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Allan Ramsay (1713-1784) was a prominent Scottish portrait-painter. Allan Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and author of The Gentle Shepherd. From the age of twenty he studied in London under the Swedish painter Hans Hysing, and at the St. Martin's Lane Academy; leaving in 1736 for Rome and Naples, where he worked for three years under Francesco Solimena and Imperiali. On his return in 1738 to the British Isles, he first settled in Edinburgh, attracting attention by his head of Duncan Forbes of Culloden and his full-length portrait of the Duke of Argyll, later used on Royal Bank of Scotland banknotes. He later moved to London, where he was employed by the Duke of Bridgewater. His pleasant manners and varied culture, not less than his artistic skill, contributed to render him popular. One of his drawing pupils was Margaret Lindsay, eldest daughter of Sir Alexander Lindsay of Evelick and Amelia Murray. He later eloped with her and on 1 March 1752 they married in the Canongate Kirk, Edinburgh; her father never forgave her for marrying an artist. Ramsay already had to maintain a daughter from his previous marriage and his two surviving sisters, but told Sir Alexander that he could provide Margaret with an annual income of £100. He said it would increase ‘as my affairs increase, and I thank God, they are in a way of increasing’ and that his only motive for the marriage was ‘my love for your Daughter, who, I am sensible, is entitled to much more than ever I shall have to bestow upon her’. Three children survived from their long and happy marriage, Amelia, Charlotte, and John. Ramsay and his new wife spent 1754 to 1757 together in Italy, going to Rome, Florence, Naples and Tivoli, researching, painting and drawing old masters, antiquities and archaeological sites. He earned income painting Grand Tourists' portraits. This and other trips to Italy involved more literary and antiquarian research than art. After their return, Ramsay in 1761 was appointed to succeed John Shackelton as Principal Painter in Ordinary to George III, beating Hudson to the post. The king commissioned so many royal portraits to be given to ambassadors and colonial governors, that Ramsay used the services of numerous assistants—of whom David Martin and Philip Reinagle are the best known. He gave up painting in about 1770 to concentrate on literary pursuits. His health was shattered by an accidental dislocation of the right arm and his second wife's death in 1782. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time, and then started for his beloved Italy. He left a series of 50 royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken. He died at Dover on 10 August 1784. Among his most satisfactory productions are some of his earlier ones, such as the full-length of the duke of Argyll, and the numerous bust-portraits of Scottish gentlemen and their ladies which he executed before settling in London. They are full of both grace and individuality; the features show excellent draughtsmanship; and the flesh-painting is firm and sound in method, though frequently tending a little to hardness and opacity. His full-length of Lady Mary Coke is remarkable for the skill and delicacy with which the white satin drapery is managed; while the portrait of his brown-eyed second wife Margaret, in the Scottish National Gallery, is described as having a sweetness and tenderness. The portrait of his wife also shows the influence of French art, which Ramsay incorporated into his work. The large collection of his sketches in the possession of the Royal Scottish Academy and the Board of Trustees, Edinburgh also show this French elegance and soft colours. Ramsay has paintings in the collection of a few British institutions including the National Gallery in London, Sheffield, Derby Art Gallery (attributed), Glasgow Museum and Newstead Abbey. According to Mario de Valdes y Cocom in 2009 on an edition of PBS Frontline, in several paintings of Queen Charlotte, Ramsay deliberately emphasised "mulatto features" which the queen supposedly inherited via descent from a 13th-century Moorish ancestor. Valdes suggests that copies of these paintings were sent to the colonies to be used by abolitionists as a de facto support for their cause. Other historians question whether the 13th-century ancestor, referred to in various places as a 'Moor' and Berber, was black African. In any event, they contend that the connection, nine and 15 generations removed, was too distant to consider Charlotte 'black' in any cultural way, as her other ancestors were all European https://en.wikipedia.org/wiki/Allan_Ramsay_(artist) Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
