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Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Sienese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo. His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better-known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre (illustrated here). Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival. Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the beautiful Virgin of the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre). In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work. The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome). Andrea's last work was an altarpiece representing The Assumption of the Virgin, left unfinished at his death and completed by Bernardino Campi about 1576. See also Gallery (below) for a selection of Solari's work. https://en.wikipedia.org/wiki/Andrea_Solari Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
New videos coming for December 2018 from Master Painters. Sofonisba Anguisciola (1532–1625) Antonio Ermolao Paoletti (1834-1912) Attilio Pratella (1856-1932) Adrian Ludwig Richter (1803-1884) Alexander Roslin (1718-1793) Allan Ramsay (1713-1784) Anne-Louis Girodet de Roucy-Triosson (1767-1824) Anthonie Palamedez (1601-1673) Antoniazzo Romano (1430-1508) Adolf Schreyer (1828-1899) Aleksey Savrasov (1830-1887) Alfred Stevens (1823-1906) Andrea Sacchi (1599-1661) Andrea Schiavone (1515–1563) Andrea Solario (1460-1524) Andreas Schelfhout (1787-1870) Anthony Frederick Sandys (1829-1904) Antonio Sicurezza (1905-1976) Ary Scheffer (1795-1858) Giovanni Battista Salvi (1609-1685) Andrea del Sarto (1486-1531) Andrea del Sarto (1486-1531) - Frescos Andrea del Sarto (1486-1531) - Madonnas Andrea del Sarto (1486-1531) - Portraits Andrea del Sarto (1486-1531) - Religious paintings Andrea del Sarto (1486-1531) - The Last Supper Arthur Streeton (1867-1943) - Landscapes Arthur Streeton (1867-1943) - Still life Edward Burne-Jones (1833-1898) Paul Gauguin (1848-1903) Claude Monet (1840-1926) part #5 Pablo Picasso (1881-1973) - Blue periodd Rembrandt van Rijn (1606–1669) Biblical & Mythological Rembrandt van Rijn (1606–1669) Groups Rembrandt van Rijn (1606–1669) Landscapes Rembrandt van Rijn (1606–1669) Portraits 1 Rembrandt van Rijn (1606–1669) Portraits 2 Rembrandt van Rijn (1606–1669) Self Portraits Ilya Repin (1844-1930) John Singer Sargent (1856-1925) Francesco Bacchiacca (1494-1557) Abbott Handerson Thayer (1849-1921) Adolfo Tommasi (1851-1933) Angiolo Tommasi (1858-1923) Archibald Thorburn (1860-1935) Auguste Toulmouche (1829-1890) Aleksander świeszewski (1839-1895) Alfred Wahlberg (1834-1906) Andrew Wyeth (1917–2009) Antoine Watteau (1684-1721) Alessandro Zezzos (1848-1914) Anders Zorn (1860-1920) Ángel Zárraga (1886-1946) And many more. Wishing you all a very merry Christmas and a wonderful New Year. Thank you for watching and supporting Master Painters. please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Budapest is home to a life-size bronze reproduction of Peter Falk as America’s favorite soft-spoken detective, Columbo. But why? Been Here or Want to Go? Tell us here: https://trib.al/6M2eEcM See what other hidden wonders you can see while you're in Budapest: https://trib.al/FqklMhW "Waltz in A major" Franz Liszt Performed by Mauro Tortorelli musopen.org/music/43462-2-waltzes-s126b/ [CC BY 3.0] creativecommons.org/licenses/by-sa/3.0 "Mephisto Polka" Franz Liszt Performed by Sofja Gülbadamova musopen.org/music/30921-mephisto-polka-s217/ [CC BY 3.0] creativecommons.org/licenses/by-sa/3.0
An overview of the creation of the Netherlands, from start to finish. Music listed on last slide.
Herman Alfred Leonard Wahlberg (1834-1906) was a Swedish landscape painter from Stockholm. After receiving preparatory education at the Royal Swedish Academy of Arts, Wahlberg moved to Düsseldorf in 1857 to train—he was since associated with the Düsseldorf school of painting. He returned to Stockholm in 1862 and painted Svenskt insjölandskap från Kolmården (1866), which became very famous and was displayed at the National Museum of Arts. Wahlberg moved to Paris in 1866 and displayed two paintings at the 1868 Paris Salon. He became successful in Paris and was awarded with medals at the Paris Salon in 1870 and 1872. At the 1878 World's Fair in Paris, Wahlberg was recognized with a first class medal. Alfred Wahlberg was born on 13 February 1834 in Stockholm, Sweden. His father was a painter and his mother worked with carving. Wahlberg learned his father's profession as a child, but became a student at Royal Swedish Academy of Music after showing precocious musical talent. He studied piano and clarinet at the academy. After finishing his studies, Wahlberg joined the orchestra Göta gardes musikkår, and earned money (25–50 öre per hour) by giving piano lessons. He received preparatory education at the Royal Swedish Academy of Arts at the same time, although he never became a real student there. Wahlberg enjoyed painting and decided to pursue his father's profession. He started by drawing landscapes, and sold a painting for the first time in 1856 to Konstföreningen (English: The Art Union). In 1857, Wahlberg moved to the Kunstakademie Düsseldorf in Germany to train. He was a student of Hans Fredrik Gude for a short time, but made most of his paintings on his own. Wahlberg's paintings were sold either in Germany or to Konstföreningen in Sweden. Before returning to Stockholm in 1862, he made a trip to the Netherlands and Belgium to further his art studies. Wahlberg's fondness of romantic, dreaming, lyrical, and musical atmospheres is reflected in his paintings depicting the evening and the moonlight's play with tones and light. The most well-known paintings Wahlberg made while living in Düsseldorf are Solnedgång i Bohuslän and Vinterlandskap med björnjakt, both of which depict Swedish forest landscapes. After his return to Stockholm in 1862, Wahlberg painted Storm på holländska