Alexis Simon Belle (1674–1734) A collection of paintings 4K Ultra HD

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Pompeo Girolamo Batoni Volume one (1708-1787) A collection of paintings 4K

Pompeo Girolamo Batoni (1708-1787) was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their Grand Tour made the artist specialized in portraits. Batoni won international fame largely thanks to his customers, mostly British of noble origin, whom he portrayed, often with famous Italian landscapes in the background. Such "Grand Tour" portraits by Batoni were in British private collections, thus ensuring the genre's popularity in the United Kingdom. One generation later, Sir Joshua Reynolds would take up this tradition and become the leading English portrait painter. Although Batoni was considered the best Italian painter of his time, contemporary chronicles mention of his rivalry with Anton Raphael Mengs. In addition to art-loving nobility, Batoni's subjects included the kings and queens of Poland, Portugal and Prussia, the Holy Roman Emperors Joseph II and Leopold II (a fact which earned him noble dignity), as well the popes Benedict XIV, Clement XIII and Pius VI, Elector Karl Theodor of Bavaria and many more. He also received numerous orders for altarpieces for churches in Italy (Rome, Brescia, Lucca, Parma, etc.), as well as for mythological and allegorical subjects. Batoni's style took inspiration and incorporated elements of classical antiquity, French Rococo, Bolognese classicism, and the work of artists such as Nicolas Poussin, Claude Lorrain and especially Raphael. As such Pompeo Batoni is considered a precursor of Neoclassicism. Batoni owed his first independent commission to the rains that struck Rome in April 1732. Seeking shelter from a sudden storm, Forte Gabrielli di Gubbio, count of Baccaresca took cover under the portico of the Palazzo dei Conservatori on the Capitoline Hill. The Gabrielli Madonna obtained general admiration and by the early 1740s Batoni started to receive other independent commissions. His celebrated painting, The Ecstasy of Saint Catherine of Siena (1743) illustrates his academic refinement of the late-Baroque style. Another masterpiece, his Fall of Simon Magus was painted initially for the St Peter's Basilica. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 1761. Batoni befriended Winckelmann and, like him, aimed in his painting to the restrained classicism of painters from earlier centuries, such as Raphael and Poussin, rather than to the work of the Venetian artists then in vogue. Commenting on Batoni, the art historians Boni and de Rossi said of Batoni and Mengs the other prominent painter in Rome during the second half of the 18th century, that Mengs was made painter by philosophy: Batoni by nature...(Batoni) was more painter than philosopher, (Mengs) more philosopher than painter. In 1741, he was inducted into the Accademia di San Luca. He was greatly in demand for portraits, particularly by the British traveling through Rome, who took pleasure in commissioning standing portraits set in the milieu of antiquities, ruins, and works of art. There are records of over 200 portraits by Batoni of visiting British patrons. Such "Grand Tour" portraits by Batoni came to proliferate in the British private collections, thus ensuring the genre's popularity in the United Kingdom, where Reynolds would become its leading practitioner. In 1760 the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". His late years were affected by declining health; he died in Rome in 1787 at the age of 79, and was buried at his parish church of San Lorenzo in Lucina. Batoni's last will executors were cardinal Filippo Carandini and James Byres, the Scottish antiquary, but the estate was insolvent and his widow was forced by the events to petition the Grand Duke of Tuscany, whom Batoni had painted in 1769, for financial assistance, offering in exchange her husband's unfinished self-portrait, today at the Uffizi in Florence. According to a rumor, before dying in Rome in 1787, he bequeathed his palette and brushes to Jacques-Louis David, to whom, full of admiration for his Oath of the Horatii, Batoni would have confessed: "Only the two of us can call themselves painters". Jacques-Louis David: coming very soon https://en.wikipedia.org/wiki/Pompeo_Batoni Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Peder Severin Krøyer (1851–1909) A collection of paintings 4K

