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John White Alexander (1856-1915) A collection of paintings 4K Ultra HD Silent Slideshow American portrait, figure, and decorative painter and illustrator. Alexander was born in Allegheny, Pennsylvania, now a part of Pittsburgh, Pennsylvania. Orphaned in infancy, he was reared by his grandparents and, at the age of 12, became a telegraph boy in Pittsburgh. Edward J. Allen became an early supporter and patron of John W. Alexander, adopting the orphaned Alexander while he worked at the Pacific and Atlantic Telegraph Co. as a young man. Allen brought Alexander to the Allen home at "Edgehill" where Alexander painted various members of the Allen family, including Colonel Allen. His talent at drawing attracted the attention of one of his employers, who assisted him to develop them. He moved to New York City at the age of eighteen and worked in an office at Harper's Weekly, where he was an illustrator and political cartoonist at the same time that Abbey, Pennell, Pyle, and other celebrated illustrators worked there. After an apprenticeship of three years, he travelled to Munich for his first formal training. Owing to the lack of funds, he removed to the village of Polling, Bavaria, and worked with Frank Duveneck. They travelled to Venice, where he profited by the advice of Whistler, and then he continued his studies in Florence, the Netherlands, and Paris. In 1881 he returned to New York and speedily achieved great success in portraiture, numbering among his sitters Oliver Wendell Holmes, John Burroughs, Henry G. Marquand, R. A. L. Stevenson, and president McCosh of Princeton University. Alexander was married to Elizabeth Alexander Alexander, to whom he was introduced in part because of their shared last name. Elizabeth was the daughter of James Waddell Alexander, President of the Equitable Life Assurance Society at the time of the Hyde Ball scandal. The Alexanders had one child, the mathematician James Waddell Alexander II. Many of his paintings are in museums and public places in the United States and in Europe, including the Metropolitan Museum of Art, the Brooklyn Art Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston, the Butler Institute, and the Library of Congress in Washington D.C. In addition, in the entrance hall to the Art Museum of the Carnegie Institute in Pittsburgh, a series of Alexander's murals entitled "Apotheosis of Pittsburgh" (1905–1907) covers the walls of the three-storey atrium area. Alexander's Artist Proof of his portrait of Whitman, signed by the artist in April 1911, is in the Walt Whitman Collection at the University of Pennsylvani. https://en.wikipedia.org/wiki/John_White_Alexander
Jos Ferraz de Almeida (1850-1899) A collection of paintings & drawings 4K Ultra HD Silent Slideshow / Screensaver Commonly known as Almeida Júnior, was a Brazilian artist and designer; one of the first there to paint in the Realistic tradition of Gustave Courbet and Jean-François Millet. The "Dia do Artista Plástico" (Day of Fine Artists in Brazil) is celebrated on his birthday. His art career began while he was working as a bell-ringer at the church of "Our Lady of Candelária" and created some small works on religious themes. The head priest there was sufficiently impressed to hold a fundraiser, so Júnior could go to Rio de Janeiro and take formal art lessons. In 1869, he enrolled at the Academia Imperial de Belas Artes, where he studied with Victor Meirelles and Pedro Américo. His simple, country speech and manners reportedly were the source of much interest and, one might suppose, amusement. After graduating, he chose not to compete for a travel award to Europe, returning instead to Itu, and setting up a studio. He was apparently destined to see Europe, however. In 1876, during a tour of the São Paulo region, Emperor Pedro II saw Júnior's work, was impressed, and personally offered his financial support. Later that year, a Royal Decree awarded Júnior 300 Francs per month (USD $60/month) for the purpose of studying in Paris. He soon settled in Montmartre and enrolled at the École des Beaux-Arts, becoming one of the many students of Alexandre Cabanel. While there, he participated in four of the Salons. He remained in Paris until 1882 then, after a brief trip to Italy, returned to Brazil and exhibited the works he had created during his absence. The following year, he opened a studio in São Paulo and gave lessons. He also held exclusive art exhibitions and executed portraits of notable people, ranging from coffee barons to Republican politicians. In 1884, he held a showing at the "Exposição Geral de Belas Artes" and was made a Knight in the Order of the Rose A year later, Victor Meirelles offered to give Júnior his position as Professor of History Painting at the Academy, but Júnior refused the offer, preferring to stay in São Paulo. From 1887 to 1896, he made three more trips to Europe. During this period, he would increasingly turn from Biblical and historical works in favor of regionalist themes, depicting the everyday life of the "caipiras" and leaving the Academic style behind while gradually approaching Naturalism. Despite these changes, his reputation at the Academy remained unchallenged and he received the Gold Medal there in 1898. https://en.wikipedia.org/wiki/Jos%C3%A9_Ferraz_de_Almeida_J%C3%BAnior
