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Lovell Birge Harrison (1854-1929) was an American genre and landscape painter, teacher, and writer. He was a prominent practitioner and advocate of Tonalism. Born in Philadelphia, Birge Harrison was the brother of artist T. Alexander Harrison. He studied first at the Pennsylvania Academy of the Fine Arts in 1874, and later credited Thomas Eakins as a positive influence on his own teaching style. He then went to Paris on the advice of John Singer Sargent to study with Carolus-Duran and at the École des Beaux-Arts under Cabanel. In 1881 Harrison exhibited at the Paris Salon, and in 1882 his Salon entry, Novembre, became one of the first paintings by an American artist to be purchased by the French government. Discussing the painting years later Harrison attributed its handling to "A Scandinavian painter (who) had shown me the secret of atmospheric painting....and....the importance of vibration and refraction in landscape painting." The paintings of this period included peasant subjects that showed the influence of Jules Bastien-Lepage. The limited palette and wistful mood of the early works would continue to be distinguishing features of Harrison's later landscape paintings. Harrison met the Australian painter Eleanor Ritchie in the course of his summer landscape travels; they married and returned to America, where he began to exhibit annually at the National Academy of Design, and after 1889 at the Pennsylvania Academy of the Fine Arts. Temporarily forced to stop painting on account of ill health, he spent considerable time between 1889 and 1893 traveling in Australia, the South Seas, and New Mexico, and wrote and illustrated articles for publication. In 1891 Harrison and his wife moved to California, but after her death in 1895 while expecting their first child, Harrison remarried and moved to Plymouth, Massachusetts, where he became a leader of the Tonalist school. He then relocated again, this time to Woodstock, New York at the turn of the century where he founded a school based on his experiments in Tonalism. In 1906 Harrison helped found the Art Students League Summer School in Woodstock, where his pupils would include his niece, the architect and painter Margaret Fulton Spencer. He became known especially for his paintings of landscapes in the snow. Harrison received numerous prizes and medals, including the gold medal at the Pennsylvania Academy of the Fine Arts in 1910. He became a member of the National Academy of Design in 1910, National Institute of Arts and Letters, New York Watercolor Club, Society of American Artists, and was director of the landscape school of the Art Students League. In 1909 Harrison's lectures were published in a book entitled Landscape Painting; the book was cited as "a standard work for students, and was referred to as "a fine commentary on the technique of the craft." According to art historian William H. Gerdts, Harrison was then "the leading writer in America on contemporary landscape painting." Harrison's writing reveals an interest in the retinal perception of color, and in tonal harmony; he believed that the term Impressionism was descriptive not merely of the recent movement in French painting, but referred to any work done "honestly and sincerely" before nature. Harrison's painting exemplified the lessons he taught, emphasizing the practice of open-air observation rather than technical facility. Harrison's pupils included Mary Gine Riley and Florence Thaw. Download: Landscape Painting By Birge Harrison PDF: https://ia800403.us.archive.org/19/items/landscapepaintin00harr/landscapepaintin00harr.pdf ePub: https://archive.org/download/landscapepainti01harrgoog/landscapepainti01harrgoog.epub Download: Uniting Man and Nature in Paint Lovell Birge Harrison, The Early Years (1881 to 1896) https://www.americanlegacyfinearts.com/wp-content/uploads/2010/06/Birge-Harrison_Spring2010.pdf https://en.wikipedia.org/wiki/L._Birge_Harrison Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Akiane Kramarik is a child and teenage prodigy, she has become a self-made millionaire by selling her incredible paintings from the early age of 5. Akiane, paints from her visions of Jesus Christ which she claims speaks to her. Click here to subscribe to the channel: https://goo.gl/Ro2hdY Follow us on Facebook - https://www.facebook.com/OnlyHumanChannel/ Follow us on Instagram - https://www.instagram.com/onlyhumanchannel/ Follow us on Twitter - https://twitter.com/onlyhuman_OFF Produced by ITV
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 Originally aired on 8/24/1993
www.lartenboite.com Ma caméra et moi avons une chance exceptionnelle !!! Nous venons de passer 31 jours dans l'intimité de l'atelier du peintre Jean-Jacques PIGEON. Une expérience marquante que je vous invite à partager avec cet essai filmique mis en musique par Quentin CHEVRIER. Une production L'art en boîte.
