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Sophie Gengembre Anderson (1823-1903) - A collection of paintings & drawings 2K HD silent slideshow. A French-born British artist who specialised in genre painting of children and women, typically in rural settings. She began her career as a lithographer and painter of portraits, collaborating with Walter Anderson on portraits of American Episcopal bishops. Her work, Elaine, was the first public collection purchase of a woman artist. Her painting No Walk Today was purchased for more than £1 million. Sophie was born in Paris, the daughter of Charles Antoine Colomb Gengembre, a French architect and artist, and his English wife, whose maiden name was Hubert They lived in Paris during the early years of Sophie's life, where her father was acquainted with artists, intellectuals, and actors, like François Joseph Talma. Circumstances required that the family leave Paris and live in a "remote area in France" from 1829 to 1843. At seventeen she developed an interest in art when a travelling portrait painter visited her town. She had two brothers, Philip and Henry P. Gengembre. Her brother Philip changed his name to Philip Hubert, using his mother's maiden name, and was a successful architect in New York City. She was largely self-taught in art, but briefly studied portraiture with Charles de Steuben in about 1843, when she lived with family friends in Paris. Soon after she began her studies, he left for Russia and did not return within the one year allotted for her studies. She did develop relationships with other women artists at the school where she gained a little more instruction. The family left France for the United States to escape the 1848 revolution, first settling in Cincinnati, Ohio, where she met her future husband British genre artist Walter Anderson. Her brother Henry P. Gengembre (b. 1825) was also an artist, active in Cincinnati in the early 1850s. Her portrait, figure and Brittany landscape paintings were exhibited in October 1849 at the Western Art Union Gallery. Also exhibited was a three panel set of Victorian London scenes entitled The Ladder of Love, which was described as "the lady, in her flowery 'May of Life,' awaits in her father's garden a stolen interview with her lover; in the second, she is seen eagerly caught in his impatient arms, ere he has yet left the ladder upon which he surmounted the garden wall; in the third, having received and given reveals of unfaltering love, she walks alone again - beautiful in the enrobing light of a summer moon, happy in the assurance that the warmth and devotedness of her affection is reciprocated." Four or more of her illustrations were included in the Historical Collections of the Great West by Henry Howe. She collaborated with Walter Anderson, her future husband, on portraits of Protestant Episcopal bishops and created other portraits in her business. She then lived in Manchester, Pennsylvania with her parents, where she is believed to have married Walter Anderson. She worked there for the chromolithographers Louis Prang & Company. In 1854 the Andersons moved to London, where Sophie exhibited a still life of fruit, vegetables, game and fish entitled An American Market Basket at the Society of British Artists by 1855. It was considered an "admirable composition" made with "surprising truth". Her works were also exhibited at the Royal Academy. They returned to Pennsylvania in 1858 for a long visit with her family, during which time she exhibited at the Pittsburgh Artist's Association in 1859 and 1860. The latter year she and her husband had work shown at the National Academy of Design. She then settled in London again around 1863 Anderson's work was widely exhibited at venues including the Royal Academy, the Royal Society of British Artists (RBA), and the British Institution. Her work, Elaine, was the first public collection purchase of a woman artist. Her oil painting, Foundling Girls at Prayer in the Chapel (mid-19th C- late-19th C), is displayed at The Foundling Museum; correlating well with Anderson's typical genre painting of children and women and the Museum's focus. The painting depicts the varying ages of the foundling girls, what they wore, and references the religious aspects of their life. To manage her health issue, they moved to the Isle of Capri in 1871, where they lived, painted, and entertained society in a house with a large garden called Villa Castello. Capri was an artist colony at that time, its residents included Frederic Leighton, Walter McLaren, John Singer Sargent, Edouard Alexandre Sain, and Jean Benner. She exhibited at the Grosvenor Gallery between 1878 and 1887. Anderson made Italian genre and Neoclassical paintings, including paintings of peasant women and children. At a time when it was difficult for women to have a successful artistic career, these paintings, generally made by men, allowed for her to have a successful career. https://en.wikipedia.org/wiki/Sophie_Gengembre_Anderson
Sir Henry Raeburn (1756-1823) was a British portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." Sir Henry Raeburn died in St Bernard's House Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh.
Wie de tentoonstelling 'Smakelijk Eten' in het Westfries Museum in Hoorn bezocht, stapte bij binnenkomst een eigentijds en zeer smaakvol ingericht restaurant binnen, waar intrigerende voedselstillevens de muren sieren. In restaurant 'De Verstandighe Kock' stond geen voedsel op de menukaart, maar informatie over eten en drinken in de Gouden Eeuw. TIF realiseerde hiervoor een applicatie met vijftien zeer beeldende en speelse computeranimaties vol informatie over uiteenlopende aspecten van de eetcultuur van onze voorouders in de Gouden Eeuw. Voor de kinderen was er uiteraard een speciaal kindermenu, met informatie over het eten dat de kinderen vierhonderd jaar geleden voorgeschoteld kregen.