Peder Severin Krøyer (1851-1909), professionally known as P. S. Krøyer, was a Danish painter. Krøyer was born in Stavanger, Norway, on 23 July 1851 to Ellen Cecilie Gjesdal. He was raised by Gjesdal's sister, Bertha Cecilie (born 1817) and brother-in-law, the Danish zoologist Henrik Nikolai Krøyer, after his mother was judged unfit to care for him. Krøyer moved to Copenhagen to live with his foster parents soon afterward. Having begun his art education at the age of nine under private tutelage, he was enrolled in Copenhagen's Technical Institute the following year. In 1870 at the age of 19 Krøyer completed his studies at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi), where he had studied with Frederik Vermehren. In 1873 he was awarded the gold medal, as well as a scholarship. His official debut as a painter was in 1871 at Charlottenborg with a portrait of a friend, the painter Frans Schwartz. He exhibited regularly at Charlottenborg throughout his life. In 1874 Heinrich Hirschsprung bought his first painting from Krøyer, establishing a long-standing patronage. Hirschsprung's collection of art forms the basis of the Hirschsprung Museum in Copenhagen. Travels Between 1877 and 1881, Krøyer travelled extensively in Europe, meeting artists, studying art, and developing his skills and outlook. He stayed in Paris and studied under Léon Bonnat, and undoubtedly came under the influence of contemporary impressionists – Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir and Édouard Manet. He continued to travel throughout his life, constantly drawing inspiration from foreign artists and cultures. Hirschsprung provided financial support during the early travels, and Krøyer continued exhibiting in Denmark throughout this period. In 1882 he returned to Denmark. He spent June–October at Skagen, then a remote fishing village on the northern tip of Denmark, painting themes from local life, as well as depictions of the artistic community there. He would continue to be associated with the developing art and literary scene at Skagen. Other artists at Skagen included writers Holger Drachmann, Georg Brandes and Henrik Pontoppidan, and artists Michael Ancher and Anna Ancher. Krøyer divided his time between rented houses in Skagen during the summer, a winter apartment in Copenhagen where he worked on his large commissioned portraits, and travel outside of the country. On a trip to Paris in 1888 he ran into Marie Martha Mathilde Triepcke, whom he had known in Copenhagen. They fell in love and, after a whirlwind romance, married on 23 July 1889 at her parents' home in Germany. Marie Krøyer, who was also a painter, became associated with the Skagen community, and after their marriage was often featured in Krøyer's paintings. The couple had one child, a daughter named Vibeke, born in January 1895. They were divorced in 1905 following a prolonged separation. Krøyer's eyesight failed him gradually over the last ten years of his life until he was totally blind. Ever the optimist, he painted almost to the end, in spite of health obstacles. In fact, he painted some of his last masterpieces while half-blind, joking that the eyesight in his one working eye had become better with the loss of the other eye. Krøyer died in 1909 in Skagen at 58 years of age after years of declining health. He had also been in and out of hospitals, suffering from bouts of mental illness. Krøyer's best known and best-loved work is entitled Summer Evening on Skagen's Southern Beach with Anna Ancher and Marie Krøyer (Sommeraften ved Skagen Sønderstrand med Anna Ancher og Marie Krøyer), 1893. He painted many beach scenes featuring both recreation life on the beach (bathers, strollers), and local fishermen. Another well-loved work is Midsummer Eve Bonfire on Skagen Beach (Sankthansbål på Skagen strand), 1906. This large-scale work features a great crowd of the artistic and influential Skagen community gathered around a large bonfire on the beach on Saint John's Eve (Midsummer Eve). Both of these works are in the permanent collection of the Skagens Museum which is dedicated to that community of artists, including those who gathered around Krøyer, a great organizer and bon vivant. Skagen Painters: https://www.youtube.com/playlist?list=PLA3DWLD8grG5PEjILDvKlUbLKTtnFByhm Christian Krohg (1852-1925): Coming soon Carl Locher (1851-1915): https://www.youtube.com/watch?v=mIL74ctj1-0 Laurits Tuxen (1853-1927): https://www.youtube.com/watch?v=Ryf8kThDjvA Viggo Johansen (1851-1935): https://www.youtube.com/watch?v=RGHfG1QBRtM Michael Peter Ancher (1849-1927): https://www.youtube.com/watch?v=nmxyxcIdzWs Anna Ancher (1859-1935): https://youtu.be/QCCRHQvLY-A Peder Severin Krøyer (1851–1909): This Video Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

Jan van Bijlert (1597–1671) A collection of paintings 4K

Jan Hermansz van Bijlert (1597 or 1598 – November 1671) was a Dutch painter whose style was influenced initially by Caravaggio. Jan van Bijlert was born in Utrecht, the son of the stained glass worker Herman Beernts van Bijlert. He may have had some training by his father. Subsequently he became a student of Abraham Bloemaert. Like other painters from Utrecht, he travelled in France and Italy. In 1621 he was, along with Cornelis van Poelenburch and Willem Molijn, a founding member of the circle of Dutch and Flemish artists in Rome known as the Bentvueghels. It was the custom among the Bentvueghels to adopt a nickname. Van Bijlert's nickname was "Aeneas". In 1625 he was back in Utrecht, where he married and joined the schutterij. In 1630 he became a member of the Utrecht Guild of St. Luke and the Reformed church. During the years 1632-1637 he was active as deacon of the guild, and in 1634 he was appointed regent of the Sint-Jobsgasthuis. In 1639 he helped form a painter's school, the "Schilders-College", where he served as regent. He died in Utrecht. Jan van Bijlert was a very prolific painter who left some 200 pictures. Upon his return from Rome he, like other Utrecht artists who had come under the influence of Caravaggio's work, painted in a style derived from that of Caravaggio. These Utrecht artists are referred to as the Utrecht Caravaggisti. The Caravaggesque style of van Bijlert’s early paintings shows itself in the use of strong chiaroscuro, the cutting off of the picture plane to create a close-up image and the realism of the representation. Van Bijlert continued to paint in this style throughout the 1620s. Around 1630 van Bijlert turned to a more classicising style, possibly under the influence of Cornelis van Poelenburch. His colours became lighter and his subject matter became more elevated such as religious scenes. In the 1630s he also painted compositions with small figures, usually representing genre scenes of brothels or musical gatherings. These works were similar to those of the Utrecht painter Jacob Duck. Van Bijlert also painted the portraits of eminent citizens of Utrecht such as burgomasters and nobles. His pupils included Bartram de Fouchier, Ludolf Leendertsz de Jongh, Johannes de Veer, Mattheus Wijtmans and Abraham Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1