Fasi esecutive del restauro di un dipinto ad olio su tela 2013 .............................................................................................................. Hey there! Hi People! We're in 2017 now , how many people have seen this video in this years ! How many comment , how many compliments, how many judjment and...verdict. And thank you all to have enjoyed my video and my restoration ! I leave everyone to express what they think and I'm sorry I will not respond to all. I just say here that this was one of my first work done only by myself, one of my first very difficult restoration of oil paint on canvas . Well, yes maybe is not perfect, now after 4 years I'm sure I would do differently choises about this work . Everyone evolving their self and they're knowledge a long the way , and this is possible only whit esperiences , practice and hard work . I'm a restorer I love so much my work , and I will always practice for do always better than before. If you're courious to see how I improved my technique in this years ..well you're welcome in my site and website . Love, Emma Link: http://dipintodinuovo.tumblr.com/ https://www.facebook.com/dipinto.dinuovo firstname.lastname@example.org
The Three Mary's at the Tomb surfaced around 1850 in Antwerp. Immediately it was attributed to Jan van Eyck. But at the major exhibition of Flemish primitives that was held in Bruges in 1902, it was presented as the only surviving painting by Hubert van Eyck, Jan's mysterious elder brother. Since the Second World War, there has been doubt: Jan? Hubert? Or perhaps some other painter? In the run-up to the major exhibition The Road to Van Eyck in Museum Boijmans Van Beuningen, The Three Mary's at the Tomb was examined once more and restored by Annetje Boersma and Eva van Zuien. This video shows the restoration process and the findings of the restorers about the composition of the paint and the working method of the painter. In addition, curator Friso Lammertse sets out on an investigation; he visits three locations that have played an important role in the history of the painting: Vierhouten, Richmond and Bruges. He is confronted with some unexpected surprises. Also see the ARTtube video Everything is strange about this painting, about the restoration of The Three Mary's at the Tomb: www.ARTtube.nl This video was made on the occasion of the exhibition The Road to Van Eyck, on show in Museum Boijmans Van Beuningen from October 13, 2012 to February 10, 2013.
Denis van Alsloot (1570-1626) - A collection of paintings and drawings 2K HD. Silent slideshow.
Flemish landscape and genre painter, draughtsman and tapestry designer. He was employed as a court painter and worked for the local elite in Brussels. He is considered to be a member of the Sonian Forest school of landscape painters, which included landscape painters such as Jacques d'Arthois and Cornelis Huysmans. These painters working in Brussels had a preference for depicting scenes from the Sonian Forest near Brussels. Van Alsloot was also a specialist in depicting civil processions, local festivals and ceremonies.
Alsloot was born in Mechelen or possibly Brussels. His father was a tapestry worker. It is not known who was his teacher. He is first recorded in official records when he joined the Brussels Guild of St Luke in 1599. He also took his first pupil in 1599. He trained a further three apprentices between 1599 and 1625.
Alsloot's career started to take off from the early 17th century after he was appointed court painter to Albert and Isabella, the governors of the Spanish Netherlands. He became a painter to the elite and served a clientele of princes, courtesans and influential state officials.
He was still alive in 1626 as is testified by a painting dated in that year. He must have died in or before 1628 as two works he had left as inheritance to a niece were bought in 1628 by the Archduchess Isabella.
Van Alsloot started out in the same profession as his father as a designer of cartoons for the local tapestry works in Brussels. In 1603 he designed a series of tapestries of Grotesques for the Archdukes.
His painting career seems to have started around 1606. He mainly painted landscapes and scenes of local festivals and ceremonies. His work can be regarded as transitory in the development of landscape art in the early 17th century. All his known dated works were made in Brussels between 1606 and 1626. He often signed his works with the addition of 'S.A.Pic.'. This is short for 'Serenissorum Archiducum Pictor', a reference to his official position as a court painter to Archduke Albert and Archduchess Isabella.
Van Alsloot painted topographically accurate as was as imaginary landscapes, including summer and winter landscapes. Like later landscape painters in Brussels such as Lucas Achtschellinck, Lodewijk de Vadder and Jacques d'Arthois, van Alsloot drew inspiration from the Sonian Forest near Brussels. His forested landscapes often incorporate views of castles and abbeys located in the Sonian Forest near Brussels. As van Alsloot's works are generally topographically accurate, it is possible to identify places that still survive, especially near the abbeys of Groenendael and Ter Kameren. His series of views of the abbeys in the Sonian Forest was presumably made on commission for the Archduke Albert. He painted several versions of the winter view of Groenendael, all with differences as well as a few summer views.