Dieric Bouts (ca. 1415-1475) was an Early Netherlandish painter. Very little is known about Bouts' early life, but he was greatly influenced by Jan van Eyck and by Rogier van der Weyden, under whom he may have studied. He is first documented in Leuven in 1457 and worked there until his death in 1475. Bouts was among the first northern painters to demonstrate the use of a single vanishing point (as illustrated in his Last Supper). His work has a certain primitive stiffness of drawing, and his figures are often disproportionately long and angular, but his pictures are highly expressive, well designed and rich in colour, with especially good landscape backgrounds. Bouts' earliest work is the Triptych of the Virgin's Life in the Prado (Madrid), dated to about 1445. The Deposition Altarpiece in Granada (Capilla Real) probably also dates to this period, around 1450–60. A dismembered canvas altarpiece—now in the Royal Museums of Fine Arts of Belgium (Brussels), the J. Paul Getty Museum (Los Angeles), National Gallery (London), Norton Simon Museum (Pasadena), and a Swiss private collection—with the same dimensions as the Altarpiece of the Holy Sacrament may belong to this period. The Louvre Lamentation (Pietà) is another early work. The Last Supper is the central panel of Altarpiece of the Holy Sacrament, commissioned from Bouts by the Leuven Confraternity of the Holy Sacrament in 1464. All of the central room's orthogonals (lines imagined to be behind and perpendicular to the picture plane that converge at a vanishing point) lead to a single vanishing point in the center of the mantelpiece above Christ's head. However the small side room has its own vanishing point, and neither it nor the vanishing point of the main room falls on the horizon of the landscape seen through the windows. The Last Supper is the second dated work (after Petrus Christus' Virgin and Child Enthroned with St. Jerome and St. Francis in Frankfurt, dated 1457) to display an understanding of Italian linear perspective. Scholars also have noted that Bouts Last Supper was the first Flemish panel painting to depict the Last Supper. In this central panel, Bouts did not focus on the biblical narrative itself but instead presented Christ in the role of a priest performing the consecration of the Eucharistic host from the Catholic Mass. This contrasts strongly with other Last Supper depictions, which often focused on Judas's betrayal or on Christ's comforting of John. Bouts also added to the complexity of this image by including four servants (two in the window and two standing), all dressed in Flemish attire. Although once identified as the artist himself and his two sons, these servants are most likely portraits of the confraternity members responsible for commissioning the altarpiece. The Last Supper was the central part of the altarpiece in the St. Peter's Church, Leuven. The Altarpiece of the Holy Sacrament has four additional panels, two on each side. Because these were taken to the museums in Berlin and Munich in the 19th century, the reconstruction of the original altarpiece has been difficult. Today it is thought that the panel with Abraham and Melchizedek is above the Passover Feast on the left wing, while the Gathering of the Manna is above Elijah and the Angel on the right wing. All of these are typological precursors to the Last Supper in the central panel. After attaining the rank of city painter of Leuven in 1468, Bouts received a commission to paint two more works for the Town Hall. The first was an altarpiece of the Last Judgment (1468–70), which exists today only in the two wings with the Road to Paradise and the Fall of the Damned in the Musée des Beaux-Arts, Lille (France), and a fragmentary Bust of Christ from the central panel in the Nationalmuseum, Stockholm. After this, he turned to the larger commission for the Justice Panels (1470–75), which occupied him until his death in 1475. He completed one panel and began a second, both depicting the life of the 11th-century Holy Roman Emperor Otto III. These pieces can now be seen in the Brussels museum. The remaining two Justice Panels were never completed. Bouts was married twice and had four children. His two daughters went to convents, and his two sons became painters who carried the Bouts workshop into the mid-16th century. Little is known of the elder son, Dieric the Younger, although he appears to have continued in his father's style until his early death in 1491. The younger brother, Aelbrecht (or Albert), did likewise, but in a style that is unmistakably his own. His distinctive work propelled Boutsian imagery into the 16th century. Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Adrien de Braekeleer (1818-1904) A collection of paintings 4K Ultra HD Silent Slideshow
A Belgian painter who specialised in genre scenes .
He was a cousin and student of the painter Ferdinand De Braekeleer Sr. (1792-1883). To avoid name confusion with his uncle, he used the name Adriaan. He opted for an artistic career that might have been encouraged by the successful example of his uncle and the favorable perspectives that this profession offered him. His brother Jacobus Joannes De Braekeleer became a sculptor.
He painted genre scenes , mainly interiors of inns, kitchens and workshops such as smudges. His oeuvre is situated within romantic realism.
When on 7 July 1868 a tiger escaped from the Antwerse zoo, it was shot by Adriaan de Braekeleer. The artist made a painting of this heroic deed that is kept in the Zoo.