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Anna Ancher (1859-1935) A collection of paintings and drawings in 2K HD. A slient slideshow. Danish artist associated with the Skagen Painters, an artists' colony on the northern point of Jutland, Denmark. She is considered to be one of Denmark's greatest visual artists. Anna Kirstine Brøndum was born in Skagen, Denmark, the daughter of Erik Andersen Brøndum (1820–1890) and Ane Hedvig Møller (1826–1916). She was the only one of the Skagen Painters who was actually born and grew up in Skagen, where her father owned the Brøndums Hotel. The artistic talent of Anna Ancher became obvious at an early age, and she grew acquainted with pictorial art via the many artists who settled to paint in Skagen, in the north of Jutland. While she studied drawing for three years at the Vilhelm Kyhn College of Painting in Copenhagen, she developed her own style and was a pioneer in observing the interplay of different colors in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter. In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one child, daughter Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. Anna and Michael Ancher were featured on the front side of the DKK1000 bill, which came into circulation on 25 November 2004 and was subsequently replaced. The front of the banknote had a double portrait of Anna and Michael Ancher, derived from two 1884 paintings by Peder Severin Krøyer, which originally hung on the walls in the dining room at Brøndums Hotel Skagen Painters: https://www.youtube.com/playlist?list=PLA3DWLD8grG5PEjILDvKlUbLKTtnFByhm 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): https://www.youtube.com/watch?v=wQjZ46uf3oQ https://en.wikipedia.org/wiki/Anna_Ancher
Part two of the groundbreaking three-part series on brushstrokes delves into the significant changes that occurred in the world of art throughout the 19th century. Many of the innovative brushstrokes developed by the masters during this time, set the foundation for the work and ideas seen throughout the 20th century and into today. Music Credits (Part 2): Piano Inspirational by TheJRSSoundDesign Simple Piano by TheJRSSoundDesign Simple Piano by TheJRSSoundDesign Beautiful Inspiring Piano by TheJRSSoundDesign Solo Piano Inspiration by Opus68
Jean-Auguste-Dominique Ingres (1780-1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. Ingres's style was formed early in life and changed comparatively little. His earliest drawings, such as the Portrait of a Man (or Portrait of an unknown, 3 July 1797, now in the Louvre) already show a suavity of outline and an extraordinary control of the parallel hatchings which model the forms. From the first, his paintings are characterized by a firmness of outline reflecting his often-quoted conviction that "drawing is the probity of art". He believed colour to be no more than an accessory to drawing, explaining: "Drawing is not just reproducing contours, it is not just the line; drawing is also the expression, the inner form, the composition, the modelling. See what is left after that. Drawing is seven eighths of what makes up painting." The art historian Jean Clay said Ingres "proceeded always from certitude to certitude, with the result that even his freest sketches reveal the same kind of execution as that found in the final works." Abhorring the visible brushstroke, Ingres made no recourse to the shifting effects of colour and light on which the Romantic school depended; he preferred local colours only faintly modelled in light by half tones. "Ce que l'on sait," he would repeat, "il faut le savoir l'épée à la main." ("Whatever you know, you must know it with sword in hand.") Ingres thus left himself without the means of producing the necessary unity of effect when dealing with crowded compositions, such as the Apotheosis of Homer and the Martyrdom of Saint Symphorian. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures, such as Oedipus, The Half-Length Bather, Odalisque, and The Spring, subjects only animated by the consciousness of perfect physical well-being. Ingres was averse to theories, and his allegiance to classicism—with its emphasis on the ideal, the generalized, and the regular—was tempered by his love of the particular. He believed that "the secret of beauty has to be found through truth. The ancients did not create, they did not make; they recognized." In many of Ingres's works there is a collision between the idealized and the particular that creates what Robert Rosenblum termed an "oil-and-water sensation". This contradiction is vivid in Cherubini and the Muse of Lyric Poetry (1842), for example, in which the detailed rendering of the 81-year-old composer is juxtaposed with an idealized muse in classical drapery. Although capable of painting quickly, he often laboured for years over a painting. Ingres's pupil Amaury-Duval wrote of him: "With this facility of execution, one has trouble explaining why Ingres' oeuvre is not still larger, but he scraped out frequently, never being satisfied ... and perhaps this facility itself made him rework whatever dissatisfied him, certain that he had the power to repair the fault, and quickly, too." The Source, although dated 1856, was painted about 1820, except for the head and the extremities; Amaury-Duval, who knew the work in its incomplete state, professed that the after-painting, necessary to fuse new and old, lacked the vigour and precision of touch that distinguished the original execution of the torso. Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Why is it that so many people think they can’t draw? Where did we learn to believe that? Graham Shaw will shatter this illusion – quite literally - in a very practical way. He’ll demonstrate how the simple act of drawing has the power to make a positive difference in the world. Graham specialises in the art of communication and has helped thousands of people to make important presentations. He is perhaps best known for his use of fast cartoon drawings to communicate ideas and is the author of ‘The Art of Business Communication’. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx
Albert Andre (1869-1954) - A collection of paintings and drawings 2K HD. A slient slideshow.
French Post-Impressionist figurative painter. He produced portraits of Pierre-Auguste Renoir, his closest friend, and Claude Monet.
Born in Lyon, he initially trained there designing patterns for silk. In 1889 he moved to Paris to enroll at the Académie Julian. There he met Paul Ranson, Louis Valtat, and Georges d'Espagnat. He also associated with the group known as Les Nabis which included Bonnard, Vuillard, Denis, Vallotton, Marquet and Signac.
In 1894, he exhibited five paintings at the Salon des Indépendants where he caught the eye of Renoir. Despite their age difference, a solid friendship united them until Renoir's death in 1919, providing André with guidance in his career.
Through Renoir's art dealer, Paul Durand-Ruel, André was able to sell many of his paintings in the United States. Between 1895 and 1901, he exhibited at the Salon des Cent, the Salon des Indépendants, the Exposition d'Art Nouveau, the Salon d'Automne, and, in 1904, at the Salon de la Libre Esthétique in Brussels. In 1912, Durand-Ruel enabled André to exhibit his work in New York City and in 1913, he was selected to celebrate the twentieth anniversary of the Libre Esthétique in Brussels, showcasing works on a theme of southern France. He would later showcase his works many times in New York City, as in 1930.
Demobilized from World War I in 1917, he moved to Marseille and then to the village of Laudun in the Gard, where he had been on vacation since his childhood as his family owned a house there together with a small vineyard. He became curator of the art museum of Bagnols-sur-Cèze, where he remained until his death. In 1919, he produced a monograph, "Renoir", considered to be "one of the most accurate contemporary accounts of the artist's work", and in 1921, he organized a retrospective of Renoir's work at the Durand-Ruel Gallery.
He was also very close to the art critic George Besson, a friend since 1910. In 1971, Besson decided to offer his art collection to the nation, bequeathing to the museums of Besançon and Bagnols-sur-Cèze, where the museum is now called Musée Albert-André.
André died on 11 July 1954 at 85 years old, shortly before his works were due to be showcased at the Avignon Museum. After his death, in 1955, the Salon d’Automne organized a retrospective of his works. Today many of his paintings are to be found in major world museums such as the Modern Art Museum of New York, the Art Institute of Chicago, museums in Philadelphia and Washington DC, Paris's Musée d'Orsay, the Galerie Rienzo, and the Musée Albert-André in France.