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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
John White Alexander (1856-1915) A collection of paintings 4K Ultra HD Silent Slideshow American portrait, figure, and decorative painter and illustrator. Alexander was born in Allegheny, Pennsylvania, now a part of Pittsburgh, Pennsylvania. Orphaned in infancy, he was reared by his grandparents and, at the age of 12, became a telegraph boy in Pittsburgh. Edward J. Allen became an early supporter and patron of John W. Alexander, adopting the orphaned Alexander while he worked at the Pacific and Atlantic Telegraph Co. as a young man. Allen brought Alexander to the Allen home at "Edgehill" where Alexander painted various members of the Allen family, including Colonel Allen. His talent at drawing attracted the attention of one of his employers, who assisted him to develop them. He moved to New York City at the age of eighteen and worked in an office at Harper's Weekly, where he was an illustrator and political cartoonist at the same time that Abbey, Pennell, Pyle, and other celebrated illustrators worked there. After an apprenticeship of three years, he travelled to Munich for his first formal training. Owing to the lack of funds, he removed to the village of Polling, Bavaria, and worked with Frank Duveneck. They travelled to Venice, where he profited by the advice of Whistler, and then he continued his studies in Florence, the Netherlands, and Paris. In 1881 he returned to New York and speedily achieved great success in portraiture, numbering among his sitters Oliver Wendell Holmes, John Burroughs, Henry G. Marquand, R. A. L. Stevenson, and president McCosh of Princeton University. Alexander was married to Elizabeth Alexander Alexander, to whom he was introduced in part because of their shared last name. Elizabeth was the daughter of James Waddell Alexander, President of the Equitable Life Assurance Society at the time of the Hyde Ball scandal. The Alexanders had one child, the mathematician James Waddell Alexander II. Many of his paintings are in museums and public places in the United States and in Europe, including the Metropolitan Museum of Art, the Brooklyn Art Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston, the Butler Institute, and the Library of Congress in Washington D.C. In addition, in the entrance hall to the Art Museum of the Carnegie Institute in Pittsburgh, a series of Alexander's murals entitled "Apotheosis of Pittsburgh" (1905–1907) covers the walls of the three-storey atrium area. Alexander's Artist Proof of his portrait of Whitman, signed by the artist in April 1911, is in the Walt Whitman Collection at the University of Pennsylvani. https://en.wikipedia.org/wiki/John_White_Alexander
James Harbeck of Sesquiotica gives some advice on how to pronounce the name Brueghel (also spelled Breughel and Bruegel).
An analysis of the painting by Pieter Brueghel the Younger, in the Musee des Beaux Arts in Brussels. For the Lent Conversation at The Well Christian Community, Brussels.
The essence of life emerges with every stroke of Desjardins' brush, every texture and nuance, transforming the empty canvas into a statement about the mysteries of life, love and our universe itself. His thoughts become real and hidden faces break free from chaos, giving an almost serene and tranquil feeling, while muted and subtle colors coax one into a dreamlike state of viewing the mysteries that Desjardins has revealed. André's passion for life and the stories told in the faces of humanity developed early and have continued to evolve. Today he devotes his time, energy, and passion to translating emotions into images of timeless beauty and humanity. André Desjardins' paintings are poetry. He conjures up life through lines, colours and textures as others do through words. His works are communicative; they talk, they listen. They grab, entice and seduce. They touch.They demonstrate a fine mastery of depth, both pictorial and human.
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.