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Antonio Ermolao Paoletti (1834-1912) was an Italian painter, mainly of Venetian genre scenes, recalling Bamboccianti life of children and women, as well as sacred fresco work for churches in the Veneto. Antonio's father, Ermolao Paoletti, was a well known scholar and writer of Venice. He wrote a much cited expansive guide to its architecture, monuments, artistic works, and customs. He also wrote a dictionary of Venetian dialect. He was an engraver and painter, and was a professor at the Accademia di Belle Arti in Venice. Antonio attended course in the Accademia as a pupil of Pompeo Marino Molmenti, and as a colleague of the sculptor Antonio Dal Zotto and the Armenian painter and engraver Edgar Chahine. He displayed in various exhibitions, including Milan in 1872, where he displayed Ecco come va il vino nelle messe; at the 1884 Exhibition of Turin: Flowers for the Holy Virgin and Fa' caro al nonno!; at the 1884 Promotrice Popolana Venicena; il pesce addenti; and in 1885, Il venditore di pesce. Among his many frescoes is the main altarpiece depicting the Madonna of the Rosary with St Anthony and St Materno (1863) for the parish church of Melara. Like his father, Antonio also became a professor at the Accademia. https://en.wikipedia.org/wiki/Antonio_Ermolao_Paoletti Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Sir Edward Coley Burne-Jones, 1st Baronet ARA (1833-1898) was an English artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain; his stained-glass include windows in St. Philip's Cathedral, Birmingham, St Martin in the Bull Ring, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Peter and St Paul parish church in Cromer, St Martin's Church in Brampton, Cumbria (the church designed by Philip Webb), St Michael's Church, Brighton, All Saints, Jesus Lane, Cambridge, St Edmund Hall and Christ Church, two colleges of the University of Oxford. Edward Coley Burne Jones was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his grieving father and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless and unintellectual local girl. He attended Birmingham's King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford. At Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a small group of Jones' friends from Birmingham known as the Birmingham Set, speedily formed a very close and intimate society, which they called "The Brotherhood". The members of the Brotherhood read John Ruskin and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discovered Thomas Malory's Le Morte d'Arthur which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew Gabriele Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote their ideas. Burne-Jones was elected an Associate of the Royal Academy in 1885, and the following year he exhibited at the Academy, showing The Depths of the Sea, a painting of a mermaid carrying down with her a youth whom she has unconsciously drowned in the impetuosity of her love. This picture adds to the habitual haunting charm a tragic irony of conception and a felicity of execution which give it a place apart among Burne-Jones's works. He formally resigned his Associateship in 1893. One of the Perseus series was exhibited in 1887, two more in 1888, with The Brazen Tower, inspired by the same legend. In 1890 the second series of The Legend of Briar Rose were exhibited by themselves, and won the widest admiration. The huge watercolor, The Star of Bethlehem, painted for the corporation of Birmingham, was exhibited in 1891. A long illness for some time checked the painter's activity, which, when resumed, was much occupied with decorative schemes. An exhibition of his work was held at the New Gallery in the winter of 1892–1893. To this period belong several of his comparatively few portraits. In 1894 Burne-Jones was made a baronet. Ill-health again interrupted the progress of his works, chief among which was the vast Arthur in Avalon. In the winter following his death a second exhibition of his works was held at the New Gallery, and an exhibition of his drawings at the Burlington Fine Arts Club. https://en.wikipedia.org/wiki/Edward_Burne-Jones Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Scarlett Johansson is one of the people who have a natural beauty. A face with aesthetic facial features. These people are beautiful without make-up. Portrait painting of the woman face ★ Subscribe http://goo.gl/Sznejb for more great Speed Art Portraits, 3D Art and Drawing Tutorials and Tips like these! https://goo.gl/FNpOjS ★ ► My Book on Amazon "The Art Of 3D Drawing": 📖 for USA - https://www.amazon.com/dp/1633221717 📖 for GB - https://www.amazon.co.uk/dp/1633221717 📖 for Italy - https://www.amazon.de/dp/8865208783 My book shows you how to create optical illusions and 3D Trick Art by breaking the process down into basic, easy-to-follow steps. -to buy this picture or to purchase your portrait from photo contact portrait@email ★more painting videos★ Portrait Speed Art: https://goo.gl/qeBZWc 3D Drawing: https://goo.gl/fi5kwD Tutorial/Tips https://goo.gl/L3u3wI Connect With Me On Social: FACEBOOK http://goo.gl/U5cXhD GOOGLE+ https://plus.google.com/u/0/+PortraitPainterPabst INSTAGRAM: https://www.instagram.com/3dpainterpabst WEBSITE: http://portrait-gemalt-nach-foto.de 3D Painter Pabst ➤ business contact email@example.com ★To bye this painting contact me★ Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ ★★★Portrait gemalt nach Foto auf Bestellung, Portrait bestellen malen lassen vom Foto. Zeichnen nach Fotovorlage. Bestellen Portrait nach Foto bitte mich kontaktieren. Versand deutschlandweit ★★★ cómo dibujar un retrato realista de una persona realista. dibujar labios manga, técnica de pincel seco. dibujar un retrato realista dibujado.irrealmente hermosa Enfriar hay palabras
