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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
Peder Severin Krøyer (1851-1909), professionally known as P. S. Krøyer, was a Danish painter. Krøyer was born in Stavanger, Norway, on 23 July 1851 to Ellen Cecilie Gjesdal. He was raised by Gjesdal's sister, Bertha Cecilie (born 1817) and brother-in-law, the Danish zoologist Henrik Nikolai Krøyer, after his mother was judged unfit to care for him. Krøyer moved to Copenhagen to live with his foster parents soon afterward. Having begun his art education at the age of nine under private tutelage, he was enrolled in Copenhagen's Technical Institute the following year. In 1870 at the age of 19 Krøyer completed his studies at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi), where he had studied with Frederik Vermehren. In 1873 he was awarded the gold medal, as well as a scholarship. His official debut as a painter was in 1871 at Charlottenborg with a portrait of a friend, the painter Frans Schwartz. He exhibited regularly at Charlottenborg throughout his life. In 1874 Heinrich Hirschsprung bought his first painting from Krøyer, establishing a long-standing patronage. Hirschsprung's collection of art forms the basis of the Hirschsprung Museum in Copenhagen. Travels Between 1877 and 1881, Krøyer travelled extensively in Europe, meeting artists, studying art, and developing his skills and outlook. He stayed in Paris and studied under Léon Bonnat, and undoubtedly came under the influence of contemporary impressionists – Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir and Édouard Manet. He continued to travel throughout his life, constantly drawing inspiration from foreign artists and cultures. Hirschsprung provided financial support during the early travels, and Krøyer continued exhibiting in Denmark throughout this period. In 1882 he returned to Denmark. He spent June–October at Skagen, then a remote fishing village on the northern tip of Denmark, painting themes from local life, as well as depictions of the artistic community there. He would continue to be associated with the developing art and literary scene at Skagen. Other artists at Skagen included writers Holger Drachmann, Georg Brandes and Henrik Pontoppidan, and artists Michael Ancher and Anna Ancher. Krøyer divided his time between rented houses in Skagen during the summer, a winter apartment in Copenhagen where he worked on his large commissioned portraits, and travel outside of the country. On a trip to Paris in 1888 he ran into Marie Martha Mathilde Triepcke, whom he had known in Copenhagen. They fell in love and, after a whirlwind romance, married on 23 July 1889 at her parents' home in Germany. Marie Krøyer, who was also a painter, became associated with the Skagen community, and after their marriage was often featured in Krøyer's paintings. The couple had one child, a daughter named Vibeke, born in January 1895. They were divorced in 1905 following a prolonged separation. Krøyer's eyesight failed him gradually over the last ten years of his life until he was totally blind. Ever the optimist, he painted almost to the end, in spite of health obstacles. In fact, he painted some of his last masterpieces while half-blind, joking that the eyesight in his one working eye had become better with the loss of the other eye. Krøyer died in 1909 in Skagen at 58 years of age after years of declining health. He had also been in and out of hospitals, suffering from bouts of mental illness. Krøyer's best known and best-loved work is entitled Summer Evening on Skagen's Southern Beach with Anna Ancher and Marie Krøyer (Sommeraften ved Skagen Sønderstrand med Anna Ancher og Marie Krøyer), 1893. He painted many beach scenes featuring both recreation life on the beach (bathers, strollers), and local fishermen. Another well-loved work is Midsummer Eve Bonfire on Skagen Beach (Sankthansbål på Skagen strand), 1906. This large-scale work features a great crowd of the artistic and influential Skagen community gathered around a large bonfire on the beach on Saint John's Eve (Midsummer Eve). Both of these works are in the permanent collection of the Skagens Museum which is dedicated to that community of artists, including those who gathered around Krøyer, a great organizer and bon vivant. Skagen Painters: https://www.youtube.com/playlist?list=PLA3DWLD8grG5PEjILDvKlUbLKTtnFByhm Christian Krohg (1852-1925): Coming soon 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): This Video Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Pompeo Girolamo Batoni (1708-1787) was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their Grand Tour made the artist specialized in portraits. Batoni won international fame largely thanks to his customers, mostly British of noble origin, whom he portrayed, often with famous Italian landscapes in the background. Such "Grand Tour" portraits by Batoni were in British private collections, thus ensuring the genre's popularity in the United Kingdom. One generation later, Sir Joshua Reynolds would take up this tradition and become the leading English portrait painter. Although Batoni was considered the best Italian painter of his time, contemporary chronicles mention of his rivalry with Anton