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Auguste Toulmouche (September 21, 1829 – October 16, 1890) was a French painter known for his luxurious portraits of Parisian women. Auguste Toulmouche was born in Nantes to Émile Toulmouche, a well-to-do broker, and Rose Sophie Mercier. He studied drawing and sculpture locally with the sculptor Amédée Ménard and painting with the portraitist Biron before moving to Paris in 1846 to study with the painter Charles Gleyre. He was said to be one of Gleyre's favored students, and he exhibited his first paintings at the Paris Salon in 1848 when he was just 19. He exhibited again in 1849 and 1850, by which time he has begun to specialize in portraits. Toulmouche painted in an idealizing version of the dominant academic realist style, and his subjects were frequently Parisian women who belonged to the upper bourgeoisie. His work was popular in both France and America, and the emperor Napoleon III bought one of his portraits, La fille (The Girl), for his future empress Eugénie in 1852, with further purchases by the imperial family the following year confirming Toulmouche's status as a fashionable painter. He was generally approved by critics, winning medals at the Paris Salon in 1852 and 1861, and he was made a Chevalier of the Legion of Honor in 1870. During his heyday, his reputation was comparable to that of artists like Alfred Stevens and Carolus-Duran. However, with their emphasis on sumptuous clothing and richly furnished domestic interiors, his paintings were also dismissed by some critics as "elegant trifles", and the writer Émile Zola referred somewhat dismissively to the "delicious dolls of Toulmouche". With the rise of Impressionism in the 1870s, his popularity suffered a decline from which it never recovered. By his 1861 marriage to Marie Lecadre, daughter of Nantes lawyer Alphonse Henri Lecadre, Toulmouche became a cousin by marriage of the painter Claude Monet. Toulmouche sent the young Monet to study with Gleyre. In 1870, Toulmouche joined one of the battalions defending Paris against the German invasion in the Franco-Prussian War. After the war ended, he spent more time at the Abbey of Blanche Couronne near Nantes, which was part of a large estate inherited by his wife on the death of her father. He built a workshop on the abbey grounds and invited many Parisian friends to spend time there, including Geneviève Halévy, José-Maria de Heredia, Paul Baudry, Elie Delaunay, Ernest Reyer, and the young Ignacy Jan Paderewski. Toulmouche died suddenly in Paris following an episode of syncope, and he is buried at Montparnasse Cemetery. Much of his work is still in private collections, but the Louvre, the Museum of Fine Arts, Boston, the Sterling and Francine Clark Art Institute, and the Musée des Beaux-Arts, Nantes, hold examples of his https://en.wikipedia.org/wiki/Auguste_Toulmouche Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Rachel Ruysch, Fruit and Insects, 1711, oil on wood, 44 x 60 cm (Galleria degli Uffizi, Florence); speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Steven Zucker and Beth Harris.
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Dietrich Buxtehude (1637-1707). Sonata in G major, BuxWV 271. 1. Allegro. 2. Solo: Adagio - Allegro - Allegro / Adagio a 3. 3. Allegro. 4. Solo: Adagio - Allegro. 5. Allegro. La Rêveuse. Benjamin Perrot. Imágenes: Willem Van Aelst (1627-1683).
Willem Van Aelst (1626-1683) - A collection of paintings & drawings 2KHD silent slideshow
A Dutch Golden Age artist who specialized in still-life painting with flowers or game.
Van Aelst was born in Delft to a family of prominent city magistrates. He learned to paint from his uncle, the still-life painter Evert van Aelst. On 9 November 1643, he enrolled as a master of the Guild of Saint Luke at Delft.
Between 1645 and 1649 he lived in France. In 1649 Van Aelst travelled to Florence, where he served as court painter to Ferdinando II de' Medici, grand duke of Tuscany. Here he was known as Guillielmo d'Olanda. At this time, the grand duke also employed two fellow Dutchmen Matthias Withoos and Otto Marseus van Schrieck, the latter also a still-life painter who probably influenced Van Aelst's style. Ferdinando II publicly presented Van Aelst with a gold chain and medal, as a testimony of his approbation and an acknowledgement of his talents.
It has been conjectured that Van Aelst visited Rome where he became a member of the Bentvueghels, an association of mainly Dutch and Flemish artists active in Rome. This conjecture is based, not very convincingly, on his practice during the years 1657/58 to sign his works with his name followed by: ‘alias (and a drawn stick figure)'. Some interpreted this as a reference to a Bent name (the nickname that a member of the Bentvueghels would adopt) – De Vogelverschrikker (Dutch for 'Scarecrow')- but there are no documents confirming this.
In 1656 he returned to the Netherlands to settle permanently in Amsterdam. He became one of the most prominent still-life painters of his generation, which allowed him to live on the Prinsengracht. He must have at Amsterdam died in 1683 or shortly thereafter, as his latest dated work is from that year. Van Aelst taught Rachel Ruysch, Isaac Denies, Maria van Oosterwijck, and Ernst Stuven
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