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Jan Hermansz van Bijlert (1597 or 1598 – November 1671) was a Dutch painter whose style was influenced initially by Caravaggio. Jan van Bijlert was born in Utrecht, the son of the stained glass worker Herman Beernts van Bijlert. He may have had some training by his father. Subsequently he became a student of Abraham Bloemaert. Like other painters from Utrecht, he travelled in France and Italy. In 1621 he was, along with Cornelis van Poelenburch and Willem Molijn, a founding member of the circle of Dutch and Flemish artists in Rome known as the Bentvueghels. It was the custom among the Bentvueghels to adopt a nickname. Van Bijlert's nickname was "Aeneas". In 1625 he was back in Utrecht, where he married and joined the schutterij. In 1630 he became a member of the Utrecht Guild of St. Luke and the Reformed church. During the years 1632-1637 he was active as deacon of the guild, and in 1634 he was appointed regent of the Sint-Jobsgasthuis. In 1639 he helped form a painter's school, the "Schilders-College", where he served as regent. He died in Utrecht. Jan van Bijlert was a very prolific painter who left some 200 pictures. Upon his return from Rome he, like other Utrecht artists who had come under the influence of Caravaggio's work, painted in a style derived from that of Caravaggio. These Utrecht artists are referred to as the Utrecht Caravaggisti. The Caravaggesque style of van Bijlert’s early paintings shows itself in the use of strong chiaroscuro, the cutting off of the picture plane to create a close-up image and the realism of the representation. Van Bijlert continued to paint in this style throughout the 1620s. Around 1630 van Bijlert turned to a more classicising style, possibly under the influence of Cornelis van Poelenburch. His colours became lighter and his subject matter became more elevated such as religious scenes. In the 1630s he also painted compositions with small figures, usually representing genre scenes of brothels or musical gatherings. These works were similar to those of the Utrecht painter Jacob Duck. Van Bijlert also painted the portraits of eminent citizens of Utrecht such as burgomasters and nobles. His pupils included Bartram de Fouchier, Ludolf Leendertsz de Jongh, Johannes de Veer, Mattheus Wijtmans and Abraham Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
This is the absolute ULTIMATE experience of Queen's set at LIVE AID, this is the best video mixed to the absolutely superior stereo radio broadcast. This vastly superior audio mix takes a huge dump on all of the official mixes. Best viewed in 1080p. ENJOY! ***MAKE SURE TO READ THE DESCRIPTION*** 00:36 - Bohemian Rhapsody 02:42 - Radio Ga Ga 06:53 - Ay Oh! 07:34 - Hammer To Fall 12:08 - Crazy Little Thing Called Love 16:03 - We Will Rock You 17:18 - We Are The Champions 21:12 - Is This The World We Created...? Short song analysis: - "Bohemian Rhapsody": Although it's a short medley version, it's one of the best performances of the ballad section, with Freddie nailing the Bb4s with the correct studio phrasing (for the first time ever!). - "Radio Ga Ga": Although it's missing one chorus, this is one of - if not the best - the best versions ever, Freddie nails all the Bb4s and sounds very clean! Spike Edney's Roland Jupiter 8 also really shines through on this mix, compared to the DVD releases! - "Audience Improv": A great improv, Freddie sounds strong and confident. You gotta love when he sustains that A4 for 4 seconds! - "Hammer To Fall": Despite missing a verse and a chorus, it's a strong version (possibly the best ever). Freddie sings the song amazingly, and even ad-libs a C#5 and a C5! Also notice how heavy Brian's guitar sounds compared to the thin DVD mixes - it roars! - "Crazy Little Thing Called Love": A great version, the crowd loves the song, the jam is great as well! Only downside to this is the slight feedback issues. - "We Will Rock You": Although cut down to the 1st verse and chorus, Freddie sounds strong. He nails the A4, and the solo from Dr. May is brilliant! - "We Are the Champions": Perhaps the high-light of the performance - Freddie is very daring on this version, he sustains the pre-chorus Bb4s, nails the 1st C5, belts great A4s, but most importantly: He nails the chorus Bb4s, in all 3 choruses! This is the only time he has ever done so! It has to be said though, the last one sounds a bit rough, but that's a side effect of belting high notes for the past 18 minutes, with nodules AND laryngitis! - "Is This The World We Created... ?": Freddie and Brian perform a beautiful version of this, and it is one of the best versions ever. It's both sad and hilarious that a couple of BBC engineers are talking over the song, one of them being completely oblivious of the fact that he is interrupting the performance, on live television... Which was being televised to almost 2 billion homes. All rights go to their respective owners! -----Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use
