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Fasi esecutive del restauro di un dipinto ad olio su tela 2013 .............................................................................................................. Hey there! Hi People! We're in 2017 now , how many people have seen this video in this years ! How many comment , how many compliments, how many judjment and...verdict. And thank you all to have enjoyed my video and my restoration ! I leave everyone to express what they think and I'm sorry I will not respond to all. I just say here that this was one of my first work done only by myself, one of my first very difficult restoration of oil paint on canvas . Well, yes maybe is not perfect, now after 4 years I'm sure I would do differently choises about this work . Everyone evolving their self and they're knowledge a long the way , and this is possible only whit esperiences , practice and hard work . I'm a restorer I love so much my work , and I will always practice for do always better than before. If you're courious to see how I improved my technique in this years ..well you're welcome in my site and website . Love, Emma Link: http://dipintodinuovo.tumblr.com/ https://www.facebook.com/dipinto.dinuovo email@example.com
Abram Arkhipov (1862-1930) - A collection of paintings and drawings in 2KHD Born in the village of Yegorovo in the Ryazan Oblast Arkhipov (birth name Abram Pyrikov) left for the Moscow School of Painting, Sculpture and Architecture in 1877, where he would fall under the tutelage of various Russian artists including Vasily Perov, Vasily Polenov and Vladimir Makovsky. In 1883, Archipov went to study at the Imperial Academy of Arts at Saint Petersburg, he would stay there two years, before returning to complete his studies in Moscow. Arkhipov was accepted into the art collective, The Wanderers in 1889, and joined the Union of Russian Artists in 1903. Themes that occur within his artwork include the lives of Russian women, with some of his realist paintings depicting their grim daily realities. Arkhipov also painted several paintings of peasant women in rural Russia, depicting them in vibrant traditional dresses and national costumes. Like others in the Union of Russian Artists, Arkhipov also painted regularly en plein air, travelling and painting scenes from the North of Russia and the White Sea coast. Arkhipov also taught at the Moscow School of Painting, Sculpture and Architecture where he was originally a student, and from 1922 through 1924 taught at Vkhutemas. Arkhipov joined the Association of Artists of Revolutionary Russia in 1924, and in 1927 was awarded the title of People's Artist of the USSR. Arkhipov died in Moscow in 1930. https://en.wikipedia.org/wiki/Abram_Arkhipov
Broadcast Live on 09-21-18, Louis Carr takes you through the second part of how to create dimensions with oil paint. This time using hard and soft lines.
Jean-Auguste-Dominique Ingres (1780-1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. Ingres's style was formed early in life and changed comparatively little. His earliest drawings, such as the Portrait of a Man (or Portrait of an unknown, 3 July 1797, now in the Louvre) already show a suavity of outline and an extraordinary control of the parallel hatchings which model the forms. From the first, his paintings are characterized by a firmness of outline reflecting his often-quoted conviction that "drawing is the probity of art". He believed colour to be no more than an accessory to drawing, explaining: "Drawing is not just reproducing contours, it is not just the line; drawing is also the expression, the inner form, the composition, the modelling. See what is left after that. Drawing is seven eighths of what makes up painting." The art historian Jean Clay said Ingres "proceeded always from certitude to certitude, with the result that even his freest sketches reveal the same kind of execution as that found in the final works." Abhorring the visible brushstroke, Ingres made no recourse to the shifting effects of colour and light on which the Romantic school depended; he preferred local colours only faintly modelled in light by half tones. "Ce que l'on sait," he would repeat, "il faut le savoir l'épée à la main." ("Whatever you know, you must know it with sword in hand.") Ingres thus left himself without the means of producing the necessary unity of effect when dealing with crowded compositions, such as the Apotheosis of Homer and the Martyrdom of Saint Symphorian. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures, such as Oedipus, The Half-Length Bather, Odalisque, and The Spring, subjects only animated by the consciousness of perfect physical well-being. Ingres was averse to theories, and his allegiance to classicism—with its emphasis on the ideal, the generalized, and the regular—was tempered by his love of the particular. He believed that "the secret of beauty has to be found through truth. The ancients did not create, they did not make; they recognized." In many of Ingres's works there is a collision between the idealized and the particular that creates what Robert Rosenblum termed an "oil-and-water sensation". This contradiction is vivid in Cherubini and the Muse of Lyric Poetry (1842), for example, in which the detailed rendering of the 81-year-old composer is juxtaposed with an idealized muse in classical drapery. Although capable of painting quickly, he often laboured for years over a painting. Ingres's pupil Amaury-Duval wrote of him: "With this facility of execution, one has trouble explaining why Ingres' oeuvre is not still larger, but he scraped out frequently, never being satisfied ... and perhaps this facility itself made him rework whatever dissatisfied him, certain that he had the power to repair the fault, and quickly, too." The Source, although dated 1856, was painted about 1820, except for the head and the extremities; Amaury-Duval, who knew the work in its incomplete state, professed that the after-painting, necessary to fuse new and old, lacked the vigour and precision of touch that distinguished the original execution of the torso. Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Web vidéo reportage au sein de l'Atelier de Francis Glénat Artiste Peintre Réalisation de films sur le travail d'artistes et artisans : Web18 / Sandra Boulou : http://www.Web18.net et http://www.Webvideo.fr
Antonio Ambrogio Alciati (1862-1930), Italian painter - A collection of paintings and drawings 2K HD