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Anders Leonard Zorn (1860-1920) was one of Sweden's foremost artists. He obtained international success as a painter, sculptor, and etcher. Among Zorn's portrait subjects were King Oscar II of Sweden, and three American Presidents, Grover Cleveland, William H. Taft, and Theodore Roosevelt. At the end of his life, he established the Swedish literary Bellman Prize in 1920. Zorn was born and raised on his grandparents' farm in Yvraden, a hamlet near the village of Utmeland in the parish of Mora, Dalarna. He studied until the age of twelve in the school at Mora Strand before progressing in the autumn of 1872 to a secondary grammar school in Enköping. From 1875 to 1880 Zorn studied at the Royal Swedish Academy of Arts in Stockholm, where he amazed his teachers with his talent. Members of Stockholm society approached him with commissions. This was how Zorn met his wife, Emma Lamm, early in 1881. Her background was different from Zorn's. Coming from a wealthy Jewish merchant family, she was interested in art and culture. Zorn traveled extensively to London, Paris, the Balkans, Spain, Italy and the United States, becoming an international success as one of the most acclaimed painters of his era. It was primarily his skill as a portrait painter that gained Zorn international acclaim based principally upon his incisive ability to depict the individual character of his model. His subjects included three American Presidents, one of whom was Grover Cleveland in 1899, as well as his wife, along with William H. Taft and Theodore Roosevelt. At 29, he was made a Chevalier de la Légion d'honneur at the Exposition Universelle 1889 Paris World Fair. In 1886, Anders Zorn and his wife Emma, bought land close to Mora church and here they moved a cottage from his maternal grandfather's farm. When Anders and Emma Zorn decided to return to Sweden after several years abroad, they began to enlarge the cottage. Zorngården was completed in 1910. Zorngården remains today much as it was at the time of Emma Zorn's death in 1942. It is a fine example of an artist's home from the turn of the century. With inspiration from English and Swedish architecture, it is today an excellent example of the architectural freedom that characterizes the years around 1900. Zorn's art made him wealthy and he was thus able to build up a considerable collection of art. The objects were not only bought in his native country but also during the many travels he made abroad. In their joint will, Anders and Emma Zorn donated their entire holdings to the Swedish State. Some of his most important works can be seen at the National Museum of Fine Arts (Swedish: Nationalmuseum) in Stockholm. Among them is Midsummer Dance (1897), a depiction of dancers in the evening light of a rural Midsummer's Eve celebration. Other museums holding major works by Zorn include the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts, Boston. The Zorn Collections (Swedish:Zornsamlingarna) located in Mora and Garberg, Älvdalen, consist of four museums dedicated to the life and works of Anders Zorn. The main museum - Zornmuseet - was designed by Ragnar Östberg and opened in 1939. Shown there are extensive works of Zorn and his collected art by Rembrandt Harmensz van Rijn, 'The Hovingham Master' (Poussin's follower), Bruno Liljefors, Albert Edelfelt, and Pehr Hilleström. Zorn is also famous for his nude paintings. His fondness of painting full-figured women gave rise to the terms Zorn's kulla or dalakulla, an unmarried woman or girl from Dalecarlia, as the women were called in the local dialect of the region Zorn lived. Zorn is known to use a basic color palette consisting of Lead White, Yellow Ochre, Vermilion and Ivory Black. This limited color palette shows tremendous range in terms of color mixing. A large variety of tonal ranges are possible to mix and considered as a very important development for portrait painting. However, the color palette can also be used in still life and landscape painting under certain circumstances. Most striking aspect is that a kind of an olive green color is possible to obtain by mixing Ivory Black and Yellow Ochre as Ivory Black is bluish in nature. However, the notion that Zorn used only these four colors is untrue. His paintings show the use of other auxiliary colors wherever needed. https://en.wikipedia.org/wiki/Anders_Zorn Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
I want to brush up (sorry) on my painting skills a bit, so in this video I am setting up a still life of some of my tools, a plant and ,of course, a pigeon to add some life to the painting. The picture is 30x48 cm, acrylic on wooden board.