The filmmaker exposes the notoriously secretive creative process of reclusive German artist Gerhard Richter in this fly-on-the-wall documentary, filmed over three years in the artist's Cologne studio. Read the full feature on NOWNESS: http://bit.ly/gerhard-richter Watch more art videos here: http://bit.ly/art-videos _______________________________________ Subscribe to NOWNESS here: http://bit.ly/youtube-nowness Like NOWNESS on Facebook: http://bit.ly/facebook-nowness Follow NOWNESS on Twitter: http://bit.ly/twitter-nowness Daily exclusives for the culturally curious: http://bit.ly/nowness-com Behind the scenes on Instagram: http://bit.ly/instagram-nowness Curated stories on Tumblr: http://bit.ly/tumblr-nowness Inspiration on Pinterest: http://bit.ly/pinterest-nowness Staff Picks on Vimeo: http://bit.ly/vimeo-nowness Follow NOWNESS on Google+: http://bit.ly/google-nowness
Jean Auguste Dominique Ingres: A collection of 157 paintings (HD) Description: "Jean Auguste Dominique Ingres (1780-1867) was the most important French painter in the neoclassic tradition during the first half of the 19th century and one of the most distinguished draftsmen in the entire history of art. The first half of the 19th century witnessed a profound shift in the course of Western art, which was dominated largely by French painting. It was a period of transition: new attitudes about painting were pervasive, many of which represented a break with the tradition of Renaissance illusionism and were harbingers of the modern painting forged by Édouard Manet and the impressionists. These new attitudes were present in both neoclassicism and romanticism, the two dominant styles of French painting between 1780 and 1850. The art of J. A. D. Ingres must be seen within this complex situation: as a student of Jacques Louis David, the first of the neoclassicists, Ingres fashioned himself as the champion of that tradition; yet his work frequently expressed the exotic temperament of the romantics. Likewise, as much as Ingres emulated Raphael and the Renaissance, his art never wholly conformed to pictorial values of that sensibility. Instead, much of its thrust and meaning yields only to the terms of modernism. Ingres was born on Aug. 29, 1780, in Montauban, where his father, Joseph, was a sculptor of ornamental work. In 1791 Ingres entered the Toulouse Academy and studied history and landscape painting as well as sculpture. In 1797 he moved to Paris to study with David; 2 years later Ingres entered the École des Beaux-Arts. These decisions signaled Ingres's allegiance to both the prevailing public style of his day and the great tradition of classical Renaissance painting in general. Like nearly every serious artist at the École des Beaux-Arts, Ingres wished to study in Rome, the locus of classical antiquity to which the École philosophically aspired. The opportunity arrived in 1801, when he won the coveted Prix de Rome with the Envoys from Agamemnon. Because of political conditions, however, the stipend for the Prix de Rome did not become available until 1806, and it was not until the end of that year that Ingres finally reached the Eternal City. He spent the next 4 years at the French Academy in Rome. In the words of Walter Friedlaender, "Ingres belonged there—he was a 'southerner,' like Poussin or Claude," the two French masters who had preceded him there more than a century before and had stayed throughout most of their careers (...)" --- SUBSCRIBE: www.youtube.com/c/LearnFromMasters?sub_confirmation=1 Facebook: https://www.facebook.com/LearnFromMasters/ Google+: https://plus.google.com/+LearnFromMasters Contact: LearnFromMasters01@gmail.com --- Thanks for all support!
L'émission où on écoute les artistes peindre.
This video features a collection of Vincent Van Gogh famous paintings. We have put together a collection of Van Gogh great masterpieces of Post-Impressionism artworks. We hope you enjoy the slideshow compilation. For art reproductions of Vincent Van Gogh paintings, please visit our website at the url below. Arts Heaven http://www.artsheaven.com/ Vincent Van Gogh Paintings http://www.artsheaven.com/vincent-van-gogh-oil-painting-reproductions.html Called mad, eccentric, and brilliant, Dutch painter Vincent Van Gogh has become one of the most iconic and famous painters since his death in 1890. A Post-Impressionist painter, Van Gogh did not even begin painting until he was in his late twenties and he died when he was only 37. In the decade in-between, however, Van Gogh managed to create an astonishing array of work. The many Van Gogh paintings include self-portraits, landscapes, and watercolor paintings. Owning a Van Gogh reproduction is a sign of a serious art lover and is an inspiring attraction in any home decor.
Friedrich von Amerling (1803-1887) A collection of paintings and drawings in HD 2K
Austro-Hungarian portrait painter in the court of Franz Josef.
He was born in Vienna and was court painter between 1835 and 1880.
With Ferdinand Georg Waldmüller he is one of the outstanding Austrian portrait painters of the 19th century.
Amerling created over 1000 works, mostly portraits.
He was the most popular portrait painter of the high aristocracy and the large middle class of the Biedermeier period.
The years from 1830 to 1850 represent the high point of his work. His style has points of similarity to that of Ingres, combining clarity of outline with rich coloration.
Amerling's work was exhibited in Vienna in 2003. Most of his work remains in Austria.