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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 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
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 email@example.com
Learn more about the exhibition Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance on view at the Met October 6, 2010--January 17, 2011: http://tinyurl.com/JanGossart The first major exhibition in forty-five years devoted to the Burgundian Netherlandish artist Jan Gossart (ca. 1478-1532) will bring together Gossart's paintings, drawings, and prints and place them in the context of the art and artists that influenced his transformation from Late Gothic Mannerism to the new Renaissance mode. Gossart was among the first northern artists to travel to Rome to make copies after antique sculpture and introduce historical and mythological subjects with erotic nude figures into the mainstream of northern painting. Most often credited with successfully assimilating Italian Renaissance style into northern European art of the early sixteenth century, he is the pivotal Old Master who changed the course of Flemish art from the Medieval craft tradition of its founder, Jan van Eyck (ca. 1380/90--1441), and charted new territory that eventually led to the great age of Peter Paul Rubens (1577--1640). Correction: Karen Thomas, Associate Conservator, Department of Paintings Conservation Producer and Director: Christopher Noey Editor: Kate Farrell Digital Images and Animation: Paul Caro Camera: Wayne De La Roche, Jessica Glass Sound Recording: David Raymond Production Assistants: Sarah Cowan, Robin Schwalb
On the eve of a major retrospective at Tate Modern, Gerhard Richter talks about his life and work with Nicholas Serota, Director of Tate. Spanning nearly five decades, and coinciding with the artist's 80th birthday, the exhibition Gerhard Richter: Panorama groups together significant moments of his remarkable career. Courtesy of Tate.
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.