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Sir Arthur Ernest Streeton (8 April 1867 – 1 September 1943) was an Australian landscape painter and leading member of the Heidelberg School, also known as Australian Impressionism. Streeton was born in Duneed, Victoria, south-west of Geelong, on 8 April 1867 the fourth child of Charles Henry and Mary (née Johnson) Streeton. His family moved to Richmond in 1874. His parents had met on the voyage from England in 1854. In 1882, Streeton commenced art studies with G. F. Folingsby at the National Gallery School. Streeton was influenced by French Impressionism and the works of J.M.W. Turner. During this time he began his association with fellow artists Frederick McCubbin and Tom Roberts – at Melbourne including at Box Hill and Heidelberg. In 1885 Streeton presented his first exhibition at the Victorian Academy of Art. He found employment as an apprentice lithographer under Charles Troedel. Along with other members of the Chelsea Arts Club, including Tom Roberts, he joined the Royal Army Medical Corps (British Army) at the age of 48. He worked at the 3rd London General Hospital in Wandsworth and reached the rank of corporal. Streeton was made an Australian Official War Artist with the Australian Imperial Force, holding the rank of Honorary Lieutenant, and he travelled to France on 14 May 1918 and was attached to the 2nd Division, receiving his movement order on 8 May 1918. He worked in France, with a break in August, until October 1918. Expected by the Commonwealth to produce sketches and drawings that were "descriptive", Streeton concentrated on the landscape of the scenes of war and did not attempt to convey the human suffering. Unlike the more famous military art depicting the definitive moments of battle, Streeton produced "military still life", capturing the everyday moments of the war. Streeton explained what was at that time an unconventional point of view – a perspective which was based in experience: “ True pictures of battlefields are very quiet looking things. There's nothing much to be seen, everybody and thing is hidden and camouflaged. ” Two paintings from this period – Villers Bretonneux (1918) and Boulogne – (1918) are in the collection of the Art Gallery of New South Wales. Later years After the war, Streeton resumed painting in the Grampians and Dandenong Ranges. Streeton built a house on five acres (20,000 m²) at Olinda in the Dandenongs where he continued to paint. He won the Wynne Prize in 1928 with Afternoon Light, Goulburn Valley. He was an art critic for The Argus from 1929 to 1935 and in 1937 was knighted for services to the arts. He married Esther Leonora Clench, a Canadian violinist, in 1908. Streeton died in September 1943. He is buried at Ferntree Gully cemetery. Streeton's works appear in many major Australian galleries and museums, including the National Gallery of Australia and state galleries, and the Australian War Memorial. In September 2015, Streeton's Coogee clifftop landscape The Blue Pacific (1890) became the first painting by an Australian artist, and only the second painting by a Western artist outside Europe, to hang in the permanent collection of the National Gallery, London. It sits alongside major impressionist works by Claude Monet and Édouard Manet. https://en.wikipedia.org/wiki/Arthur_Streeton Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
A new Film by Eric Minh Swenson Los Angeles… Hauser & Wirth Los Angeles is honored to present ‘Takesada Matsutani,’ the first Los Angeles solo exhibition for the Osaka-born, Paris-based artist Takesada Matsutani. Opening 1 July 2017 and coinciding with the debut of his commissioned works at the 2017 Venice Biennale, ‘Takesada Matsutani’ is an illuminating survey that spans the artist’s career, which began with his participation in the Gutai Art Association and evolved to express the complexities of a life lived between Japan and France. The exhibition features 23 works from three distinct periods: 1960s Gutai-era pieces never before shown outside of Japan, one of the artist’s largest installations from 1983, and a new pre-figuration of his 2017 Venice Biennale project amongst the geometric and colorful works from the 1970s. Organized with Olivier Renaud-Clément, this exhibition offers an expansive look at Matsutani’s unique visual language of form and materials. His paintings, drawings, and sculptures engage themes of the eternal and echo the endless cycles of life and death, revealing the influence of the ethos of Gutai on the artist’s early experimentation and its lasting impact today. The exhibition will also include a site-specific floor work, continuing a long-standing performative aspect of artist’s practice. Matsutani will create this piece in the South gallery of Hauser & Wirth Los Angeles. The exhibition will remain on view through 17 September 2017. For more info on Eric Minh Swenson visit his website at thuvanarts.com. His art films can be seen at thuvanarts.com/take1 Instagram : @ericminhswenson Eric Minh Swenson also covers the international art scene and his writings and photo essays can be seen at Huffington Post Arts : http://m.huffpost.com/us/author/eric-minh-swenson/
A fantastic 2001 documentary, with a huge chunk exploring Vermeer's compositional methods and techniques. Narrated by Meryl Streep My rebuttal to Tim's Vermeer: It's obvious that Vermeer played around with a camera obscura, but the more likely explanation is that he became so familiar with its optical distortion that he 'became' a camera obscura (he adopted its way of seeing as his aesthetic). The placement of his pointillist highlights on the bread in the Milkmaid (for example) is like a how a camera obscura would place highlights on a highly reflective object, but NEVER a loaf of bread. He placed them there because he was creating it in his imagination to look how shinier objects would look through a camera obscura, because he consciously enjoyed the effect of it and created it thus. If Vermeer were dependent on a bulky optical device he would never have painted the View of Delft -- a massive outdoor landscape scene that was certainly created at home. It was generally impossible before the advent of tubed paint to work alla prima outside, and if the camera obscura were a trade secret he would have never have risked using it in public. Vermeer worked it up (along with the 'Little Street') from drawings and returned to the studio to make it. Vermeer painted all of his interiors in the same room of his small house in Delft, yet the windows, the floor, the walls etc. always look different. Why? Because he was creating them in his head to look like a camera obscura, but not slavishly with a camera obscura. Finally, X rays of Vermeer's paintings show that he reworked the placement of things over and over -- meaning he was building from imagination, not directly from an optical device.
