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Claude Monet: A collection of 1540 paintings (HD) Description: "Claude Oscar Monet was born in Paris on November 14, 1840. Soon after, his family moved to Le Havre, where he spent his youth. His acquaintance with Eugène Boudin lead to Monet seriously pursueing his education as a painter in 1858. Boudin and Jongkind taught Monet to always work in the field in front of his motif. The following year Monet went to Paris anyway to begin academic training. He joined the "Akademie Suisse" and joined his later fellow painters from the Impressionist group, especially when painting together "en plen air" in the forest of Fontainebleau. Their constant struggle was to have their pictures exhibited at the official "Salon de Paris", where the conservative jury mostly declined their paintings. Because of the lack of acceptance of his artwork, Claude Monet and his small family had to live in dire poverty for many years. In 1879 his first wife Camille, with whom he had two children, died. Monet's art had meanwhile developed from withdrawn color paintings to form an independent Impressionist style. With his famous painting "Impression: soleil levant", Claude Monet named one of the most important genres of Avant-garde art. Some art lovers, especially the art dealer Durand-Ruel, supported him financially. Very gradually, a market developed for his pictures. In 1883 Claude Monet managed to earn enough money to move to Giverny, west of Paris, where he managed to buy the house he had been renting in 1890. He now had a place to return to after his frequent travels and the garden of his property, which he later managed to extend, provided constant inspiration for his work at home. In 1891 Monet painted the first of his famous series: the "meules" (haystacks) were followed by pictures of poplars and the river Seine, the cathedral of Rouen, the river Thames in London and many more. His exhibitions were great successes and Monet became a celebrated artist. In 1892 he married Alice Hoschedé, who brought more children into the family. From the turn of the century, the water lilies on the specially designed pond in Giverny and the picturesque wooden bridge in Japanese style became Monet's favorite motifs. In 1911 Alice died. In 1916, at the age of 76, Monet started his largest project: the creation of the famous wall decoration depicting the pond with the water lillies (now in Paris). In the 1920s his eyesight deteriorated and he had to have surgery, but he still did his utmost to continue painting. Shortly before his death on December 5, 1926 Claude Monet finished his water lilly paintings. Today Claude Monet is regarded as the most well known Impressionist artist. His late work is increasingly considered to be the precursor for the abstraction of the 20th century." Feel free to subscribe!
Francesco d'Ubertino Verdi Bachiacca (1494–1557) He is also known as Francesco Ubertini, il Bacchiacca . He was an Italian painter of the Renaissance whose work is characteristic of the Florentine Mannerist style. Bachiacca was born and baptized in Florence on 1 March 1494 and died there on 5 October 1557. Bachiacca belonged to a family of at least five, and possibly as many as eight artists. His father Ubertino di Bartolomeo (ca. 1446/7-1505) was a goldsmith, his older brother Bartolomeo d'Ubertino Verdi (aka Baccio 1484-c.1526/9) was a painter, and his younger brother Antonio d'Ubertino Verdi (1499–1572)—who also called himself Bachiacca—was both an embroiderer and painter. Francesco's son Carlo di Francesco Verdi (-1569) painted and Antonio's son Bartolomeo d'Antonio Verdi (aka Baccino -1600) worked as an embroiderer. This latter generation probably continued to produce paintings and embroideries after Bachiacca's death and until the Verdi family extinguished about the year 1600. Bachiacca apprenticed in Perugino's Florentine studio, and by 1515 began to collaborate with Andrea del Sarto, Jacopo Pontormo and Francesco Granacci on the decoration of cassone (chest), spalliera (wainscot), and other painted furnishings for the bedroom of Pierfrancesco Borgherini and Margherita Acciauoli. In 1523, he again participated with Andrea del Sarto, Franciabigio and Pontormo in the decoration of the antechamber of Giovanni Benintendi. While he established a reputation as a painter of predellas and small cabinet pictures, he eventually expanded his output to include large altarpieces, such as the Beheading of St. John the Baptist, now in Berlin. In 1540, Bachiacca became an artist at the court of Duke Cosimo I de' Medici (reg. 1537-1574) and Duchess Eleanor of Toledo. In this capacity, Bachiacca was a colleague and peer of the most important Florentine artists of the age, including Pontormo, Bronzino, Francesco Salviati, Tribolo, Benvenuto Cellini, Baccio Bandinelli, and his in-law, the sculptor Giovanni Battista del Tasso. Bachiacca's first major commission was to paint the walls and ceiling of the duke's private study with plants, animals and a landscape, which remain an important testimony of Cosimo's interest in botany and the natural sciences. Work Only one signed work by Francesco is known, the decoration of a Terrace for the duchess and her children, with his abbreviated Christian name and nickname: "FRANC. BACHI. FACI." His works typically contain carefully observed illustrations of nature. The artist's trademark method and