3 Like 0 Dislike
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
Jos Ferraz de Almeida (1850-1899) A collection of paintings & drawings 4K Ultra HD Silent Slideshow / Screensaver Commonly known as Almeida Júnior, was a Brazilian artist and designer; one of the first there to paint in the Realistic tradition of Gustave Courbet and Jean-François Millet. The "Dia do Artista Plástico" (Day of Fine Artists in Brazil) is celebrated on his birthday. His art career began while he was working as a bell-ringer at the church of "Our Lady of Candelária" and created some small works on religious themes. The head priest there was sufficiently impressed to hold a fundraiser, so Júnior could go to Rio de Janeiro and take formal art lessons. In 1869, he enrolled at the Academia Imperial de Belas Artes, where he studied with Victor Meirelles and Pedro Américo. His simple, country speech and manners reportedly were the source of much interest and, one might suppose, amusement. After graduating, he chose not to compete for a travel award to Europe, returning instead to Itu, and setting up a studio. He was apparently destined to see Europe, however. In 1876, during a tour of the São Paulo region, Emperor Pedro II saw Júnior's work, was impressed, and personally offered his financial support. Later that year, a Royal Decree awarded Júnior 300 Francs per month (USD $60/month) for the purpose of studying in Paris. He soon settled in Montmartre and enrolled at the École des Beaux-Arts, becoming one of the many students of Alexandre Cabanel. While there, he participated in four of the Salons. He remained in Paris until 1882 then, after a brief trip to Italy, returned to Brazil and exhibited the works he had created during his absence. The following year, he opened a studio in São Paulo and gave lessons. He also held exclusive art exhibitions and executed portraits of notable people, ranging from coffee barons to Republican politicians. In 1884, he held a showing at the "Exposição Geral de Belas Artes" and was made a Knight in the Order of the Rose A year later, Victor Meirelles offered to give Júnior his position as Professor of History Painting at the Academy, but Júnior refused the offer, preferring to stay in São Paulo. From 1887 to 1896, he made three more trips to Europe. During this period, he would increasingly turn from Biblical and historical works in favor of regionalist themes, depicting the everyday life of the "caipiras" and leaving the Academic style behind while gradually approaching Naturalism. Despite these changes, his reputation at the Academy remained unchallenged and he received the Gold Medal there in 1898. https://en.wikipedia.org/wiki/Jos%C3%A9_Ferraz_de_Almeida_J%C3%BAnior
Federico Andreotti (1847-1930) A collection of paintings 4K Ultra HD Silent Slideshow An Italian painter. He initially studied with Angiolo Tricca, Stefano Ussi, and at the Florentine Academy of Fine Arts. At a contest, he won a stipend and ultimately gained appointment as professor at the Academy. He was prolific as a painter of canvases at Rome, Florence, and other cities. He painted realistic genre and aristocratic scenes, often in dress from the eighteenth centuries. The elaborate period dress and affected airs give his paintings, sometimes described as Rococo Revival, a retardataire focus Among his works are: I Crapuloni The Tavern The Reconciliation The Music Teacher A chi dei due Una battuta de'aspetto Returning from the Fields Half-figure of Old Man The Grandfather Interrupted Dance Countryside Idyll The Love Letter https://en.wikipedia.org/wiki/Federico_Andreotti
Hans von Aachen (1552-1615) A collection of paintings and drawings 4K Ultra HD Silent Slideshow A German painter who was one of the leading representatives of Northern Mannerism. Hans von Aachen was a versatile and productive artist who worked in many genres. He was successful as a painter of princely and aristocratic portraits, and further painted religious, mythological and allegorical subjects. Known for his skill in the depiction of nudes, his eroticized mythological scenes were particularly enjoyed by his principal patron, Emperor Rudolf II. These remain the works for which he is best known. He also painted a number of genre paintings of small groups of figures shown from the chest upwards, laughing, often apparently using himself and his wife as models. Von Aachen usually worked on a small scale and many of his works are cabinet paintings on copper Hans von Aachen was a versatile artist who produced portraits, paintings of historical and religious subjects, genre pictures and allegories. He was one of the principal representatives of the late Mannerist style of art that had been nurtured at the court of Rudolf II in Prague around 1600. His style ranges between an idealized style of painting close to Roman and Florentine Mannerism as well as to Venetian masters Titian, Veronese and Tintoretto and the newly emerging tradition of northern realism. Von Aachen developed his own mannerist technique from his study of Tintoretto and Michelangelo's followers. Throughout his career his principal influences were the style of Bartholomeus Spranger and Hendrick Goltzius who dominated the art scene in Germany at the time. https://en.wikipedia.org/wiki/Hans_von_Aachen
