3 Like 0 Dislike
ReMade in Chicago, Baumgartner Restoration is a second-generation art conservation studio in Chicago. Follow Julian as he completely restores a damaged painting. Baumgartner Restoration Instagram - https://goo.gl/mE96gT Baumgartner Restoration Website - https://goo.gl/9mzN1F Support Chicago Aussie https://paypal.me/Brandtman Painting - Self-portrait by Emma Gaggiotti Richards Music - Evolving Dawn by Paul Mottram Follow me Twitter - https://goo.gl/HklCN3 Facebook - https://goo.gl/C1C9DO Instagram - https://goo.gl/86wv9R Film by the Chicago Aussie
Anders Leonard Zorn (1860-1920) was one of Sweden's foremost artists. He obtained international success as a painter, sculptor, and etcher. Among Zorn's portrait subjects were King Oscar II of Sweden, and three American Presidents, Grover Cleveland, William H. Taft, and Theodore Roosevelt. At the end of his life, he established the Swedish literary Bellman Prize in 1920. Zorn was born and raised on his grandparents' farm in Yvraden, a hamlet near the village of Utmeland in the parish of Mora, Dalarna. He studied until the age of twelve in the school at Mora Strand before progressing in the autumn of 1872 to a secondary grammar school in Enköping. From 1875 to 1880 Zorn studied at the Royal Swedish Academy of Arts in Stockholm, where he amazed his teachers with his talent. Members of Stockholm society approached him with commissions. This was how Zorn met his wife, Emma Lamm, early in 1881. Her background was different from Zorn's. Coming from a wealthy Jewish merchant family, she was interested in art and culture. Zorn traveled extensively to London, Paris, the Balkans, Spain, Italy and the United States, becoming an international success as one of the most acclaimed painters of his era. It was primarily his skill as a portrait painter that gained Zorn international acclaim based principally upon his incisive ability to depict the individual character of his model. His subjects included three American Presidents, one of whom was Grover Cleveland in 1899, as well as his wife, along with William H. Taft and Theodore Roosevelt. At 29, he was made a Chevalier de la Légion d'honneur at the Exposition Universelle 1889 Paris World Fair. In 1886, Anders Zorn and his wife Emma, bought land close to Mora church and here they moved a cottage from his maternal grandfather's farm. When Anders and Emma Zorn decided to return to Sweden after several years abroad, they began to enlarge the cottage. Zorngården was completed in 1910. Zorngården remains today much as it was at the time of Emma Zorn's death in 1942. It is a fine example of an artist's home from the turn of the century. With inspiration from English and Swedish architecture, it is today an excellent example of the architectural freedom that characterizes the years around 1900. Zorn's art made him wealthy and he was thus able to build up a considerable collection of art. The objects were not only bought in his native country but also during the many travels he made abroad. In their joint will, Anders and Emma Zorn donated their entire holdings to the Swedish State. Some of his most important works can be seen at the National Museum of Fine Arts (Swedish: Nationalmuseum) in Stockholm. Among them is Midsummer Dance (1897), a depiction of dancers in the evening light of a rural Midsummer's Eve celebration. Other museums holding major works by Zorn include the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts, Boston. The Zorn Collections (Swedish:Zornsamlingarna) located in Mora and Garberg, Älvdalen, consist of four museums dedicated to the life and works of Anders Zorn. The main museum - Zornmuseet - was designed by Ragnar Östberg and opened in 1939. Shown there are extensive works of Zorn and his collected art by Rembrandt Harmensz van Rijn, 'The Hovingham Master' (Poussin's follower), Bruno Liljefors, Albert Edelfelt, and Pehr Hilleström. Zorn is also famous for his nude paintings. His fondness of painting full-figured women gave rise to the terms Zorn's kulla or dalakulla, an unmarried woman or girl from Dalecarlia, as the women were called in the local dialect of the region Zorn lived. Zorn is known to use a basic color palette consisting of Lead White, Yellow Ochre, Vermilion and Ivory Black. This limited color palette shows tremendous range in terms of color mixing. A large variety of tonal ranges are possible to mix and considered as a very important development for portrait painting. However, the color palette can also be used in still life and landscape painting under certain circumstances. Most striking aspect is that a kind of an olive green color is possible to obtain by mixing Ivory Black and Yellow Ochre as Ivory Black is bluish in nature. However, the notion that Zorn used only these four colors is untrue. His paintings show the use of other auxiliary colors wherever needed. https://en.wikipedia.org/wiki/Anders_Zorn Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
