Aert de Gelder (1647-1727) A collection of paintings 4K Ultra HD

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Jacob van Loo (1614-1670) A collection of paintings 4K Ultra HD

Jacob van Loo (1614 – 26 November 1670) was a painter of the Dutch Golden Age, chiefly active in Amsterdam and, after 1660, in Paris. Van Loo is known for his conversational groupings; particularly his mythological and biblical scenes generally attributed to the genre of History painting. He was especially celebrated for the quality of his nudes to the extent that, during his lifetime, particularly his female figures were said to have been considered superior and more popular than those of his Amsterdam contemporary and competitor Rembrandt. In 1663, three years after fleeing to Paris, Jacob van Loo was accepted into the Académie royale de peinture et de sculpture. Though his father also painted, Jacob's success ensured that he would forever be referred to as the founder of the Van Loo family of painters; a dynasty which was influential in French and European painting from the 17th to the beginning of the 19th century. Van Loo was born in Sluis; a town in the Dutch Republic. Some sources have speculated that his father, Jan van Loo, may have been a notary, but more often his father is described as a painter from whom Jacob van Loo received his early training. Little is known of van Loo's early history due to the destruction of the city archives in Sluis during World War II. His early influences are said to have included Thomas de Keyser and Jacob Adriaensz Backer. Family life In 1635, van Loo moved to Amsterdam, In 1642 he married Anna Lengele, the sister of the painter Martinus Lengele (1604–1668). The couple had six children, including the painters Jean van Loo and his better known brother Louis-Abraham van Loo. Their grandsons, Jean-Baptiste van Loo and Charles-André van Loo were among the most famous French painters of the 18th century. They lived on Rozengracht in the Jordaan district of Amsterdam. Professional practice In Amsterdam, van Loo found himself at the centre of an active and competitive circle of artists, which included Rembrandt, Frans Hals and Bartholomeus van der Helst. Around 1640 Eglon van der Neer entered his studio as an apprentice and remained his student for a decade. In 1652 van Loo bought himself citizenship (burgerrecht) of the city of Amsterdam. It was speculated that he did so in the hope of being commissioned to help decorate the newly constructed town hall. In 1654, a poem by Jan Vos counted van Loo among the most significant of Dutch painters, alongside Rembrandt and van der Helst. The greater part of van Loo's oeuvre was done in the Baroque style that had originated in Rome and had been popularised throughout Europe. He is often referred to as a major influence on Johannes Vermeer, evidence of which can be seen by comparing Vermeer's painting of Diana and Her Companions with van Loo's 1648 version of the same subject (not the 1654 version of Diana and her nymphs often used to dispute the claim of direct influence.) Van Loo painted many portraits. Among his subjects were Johan Huydecoper van Maarseveen; his sister, Leonara Huydecoper, who was married to Jan J. Hinlopen; Joan Ortt, who was later involved with Antoinette Bourignon; and his wife Lucretia Boudaen. Flight to Paris In 1660, van Loo fled from Amsterdam after fatally stabbing someone during an altercation at an inn. He was sentenced to death in absentia which forever prevented his return to the Dutch Republic. Van Loo settled in Paris, where, in 1663, he was admitted to the Académie de peinture et de sculpture. He died in Paris in 1670, three years after the van Loo family were naturalised as French citizens. The van Loo family - A dynasty of painters: Jacob van Loo (1614-1670) - This video Jean-Baptiste van Loo (1684-1765) - Charles-André van Loo (1705-1765) - Louis-Michel van Loo (1707-1771) - Coming soon Charles-Amédée-Philippe van Loo (1719-1795) - Coming soon Cesar van Loo (1743-1821) - Coming soon Thank you, please subscribe for future videos