Laurits Tuxen (9 December 1853 – 21 November 1927) was a Danish painter and sculptor specialising in figure painting. He was also associated with the Skagen Painters. He was the first head of Kunstnernes Frie Studieskoler, an art school established in the 1880s to provide an alternative to the education offered by the Royal Danish Academy of Fine Arts. The still life- and flowerpainter Nicoline Tuxen (1847-1931) was his older sister. Tuxen grew up in Copenhagen and studied at the Royal Danish Academy of Art where together with P. S. Krøyer he was considered to be one of the best painters. He first visited Skagen in 1870, returning on several occasions. In the 1880s and 1890s, he travelled widely painting portraits for Europe's royal families including Christian IX of Denmark, Queen Victoria and the Russian royalty. In 1901, after the death of his first wife Ursule de Baisieux from Belgium, he married the Norwegian Frederikke Treschow and shortly afterwards purchased Madam Bendsen's house in Skagen in the north of Jutland, converting it into a stately summer residence. In 1914 he made a study trip to Greece to paint the entry of George I of Greece into Salonika, for the Christian castle. He made lively and well-characterized portraits, among them his self-portrait in the Uffizi Gallery in Florence, and portraits of P. S. Krøyer, in the Museum of Fine Arts in Budapest. He also made portraits in sculpture, including a portrait group of Krøyer and Michael Ancher. Tuxen went on to paint a number of landscapes in and around Skagen, but also completed a number of paintings of his family, friends and garden flowers. 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 Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Anthony Frederick Augustus Sandys (1829-1904), but usually known as Frederick Sandys, was an English painter, illustrator and draughtsman, associated with the Pre-Raphaelites. He was also associated with the Norwich School of painters.
He was born in Norwich, and received his earliest lessons in art from his father, Anthony Sands, who was himself a painter. His early studies show that he had a natural gift for careful and beautiful drawing. He was educated at Norwich School and later attended the Norwich School of Design in 1846. In the same and next year his talent was recognized by the Royal Society of Arts.
He married Georgiana Creed, but this marriage only lasted three years, although they never divorced. He had a long affair with the Romany woman Keomi Gray, who sat as a model both for him and Dante Gabriel Rossetti, and perhaps also for Simeon Solomon. He and Gray had two daughters and two sons.
In 1862 Sandys met actress Mary Emma Jones, known as Miss Clive, when she modeled for The Magdalen, now owned by the Norwich Castle Museum. A relationship developed between the two; he became devoted to her, taking her as his common-law wife for the rest of his life. She gave birth to a large number of children, 10 of whom were raised under the name of Neville and survived after Sandys' death. His work Proud Maisie, made in 1867, was inspired by Mary, so much so that he made at least 11 versions by 1904. He influenced his younger sister Emma Sandys (1843–1877), whose works were mainly portraits of children and of young women, often in period or medieval clothing.
He died in Kensington in west London in 1904.
He displayed great skills as a draughtsman, achieving recognition with his print parodying John Everett Millais's Sir Isumbras at the Ford in 1857. The caricaturist turned the horse of Sir Isumbras into a donkey labelled J. R., Oxon. (John Ruskin). Upon it was seated Millais himself, in the character of the knight, with Rossetti and William Holman Hunt as the two children, one before and one behind. The caricature, produced using the new autographic lithographic, caused a lot of talk about who the artist might be and ultimately introduced Sandys to the London art community.
Rossetti and Sandys became close friends, and from May 1866 to July 1867, Sandys lived with Rossetti in Cheyne Walk, Chelsea. Sandys’s works were profoundly influenced by those of Rossetti. He focused mainly on mythological subjects and portraits.
Early in the 1860s he began to exhibit the paintings which set the seal upon his fame. The best known of these are Vivien (1863), Morgan le Fay (1864), Cassandra and Medea (1868).
Sandys never became a popular painter. He painted little, and the dominant influence upon his art was the influence exercised by lofty conceptions of tragic power. There was in it a sombre intensity and an almost stern beauty which lifted it far above the ideals of the crowd. The Scandinavian Sagas and Le Morte d'Arthur gave him subjects after his own heart. The Valkyrie and Morgan le Fay represent his work at its very best.
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