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Mary Cassatt: A collection of 339 works (HD) Description: "Mary Stevenson Cassatt (1844–1926), born in Allegheny City (now part of Pittsburgh), Pennsylvania, spent her early years with her family in France and Germany. From 1860 to 1862, she studied at the Pennsylvania Academy of the Fine Arts. By 1865, she had convinced her parents to let her study in Paris, where she took private lessons from leading academic painter Jean-Léon Gérôme, copied works of the old masters, and went sketching. She stayed in Courance and Écouen and studied with Édouard Frère and Paul Soyer. In 1868, Cassatt’s painting The Mandolin Player (private collection) was accepted at the Paris Salon, the first time her work was represented there. After three-and-a-half years in France, the Franco-Prussian War interrupted Cassatt’s studies and she returned to Philadelphia in the late summer of 1870. Cassatt returned to Europe in 1871. She spent eight months in Parma, Italy, in 1872, studying the paintings of Correggio and Parmigianino and working with the advice of Carlo Raimondi, head of the department of engraving at the Parma Academy. In 1873, she visited Spain, Belgium, and Holland to study and copy the works of Velázquez, Rubens, and Hals. In June 1874, Cassatt settled in Paris, where she began to show regularly in the Salons, and where her parents and sister Lydia joined her in 1877. That same year, Edgar Degas invited her to join the group of independent artists later known as the Impressionists. The only American officially associated with the group, Cassatt exhibited in four of their eight exhibitions, in 1879, 1880, 1881, and 1886. Under their influence, Cassatt revised her technique, composition, and use of color and light, manifesting her admiration for the works of the French avant garde, especially Degas and Manet. Degas, her chief mentor, provided criticism of her work, offered advice on technique, and encouraged her experiments in printmaking. Like Degas, she was chiefly interested in figure compositions. During the late 1870s and early 1880s, the subjects of her works were her family (especially her sister Lydia), the theater, and the opera. Later she made a specialty of the mother and child theme, which she treated with warmth and naturalness in paintings, pastels, and prints. Cassatt’s role as an advisor to art collectors benefited many public and private collections in the United States. From her early days in Paris, she encouraged the collection of old masters and the French avant-garde. In 1901, she accompanied Mr. and Mrs. H. O. Havemeyer on a collecting trip in Italy and Spain. Cassatt had known Mrs. Havemeyer before her marriage. In 1873, she had encouraged the then seventeen-year-old Louisine Elder to buy a pastel by Degas, and the two women became close friends. Cassatt was eventually instrumental in shaping the Havemeyer collection, most of which is now in the Metropolitan Museum. Failing eyesight severely curtailed Cassatt’s work after 1900. She gave up printmaking in 1901, and in 1904 stopped painting. She spent most of the war years in Grasse and died in 1926 at her country home, Château de Beaufresne, at Mesnil-Theribus, Oise." --- SUBSCRIBE: www.youtube.com/c/LearnFromMasters?sub_confirmation=1 Facebook: https://www.facebook.com/LearnFromMasters/ Google+: https://plus.google.com/+LearnFromMasters Contact: LearnFromMasters01@gmail.com SUPPORT MY WORK AT: https://www.patreon.com/LearnFromMasters LIST OF ARTISTS already posted on LearnFromMasters: https://goo.gl/hri4HE --- Thank you so much for your support!
Compiling a half-century of unparalleled artistic dialogue, this program documents the complicated relationship between two indomitable personae: Henri Matisse, the serene, self-indulgent father figure, and Pablo Picasso, the eternal adolescent and fiery primitive. »»﴿───► See more on the Artists and Art Playlist: https://www.youtube.com/playlist?list=PLIZqvqbtz9I3Awxq23UZKyGAzqzAJiUhN »»﴿───► See more on the Documentary Playlist: https://www.youtube.com/playlist?list=PLIZqvqbtz9I0A1T78lAPpY0RN5oM9Gq5c Check out the Patreon rewards! https://www.patreon.com/ManufacturingIntellect The program employs archival photos and film clips, stunning images of painting and sculpture, and firsthand recollections of the Picasso and Matisse circles, illuminating the intersecting creative journeys of both artists. Françoise Gilot and Picasso’s son Claude shed light on the Spaniard’s formal reactions to—and admiration of—Matisse, while Jacqueline Matisse Monnier and Matisse biographer Hilary Spurling reciprocate.