Abraham van Beijeren (1621-1690) A collection of paintings 4K Ultra HD Silent Slideshow Dutch Baroque painter of still lifes. Little recognised in his day and initially active as a marine painter, he is now considered one of the most important painters of still lifes, and in particular still lifes of fish and so-called 'pronkstillevens', i.e. sumptuous still lifes of luxurious objects Van Beijeren signed his canvases with the monogram AVB and invariably failed to include a date. As a result, it has been difficult to compile a precise chronology of his works. While in the 1640s most of his paintings were seascapes, van Beijeren began to develop as a skilled still life painter of fish. In his early marine paintings he shows the influence of Jan van Goyen. In the 1650s and 1660s he started to focus on pronkstillevens, i.e. still lifes with fine silverware, Chinese porcelain, glass and selections of fruit. He also painted a number of floral still life paintings, dead bird paintings and vanitas paintings. The move to painting pronkstillevens may have been motivated by economic necessity as they could be sold to a wealthier clientele. These still lifes are often quite elaborate displays and show the influence of Jan Davidsz. de Heem. He generally used a fairly broad technique and brown tonalities with some precision of detail. Van Beijeren was likely familiar with the other Dutch painters of pronkstillevens such as Pieter Claesz and Willem Claeszoon Heda who were specialists in monochrome banquet still lives. He often worked on a larger scale than his Dutch contemporaries with his tall canvasses reaching a height of one meter. https://en.wikipedia.org/wiki/Abraham_van_Beijeren
Charles Théophile Angrand (1854-1926) - A collection of paintings and drawings 2K HD
Charles Angrand (19 April 1854 – 1 April 1926) was a French artist who gained renown for his Neo-Impressionist paintings and drawings. He was an important member of the Parisian avant-garde art scene in the late 1880s and early 1890
Charles Théophile Angrand was born in Criquetot-sur-Ouville, Normandy, France, to schoolmaster Charles P. Angrand (1829–96) and his wife Marie (1833–1905).
He received artistic training in Rouen at Académie de Peinture et de Dessin. His first visit to Paris was in 1875, to see a retrospective of the work of Jean-Baptiste-Camille Corot at École des Beaux-Arts. Corot was an influence on Angrand's early work.
After being denied entry into École des Beaux-Arts, he moved to Paris in 1882, where he began teaching mathematics at Collège Chaptal. His living quarters were near Café d'Athènes, Café Guerbois, Le Chat Noir, and other establishments frequented by artists. Angrand joined the artistic world of the Parisian avant-garde, becoming friends with such luminaries as Georges Seurat, Vincent van Gogh, Paul Signac, Maximilien Luce, and Henri-Edmond Cross. His avant-garde artistic and literary contacts influenced him, and in 1884 he co-founded Société des Artistes Indépendants, along with Seurat, Signac, Odilon Redon, and others.
Angrand's Impressionist paintings of the early 1880s, generally depicting rural subjects and containing broken brushstrokes and light-filled colouration, reflect the influences of Claude Monet, Camille Pissarro, and Jules Bastien-Lepage. Through his interactions with Seurat, Signac, and others in the mid-1880s, his style evolved towards Neo-Impressionism. From 1887 his paintings were Neo-Impressionist and his drawings incorporated Seurat's tenebrist style. Angrand had the "ability to distil poetry from the most banal suburban scene". In 1887 he met van Gogh, who proposed a painting exchange (which ultimately did not happen). Van Gogh was influenced by Angrand's thick brushstrokes and Japanese-inspired compositional asymmetry. Also in 1887, L'Accident, his first Divisionist painting, was exhibited at the Salon des Indépendants. Angrand joined Seurat in plein air painting on La Grande Jatte island.
Angrand's implementation of Pointillist techniques differed from that of some of its leading proponents. He painted with a more muted palette than Seurat and Signac, who used bright contrasting colours. As seen in Couple in the street, Angrand used dots of various colours to enhance shadows and provide the proper tone, while avoiding the violent colouration found in many other Neo-Impressionist works. His monochrome conté crayon drawings such as his self-portrait above, which also demonstrate his delicate handling of light and shadow, were assessed by Signac: "... his drawings are masterpieces. It would be impossible to imagine a better use of white and black ... These are the most beautiful drawings, poems of light, of fine composition and execution."
Angrand exhibited his work in Paris at Les Indépendants, Galerie Druet, Galérie Durand-Ruel, and Bernheim-Jeune, and also in Rouen. His work appeared in Brussels in an 1891 show with Les XX. In the early 1890s, he abandoned painting, instead creating conté drawings and pastels of subjects including rural scenes and depictions of mother and child, realized in dark Symbolist intensity. During this period, he also drew illustrations for anarchist publications such as Les Temps nouveaux; other Neo-Impressionists contributing to these publications included Signac, Luce, and Théo van Rysselberghe.