8 Like 0 Dislike
A rare and thorough documentary that chronicles the short but influential life of one of the greatest hardasses of the Italian High Renaissance.
Grab some polymer medium and let's cover a canvas in a glossy resin-like surface! Using high quality, professional grade materials will give you artwork that lasts! I recommend Golden products because I know them best, but you can certainly use any product you like. I suggest you use professional grade products so that your artwork will last, won't crack and won't turn yellow! Check out my online school here: https://learn.acrylicdiva.com Get on the mailing list here: http://bit.ly/2H966Z0 PRODUCTS USED IN THIS DEMO: Golden Clear Tar Gel: http://bit.ly/2wY79tw Golden Gloss Medium: http://bit.ly/2iNRsiv Golden Fluid Acrylics: http://bit.ly/GoldenFluidsSet These are affiliate links and I make a small commission when you purchase from these links. Thank you! ❤️ Every Thursday at 4 pm PST I host a free Facebook LIVE hangout all about painting techniques, art business and more. Join me! https://business.facebook.com/AcrylicDiva Have a topic you want me to cover? Send me an email! Tesia@AcrylicDiva.com. DOWNLOAD MY FREE 7 PAGE BOOKLET ON MIXING COLOR. http://www.acrylicdiva.com/free-color-wheel Also join me on ❤︎Creative Flow - every Thursday night on my Acrylic Diva Workshop channel. Join here: http://bit.ly/2o57LI6 Acrylic painting questions? Catch me on... Twitter: https://twitter.com/TesiaBlackburn Instagram: http://instagram.com/acrylicdiva Facebook: https://www.facebook.com/TesiaBlackbu... Pinterest: https://www.pinterest.com/AcrylicDiva/ No part of this video may be reproduced or distributed for any reason without written permission from me. 😎
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.
Sky и Nexo Digital совместно с музеями Ватикана и Magnitudo Film продолжают знакомить зрителя с таинственным и чарующим миром искусства Ренессанса. Зрители отправятся в захватывающее путешествие, которое начнется в Урбино (местечке, где родился Рафаэль), сделает остановку во Флоренции и завершится в Риме и Ватикане, представляющих собой расцвет блестящей художественной карьеры итальянского художника. История насчитывает двадцать музейных и выставочных локаций, а также семьдесят произведений искусства, из которых более половины принадлежат Рафаэлю. Прототипами исторических реконструкций послужили картины XVIII века, когда художник имел статус культовой фигуры прошлого. Эти произведения, словно фотоснимки, подробно иллюстрируют фрагменты жизни Рафаэля. Их чувственные и утонченные образы вызывают у современного зрителя сильный эмоциональный отклик, а профессиональные комментарии позволяют еще глубже погрузиться в происходящее на экране. Дата/Год выпуска: 2017 Страна: Италия Жанр: документально-игровой, история искусства Режиссер: Лука Виотто / Luca Viotto IMDb: https://www.imdb.com/title/tt6748042/
Learn more about this exhibition: The Drawings of Bronzino on view at the Met January 20, 2010 - April 18, 2010: http://tinyurl.com/metbronzino A lecture by Lisa Kaborycha, Fellow, National Endowment for the Humanities Introduction by Carmen Bambach, curator, Drawings and Prints, The Metropolitan Museum of Art This exhibition is the first ever dedicated to Agnolo Bronzino (1503 - 1572), and presents nearly all the known drawings by or attributed to this leading Italian Mannerist artist, who was active primarily in Florence. A painter, draftsman, academician, and enormously witty poet, Bronzino became famous as the court artist to the Duke Cosimo I de' Medici and his beautiful wife, the Duchess Eleonora di Toledo. This monographic exhibition contains approximately sixty drawings from European and North American collections, many of which have never before been on public view.
Raffaello Sanzio da Urbino (1483-1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality.
After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.
From 1517 until his death, Raphael lived in the Palazzo Caprini in the Borgo, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the Cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she died in 1520. He is said to have had many affairs, but a permanent fixture in his life in Rome was "La Fornarina", Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio. He was made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur. Vasari claims he had toyed with the ambition of becoming a Cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.
Raphael's premature death on Good Friday which was possibly his 37th birthday, was due to unclear causes, with several possibilities raised by historians.
Whatever the cause, in his acute illness, which lasted fifteen days, Raphael was composed enough to confess his sins, receive the last rites, and to put his affairs in order. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the Pantheon.
His funeral was extremely grand, attended by large crowds. The inscription in his marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori", meaning: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."
Vasari says that Raphael eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single old master painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to assign to a particular hand.
Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants. However though both Penni and Giulio were sufficiently skilled that distinguishing between their hands and that of Raphael himself is still sometimes difficult, there is no doubt that many of Raphael's later wall-paintings, and probably some of his easel paintings, are more notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life.
Other pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter), and the sculptor and architect Lorenzetto.
Thank you, please subscribe for future videos