style consists of the combination of figures, exotic costumes and other motifs acquired from Italian artists and German and Netherlandish prints into entirely new compositions. These cosmopolitan assemblages exhibited the most praiseworthy elements of both Flemish and Italian Renaissance art, which appealed to his courtly clientele. Bachiacca also made cartoons for two series of tapestries, the Grotesque Spalliere (1545–49) and the Months (1550–1553), which were woven by the newly founded Medici tapestry works. As a court painter, Bachiacca created Saint Sebastian during the 1530s-1540s, on the subject of the death of Saint Sebastian, a Christian nobleman condemned to death by the Roman emperor Diocletian. Originally it was surmised that the panel could have functioned as a section to an altarpiece https://en.wikipedia.org/wiki/Francesco_Bacchiacca Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Jean-Antoine Watteau (1684-1721), better known as Antoine Watteau, was a French painter whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the less severe, more naturalistic, less formally classical, Rococo. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, suffused with a theatrical air. Some of his best known subjects were drawn from the world of Italian comedy and ballet. Watteau was born in October 1684 in the town of Valenciennes which had recently passed from the Spanish Netherlands to France. His father, Jean-Philippe Watteau, was a roofer given to brawling. Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin, a local painter. Jean-Antoine's first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes. Watteau left for Paris in 1702. There he found employment in a workshop at Pont Notre-Dame, making copies of popular genre paintings in the Flemish and Dutch tradition; it was in that period that he developed his characteristic sketchlike technique. By 1705 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIV's reign. In Gillot's studio Watteau became acquainted with the characters of the commedia dell'arte (its actors had been expelled from France in 1697), a favorite subject of Gillot's that would become one of Watteau's lifelong passions. Afterward he moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, where Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his major influences, together with the Venetian masters he would later study in the collection of his patron and friend, the banker Pierre Crozat. In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required "reception piece", but it was one of his masterpieces: the Pilgrimage to Cythera, also called the Embarkation for Cythera. Watteau lacked aristocratic patrons; his buyers were bourgeois such as bankers and dealers. Among his most famous paintings, beside the two versions of the Pilgrimage to Cythera, one in the Louvre, the other in the Schloss Charlottenburg, Berlin, are Pierrot (long identified as "Gilles"), Fêtes venitiennes, Love in the Italian Theater, Love in the French Theater, "Voulez-vous triompher des belles?" and Mezzetin. The subject of his hallmark painting, Pierrot (Gilles), is an actor in a white satin costume who stands isolated from his four companions, staring ahead with an enigmatic expression on his face. Watteau's final masterpiece, the Shop-sign of Gersaint, exits the pastoral forest locale for a mundane urban set of encounters. Painted at Watteau's own insistence, "in eight days, working only in the mornings ... in order to warm up his fingers", this sign for the shop in Paris of the paintings dealer Edme François Gersaint is effectively the final curtain of Watteau's theatre. It has been compared with Las Meninas as a meditation on art and illusion. The scene is an art gallery where the façade has magically vanished, and the gallery and street in the canvas are fused into one contiguous drama. Watteau alarmed his friends by a carelessness about his future and financial security, as if foreseeing he would not live for long. In fact he had been sickly and physically fragile since childhood. In 1720, he travelled to London, England, to consult Dr. Richard Mead, one of the most fashionable physicians of his time and an admirer of Watteau's work. However, London's damp and smoky air offset any benefits of Dr. Mead's wholesome food and medicines. Watteau returned to France and spent his last few months on the estate of his patron, Abbé Haranger, where he died in 1721, perhaps from tuberculous laryngitis, at the age of 36. The Abbé said Watteau was semi-conscious and mute during his final days, clutching a paint brush and painting imaginary paintings in the air. His nephew, Louis Joseph Watteau, son of Antoine's brother Noël Joseph Watteau (1689–1756), and grand nephew, François-Louis-Joseph Watteau, son of Louis, followed Antoine into painting. https://en.wikipedia.org/wiki/Jean-Antoine_Watteau Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Giovanni Battista Salvi da Sassoferrato (1609-1685), also known as Giovanni Battista Salvi, was an Italian Baroque painter, known for his archaizing commitment to Raphael's style. He is often referred to only by the town of his birthplace (Sassoferrato), as was customary in his time, and for example seen with da Vinci and Caravaggio. The details of Giovanni Battista Salvi's biography are very sparse. He was born in the small town of Sassoferrato in the Marche region of central Italy, halfway