The Pre-Raphaelites: Victorian Revolutionaries (BBC Documentary) Part 1

Alexis Simon Belle (1674-1734) was a French portrait painter, known for his portraits of the French and Jacobite nobility.

As a portrait artist, Belle's style followed that of his master François de Troy, Hyacinthe Rigaud, and Nicolas de Largillière. He was the master of the painter Jacques-André-Joseph-Camelot Aved,

The 17th day of January 1674 was baptized Simon-Alexis, son of Jean Belle, master painter, and of Anne de Champs his wife, the godfather Simon-Alexis Sourdeval, son of Guillaume Sourdeval; the godmother Marie Mercier, daughter of Louis Mercier. The godmother declared she could not sign. Louis Sourdeval, Jean Belle.

Belle studied first under his father, then continued his training in the studio of François de Troy,, a painter at the court of King James II in exile at Saint-Germain-en-Laye. He began to produce work at Saint-Germain in the years 1698 to 1701. This was a period of peace between France and Great Britain, and Jacobites could cross the English Channel carrying portraits of James Edward Stuart and his sister Princess Louisa Maria. Troy was then James II's only court painter and needed the help of Belle, his best student, to produce all the portraits ordered from him.

In August 1700, Belle won the Prix de Rome, but went on working at Saint-Germain instead of travelling to Italy.

On 12 November 1701, Belle married the miniature painter Anne Chéron, when he was described as peintre ordinaire du Roy d'Angleterre (painter in ordinary to the King of England). As King James II had died a few weeks before, this was a reference to his son James Edward, who had been proclaimed king of England, Scotland and Ireland by King Louis XIV.

Belle became the principal painter to the Jacobite court, where he and his wife settled and worked. After war broke out again between Great Britain and France in 1702, their portraits of James Edward Stuart and his sister the Princess Royal continued to be smuggled across the Channel, and Belle did other work for members of the court and for the English Augustinian convent in Paris. Several copies exist of his portrait of James Edward Stuart in armour and standing beside the English Channel, on which there are warships, pointing towards the cliffs of Dover.

Belle's most famous portrait of James Edward Stuart dates from 1712, just before he left Saint Germain for Lorraine, and shows him in a tent in a military outfit. This became the standard image of the Old Pretender and was much copied. In an engraving of the painting by François Chéreau, Belle is described as peintre de S. M. Brit. In 1713, Chéreau also engraved a portrait by Belle of Princess Louisa Maria (who had died in 1712) which is now in Sizergh Castle, Cumbria.

After the Pretender had left Saint Germain, Belle stayed there and painted some of the diplomats connected with the Treaty of Utrecht. However, in 1714 he joined James Edward's new court at Bar-le-Duc.

During the years 1716 to 1719, Belle received many commissions from Jacobites in exile after the unsuccessful rising of 1715. By then, the Old Pretender was himself living in Italy.

When Belle died in 1734, he was described as "painter to the king in his Royal Academy of Painting and Sculpture, comptroller of clergy stipends and comptroller of poultry", so his royal connections had evidently led to offices of profit under the crown.

Belle died at Paris in 1734. His funeral is again recorded in some detail in the parish register of the church of Saint-Sulpice, as quoted in Eugène Piot's Le Cabinet de l'amateur. This states that Belle was buried on 22 November 1734.

Apart from describing him as painter to the king in the Royal Academy of Painting and Sculpture, comptroller of clergy stipends and of poultry, the register entry says that Belle was the husband of Marie-Nicole Hortemels and had died at his house in the rue du Four on the previous day, 21 November. His age is given as "about 60 years, 10 months, 8 days", and it is also recorded that the funeral was attended by Clément Louis Marie Anne Belle and "N.

Belle, privately baptized, aged 7 years", sons, and by "Fréderic-Eustache-Auguste Hortemels, copperplate engraver, Denis Hortemels, bookseller, Nicolas Tardien and Charles-Nicolas Cochin, engravers to the king, both brothers-in law to the deceased".

Belle's son Clément-Louis became a history painter. When he died in 1806, he was described as "Rector of the Special School of Painting, Sculpture, Architecture and Engraving, and Professor of Design to the Imperial Manufactury of Gobelins".

https://en.wikipedia.org/wiki/Alexis_Simon_Belle

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