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Alfred de Breanski Sr.: A collection of 105 paintings (HD) Description: "Alfred de Breanski Senior was a distinguished landscape painter who became famous for his resplendent views of the Welsh and Scottish Highlands; he also painted many views of the Thames. Often bathed in a flood of golden light, these landscapes usually feature water and cattle or sheep on grassy banks; sometimes a solitary figure is seen the distance. Bréanski belonged to the real stamp of those landscape painters who nimbly seized moments of the day. He had a great passion for the Highlands and perhaps more than any other, caught the atmospheric influences of the undulating landscape. Born in London, Alfred was the eldest son of Leopold Bréanski; his younger brother and sister, Gustave and Julie, were also painters. He made his debut at the Royal Academy in 1872 and he continued to exhibit there until 1918. He also exhibited at the Royal Institute of Oil Painters and the Royal Cambrian Academy. His many patrons included Sir James Lemon and the Bishop of Peterborough, who purchased the first picture that he exhibited at the Royal Academy “Evening: Softly falls the even light”. In 1873, Bréanski married Annie Roberts, a talented Welsh artist whom he met during his frequent painting trips to Wales. They had seven children, two of which, Alfred Fontville and Arthur, were both to become painters. For much of his life Bréanski lived in Greenwich, Lewisham and Cookham and in 1880 he became a Freeman of the City of London." --- 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!
Scott L. Christensen, known for his outdoor painting adventures and trips into the rugged mountains of Wyoming, Idaho and arcross the U.S. Christensen captures the essence of our great country and its variety of terrain. "Deep Lake" original oil painting, is for sale.
The East Galleries at the Wallace Collection reopened in March 2012 following major refurbishment. This film documents the painstaking work that has taken place, and reveals the transformed galleries, which contain major works by 17th Century Dutch painters. Over the past year the East Galleries on the first floor have been closed. This was due to major refurbishment work that we have been doing behind the scenes. Museums galleries have a life span of about 25 years before they have to be redone, as has happened here. The East Galleries have been very gloomy and the darkest part of the building. In the 1970s they lowered the ceiling height, by over 2 metres, in order to run the air-conditioning ducts along, above the new ceiling level. The aim of the project is twofold, one to regain the original height of the galleries from when Sir Richard Wallace was here and also to bring daylight into the galleries. We started on site in October 2010, there was of course all the stages leading up to that point, including the design and the planning. We are now at the stage in January 2012 for the silk and the gilding being done. It is at this point where the project suddenly accelerates and in a month's time we will be completely finished. We look for craftsmen who are able to complete the finishes, keeping it true to how it would have been in Sir Richard Wallace's day. The gilding processes have really remained the same. The small brush which applies the gold is called a tip. What we do is rub it in your hair to pick up static, to lift the gold leaf out of book of gold. It's 23 and a quarter carat, which is about as pure as you can use for this process. Once an area is laid then we will skew it off or tamp it off, getting rid of all the loose gold and then polish it off. To gild each room will probably take about 5 days, depending on the man power. You'll find that in most museums in the world that Dutch paintings are shown on a green background. We have decided to go for a colour that was used in the eighteenth and early nineteenth century as a backdrop for Dutch paintings, quite often by major collectors, but which hasn't been used recently anywhere, as far as we know. We have used dark blue silk, woven in Lyon, for the galleries and it's a wonderful background, in particular for the works of Rembrandt and his school, which will go into the first of the three galleries. It's a very difficult skill hanging silk such as this, we've got a vertical stripe in these galleries, and to make sure that's absolutely straight and even all the way through, is really quite a skill. We've been doing several rooms here, this one will be the sixth one. We do smaller rooms in private houses and this one is a big gallery. One room will take approximately a week for three men. I think the difference with what we had in the East Galleries, compared to what we are about to open will be really extraordinary. There will be natural light coming in from the ceiling, which was very difficult to achieve as the light is not allowed to harm the artworks, so it cannot hit them directly. The cornice that we have is actually the original cornice that they had in the time of Richard Wallace and of course, was hidden when they dropped the ceiling level. The Wallace Collection has a small but very fine collection of Dutch paintings. Almost all of them will be shown in these three galleries. Titus will go into the first gallery in the East Wing. It's March and the installation of the works of art is complete and the galleries are now open to the public. In the three rooms one will experience a short history of Dutch seventeenth-century painting. They start with this gallery, which is dedicated to Rembrandt and his circle. It also includes a display of Dutch landscape painting. Titus has been brought into the Dutch context of the first gallery, and he hangs opposite Rembrandt's self-portrait, so father and son face each other across the gallery. The second gallery is dedicated to Dutch genre paintings, topographical views, still-lifes and landscapes. The focus of the third gallery is Italy as a source of inspiration for Dutch painters, in terms of beautiful golden light and the landscape of the Roman Campagna. This provides a wonderful link into the Great Gallery with our display of international Baroque paintings, with its centre in Rome. Most of the paintings on show here haven't actually been on show for 2 years during the rebuild and the refurbishment. So we are very happy to invite you to return to the Wallace Collection to see your favourite paintings again in this wonderful new context or to take the opportunity to come and see the Collection for the first time. We hope that the visitors will come in, rediscover the Dutch galleries and maybe they'll just say wow when they come in.
