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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 https://en.wikipedia.org/wiki/Willem_van_Aelst
John White Alexander (1856-1915) A collection of paintings 4K Ultra HD Silent Slideshow American portrait, figure, and decorative painter and illustrator. Alexander was born in Allegheny, Pennsylvania, now a part of Pittsburgh, Pennsylvania. Orphaned in infancy, he was reared by his grandparents and, at the age of 12, became a telegraph boy in Pittsburgh. Edward J. Allen became an early supporter and patron of John W. Alexander, adopting the orphaned Alexander while he worked at the Pacific and Atlantic Telegraph Co. as a young man. Allen brought Alexander to the Allen home at "Edgehill" where Alexander painted various members of the Allen family, including Colonel Allen. His talent at drawing attracted the attention of one of his employers, who assisted him to develop them. He moved to New York City at the age of eighteen and worked in an office at Harper's Weekly, where he was an illustrator and political cartoonist at the same time that Abbey, Pennell, Pyle, and other celebrated illustrators worked there. After an apprenticeship of three years, he travelled to Munich for his first formal training. Owing to the lack of funds, he removed to the village of Polling, Bavaria, and worked with Frank Duveneck. They travelled to Venice, where he profited by the advice of Whistler, and then he continued his studies in Florence, the Netherlands, and Paris. In 1881 he returned to New York and speedily achieved great success in portraiture, numbering among his sitters Oliver Wendell Holmes, John Burroughs, Henry G. Marquand, R. A. L. Stevenson, and president McCosh of Princeton University. Alexander was married to Elizabeth Alexander Alexander, to whom he was introduced in part because of their shared last name. Elizabeth was the daughter of James Waddell Alexander, President of the Equitable Life Assurance Society at the time of the Hyde Ball scandal. The Alexanders had one child, the mathematician James Waddell Alexander II. Many of his paintings are in museums and public places in the United States and in Europe, including the Metropolitan Museum of Art, the Brooklyn Art Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston, the Butler Institute, and the Library of Congress in Washington D.C. In addition, in the entrance hall to the Art Museum of the Carnegie Institute in Pittsburgh, a series of Alexander's murals entitled "Apotheosis of Pittsburgh" (1905–1907) covers the walls of the three-storey atrium area. Alexander's Artist Proof of his portrait of Whitman, signed by the artist in April 1911, is in the Walt Whitman Collection at the University of Pennsylvani. https://en.wikipedia.org/wiki/John_White_Alexander
Web vidéo reportage au sein de l'Atelier de Francis Glénat Artiste Peintre Réalisation de films sur le travail d'artistes et artisans : Web18 / Sandra Boulou : http://www.Web18.net et http://www.Webvideo.fr
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Ruud Krijnen schildert een kopie van Dame met de Hermelijn ( Leonardo da Vinci).
Sophie Gengembre Anderson (1823-1903) - A collection of paintings & drawings 2K HD silent slideshow.
A French-born British artist who specialised in genre painting of children and women, typically in rural settings. She began her career as a lithographer and painter of portraits, collaborating with Walter Anderson on portraits of American Episcopal bishops. Her work, Elaine, was the first public collection purchase of a woman artist. Her painting No Walk Today was purchased for more than £1 million.
Sophie was born in Paris, the daughter of Charles Antoine Colomb Gengembre, a French architect and artist, and his English wife, whose maiden name was Hubert
They lived in Paris during the early years of Sophie's life, where her father was acquainted with artists, intellectuals, and actors, like François Joseph Talma. Circumstances required that the family leave Paris and live in a "remote area in France" from 1829 to 1843. At seventeen she developed an interest in art when a travelling portrait painter visited her town.
She had two brothers, Philip and Henry P. Gengembre. Her brother Philip changed his name to Philip Hubert, using his mother's maiden name, and was a successful architect in New York City. She was largely self-taught in art, but briefly studied portraiture with Charles de Steuben in about 1843, when she lived with family friends in Paris. Soon after she began her studies, he left for Russia and did not return within the one year allotted for her studies. She did develop relationships with other women artists at the school where she gained a little more instruction.
The family left France for the United States to escape the 1848 revolution, first settling in Cincinnati, Ohio, where she met her future husband British genre artist Walter Anderson. Her brother Henry P. Gengembre (b. 1825) was also an artist, active in Cincinnati in the early 1850s.
Her portrait, figure and Brittany landscape paintings were exhibited in October 1849 at the Western Art Union Gallery. Also exhibited was a three panel set of Victorian London scenes entitled The Ladder of Love, which was described as "the lady, in her flowery 'May of Life,' awaits in her father's garden a stolen interview with her lover; in the second, she is seen eagerly caught in his impatient arms, ere he has yet left the ladder upon which he surmounted the garden wall; in the third, having received and given reveals of unfaltering love, she walks alone again - beautiful in the enrobing light of a summer moon, happy in the assurance that the warmth and devotedness of her affection is reciprocated."
Four or more of her illustrations were included in the Historical Collections of the Great West by Henry Howe. She collaborated with Walter Anderson, her future husband, on portraits of Protestant Episcopal bishops and created other portraits in her business.
She then lived in Manchester, Pennsylvania with her parents, where she is believed to have married Walter Anderson. She worked there for the chromolithographers Louis Prang & Company.
In 1854 the Andersons moved to London, where Sophie exhibited a still life of fruit, vegetables, game and fish entitled An American Market Basket at the Society of British Artists by 1855. It was considered an "admirable composition" made with "surprising truth". Her works were also exhibited at the Royal Academy. They returned to Pennsylvania in 1858 for a long visit with her family, during which time she exhibited at the Pittsburgh Artist's Association in 1859 and 1860. The latter year she and her husband had work shown at the National Academy of Design. She then settled in London again around 1863
Anderson's work was widely exhibited at venues including the Royal Academy, the Royal Society of British Artists (RBA), and the British Institution. Her work, Elaine, was the first public collection purchase of a woman artist.
Her oil painting, Foundling Girls at Prayer in the Chapel (mid-19th C- late-19th C), is displayed at The Foundling Museum; correlating well with Anderson's typical genre painting of children and women and the Museum's focus. The painting depicts the varying ages of the foundling girls, what they wore, and references the religious aspects of their life.
To manage her health issue, they moved to the Isle of Capri in 1871, where they lived, painted, and entertained society in a house with a large garden called Villa Castello. Capri was an artist colony at that time, its residents included Frederic Leighton, Walter McLaren, John Singer Sargent, Edouard Alexandre Sain, and Jean Benner. She exhibited at the Grosvenor Gallery between 1878 and 1887. Anderson made Italian genre and Neoclassical paintings, including paintings of peasant women and children. At a time when it was difficult for women to have a successful artistic career, these paintings, generally made by men, allowed for her to have a successful career.