Bartolomeo Vivarini (1432-1499) A collection of paintings 4K Ultra HD

Bartolomeo or Bartolommeo Vivarini (1432-1499) was an Italian Renaissance painter, known to have worked from 1450 to 1499. Bartolomeo's brother Antonio Vivarini, and his nephew (also possibly his pupil) Alvise Vivarini, were also painters. He learned oil painting from Antonello da Messina, and is said to have produced, in 1473, the first oil picture done in Venice. Housed in the basilica of San Zanipolo, it is a large altar-piece in nine divisions, representing Augustine and other saints. Most of his works, however, are in tempera. His outline is always hard, and his colour good; the figures have much dignified and devout expression. As "vivarino" means in Italian a goldfinch, he sometimes drew a goldfinch as the signature of his pictures. The Getty Museum, Harvard University Art Museums, the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery of Art (Washington D.C.), the National Gallery, London, the New Orleans Museum of Art, the Philadelphia Museum of Art, Pinacoteca Ambrosiana (Milan), Pinacoteca Nazionale di Bologna, Pinacoteca Provinciale di Bari, the Rijksmuseum and the Uffizi are among the public collections holding works by Bartolomeo Vivarini. Thank you, please subscribe for future videos

Jean-Baptiste van Loo (1684-1765) A collection of paintings 4K Ultra HD

Jean-Baptiste van Loo (1684-1745) was a French subject and portrait painter. He was born in Aix-en-Provence, and was instructed in art by his father Louis-Abraham van Loo, son of Jacob van Loo. Having at an early age executed several pictures for the decoration of the church and public buildings at Aix, he was employed on similar work at Toulon, which he was obliged to leave during the siege of 1707. He was patronized by the prince of Carignan, who sent him to Rome, where he studied under Benedetto Luti. He was much employed painting for churches in Rome, and in particular executed a greatly praised Scourging of Christ for the church of Santa Maria in Monticelli. At Turin he painted Charles Emmanuel II, Duke of Savoy and several members of his court. Then, moving to Paris, where he was elected a member of the Académie Royale de Peinture et de Sculpture, he executed various altar-pieces and restored the works of Francesco Primaticcio at Fontainebleau. In 1737 he went to England, where he attracted attention by his portrait of Colley Cibber and of Owen McSwiny, the theatrical manager; the latter, like many other of van Loo's works, was engraved in mezzotint by John Faber Junior. He also painted Sir Robert Walpole, whose portrait by van Loo in his robes as chancellor of the exchequer is in the National Portrait Gallery, London, and the prince and princess of Wales. He did not, however, practise long in England, for his health failing he retired to Paris in 1742, and afterwards to Aix, where he died on 19 December 1745. His likenesses were striking and faithful, but seldom flattering, and his heads are forcible in coloring. The van Loo family - A dynasty of painters: Jacob van Loo (1614-1670) - Jean-Baptiste van Loo (1684-1765) - This video Charles-André van Loo (1705-1765) - Louis-Michel van Loo (1707-1771) - Coming soon Charles-Amédée-Philippe van Loo (1719-1795) - Coming soon Cesar van Loo (1743-1821) - Coming soon Thank you, please subscribe for future videos