George Stubbs ARA (1724-1806) was an English painter, best known for his paintings of horses. Stubbs was born in Liverpool, the son of a currier, or leather-dresser, John Stubbs, and his wife Mary. Information on his life until the age of 35 or so is sparse, relying almost entirely on notes made by Ozias Humphry, a fellow artist and friend; Humphry's informal memoir, which was not intended for publication, was based on a series of private conversations he had with Stubbs around 1794, when Stubbs was 70 years old, and Humphry 52. Stubbs worked at his father's trade until the age of 15 or 16, at which point he told his father that he wished to become a painter. While initially resistant, Stubbs's father (who died not long after, in 1741), eventually acquiesced in his son's choice of a career path, on the condition that he could find an appropriate mentor. Stubbs subsequently approached the Lancashire painter and engraver Hamlet Winstanley, and was briefly engaged by him in a sort of apprenticeship relationship, probably not more than several weeks in duration. Having initially demonstrated his abilities and agreed to do some copying work, Stubbs had access to and opportunity to study the collection at Knowsley Hall, the estate where Winstanley was then residing; however, he soon left when he came into conflict with the older artist over exactly which pictures he could work on copying. Thereafter as an artist he was self-taught. He had had a passion for anatomy from his childhood, and in or around 1744, he moved to York, in the North of England, to pursue his ambition to study the subject under experts. In York, from 1745 to 1753, he worked as a portrait painter, and studied human anatomy under the surgeon Charles Atkinson, at York County Hospital, One of his earliest surviving works is a set of illustrations for a textbook on midwifery by John Burton, Essay towards a Complete New System of Midwifery, published in 1751. In 1754 Stubbs visited Italy. Forty years later he told Ozias Humphry that his motive for going to Italy was, "to convince himself that nature was and is always superior to art whether Greek or Roman, and having renewed this conviction he immediately resolved upon returning home". In 1756 he rented a farmhouse in the village of Horkstow, Lincolnshire, and spent 18 months dissecting horses, assisted by his common-law wife, Mary Spencer. He moved to London in about 1759 and in 1766 published The anatomy of the Horse. The original drawings are now in the collection of the Royal Academy. His most famous work is probably Whistlejacket, a painting of the thoroughbred racehorse rising on his hind legs, commissioned by the 2nd Marquess of Rockingham, which is now in the National Gallery in London. This and two other paintings carried out for Rockingham break with convention in having plain backgrounds. Throughout the 1760s he produced a wide range of individual and group portraits of horses, sometimes accompanied by hounds. He often painted horses with their grooms, whom he always painted as individuals. Meanwhile, he also continued to accept commissions for portraits of people, including some group portraits. From 1761 to 1776 he exhibited at the Society of Artists of Great Britain, but in 1775 he switched his allegiance to the recently founded but already more prestigious Royal Academy of Arts. Stubbs also painted historical pictures, but these are much less well regarded. From the late 1760s he produced some work on enamel. In the 1770s Josiah Wedgwood developed a new and larger type of enamel panel at Stubbs's request. Stubbs hoped to achieve commercial success with his paintings in enamel, but the venture left him in debt. Also in the 1770s he painted single portraits of dogs for the first time, while also receiving an increasing number of commissions to paint hunts with their packs of hounds. He remained active into his old age. In the 1780s he produced a pastoral series called Haymakers and Reapers, and in the early 1790s he enjoyed the patronage of the Prince of Wales, whom he painted on horseback in 1791. His last project, begun in 1795, was A comparative anatomical exposition of the structure of the human body with that of a tiger and a common fowl, fifteen engravings from which appeared between 1804 and 1806. The project was left unfinished upon Stubbs's death at the age of 81 on 10 July 1806, in London. https://en.wikipedia.org/wiki/George_Stubbs Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
14 tattoo artists share more crazy client stories involving criminal honeymoon proposals, unexpected trips to the hospital, and awkward pelvic encounters. Have you every had a strange tattoo experience? Let us know in the comments! #Storytime #TattooArtist #CrazyStories WEBSITE: http://www.inkedmag.com/ FACEBOOK: https://www.facebook.com/inkedmag TWITTER: https://twitter.com/inkedmag INSTAGRAM: https://www.instagram.com/inkedmag/
