George Stubbs: A collection of 295 works (HD)

author LearnFromMasters   6 мес. назад

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Vermeer: Master of Light (COMPLETE Documentary) [No Ads]

A fantastic 2001 documentary, with a huge chunk exploring Vermeer's compositional methods and techniques. Narrated by Meryl Streep My rebuttal to Tim's Vermeer: It's obvious that Vermeer played around with a camera obscura, but the more likely explanation is that he became so familiar with its optical distortion that he 'became' a camera obscura (he adopted its way of seeing as his aesthetic). The placement of his pointillist highlights on the bread in the Milkmaid (for example) is like a how a camera obscura would place highlights on a highly reflective object, but NEVER a loaf of bread. He placed them there because he was creating it in his imagination to look how shinier objects would look through a camera obscura, because he consciously enjoyed the effect of it and created it thus. If Vermeer were dependent on a bulky optical device he would never have painted the View of Delft -- a massive outdoor landscape scene that was certainly created at home. It was generally impossible before the advent of tubed paint to work alla prima outside, and if the camera obscura were a trade secret he would have never have risked using it in public. Vermeer worked it up (along with the 'Little Street') from drawings and returned to the studio to make it. Vermeer painted all of his interiors in the same room of his small house in Delft, yet the windows, the floor, the walls etc. always look different. Why? Because he was creating them in his head to look like a camera obscura, but not slavishly with a camera obscura. Finally, X rays of Vermeer's paintings show that he reworked the placement of things over and over -- meaning he was building from imagination, not directly from an optical device.

Frans Hals: A collection of 164 paintings (HD)

Frans Hals: A collection of 164 paintings (HD) Description: "Frans Hals was probably born in Antwerp. It is likely that his parents were among the Protestants who fled from Catholic Flanders to the northern Netherlands after the Spanish took Antwerp in 1585. The earliest evidence of the presence of the Hals family in Haarlem is the record of the baptism in 1591 of Frans's brother, Dirck Hals, who also became a painter. Between 1600 and 1603 Hals was a pupil of the Haarlem mannerist painter Karel van Mander. In 1610 Hals became a member of the Haarlem painters' guild. His earliest surviving dated portrait, of Jacobus Zaffius, is dated 1611. There must have been earlier works that either have not come down to us or have not yet been identified. Some scholars now accept the Banquet in a Park, destroyed in World War II, as a work by Hals painted about 1610, on the basis of the free brushstroke that characterizes his work." Some 250 paintings by Hals still exist, of which almost 200 are portraits. Except for two pictures representing the Evangelists St. Luke and St. Matthew, the rest are genre subjects, mostly portraitlike single figures, almost all in half or three-quarter length. --- SUBSCRIBE: Facebook: Google+: Contact: --- Thanks for all support!

Benjamin Haughton: A collection of 321 paintings (HD)

Benjamin Haughton: A collection of 321 paintings (HD) Description: "Benjamin Haughton was a British visual artist who was born in 1865. The artist died in 1924." --- SUBSCRIBE: Facebook: Google+: Contact: SUPPORT MY WORK AT: (By donating at least 50$ you'll have acces to all artworks (JPEG files) collection already posted on this channel!) LIST OF ARTISTS already posted on LearnFromMasters: --- Thank you so much for your support!

The Fake Van Gogh's (Counterfeit Art Documentary) | Timeline

Check out our new website for more incredible history documentaries: HD and ad-free. Was the most expensive painting ever sold at auction a fake? This award-winning documentary explores the authenticity of the Sunflowers painting by Vincent van Gogh, bought in the late 1980s for a then record sum by a Japanese insurance company. In 2002, the painting went on public exhibition alongside an undisputedly genuine version of Sunflowers, raising once again the questions so vividly posed in this film. Content licensed from Espresso Media. Any queries, please contact us at:

Time Team - Season 10, Episode 10 - Rescuing The Dead (Leven, Fife)

Before then site is built on the team have 3 days to document the Bronze age burial ground. No copyright infringement has been intended by the uploading of this video; I am simply trying to share this amazingly interesting series.

George Stubbs: A collection of 295 works (HD)

Description: "George Stubbs was the finest horse painter that England has ever produced, combining a profound knowledge of horse anatomy with psychological insight, naturalistic observation and a calm, classical sense of composition. Born in 1724, the son of a Liverpool currier, he was largely self-taught as an artist. About 1741 he studied briefly with Harriet Winstanley, an artist from Warrington, Lancashire. Four years later Stubbs studied anatomy at York Hospital, illustrating Dr John Burton’s Essay Towards a Complete New System of Midwifery (1751) with drawings made from dissections at which he had assisted.
From c.1741-56 Stubbs made a living painting portraits, such as that of his earliest patron Sir Henry Nelthorpe, 5th Bt, and his second wife, c.1745 (Nelthorpe Collection). He went briefly to Rome in 1754. In 1756 Stubbs started eighteen gruelling months studying the anatomy of the horse by dissecting corpses supplied by tanneries at a farmhouse in Horkstow, Lincolnshire. The fruit of this were exquisite drawings, engraved by Stubbs and published in The Anatomy of the Horse (1766).
In 1758 Stubbs settled in London, where his anatomical drawings attracted the attention of wealthy patrons with a passion for breeding and racing horses. In 1759-60 he painted three large hunting, shooting and racing canvases for the 3rd Duke of Richmond (Goodwood House, West Sussex); in 1762 he painted the celebrated Grosvenor Hunt for the 1st Earl Grosvenor (Eaton Hall, Cheshire). The same year Stubbs painted his first commissions for the 2nd Marquess of Rockingham: the near-life-size Whistlejacket (National Gallery, London) and the friezelike Mares and foals without a background (Fitzwilliam family collection). Horse attacked by a lion, 1762 (Yale Center for British Art, New Haven), also painted for Rockingham, showed Stubbs adapting Romantic sturm und drang to an animal subject.
Stubbs exhibited at the Society of Artists from 1761 to 1774 and was its President in 1772-3. He exhibited at the Royal Academy from 1775-1803, becoming an Academician in 1781, an honour later withdrawn because he refused to submit a Diploma painting.
Stubbs was a fine observer of human beings – from stable lads to languid aristocrats – as well as horses. He also painted exotic animals, mythological works and poetic, rustic scenes of Haymakers and Reapers, 1785 (Tate Gallery, London). He experimented with mixed method engraving techniques and, with the help of his friend Josiah Wedgwood, in painting in enamel colours on Wedgwood ceramic supports. From the early 1790s Stubbs’s financial difficulties were ameloriated by the patronage of the Prince of Wales (later George IV), for whom he painted at least eighteen oils. Among Stubbs’s latest, most monumental images is the exhausted racehorse Hambletonian, rubbing down, 1800 (Mount Stewart House, Co. Down, NT). George Stubbs died in London in 1806."




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