John Singer Sargent (1856-1925) was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian era luxury. He was born in Florence to American parents, and trained in Paris before moving to London, living most of his life in Europe. He enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his Portrait of Madame X, was intended to consolidate his position as a society painter, but instead resulted in scandal. From the beginning his work is characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. Art historians generally ignored "society" artists such as Sargent until the late 20th century. Sargent is a descendant of Epes Sargent, a colonial military leader and jurist. Before John Singer Sargent's birth, his father, FitzWilliam (b. 1820 Gloucester, Massachusetts), was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854. After John's older sister died at the age of two, his mother, Mary Newbold Singer (née Singer, 1826–1906), suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives. Although based in Paris, Sargent's parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, because of a cholera epidemic. Sargent was born there in 1856. A year later, his sister Mary was born. After her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wife's request to remain abroad. They lived modestly on a small inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world. Four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more interested in outdoor activities than his studies. As his father wrote home, "He is quite a close observer of animated nature." His mother was convinced that traveling around Europe, and visiting museums and churches, would give young Sargent a satisfactory education. Several attempts to have him formally schooled failed, owing mostly to their itinerant life. His mother was a capable amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions. Sargent worked on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his son's interest in ships and the sea might lead him toward a naval career. At thirteen, his mother reported that John "sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist." At the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was fluent in English, French, Italian, and German. At seventeen, Sargent was described as "willful, curious, determined and strong" (after his mother) yet shy, generous, and modest (after his father). He was well-acquainted with many of the great masters from first hand observation, as he wrote in 1874, "I have learned in Venice to admire Tintoretto immensely and to consider him perhaps second only to Michelangelo and Titian." John Singer Sargent Volume 2: The landscapes: https://youtu.be/ysHIlpDsEDI John Singer Sargent Volume 3, 4 & 5: Coming soon https://en.wikipedia.org/wiki/John_Singer_Sargent Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
John Singer Sargent (1856-1925) was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian era luxury. In 1879, at the age of 23, Sargent painted a portrait of teacher Carolus-Duran; the virtuoso effort met with public approval, and announced the direction his mature work would take. Its showing at the Paris Salon was both a tribute to his teacher and an advertisement for portrait commissions. Of Sargent's early work, Henry James wrote that the artist offered "the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn." After leaving Carolus-Duran's atelier, Sargent visited Spain. There he studied the paintings of Velázquez with a passion, absorbing the master's technique, and in his travels gathered ideas for future works. He was entranced with Spanish music and dance. The trip also re-awakened his own talent for music (which was nearly equal to his artistic talent), and which found visual expression in his early masterpiece El Jaleo (1882). Music would continue to play a major part in his social life as well, as he was a skillful accompanist of both amateur and professional musicians. Sargent became a strong advocate for modern composers, especially Gabriel Fauré. Trips to Italy provided sketches and ideas for several Venetian street scenes genre paintings, which effectively captured gestures and postures he would find useful in later portraiture. Upon his return to Paris, Sargent quickly received several portrait commissions. His career was launched. He immediately demonstrated the concentration and stamina that enabled him to paint with workman-like steadiness for the next twenty-five years. He filled in the gaps between commissions with many non-commissioned portraits of friends and colleagues. His fine manners, perfect French, and great skill made him a standout among the newer portraitists, and his fame quickly spread. He confidently set high prices and turned down unsatisfactory sitters. He mentored his friend Emil Fuchs who was learning to paint portraits in oils. During Sargent's long career, he painted more than 2,000 watercolors, roving from the English countryside to Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. Each destination offered pictorial stimulation and treasure. Even at his leisure, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night. His hundreds of watercolors of Venice are especially notable, many done from the perspective of a gondola. His colors were sometimes extremely vivid and as one reviewer noted, "Everything is given with the intensity of a dream." In the Middle East and North Africa Sargent painted Bedouins, goatherds, and fisherman. In the last decade of his life, he produced many watercolors in Maine, Florida, and in the American West, of fauna, flora, and native peoples. With his watercolors, Sargent was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes. It is in some of his late works where one senses Sargent painting most purely for himself. His watercolors were executed with a joyful fluidness. He also painted extensively family, friends, gardens, and fountains. In watercolors, he playfully portrayed his friends and family dressed in Orientalist costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions (The Chess Game, 1906). His first major solo exhibit of watercolor works was at the Carfax Gallery in London in 1905. In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the Brooklyn Museum. Evan Charteris wrote in 1927: To live with Sargent's watercolors is to live with sunshine captured and held, with the luster of a bright and legible world, 'the refluent shade' and 'the Ambient