Berthe Morisot, The Cradle, 1872, oil on canvas, 56 x 46 cm (Musée d'Orsay, Paris). Speakers: Dr. Steven Zucker and Dr. Beth Harris
Jules Adolphe Breton: A collection of 79 paintings (HD) Description: "Jules Breton, born Jules-Adolphe-Aime-Louis Breton, was a painter and poet of the “Official Realist movement”, a government-approved form of Realism. He was renowned for his depictions of the peasant class. Jules Breton first received artistic instruction at the seminary at St. Bertin near St. Omer. He was introduced to drawing and classical literature at a college in Douai. Felix de Vigne, an instructor at the Royal Academy of Ghent, invited Breton to attend the academy in 1843 after viewing the young artist’s work. What was initially to be a three-month stay at the academy turned into a three-year engagement. After his time at the Royal Academy, Breton studied under Romantic painter Gustave Wapper for a short while. Breton traveled to Paris in 1847 to study at the Ecole des Beaux-Arts under Michel-Martin Drolling. In Paris, Breton was introduced to the Realist movement. He became reacquainted with Delalleau, who had also attended St. Bertin and the college in Douai with Breton. Delalleau preached his political ideas to Breton, insisting that the king of France, Louis-Phillipe, was “more cruel than Tiberius or Nero.” Deallaleau’s rants, coupled with the uprising against Louis-Phillipe, greatly influenced Breton’s work. Breton’s art debut was an exhibit of Misere et Desespoir at the Salon in 1849. Faim was exhibited in 1851. The portraits depicted misery and hunger, which were common burdens of the time. Throughout his career, Breton continued to paint and write about socioeconomic issues. Breton began painting landscapes and suburbs of Paris in 1852. Around this time, his health started to deteriorate, and he decided to return to his home town of Courrieres. There, he got the inspiration to paint one of his most famous portraits, Les Glaneuses, which featured his fiance as the main figure. Benedictions des Bles was exhibited in 1857 while Breton suffered ongoing illness and anxiety. He visited southern France many times in the 1860s, each time gaining new inspiration for his art. His work in the 1870s drew from the Franco-Prussian war. Through the 1880s and 1890s, Breton continued to exhibit his work at the Salon and earned several awards for his art. He died in Paris on July 5, 1906." --- SUBSCRIBE: www.youtube.com/c/LearnFromMasters?sub_confirmation=1 Facebook: https://www.facebook.com/LearnFromMasters/ Google+: https://plus.google.com/+LearnFromMasters Contact: LearnFromMasters01@gmail.com --- Thanks for all support!
Berthe Morisot: A collection of 302 works (HD)
Description: "Berthe Morisot (January 14, 1841 – March 2, 1895) was a French Impressionist painter.
Born in Bourges, Cher, France into a successful bourgeois family who encouraged her and her sister Edma Morisot in their exploration of art, she demonstrated the possibilities for women artists in avant-garde art movements at the end of the 19th century. Once Morisot settled on pursuing art, her family did not impede her career.
By age 20, she met and befriended the important landscape painter of the Barbizon school, Camille Corot, who introduced her to other artists and teachers. She took up plein air techniques and painted small pieces outdoors either as finished works or as studies for larger works completed in the studio.
Morisot's first acceptance in the Salon de Paris came in 1864 with two landscape paintings, and she continued to show regularly in the Salon until 1874, the year of the first impressionist exhibition.
She was acquainted with Edouard Manet from 1868, and in 1874 she married Eugene Manet, Edouard's younger brother. She convinced Manet to attempt plein air painting, and drew him into the circle of acquaintance of the painters who became known as the impressionists. However, he never considered himself an impressionist or agreed to show with the group.
Morisot, along with Camille Pissarro, was one of only two artists whose work exhibited in all of the original impressionist shows.
Like Mary Cassatt, during her lifetime, Berthe Morisot was relegated to the category of "feminine" artists because of their usual subject matter — women, children, and domestic scenes. However, as a doctrinaire impressionist, Morisot painted what she saw in her immediate, everyday life. As a woman securely in the "haute bourgeoisie" she saw domestic interiors, holiday spots, other women, and children. Without exception, her subject matter shows the equivalent of that of her impressionist colleagues. Edgar Degas, the dandy male bourgeois, painted rehearsals of the ballet, horse races, and nude women in apartments (rather than studios). Claude Monet painted his garden, his children, and his neighbor's haystacks. Female impressionists painted their social milieu in a way consistent with the impressionist approach to subject matter.
Berthe Morisot died in Paris and was interred in the Cimetière de Passy.
Today, her paintings can sell for more than $4 million."
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