimed himself a socialist. He retired from teaching in the fall of 1911 due to poor health and died on June 16, 1912.
Eakins began teaching at the Pennsylvania Academy of the Fine Arts in 1876, the same year that Anshutz enrolled as a student. Eakins was Chief Demonstrator of Anatomy and Christian Schussele was Professor of Drawing and Painting. In 1878 Anshutz became Eakins's assistant, eventually succeeding Eakins as Chief Demonstrator when Eakins was promoted to Professor of Drawing and Painting. In 1880, while still a student, Anshutz completed his first major work, The Ironworkers' Noontime.
The Ironworkers' Noontime, Anshutz's most well known painting, depicts twenty-or-so workers on their break in the yard of a foundry. Painted near Wheeling, West Virginia, it is conceived in a naturalistic style similar to that of Eakins, although Eakins never painted industrial subjects. The piece was exhibited at the Philadelphia Sketch Club in 1881 and compared to Eakins's work by art critics. Art historian Randall C. Griffin has written of it: "One of the first American paintings to depict the bleakness of factory life, The Ironworkers' Noontime appears to be a clear indictment of industrialization. Its brutal candor startled critics, who saw it as unexpectedly confrontational—a chilling industrial snapshot not the least picturesque or sublime." It is now in the collection of the Fine Arts Museums of San Francisco.
Around 1880 Eakins became involved in photography, incorporating it into his classes and using it as a tool for his artwork. Anshutz and other students at the Academy started to make use of the camera, posing models and making prints for study. Anshutz participated in Eakins's The Naked Series, photographing nude models in seven pre-defined standing poses. He modeled for Eakins himself, along with colleagues such as J. Laurie Wallace and Covington Few Seiss, who would pose outdoors nude, often wrestling, swimming and boxing. Eadweard Muybridge eventually made his way to Philadelphia and Anshutz and Eakins helped build Muybridge's zoopraxiscope.
Eakins was forced to resign from the Academy in an 1886 scandal that was sparked by his use of a fully nude male model in front of either an all-female or a mixed-male-and-female class. Anshutz did not defend his mentor, in fact, he turned against him. Anshutz co-signed a letter to the Philadelphia Sketch Club: "We hereby charge Mr. Thoms Eakins with conduct unworthy of a gentleman & discreditable to this organization & ask his expulsion from the club".
Anshutz was promoted to Eakins's position at the Academy. Anshutz would briefly travel to Europe, focusing primarily on his teaching in Philadelphia. Numerous artists studied under Anshutz, including Elizabeth Sparhawk-Jones, George Luks, Charles Demuth, John Sloan, Charles Sheeler, Everett Shinn, John Marin, William Glackens, and Robert Henri. As a teacher, Anshutz, according to art historian Sanford Schwartz, "was known as much for his approach-ability as his sarcasm, which apparently wasn't of the withering variety."
The Anshutz family regularly vacationed in Holly Beach, New Jersey which served as a creative place for the painter. There he experimented with watercolours, bright color palette, and simple compositions. He also photographed the natural environment, utilising the images as studies for paintings, specifically Holly Beach and trips down the Delaware and Maurice rivers. Although Anshutz experimented persistently with landscape painting, he was more well known for his portraiture, which won him numerous awards in the 1890s and 1900s.