Angiolo Tommasi (1858-1923) was an Italian painter, active in the Macchiaioli movement. He was the brother of the painter Ludovico and cousin of the painter Adolfo Tommasi; all three were influential for the arts in their native Tuscany in the late 19th and early 20th-centuries. Angiolo painted both genre and landscape themes. Angiolo first studied at the Scuola Comunale di Disegno in his native city under professor Natale Betti and Angiolo Lemmi, and then moved to Florence, where he enrolled for 2 years in the Academy of Fine Arts under Giuseppe Ciaranfi. Afterwards he was mentored, like his other family members in painting landscapes by Silvestro Lega. His first works at the 1882 Promotrice of Florence were small vedute: Via Torretta a San Salvi and Lo scoglio della Madonna ad Antignano, accompanied by Una festa di vecchio; and the next year: Pensiero; Il desinare di Bussotto; Sull' Ema; In podere; Sull'Arno; and Ricomincia a piovere. With regards to his 1885 Studio dal vero painting. Gubernatis said: depicts the moment of raising the eucharist just outside a small parrochial church during a peasant festival, when the townsfolk can not be accommodated inside the church, and, as is their custom, crowd outside of the door. For the solemn ceremony, some of peasants are prostrate on his knees, others, head bowed, reverent, all collected in themselves. The figures are many. The canvas will immediately attracts to itself for what is spontaneous, simple, large, well thought out, nor caricature, nor ostentation, nor charlatanism, nor adherence to the in voices that call him to join the crowd, nor looking for cheap tricks, nothing theatrical: the natural observed calmly, without fever and without dismay, by a man sure of himself. He did not give his picture a pompous title, bit simply called it: Studio dal Vero. The young Angelo Tommasi inspires already a deep respect . You find a soul, and a soul that has something important to say. In this painter is a man who thinks, and in his work a concept. He subsequently exhibited: The smoker (il fumatore); Washerwomen at Etna; and an outdoor portrait of his sister. He also painted Sull'aia' ; La nonna; Il Gabbro; and a half-figure of Ciociaro. In 1886 at Livorno, he exhibited another Studio dal vero; and the next year, at Florence: Studio di vecchia; and il Ritorno dalla Fonte. To Venice he sent: Il riposo delle Gabbrigiane. After this he completed: Mattina d'estate, Bella Marina, which won a bronze medal at the 1889 Paris Exhibition, and was later exhibited in Chicago. At the 1889 Promotrice of Florence, Tommasi exhibited: Il pescatore di rezzaglio; Dopo il libeccio; Marina and, Ultime vangate. This last painting was awarded first prize, the Prize of Florence (2000 lire). Tommasi also painted portraits, for example: of signor Samama of Livorno, of signor Malenchini, of signor De Witt, of the naval engineer Orlando, and Comm. Costella, Sindaco of Livorno. In 1885, he exhibited a A figure of a Lady. Tommasi also sent to the Exposition a large canvas titled: Studio dal vero. In relation to the painting Contadini che vangano (Ultime vangate), Gubernatis states that: the artist lives the life of its models, because it invokes a feeling of fatigue and of piety, noting that poor people sentenced to work so rude; .... the large canvas by Angiolo Tommasi does not, however the feeling that animates the paintings of Niccolò Cannicci but imposes the tough reality, just posits what the eye sees ... Three and two peasant farmers who excavate the earth, turning their backs to the viewer, which is before a vague expanse of fields, already immersed in the calm evening light, the sun has set, and the smoking chimneys of the nearby village proclaim dinner time . The five figures have life, movement, energy, the country opens up before you, realistic, ample, spacious, and the eye goes for a long stretch and lose to the last line of the distant horizon. The Tommasi house in Florence was a meeting place for painters and artists including Fattori, Borrani, and Colcos and other members of the circle of artists at the Caffè Michelangiolo. Tommasi also completed a number of trips to South America, including Patagonia and Tierra del Fuego. Painting for these trips, sometimes commissioned by the Argentine government, were exhibited in Buenos Aires. Returning from Argentina, he moved to Torre del Lago where he was surrounded by the "Club della Bohème", which included artists Giacomo Puccini, Ferruccio Pagni, Francesco Fanelli, Plinio Nomellini, and Raffaello Gambogi. https://en.wikipedia.org/wiki/Angiolo_Tommasi Thank you, please subscribe for future videos https://www.youtube.com/channel/UC0gMk3w9hw8BbtqoUpEMKeg?sub_confirmation=1
Abraham Solomon (1823-1862) was an English painter.