kusten (1863), Fors i svensk obygd (largely influenced by Andreas Achenbach), Borgruinen Niedeck vid Rhen (1863), Skogsparti från Särö (1865), Hörningsholm i månsken (1866), and Svenskt insjölandskap från Kolmården (1866). The later is a carefully composed view of an infinite forest (Kolmården), a lake, and a summer sky. The evening sky and the moonlight is depicted in mild, melting colors. The painting became very famous and was displayed at the National Museum of Arts. Although Wahlberg was still restricted by the limits of his technique, the painting was a large progress in his development as a painter. Wahlberg moved to Paris in 1866, and displayed two paintings at the 1868 Paris Salon—both depicting a fishing place in Bohuslän; one of them takes place during the night and one during a sunset. These two paintings mark Wahlberg's transition from a Düsseldorf technique to a then modern French technique. He learned by ease the French school's technique and approach to studies, without imitating the well-known French painters. Wahlberg earned success and was awarded with medals at the Paris Salon in 1870 and 1872, and was credited for bringing the then modern techniques of landscape art to Sweden. Almost every summer he made a short return to Sweden to study the nature in places such as Stockholm archipelago, Skåne, Halland, and Värmland. Among his most famous paintings from this period are Fiskläge vid bohuslänska kusten, Utsikt i Södermanland (view of a meadow and a lake in Södermanland, 1870), Landskap i månsken (landscape in moonlight, 1870), Månsken från södra Frankrike (moonlight in southern France, 1870), Nääs (a summer evening, 1871), I Vaxholm (an autumn day in Vaxholm, 1872), I Fontainebleauskogen (Fontainebleau forest, 1874), Maj i Nizza (May in Nice, 1878), Afton på Hallands Väderö (evening at an island, 1800), Fjällbacka (moonlight, 1881), and Svensk björkhage (1882). At the 1878 World's Fair in Paris, Wahlberg was recognized with a first class medal. Wahlberg's work from the late 1880s and forward includes Stockholms ström (1888), Månsken på Hallands Väderö (1889), Oktobernatt (1893), Popplar (1893), Sol på snö i Marstrand (1901), and Svensk sommarnatt (1901). He died on 4 October 1906 in Tranås. https://en.wikipedia.org/wiki/Alfred_Wahlberg Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Sofonisba Anguissola (1532-1625) was an Italian Renaissance painter born in Cremona to a relatively poor noble family.
She received a well-rounded education, that included the fine arts, and her apprenticeship with local painters set a precedent for women to be accepted as students of art.
As a young woman, Anguissola traveled to Rome where she was introduced to Michelangelo, who immediately recognized her talent, and to Milan, where she painted the Duke of Alba.
The Spanish queen, Elizabeth of Valois, was a keen amateur painter and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II, and adapted her style to the more formal requirements of official portraits for the Spanish court. After the queen's death, Philip helped arrange an aristocratic marriage for her. She moved to Sicily, and later Pisa and Genoa, where she continued to practice as a leading portrait painter.
Her most distinctive and attractive paintings are her portraits of herself and her family, which she painted before she moved to the Spanish court. In particular, her depictions of children were fresh and closely observed.
At the Spanish court she painted formal state portraits in the prevailing official style. Later in her life she also painted religious themes, although many of her religious paintings have been lost. In 1625, she died at age ninety-three in Palermo.
Anguissola's example, as much as her oeuvre, had a lasting influence on subsequent generations of artists, and her great success opened the way for larger numbers of women to pursue serious careers as artists.
Her paintings can be seen at galleries in Boston, MA (Isabella Stewart Gardner Museum); Milwaukee, Wisconsin (Milwaukee Art Museum); Bergamo; Brescia; Budapest; Madrid (Museo del Prado); Naples; Siena; and at the Uffizi Gallery in Florence.
Her contemporary Giorgio Vasari wrote about Anguissola that she "has shown greater application and better grace than any other woman of our age in her endeavors at drawing; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings."
The influence of Campi, whose reputation was based on portraiture, is evident in Anguissola's early works, such as the Self-Portrait.
Her work was akin to the worldly tradition of Cremona, influenced greatly by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm.
From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
The main body of Anguissola's earlier work consists of self-portraits (the many "autoritratti" reflect the fact that portraits of her were frequently requested due to her fame) and portraits of her family, which are considered by many to be her finest works.
Sofonisba Anguissola's oeuvre had a lasting influence on subsequent generations of artists. Her portrait of Queen Elisabeth of Valois with a zibellino (the pelt of a marten set with a head and feet of jewelled gold) was widely copied by many of the finest artists of the time, such as Peter Paul Rubens.
Anguissola is significant to feminist art historians. Although there has never been a period in Western history in which women were completely absent in the visual arts, Anguissola's great success opened the way for larger numbers of women to pursue serious careers as artists; Lavinia Fontana expressed in a letter written in 1579 that she and another woman, Irene di Spilimbergo, had “set heart on learning how to paint” after seeing one of Anguissola’s portraits. Some of her more well-known successors include Lavinia Fontana, Barbara Longhi, Fede Galizia and Artemisia Gentileschi.
A Cremonese school bears the name Liceo Statale Sofonisba Anguissola.
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