Jan van Eyck (1390-1441) A collection of paintings 4K Ultra HD

Jan van Eyck (before c. 1390-1441) was an Early Netherlandish painter active in Bruges. He is one of the founders of Early Netherlandish painting and one of the most significant representatives of Early Northern Renaissance art. The few surviving records of his early life indicate that he was born around 1380–1390, most likely in Maaseik. He took employment in the Hague around 1422, when he was already a master painter with workshop assistants, as painter and Valet de chambre with John III the Pitiless, ruler of Holland and Hainaut. He was then employed in Lille as court painter to Philip the Good, Duke of Burgundy after John's death in 1425, until he moved to Bruges in 1429 where he lived until his death. He was highly regarded by Philip and undertook a number of diplomatic visits abroad, including to Lisbon in 1428 to explore the possibility of a marriage contract between the duke and Isabella of Portugal. About 20 surviving paintings are confidently attributed to him, as well as the Ghent Altarpiece and the illuminated miniatures of the Turin-Milan Hours, all dated between 1432 and 1439. Ten are dated and signed with a variation of his motto ALS IK KAN (As I (Eyck) can), a pun on his name written in Greek characters. Van Eyck painted both secular and religious subject matter, including altarpieces, single-panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels. He was well paid by Philip, who sought that the painter was secure financially and had artistic freedom so that he could paint "whenever he pleased". Van Eyck's work comes from the International Gothic style, but he soon eclipsed it, in part through a greater emphasis on naturalism and realism. He achieved a new level of virtuosity through his developments in the use of oil paint. He was highly influential, and his techniques and style were adopted and refined by the Early Netherlandish painters. Little is known of Jan van Eyck's early life and neither the date nor place of his birth is documented. The first extant record of his life comes from the court of John of Bavaria at The Hague where, between 1422 and 1424, payments were made to Meyster Jan den malre (Master Jan the painter) who was then a court painter with the rank of valet de chambre, with at first one and then two assistants. This suggests a date of birth of 1395 at the latest. However, his apparent age in the London probable self-portrait of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 1500s as having been born in Maaseik, then a diocese of Liège. His last name however is related to the place Bergeijk, due to genealogical information related to the coat-of-arms with three millrinds; that information also implies that he stems from the Lords of Rode (Sint-Oedenrode). Elisabeth Dhanens rediscovered in the quarterly state "the fatherly blazon, in gold, three millrinds of lauric acid", similar to other families that descend from the Lords of Rode in the quarter of Peelland in the 'meierij van 's-Hertogenbosch'. His daughter Lievine was in a nunnery in Maaseik after her father's death.The notes on his preparatory drawing for Portrait of Cardinal Niccolò Albergati are written in the Maasland dialect. He had a sister Margareta, and at least two brothers, Hubert with whom he probably served his apprenticeship and Lambert, both also painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France, Barthélemy van Eyck, is presumed to be a relation. It is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him more attractive to the cultivated Philip Jan van Eyck died young, on 9 July 1441, in Bruges. He was buried in the graveyard of the Church of St Donatian. As a mark of respect, Philip made a one-off payment to Jan's widow Margaret, to a value equal to the artist's annual salary. He left behind many unfinished works to be completed by his workshop journeymen. After his death, Lambert van Eyck ran the workshop, as Jan's reputation and stature steadily grew. Early in 1442 Lambert had the body exhumed and placed inside St. Donatian's Cathedral. In 1449 he was mentioned by the Italian humanist and antiquarian Ciriaco de' Pizzicolli as a painter of note and ability, and was recorded by Bartolomeo Facio in 1456. Giorgio Vasari, erroneously, credited him with the invention of oil painting in 1550. Thank you, please subscribe for future videos

Aert de Gelder (1647-1727) was a Dutch painter and a pupil of Rembrandt.

De Gelder was born and died in Dordrecht. He was one of Rembrandt’s last pupils while in Amsterdam, studying in his studio from 1661 to 1663. He was not only one of the most talented of Rembrandt’s pupils but also one of his most devoted followers, for he was the only Dutch artist to paint in the tradition of Rembrandt's late style into the 18th century. Following Rembrandts lead, De Gelder would paint such artworks as "The Baptism of Christ" and "Ahimelech Giving the Sword of Goliath to David". Storytelling, transparent emotionalism, and an emphasis on the humanity of biblical characters are the distinguishing elements of this style. This contrasted with the courtly and distant emotions and imagery of other artists, even in the Renaissance period

From the artistic point of view his work can not be considered as a passive imitation of the master, indeed it stands for inventiveness in the narrative, taste for the theatrical and a strong emotional charge of the characters. All these traits made him one of the most important interpreters of Dutch painting of the late seventeenth century.

Judah and Tamar, c. 1681 (Vienna, Gemäldegalerie of the Academy of Fine Arts)

King David, c. 1683 (Amsterdam, Rijksmuseum, inv A 2695)

The Toilet of Esther, c. 1684 (Munich, Alte Pinakothek )

Portrait of Tsar Peter the Great (Amsterdam, Rijksmuseum?)

Self Portrait as Zeuxis (Frankfurt am Main, Städel, inv. no. 1015))

Passion Series c. 1715 (22 paintings, including ten in Aschaffenburg, Schloss Johannisburg, and two in Amsterdam, Rijksmuseum)

Portrait of Hermannus Boerhaave with his wife and daughter, c. 1724 (Amsterdam, Rijksmuseum, inv A 4034)

The marriage contract, c. 1670 (Brighton Museum & Art Gallery)

Simeon’s song of praise. 1700–1710 (The Hague, Royal Picture Gallery Mauritshuis)

Baptism of Christ, c. 1710 (Cambridge, Fitzwilliam Museum)

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