Born as the second son of Meyer Solomon, a Leghorn hat manufacturer, by his wife Catherine, in Sandys Street, Bishopsgate in east London. His father was one of the first Jews to be admitted to the freedom of the city of London. Two members of the family besides Abraham became artists.
A younger brother, Simeon Solomon, acquired much acclaim as an associate of the Pre-Raphaelites and exhibited at the Royal Academy from 1858 to 1872; his later crayon drawings of idealised heads are still popular.
At the age of thirteen Abraham became a pupil in Sass's school of art in Bloomsbury, and in 1838 gained the Isis silver medal at the Society of Arts for a drawing from a statue. In 1839 he was admitted as a student of the Royal Academy, where he received in the same year a silver medal for drawing from the antique, and in 1843 another for drawing from the life.
Solomon died in Biarritz in France, of heart disease, on 19 December 1862, the same day on which he was elected an Associate of the Royal Academy. He married, on 10 May 1860, Ella, sister of Dr. Ernest Hart; she survived her husband
His first exhibited work, Rabbi expounding the Scriptures, appeared at the Society of British Artists in 1840, and in the following year he sent to the Royal Academy My Grandmother and a scene from Sir Walter Scott's Fair Maid of Perth.
These were followed (at the Academy) by a scene from the Vicar of Wakefield in 1842, another from Crabbe's Parish Register in 1843, and a third from Peveril of the Peak in 1845. The Breakfast Table, exhibited in 1846, and a further scene from the Vicar of Wakefield in 1847, attracted some attention.
In 1848 appeared A Ball Room in the year 1760, and in 1849 the Academy for Instruction in the Discipline of the Fan, 1711, both of which pictures were distinguished by brilliancy of colour and careful study of costume. Too Truthful was his contribution to the exhibition of the Royal Academy in 1850, and An Awkward Position—an incident in the life of Oliver Goldsmith—to that of 1851. In 1851, also, he sent to the British Institution Scandal and La petite Dieppoise.
In 1852 appeared at the Academy The Grisette and a scene from Molière's Tartuffe—the quarrel between Mariane and Valère, where Dorine interferes—and in 1853 Brunetta and Phillis, from the Spectator. In 1854, he sent to the Academy First Class: The Meeting (National Gallery of Canada, Ottawa), and Second Class: The Parting (National Gallery of Australia, Canberra). Both were engraved in mezzotint by William Henry Simmons in 1857, and evidenced a great advance in Solomon's work. They show an originality of conception and design which is not apparent in his earlier work.
His next contributions to the Royal Academy were A Contrast in 1855, The Bride and Doubtful Fortune in 1856, and Waiting for the Verdict in 1857. The last picture greatly increased his popularity; but its companion, Not Guilty, exhibited in 1859, was less successful.
Both became the property of C. J. Lucas, esq., and were also engraved by Simmons. The Flight, Mlle. Blaiz, and The Lion in Love (also engraved by Simmons) were exhibited at the academy in 1858; Ici on rase, Brittany and The Fox and the Grapes in 1859; Drowned! Drowned! in 1860; Consolation and Le Malade Imaginaire in 1861; and The Lost Found in 1862. Art Critics in Brittany appeared at the British Institution in 1861.
His last work, Departure of the Diligence at Biarritz, is now at the Royal Holloway College, Egham.
Thank you, please subscribe for future videos