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
Christian Krohg (13 August 1852 – 16 October 1925) was a Norwegian naturalist painter, illustrator, author and journalist. Krohg was inspired by the realism art movement and often chose motives from everyday life. He was the director and served as the first professor at the Norwegian Academy of Arts from 1909 to 1925. Christian Krohg was born at Vestre Aker (now Oslo), Norway. He was one of five children born to Georg Anton Krohg (1817–1873) and Sophie Amalia Holst (1822–1861). He was a grandson of Christian Krohg (1777–1828) who had served as a government minister. His father was a civil servant, journalist and author. His mother died when he was only 8 years old, and his father's sister took over responsibility for the household and the upbringing of the children. From 1861, he attended Hartvig Nissen School. His father had asked him to pursue a legal career. Krohg studied law at the University of Oslo (then Christiania) graduating cand.jur. in 1873, the same year in which his father died. During 1869–70, he had also studied at the art school of Johan Fredrik Eckersberg at Lille Grensen in Christiania. He was additionally educated in Germany, first at the Baden School of Art in Karlsruhe under Hans Gude in 1874. He also trained under Karl Gussow from 1875. He followed with study at the Königliche Akademie in Berlin from 1875 to 1878. He was awarded the Schäffer's legacy (1876–77) and received a government travel allowance during 1877–78 and in 1881. In 1879, on the encouragement of artist Frits Thaulow, he visited the Skagen artists colony. He returned to Skagen in 1882–84 and 1888. Through his periodic future residence at Skagen, he would influence other artists including Anna and Michael Ancher and provided early support to Edvard Munch. Krohg worked in Paris from 1881 to 1882. Inspired by the ideas of the realists he chose motives primarily from everyday life – often it's darker or socially inferior sides. Particularly well known are his pictures of prostitutes. Prostitution is also the subject of his novel Albertine (1886), which caused a scandal when first published, and was confiscated by the police. Krohg’s style made him a leading figure in the transition from romanticism to naturalism. Krohg was the founding and editor-in-chief of the Kristiania Bohemian journal, Impressionisten from 1886 until 1890. He then became a journalist for the Oslo newspaper Verdens Gang from 1890 to 1910. Christian Krohg was also associated with Politiken 1893-1894. He taught at Académie Colarossi in Paris from 1902 until 1909. Later he became a professor-director at the Norwegian Academy of Arts (Statens Kunstakademi) from 1909 until 1925. There are notable collections of art by Christian Krohg in the National Museum of Art, Architecture and Design in Oslo and at Skagens Museum in Denmark. Awards and honors Christian Krohg received numerous national and international awards during his career. In 1889, he was made a Knight in the French Legion of Honour and entered in the Belgian Order of Leopold in 1894. He served as Norwegian Commissioner at the Exposition Internationale d'Anvers at Antwerp in 1894 and held membership in the Societe Nouvelle de Peintres et de Sculpteurs from 1900. Krohg was made a Knight 1st Class in the Order of St. Olav in 1900 and received the Command Cross in 1910. Personal life He was married to artist Oda Krohg (1860–1935). In 1885, their daughter Nana (1885–1974) was born and in 1889 their son muralist Per Lasson Krohg (1889–1965). In 1897, his wife took their son Per and moved to Paris with dramatist Gunnar Heiberg. They were later reconciled. In 1914, Christian Krohg established residence near Frogner Park where he died in 1925. Oda Krohg died in 1935. Both were buried at Vår Frelsers gravlund in Oslo. A bronze statue of Krohg by sculptors Per Hurum and Asbjørg Borgfelt was erected at the crossing of Lille Grensen-Karl Johans gate in Oslo in 1960. 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
Pieter Aertsen (1508-1575) A collection of paintings & drawings 2K HD Silent slideshow.
Called Lange Pier ("Tall Pete") because of his height, was a Dutch painter in the style of Northern Mannerism. He is credited with the invention of the monumental genre scene, which combines still life and genre painting and often also includes a biblical scene in the background. He was active in his native city Amsterdam but also worked for a long period in Antwerp, then the centre of artistic life in the Netherlands
His genre scenes were influential on later Flemish Baroque painting, Dutch still life painting and also in Italy. His peasant scenes preceded by a few years the much better-known paintings produced in Antwerp by Pieter Bruegel the Elder.
He was apprenticed with Allaert Claesz. He then travelled to the Southern Netherlands and took up residence in Antwerp, first with his compatriot Jan Mandijn. Aertsen became a member of Antwerp's Guild of Saint Luke. In the official books of the Guild he is recorded as "Langhe Peter, schilder" (Tall Peter, painter). In 1542 he became a citizen (poorter) of Antwerp. He also got married to Kathelijne Beuckelaar, the daughter and sister of an Antwerp painter and aunt of Joachim Beuckelaer and Huybrecht Beuckeleer. Of the couple's eight children, three sons, Pieter, Aert, and Dirk became successful painters.
Aertsen returned to Amsterdam in 1555-56. Notable pupils who trained in his workshop included Stradanus and Aertsen's nephews, Joachim Beuckelaer and Huybrecht Beuckeleer. Joachim Beuckelaer continued and further developed Aertsen's style and subject matter of painting.