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Anders Leonard Zorn (1860-1920) was one of Sweden's foremost artists. He obtained international success as a painter, sculptor, and etcher. Among Zorn's portrait subjects were King Oscar II of Sweden, and three American Presidents, Grover Cleveland, William H. Taft, and Theodore Roosevelt. At the end of his life, he established the Swedish literary Bellman Prize in 1920. Zorn was born and raised on his grandparents' farm in Yvraden, a hamlet near the village of Utmeland in the parish of Mora, Dalarna. He studied until the age of twelve in the school at Mora Strand before progressing in the autumn of 1872 to a secondary grammar school in Enköping. From 1875 to 1880 Zorn studied at the Royal Swedish Academy of Arts in Stockholm, where he amazed his teachers with his talent. Members of Stockholm society approached him with commissions. This was how Zorn met his wife, Emma Lamm, early in 1881. Her background was different from Zorn's. Coming from a wealthy Jewish merchant family, she was interested in art and culture. Zorn traveled extensively to London, Paris, the Balkans, Spain, Italy and the United States, becoming an international success as one of the most acclaimed painters of his era. It was primarily his skill as a portrait painter that gained Zorn international acclaim based principally upon his incisive ability to depict the individual character of his model. His subjects included three American Presidents, one of whom was Grover Cleveland in 1899, as well as his wife, along with William H. Taft and Theodore Roosevelt. At 29, he was made a Chevalier de la Légion d'honneur at the Exposition Universelle 1889 Paris World Fair. In 1886, Anders Zorn and his wife Emma, bought land close to Mora church and here they moved a cottage from his maternal grandfather's farm. When Anders and Emma Zorn decided to return to Sweden after several years abroad, they began to enlarge the cottage. Zorngården was completed in 1910. Zorngården remains today much as it was at the time of Emma Zorn's death in 1942. It is a fine example of an artist's home from the turn of the century. With inspiration from English and Swedish architecture, it is today an excellent example of the architectural freedom that characterizes the years around 1900. Zorn's art made him wealthy and he was thus able to build up a considerable collection of art. The objects were not only bought in his native country but also during the many travels he made abroad. In their joint will, Anders and Emma Zorn donated their entire holdings to the Swedish State. Some of his most important works can be seen at the National Museum of Fine Arts (Swedish: Nationalmuseum) in Stockholm. Among them is Midsummer Dance (1897), a depiction of dancers in the evening light of a rural Midsummer's Eve celebration. Other museums holding major works by Zorn include the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts, Boston. The Zorn Collections (Swedish:Zornsamlingarna) located in Mora and Garberg, Älvdalen, consist of four museums dedicated to the life and works of Anders Zorn. The main museum - Zornmuseet - was designed by Ragnar Östberg and opened in 1939. Shown there are extensive works of Zorn and his collected art by Rembrandt Harmensz van Rijn, 'The Hovingham Master' (Poussin's follower), Bruno Liljefors, Albert Edelfelt, and Pehr Hilleström. Zorn is also famous for his nude paintings. His fondness of painting full-figured women gave rise to the terms Zorn's kulla or dalakulla, an unmarried woman or girl from Dalecarlia, as the women were called in the local dialect of the region Zorn lived. Zorn is known to use a basic color palette consisting of Lead White, Yellow Ochre, Vermilion and Ivory Black. This limited color palette shows tremendous range in terms of color mixing. A large variety of tonal ranges are possible to mix and considered as a very important development for portrait painting. However, the color palette can also be used in still life and landscape painting under certain circumstances. Most striking aspect is that a kind of an olive green color is possible to obtain by mixing Ivory Black and Yellow Ochre as Ivory Black is bluish in nature. However, the notion that Zorn used only these four colors is untrue. His paintings show the use of other auxiliary colors wherever needed. https://en.wikipedia.org/wiki/Anders_Zorn Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
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Conservator Nicole Ryder explains the process of conserving the Gallery's portrait of King Edward VI. The portrait goes on display as part of The Real Tudors: Kings and Queens Rediscovered at the National Portrait Gallery, London, from 12 September 2014 to 1 March 2015. Find out more about the conservation project, supported by Bank of America Merrill Lynch: http://ow.ly/xSer8
Founded in 1870, the Metropolitan Museum of Art in New York City is a three dimensional encyclopedia of art history. Produced for Public Television by Great Museums TV. For more information, visit http://greatmuseums.org.
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.
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