ardours of the noon.' Although not generally accorded the critical respect given Winslow Homer, perhaps America's greatest watercolorist, scholarship has revealed that Sargent was fluent in the entire range of opaque and transparent watercolor technique, including the methods used by Homer. John Singer Sargent - Volume 1 - https://youtu.be/N-H22PGlwYg John Singer Sargent - Volume 3, 4 & 5 - coming soon https://en.wikipedia.org/wiki/John_Singer_Sargent#Watercolors Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Going into Town - Auckland, New Zealand | Oil on Canvas | 16 x 12 inches - 40 x 30 cm | Original Painting by Dusan Malobabic https://www.ebay.com.au/str/paintingsbydusan https://www.facebook.com/Paintings.by.Dusan/ | https://www.instagram.com/dusan_malobabic/ Music: All tracks by Fabian Measures [ Fogheart ] used under Creative Commons Attribution 4.0 (CC BY 4.0) Fabian Measures [ Fogheart ] - Sway Fabian Measures [ Fogheart ] - Higekitekina (悲劇的な) Fabian Measures [ Fogheart ] - Hall of the Gods Fabian Measures [ Fogheart ] - Subtle Library Fabian Measures [ Fogheart ] - Bliss (Peaceful Dales) Fabian Measures [ Fogheart ] - Did you know? (Curiouser and curiouser) Fabian Measures [ Fogheart ] - Workshop Fabian Measures [ Fogheart ] - Lullaby Fabian Measures [ Fogheart ] - Oyasuminasai Fabian Measures [ Fogheart ] - Open Cab Source: http://freemusicarchive.org/music/Fabian_Measures/ https://soundcloud.com/fogheart Please note that the base coat is acrylic paint, which is dry. It's primary use is to seal the ready made stretched canvases that you can commonly buy. They aren't sealed enough and are quite 'thirsty' and absorb the oil from the paint to eagerly, which is not good. The base coat can be any colour, which does influence the colours you place on top. About Me: I'm a father of two lovely boys and am living and working as a painter in Perth, WA. Ever since I can remember I have drawn and painted and told people when I grow up I want to be an artist. It started when I was three years old and scribbled throughout Mums, not quite out of reach, phone-pad. Reinforced itself when I completed my BA - Fine Art Painting from the Victorian College of the Arts and continues to this day. I mainly work with oil paint on canvas applied with palette knives and brushes. My second favourite combination of mediums being watercolours and ink on heavy paper. The main themes that I love to paint and explore in my work is Beachscapes, Cityscapes, Cafe scenes and Boat Marinas. This is mainly completed using an Impressionistic approach to appearance, I also experiment in a geometric heavy style borrowing from cubism. People play an important part in my work and are as important as the landscape they find themselves in, this allows me to create narrative and direction for the flow through the image. In 2006 I began working full time as an Artist. Every time I paint I try to better understand why I do what I do and choose the things that I paint, and endeavour to connect to my ideas in a stronger way. I’ve strived to improve my technique every day over the years and continue to, as I still have a long way to go. Thanks for looking!
Ilya Yefimovich Repin (1844-1930) was a Russian realist painter. He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature.
He played a major role in bringing Russian art into the mainstream of European culture.
In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first. In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg.
He was awarded the title of academician in 1876.
In 1901 he was awarded the Legion of Honour. In 1911 he traveled with his common-law wife Natalia Nordman to the World Exhibition in Italy, where his painting 17 October 1905 and his portraits were displayed in their own separate room.
In 1916 Repin worked on his book of reminiscences, Far and Near, with the assistance of Korney Chukovsky.
He welcomed the February Revolution of 1917, but was rather skeptical towards the October Revolution. Soviet authorities asked him a number of times to come back, he remained in Finland for the rest of his life.
Celebrations were held in 1924 in Kuokkala to mark Repin's 80th birthday, followed by an exhibition of his works in Moscow.
In 1925 a jubilee exhibition of his works was held in the Russian Museum in Leningrad.
Repin persistently searched for new techniques and content to give his work more fullness and depth.
Repin had a set of favorite subjects, and a limited circle of people whose portraits he painted.
But he had a deep sense of purpose in his aesthetics, and had the great artistic gift to sense the spirit of the age and its reflection in the lives and characters of individuals.
Repin's search for truth and for an ideal led him in various directions artistically, influenced by hidden aspects of social and spiritual experiences as well as national culture.
Like most Russian realists of his times, Repin often based his works on dramatic conflicts, drawn from contemporary life or history.
He also used mythological images with a strong sense of purpose; some of his religious paintings are among his greatest.
His method was the reverse of the general approach of impressionism.
He produced works slowly and carefully. They were the result of close and detailed study.
With some of his paintings, he made one hundred or more preliminary sketches. He was never satisfied with his works, and often painted multiple versions, years apart.
He also changed and adjusted his methods constantly in order to obtain more effective arrangement, grouping and coloristic power.
Repin's style of portraiture was unique, but owed something to the influence of Eduard Manet and Diego Velázquez.
Repin was the first Russian artist to achieve European fame using specifically Russian themes. His 1873 painting Barge Haulers on the Volga, radically different from previous Russian paintings, made him the leader of a new movement of critical realism in Russian art.
He chose nature and character over academic formalism.
The triumph of this work was widespread, and it was praised by contemporaries like Vladimir Stasov and Fyodor Dostoyevsky.
The paintings show his feeling of personal responsibility for the hard life of the common people and the destiny of Russia.
In the 1880s he produced many of his most famous works, and joined the Itinerants' Society.
Repin died in 1930 and was buried at the Penates.
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