Attilio Pratella (born 1856 in Lugo di Romagna, Italy; died 1949 in Naples, Italy) was an Italian painter. Pratella studied at the Accademia di Belle Arti in Bologna. He won a scholarship, so he went to Naples to study at the Accademia di Belle Arti di Napoli, where he spent the rest of his life. His favourite subjects were Naples with its markets and animated waterfronts, along with the neighbouring hills of Vomero, the island of Capri and the coastline of Sorrento. Pratella's sons Fausto and Paolo, and his daughter Ada were also painters. His works are exhibited in the main public Italian Modern Art Galleries of Milan, Naples, and Rome. After Pratella's death, a street in Naples and in Lugo di Romagna was named after him. https://en.wikipedia.org/wiki/Attilio_Pratella Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Alexander Roslin Alexandre in French; 15 July 1718 – 5 July 1793) was a Swedish portrait painter who worked in Scania, Bayreuth, Paris, Italy, Warsaw and St. Petersburg, primarily for members of aristocratic families. After showing an unusual talent for drawing and painting, he trained in drawing at Karlskrona under Admiralty Captain Lars Ehrenbill (1697–1747) in order to become a naval draughtsman, and then began to paint miniatures. Stockholm had become an intellectual and artistic center since Queen Christina had established connections with Paris, and Alexander Roslin moved there. At the age of sixteen he became apprenticed to the court painter Georg Engelhard Schröder in Stockholm, studying painting there until 1741 and beginning to paint large portraits in oils. Schröder was influenced by Hyacinthe Rigaud and Nicolas de Largillière. In 1741, Roslin settled in Gothenburg, and the following year moved to Scania, where he remained until 1745 painting portraits and also creating religious paintings for the church at Hasslöv. In 1745, Roslin left Sweden for Bayreuth, where he had been invited to work for Frederick, Margrave of Brandenburg-Kulmbach. In 1747, he moved to Italy to study the works of the great masters. While in Italy he portrayed, among others, the family of Philip, Duke of Parma in 1752. In the same year Roslin moved to Paris, at the age of 34, where he settled for the rest of his life. Here, in 1759, he married the pastel painter Marie-Suzanne Giroust. The couple had three sons and three daughters. In 1768 Roslin painted her dressed in Bolognese fashion, Lady with Veil, a portrait that the art critic, writer and philosopher Denis Diderot judged "très piquante". In 1767 he painted a double portrait of them both; she is depicted working in pastels on a portrait of Henrik Wilhelm Peill, while Roslin points at a gold box he received from Peill as a present. The frame of the painting is inscribed Loin et près (Far away and yet close), showing that the portrait was a token of friendship. This painting was purchased by the Swedish National Museum in 2013. In Paris he was a protégé of François Boucher and his work rapidly became fashionable. He was chosen as a member of the French Art Academy, to which his wife also belonged. His early portraits are painted in bright, cool colours, and show the influence of Jean-Marc Nattier and Hyacinthe Rigaud. Around the 1760s he started using daring colouring in his paintings, such as in the portrait of his wife, Lady with Veil (1768), and the Jennings Family (1769). Roslin had great technical skill in painting the surfaces and texture of precious materials such as fabrics and jewels, but was also adept at capturing his sitters at their best. In Paris he soon became one of the foremost portraitists of his time, valued mostly for practiced rendering of luxurious fabrics and gentle complexions: "Satin, skin? Go to Roslin." His portraits of members of the French aristocracy show sensitivity and taste and also psychological insight, although changes in taste might make his faces seem "stiff and lifeless" to some observers today. In 1765 he scored a significant triumph when his portrait of Louis, Duke of La Rochefoucauld and his family, painted in competition with Jean-Baptiste Greuze, was awarded the prize. He also painted several portraits of members of the French royal family and foreign princes, including the Swedish king Gustav III and his brothers. In the second half of the 18th century, having one's portrait painted by Roslin was the highpoint of public esteem. In 1771 Roslin, although a foreigner (often called Roslin le suédois, "Roslin the Swede"), was awarded a pension and a free apartment in the Louvre. The following year he was awarded the Royal Order of Vasa by his native country, after which he was also called Roslin le Chevalier ("Roslin the knight"). He was often surrounded by Swedish visitors to Paris, such as Peill. He was also a good friend of the influential Swedish politician Count Carl Gustaf Tessin. After his wife's death, during the years 1774–75, Roslin visited Sweden, where he had been elected a member of the Royal Swedish Academy of Arts, oddly enough as a foreign honorary member. During the visit, he painted the members of the Swedish royal family, his self-portrait while painting the king, and also portraits of the statesman Carl Fredrik Scheffer and the naturalist Carl Linnaeus. https://en.wikipedia.org/wiki/Alexander_Roslin Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Alessandro Allori (1535 -1607) - A collection of paintings and drawings HD
Alessandro di Cristofano di Lorenzo del Bronzino Allori (Florence, 31 May 1535 – 22 September 1607) was an Italian portrait painter of the late Mannerist Florentine school.
In 1540, after the death of his father, he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.
Freedberg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art (and style) are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as if he aimed for cold statuary. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting. While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Counter-Maniera (Counter-Mannerism) artists, it dared not stray from high themes or stray into high emotion.
Among his collaborators was Giovanni Maria Butteri and his main pupil was Giovanni Bizzelli. Cristoforo del Altissimo, Cesare Dandini, Aurelio Lomi, John Mosnier, Alessandro Pieroni, Giovanni Battista Vanni, and Monanni also were his pupils.
Allori was one of the artists, working under Vasari, included in the decoration of the Studiolo of Francesco I.
He was the father of the painter Cristofano Allori (1577–1621).
Portrait of a Young Man (1561; Ashmolean Museum, Oxford)
Christ and the Samaritan Woman (Altarpiece, 1575, Santa Maria Novella, now Prato)
Road to Calvary (1604, Rome)
Dead Christ and Angels, (Museum Fine Arts, Budapest)
Portrait of Piero de Médici, (São Paulo Art Museum, São Paulo)
Pearl Fishing (1570–72, Studiolo of Francesco I, Palazzo Vecchio,
Sussana and the Elders (202 × 117 cm, musée Magnin, Dijon)
Allegory of Human Life
The Miracle of St. Peter Walking on Water
Venus and Cupid (musée Fabre, Montpellier)