between Rome and Florence, east of Apennines. Sassoferrato was apprenticed under his father, the painter Tarquinio Salvi; fragments of Tarquinio's work are still visible in the church of Saint Francis in Sassoferrato. The rest of Giovanni's training is undocumented but it is thought that he worked under the Bolognese Domenichino, a main apprentice of Annibale Carracci (c. 1580). Two other Carracci trainees Francesco Albani and Guido Reni also influenced Sassoferrato. In Francis Russell's view, Reni was as much Sassoferrato's mentor as Domenichino was his master. His paintings also show the influence of Albrecht Dürer, Guercino, and above all Raphael. He appears to also have been influenced by Pierre Mignard, whom he may have met in Rome in the 1630s. Few public commissions by Sassoferrato exist, and, like Carlo Dolci he seems to have concentrated on producing multiple copies of various styles of devotional image for private patrons, a demand fuelled by the Counter-Reformation of the Catholic Church. Apart from his many smaller works, his paintings include some at the Benedictine convent of San Pietro in Perugia (1630) and the imposing altarpiece in Santa Sabina, Rome, portraying La Madonna del Rosario (1643). In 1683 Cardinal Chigi presented Sassoferrato’s self-portrait to Cosimo III de' Medici. Sassoferrato died in 1685. His will is dated June 29 of the same year. Sassoferrato's work was held in high regard through to the mid-19th century. His paintings were sometimes believed to be contemporary with the School of Raphael. However, by the late 19th century, reaction against sweet devotional art work was reinforced in England by the critical commentary of John Ruskin. The late 20th century saw a revival of interest in Italian Baroque archaizing painting with Guido Reni leading the way in generating a surge of auction interest also in Sassoferrato. There are over three hundred works by Sassoferrato in public collections in 2006 throughout the world including almost all of his extant drawings in the British Royal Collection at Windsor Castle. Sassoferrato was also active as a copyist and reproduced paintings by other masters. His copying style was highly free and individualistic and he rather modified the original compositions or their dimensions than slavishly copy. https://en.wikipedia.org/wiki/Giovanni_Battista_Salvi_da_Sassoferrato 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. 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 - Female Portraits - l https://youtu.be/NrA6iyDtb0g John Singer Sargent Volume 4 & 5 - coming soon Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Alexei Kondratyevich Savrasov(Russian: Алексе́й Кондра́тьевич Савра́сов) (May 24, 1830 – October 8, 1897) was a Russian landscape painter and creator of the lyrical landscape style.
Savrasov was born into the family of a merchant. He began to draw early and in 1838 he enrolled as a student of professor Karl Rabus (1800-1857) at the Moscow School of Painting, Sculpture and Architecture (MSPSA). He graduated in 1850 and immediately began to specialize in landscape painting.
In 1852, he traveled to Ukraine. Then, in 1854 by the invitation of the Grand Duchess Maria Nikolayevna, President of the Imperial Academy of Arts, he moved to the neighborhood of St. Petersburg. In 1857, Savrasov became a teacher at the MSPSA. His best students, Isaac Levitan and Konstantin Korovin, remembered their teacher with admiration and gratitude.
In 1857, he married Sophia Karlovna Hertz, sister of the art historian Karl Hertz (1820-1883). In their home they entertained artistic people and collectors including Pavel Tretyakov. Savrasov became especially close with Vasily Perov. Perov helped him paint the figures of the boat trackers in Savrasov's Volga near Yuryevets, Savrasov painted landscapes for Perov's Bird catcher and Hunters on Bivouac.
In the 1860s, he traveled to England to see the International Exhibition, and to Switzerland. In one of his letters he wrote that no academies in the world could so advance an artist as the present world exhibition. The painters who influenced him most were British painter John Constable and Swiss painter Alexandre Calame.
The Rooks Have Come Back (1871) is considered by many critics to be the high point in Savrasov’s artistic career. Using a common, even trivial, episode of birds returning home, and an extremely simple landscape, Savrasov emotionally showed the transition of nature from winter to spring. It was a new type of lyrical landscape painting, called later by critics the mood landscape. The painting brought him fame. In 1870, he became a member of the Peredvizhniki group, breaking with government-sponsored academic art.
In the late 1870s, he gradually became an alcoholic. The process may have begun with the death of his daughter in 1871, which led to a crisis in his art and, possibly, dissatisfaction with his artistic career. In 1882, he was dismissed from his position at the MSPSA. All attempts of his relatives and friends to help him were in vain.
His work suffered dramatically and the last years of his life were spent in poverty. He was usually drunk and often dressed in rags. Finally, he found himself wandering from shelter to shelter. Only the doorkeeper of the MSPSA and Pavel Tretyakov, founder of the Tretyakov Gallery, were present at his funeral in 1897.
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