The 100 Best Paintings by Painters posted in 2016 | LearnFromMasters (HD) Description: This is a retrospection of my activity last year, it represent 100 best paintings by painters i ever posted in 2016. --- 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 --- Thanks for all support, and Happy New Year!
Leonardo da Vinci: A collection of 148 paintings (HD) Description: "Da Vinci was one of the great creative minds of the Italian Renaissance, hugely influential as an artist and sculptor but also immensely talented as an engineer, scientist and inventor. Leonardo da Vinci was born on 15 April 1452 near the Tuscan town of Vinci, the illegitimate son of a local lawyer. He was apprenticed to the sculptor and painter Andrea del Verrocchio in Florence and in 1478 became an independent master. In about 1483, he moved to Milan to work for the ruling Sforza family as an engineer, sculptor, painter and architect. From 1495 to 1497 he produced a mural of 'The Last Supper' in the refectory of the Monastery of Santa Maria delle Grazie, Milan. Da Vinci was in Milan until the city was invaded by the French in 1499 and the Sforza family forced to flee. He may have visited Venice before returning to Florence. During his time in Florence, he painted several portraits, but the only one that survives is the famous 'Mona Lisa' (1503-1506). In 1506, da Vinci returned to Milan, remaining there until 1513. This was followed by three years based in Rome. In 1517, at the invitation of the French king Francis I, Leonardo moved to the Château of Cloux, near Amboise in France, where he died on 2 May 1519. The fame of Da Vinci's surviving paintings has meant that he has been regarded primarily as an artist, but the thousands of surviving pages of his notebooks reveal the most eclectic and brilliant of minds. He wrote and drew on subjects including geology, anatomy (which he studied in order to paint the human form more accurately), flight, gravity and optics, often flitting from subject to subject on a single page, and writing in left-handed mirror script. He 'invented' the bicycle, airplane, helicopter, and parachute some 500 years ahead of their time. If all this work had been published in an intelligible form, da Vinci's place as a pioneering scientist would have been beyond dispute. Yet his true genius was not as a scientist or an artist, but as a combination of the two: an 'artist-engineer'. His painting was scientific, based on a deep understanding of the workings of the human body and the physics of light and shade. His science was expressed through art, and his drawings and diagrams show what he meant, and how he understood the world to work." --- 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 --- Thanks for all support!
Auguste Toulmouche (September 21, 1829 – October 16, 1890) was a French painter known for his luxurious portraits of Parisian women.
Auguste Toulmouche was born in Nantes to Émile Toulmouche, a well-to-do broker, and Rose Sophie Mercier. He studied drawing and sculpture locally with the sculptor Amédée Ménard and painting with the portraitist Biron before moving to Paris in 1846 to study with the painter Charles Gleyre.
He was said to be one of Gleyre's favored students, and he exhibited his first paintings at the Paris Salon in 1848 when he was just 19.
He exhibited again in 1849 and 1850, by which time he has begun to specialize in portraits.
Toulmouche painted in an idealizing version of the dominant academic realist style, and his subjects were frequently Parisian women who belonged to the upper bourgeoisie.
His work was popular in both France and America, and the emperor Napoleon III bought one of his portraits, La fille (The Girl), for his future empress Eugénie in 1852, with further purchases by the imperial family the following year confirming Toulmouche's status as a fashionable painter.
He was generally approved by critics, winning medals at the Paris Salon in 1852 and 1861, and he was made a Chevalier of the Legion of Honor in 1870.
During his heyday, his reputation was comparable to that of artists like Alfred Stevens and Carolus-Duran. However, with their emphasis on sumptuous clothing and richly furnished domestic interiors, his paintings were also dismissed by some critics as "elegant trifles", and the writer Émile Zola referred somewhat dismissively to the "delicious dolls of Toulmouche".
With the rise of Impressionism in the 1870s, his popularity suffered a decline from which it never recovered.
By his 1861 marriage to Marie Lecadre, daughter of Nantes lawyer Alphonse Henri Lecadre, Toulmouche became a cousin by marriage of the painter Claude Monet. Toulmouche sent the young Monet to study with Gleyre.
In 1870, Toulmouche joined one of the battalions defending Paris against the German invasion in the Franco-Prussian War. After the war ended, he spent more time at the Abbey of Blanche Couronne near Nantes, which was part of a large estate inherited by his wife on the death of her father.
He built a workshop on the abbey grounds and invited many Parisian friends to spend time there, including Geneviève Halévy, José-Maria de Heredia, Paul Baudry, Elie Delaunay, Ernest Reyer, and the young Ignacy Jan Paderewski.
Toulmouche died suddenly in Paris following an episode of syncope, and he is buried at Montparnasse Cemetery.
Much of his work is still in private collections, but the Louvre, the Museum of Fine Arts, Boston, the Sterling and Francine Clark Art Institute, and the Musée des Beaux-Arts, Nantes, hold examples of his
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