Raphael Mengs. In addition to art-loving nobility, Batoni's subjects included the kings and queens of Poland, Portugal and Prussia, the Holy Roman Emperors Joseph II and Leopold II (a fact which earned him noble dignity), as well the popes Benedict XIV, Clement XIII and Pius VI, Elector Karl Theodor of Bavaria and many more. He also received numerous orders for altarpieces for churches in Italy (Rome, Brescia, Lucca, Parma, etc.), as well as for mythological and allegorical subjects. Batoni's style took inspiration and incorporated elements of classical antiquity, French Rococo, Bolognese classicism, and the work of artists such as Nicolas Poussin, Claude Lorrain and especially Raphael. As such Pompeo Batoni is considered a precursor of Neoclassicism. Batoni owed his first independent commission to the rains that struck Rome in April 1732. Seeking shelter from a sudden storm, Forte Gabrielli di Gubbio, count of Baccaresca took cover under the portico of the Palazzo dei Conservatori on the Capitoline Hill. The Gabrielli Madonna obtained general admiration and by the early 1740s Batoni started to receive other independent commissions. His celebrated painting, The Ecstasy of Saint Catherine of Siena (1743) illustrates his academic refinement of the late-Baroque style. Another masterpiece, his Fall of Simon Magus was painted initially for the St Peter's Basilica. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 1761. Batoni befriended Winckelmann and, like him, aimed in his painting to the restrained classicism of painters from earlier centuries, such as Raphael and Poussin, rather than to the work of the Venetian artists then in vogue. Commenting on Batoni, the art historians Boni and de Rossi said of Batoni and Mengs the other prominent painter in Rome during the second half of the 18th century, that Mengs was made painter by philosophy: Batoni by nature...(Batoni) was more painter than philosopher, (Mengs) more philosopher than painter. In 1741, he was inducted into the Accademia di San Luca. He was greatly in demand for portraits, particularly by the British traveling through Rome, who took pleasure in commissioning standing portraits set in the milieu of antiquities, ruins, and works of art. There are records of over 200 portraits by Batoni of visiting British patrons. Such "Grand Tour" portraits by Batoni came to proliferate in the British private collections, thus ensuring the genre's popularity in the United Kingdom, where Reynolds would become its leading practitioner. In 1760 the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". His late years were affected by declining health; he died in Rome in 1787 at the age of 79, and was buried at his parish church of San Lorenzo in Lucina. Batoni's last will executors were cardinal Filippo Carandini and James Byres, the Scottish antiquary, but the estate was insolvent and his widow was forced by the events to petition the Grand Duke of Tuscany, whom Batoni had painted in 1769, for financial assistance, offering in exchange her husband's unfinished self-portrait, today at the Uffizi in Florence. According to a rumor, before dying in Rome in 1787, he bequeathed his palette and brushes to Jacques-Louis David, to whom, full of admiration for his Oath of the Horatii, Batoni would have confessed: "Only the two of us can call themselves painters". Jacques-Louis David: coming very soon https://en.wikipedia.org/wiki/Pompeo_Batoni Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
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
Adolf Schreyer (1828-1899) was a German painter, associated with the Düsseldorf school of painting.
He studied art first at the Städel Institute in his native town, and then at Stuttgart and Munich.
He painted many of his favourite subjects in his travels in the East.
He first accompanied Maximilian Karl, 6th Prince of Thurn and Taxis through Hungary, Wallachia, Russia and Turkey; then, in 1854, he followed the Austrian army across the Wallachian frontier.
In 1856 he went to Egypt and Syria, and in 1861 to Algiers. In 1862 he settled in Paris, but returned to Germany in 1870; and settled at Cronberg near Frankfurt, where he died.
Schreyer was, and is still, especially esteemed as a painter of horses, of peasant life in Wallachia and Moldavia, and of battle incidents.
His work is remarkable for its excellent equine draughtsmanship, and for the artist's power of observation and forceful statement; and has found particular favour among French and American collectors.
Of his battle-pictures there are two at the Schwerin Gallery, and others in the collection of Count Mensdorff-Pouilly and in the Raven Gallery, Berlin. His painting of a Charge of Artillery of Imperial Guard was formerly at the Luxembourg Museum.
The Metropolitan Museum, New York owns three of Schreyer's oriental paintings: Abandoned, Arabs on the March and Arabs making a detour; and many of his best pictures are in the Rockefeller family, Vanderbilt family, John Jacob Astor, William Backhouse Astor, Sr., August Belmont, and William Walters collections.
At the Kunsthalle in Hamburg is his Wallachian Transport Train, and at the Staedel Institute, Frankfort, are two of his Wallachian scenes
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