Denis van Alsloot (1570-1626) - A collection of paintings & drawings 2K Ultra HD Silent Slideshow

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Baumgartner Fine Art Restoration

ReMade in Chicago, Baumgartner Restoration is a second-generation art conservation studio in Chicago. Follow Julian as he completely restores a damaged painting. Baumgartner Restoration Instagram - Baumgartner Restoration Website - Support Chicago Aussie Painting - Self-portrait by Emma Gaggiotti Richards Music - Evolving Dawn by Paul Mottram Follow me Twitter - Facebook - Instagram - Film by the Chicago Aussie

1/4 The madness of Vermeer - Secret Lives of the Artists First broadcast: 2003. Johannes Vermeer is one of our favourite painters, with his Girl with a Pearl Earring now deemed the 'Mona Lisa of the North'. But little is known about his life and for almost two centuries he was lost to obscurity. Andrew Graham-Dixon, travelling to Vermeer's hometown of Delft and a dramatic Dutch landscape of huge skies and windmills, embarks on a detective trail to uncover the life of a genius in hiding. Renowned for painting calm and beautiful interiors, the real life of Vermeer was marred by crime and violence. His life was a bid to escape the privations of his family and yet even a glamorous marriage and artistic success failed to save him from the fate he dreaded more than any other.

Bob Ross - Island in the Wilderness (Season 29 Episode 1)

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 - Season 29 Playlist: The Joy of Painting Season 20 is now on iTunes! - Official Bob Ross website - Official Bob Ross Stream! - Official Bob Ross Twitter Account - All episodes of Bob Ross are now live on Roku - Originally aired on 8/24/1993

Frank Stella - 1972

Frank Stella (born May 12, 1936) is an American painter and printmaker. He is a significant figure in minimalism and post-painterly abstraction. He was born in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he painted, influenced by the abstract expressionism of Jackson Pollock and Franz Kline, and majored in history. Stella moved to New York in 1958 after his graduation. He is one the most well-regarded postwar American painters who still works today. Frank Stella has reinvented himself in consecutive bodies of work over the course of his five-decade career. pon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the "flatter" surfaces of Barnett Newman's work and the "target" paintings of Jasper Johns. He began to produce works which emphasized the picture-as-object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world. Stella married Barbara Rose, later a well-known art critic, in 1961. This was a departure from the technique of creating a painting by first making a sketch. This new aesthetic found expression in a series of paintings, the Black Paintings (60) in which regular bands of black paint were separated by very thin pinstripes of unpainted canvas. Die Fahne Hoch! (1959) is one such painting. It takes its name ("The flag on high" in English) from the first line of the Horst-Wessel-Lied, the anthem of the National Socialist German Workers Party, and Stella pointed out that it is in the same proportions as banners used by that organization. In any case, its emotional coolness belies the contentiousness its title might suggest, reflecting this new direction in Stella's work. Stella's art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in "Three Young Americans" at the Allen Memorial Art Museum at Oberlin College, as well as in "Sixteen Americans" at the Museum of Modern Art in New York (60). Stella joined dealer Leo Castelli's stable of artists in 1959. From 1960 he began to produce paintings in aluminum and copper paint which, in their presentation of regular lines of color separated by pinstripes, are similar to his black paintings. However they use a wider range of colors, and are his first works using shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T-shapes. These later developed into more elaborate designs, in the Irregular Polygon series (67), for example. Also in the 1960s, Stella began to use a wider range of colors, typically arranged in straight or curved lines. Later he began his Protractor Series (71) of paintings, in which arcs, sometimes overlapping, within square borders are arranged side-by-side to produce full and half circles painted in rings of concentric color. These paintings are named after circular cities he had visited while in the Middle East earlier in the 1960s. The Irregular Polygon canvases and Protractor series further extended the concept of the shaped canvas. Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. Stella produced a series of prints during the late 1960s starting with a print called Quathlamba I in 1968. Stella's abstract prints in lithography, screenprinting, etching and offset lithography (a technique he introduced) had a strong impact upon printmaking as an art.n 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella's work in 1970, making him the youngest artist to receive one. During the following decade, Stella introduced relief into his art, which he came to call "maximalist" painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. After introducing wood and other materials in the Polish Village series (73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism [more] became baroque, marked by curving forms, Day-Glo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house.

How to paint like Mark Rothko – No. 16 (Red, Brown, and Black) (1958) | IN THE STUDIO

Learn how to paint like artist Mark Rothko, a major figure of the New York School in the decades following the Second World War. MoMA’s IN THE STUDIO instructor Corey D’Augustine explains the techniques behind Rothko’s “Color Field” paintings. Explore the techniques of other New York School painters like de Kooning, Rothko, and Pollock in MoMA's new free, online course, "In the Studio: Postwar Abstract Painting." Sign up: Subscribe for our latest videos: Explore our collection online: Plan your visit in-person: The Painting Techniques of Mark Rothko: No. 16 (Red, Brown, and Black) Abstract Expressionist New York The Museum of Modern Art, October 3, 2010--April 11, 2011 Filmed by Plowshares Media Images courtesy of Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York; and The Museum of Modern Art, New York Music by Chris Parrello Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz © 2010 The Museum of Modern Art #art #moma #museum #modernart #nyc #education #artist #markrothko #rothko #abstract #abstractexpressionism

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.[2] 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.[4] 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.

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