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Benjamin Williams Leader: A collection of 237 paintings (HD) Description: "Benjamin Williams Leader father was a friend of John Constable, and a good amateur artist, so he and Benjamin would often go on sketching trips on the banks of the River Severn. Leader worked at his father's office as a draftsman and at night studied art at the Worcester School of Design when he was not working or studying, he would in his leisure time do 'en Plein air' landscape oil painting. In 1854, at 23 years old, he became a student at the Royal Academy Schools in London, and, in his first year, had a painting accepted for exhibition, "Cottage children blowing bubbles", which was sold to an American buyer for £50, (equal to US$7,000 today). Benjamin Williams Leader did not complete his course of studies at the Royal Academy, nor did he have to, because his landscape oil paintings were in great demand by affluent purchasers and within only a few years of his first sale, he achieved great commercial success. In 1857 he changed his name from Benjamin Leader Williams to Benjamin Williams Leader to separate himself from the many other painters with the surname Williams. In autumn of that year he traveled to Scotland and painted A Quiet Pool in Glen Falloch, it was exhibited at the Royal Academy in 1859 and quickly sold, such was the demand that much of his best work now went to private galleries and was never exhibited. For the following ten years, Leader divided his painting time between the Severn Valley, Worcestershire, and Wales. At the Royal Academy exhibit in 1881, February Fill Dyke was shown to great acclaim and Leader was made an associate in 1883, and became a Royal Academician in 1898. In 1891, his brother, Edward Leader Williams, a civil engineer who was knighted for his work for designing the Manchester Ship Canal, which was to become the theme of Leader's largest painting, Manchester Ship Canal: The Making of Eastham Dock. Benjamin Williams Leader's early works were influenced by the Pre-Raphaelite Brotherhood, with their attention to fine detail and emphasis on painting from nature "en Plein air", the inspiration for these early works was the wide open countryside around Worcester. In his later years, he adopted a looser more Impressionistic style, rather than being an exact copy of nature and this turned out to be more popular. He exhibited in every summer exhibition at the Academy until 1922, he was 91 years old." --- 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!
Johan Hendrik Weissenbruch: A collection of 92 paintings (HD)
Description: "Dutch painter, part of a family of artists, cousin of Jan Weissenbruch. He referred to himself and signed his work as Jan Hendrik Weissenbruch.
The first generation of the family included the amateur painter and collector Johannes Weissenbruch (1787-1834) and his brother, the engraver Johan Daniel Weissenbruch (1789-1858), three of whose sons were also artists: Jan Weissenbruch (1822-1880), who was widely known for his sun-drenched townscapes, the lithographer Frederick Hendrik Weissenbruch (1828-1887) and the engraver Isaac Weissenbruch (1826-1912). Johannes's son Jan Hendrik Weissenbruch was a watercolour painter of landscapes and beach views and is regarded as one of the masters of the Hague School; a younger son, Frederik Adrianus Weissenbruch (1826-1882), was an engraver. The third generation included Jan Hendrik's son Willem Johannes Weissenbruch (1864-1941), who was also a painter.
From 1840 Jan Hendrik attended drawing lessons with the Norwegian painter Johannes Löw, and from 1846 he was taught by Bartholomeus Johannes van Hove (1790-1880) at the Koninklijke Academie van Beeldende Kunsten in The Hague. His early paintings clearly show the influence of van Hove and Andreas Schelfhout (1787-1870), although it is uncertain whether he was actually taught by the latter. His father, an avid collector, owned works by both artists.
Weissenbruch copied the works of the seventeenth-century Dutch artists and painted in the area surrounding The Hague, Haarlem, and Arnhem. He became a significant open-air and watercolour painter of the Hague School."
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