Alphonse de Neuville (1835-1885) A collection of paintings 4K Ultra HD

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Alberto Pasini (1826-1899) A collection of paintings 4K Ultra HD

Alberto Pasini (1826-1899) was an Italian painter. He is best known for depicting Orientalist subjects in a late-Romantic style. His father was a commissioner for his district, a post analogous to a sub-prefect. But orphaned of father in 1828, his mother moved to Parma, where enrolled at the age of 17 years, in the Academy of Fine Art of Parma, studying landscape painting and drawing. In Parma, he was helped early on by Alberto's uncle, the painter and manuscript illuminator, Antonio Pasini, who painted for the local nobility and collaborated with the publishing house established by Giovanni Battista Bodoni. By 1852, he exhibited a series of thirty designs, made into lithographs, depicting various castles around Piacenza, Lunigiana and Parma. He was noticed by the artist Paolo Toschi, who encouraged Pasini to travel to Paris, where Pasini first joined the workshop of Charles and Eugène Ciceri, of the so-called School of Barbizon. In 1853 his lithograph of The Evening gained him admittance to the Paris Salon, and to the workshop of the famous Théodore Chassériau. The eruption of the Crimean War offered a new opportunity, when in February 1855, this latter painter recommended Pasini to replace him on the entourage of the French plenipotentiary minister Nicolas Prosper Bourée to Persia. Pasini accompanied him, returning through the north of Persia and Armenia before reaching the port of Trebizond. In subsequent trips, he visited Egypt, the Red Sea, Arabia, Istanbul, and Persia. Pasini parlayed his exposures during this trip into numerous highly detailed paintings of orientalist subjects. He left again for Istanbul in October 1867, summoned by the French Ambassador Bourée. He returned to Turkey in 1876 to execute the four paintings commissioned by Sultan Abdul Aziz. He was about to return to Istanbul the next year, when his patron, the Sultan, died. In 1865, he spent some time in Cannes, painted landscapes of the Riviera. During the Franco-Prussian War of 1870, he returned to Italy, settling in Cavoretto, on the hills around Turin. He continued to travel, closer to his home, with trips to Venice and two sojourns in Spain in 1879 and 1883. Works In 1862 at Istanbul, he painted a canvas depicting a Victory by the Turks led by Sultan Abdul Mezid. He exhibited at Paris: The Druze attack a Maronite Village, Falcon hunt in plains of Ispahan, The Bazaar of Istanbul, and The stage of the caravan, found in the Museum of Parma. In Venice, and began painting vedute of the city, among other subjects including works depicting the Ponte dei Santi Apostoli, the ferry Cassou and the Rio Marin, Canal Grande; Traghetto San Tom; Venice from the Giudecca ; Palazzo Grimani; Rio San Severo, Rio a Santa Maria Formosa; and Palazzi Rezzonico, Foscari e Balbi. He also painted Porta di un bazar; Panorama of the Sierra Nevada; Porta del vino, Alhambra Porta of the sala delle due sorelle; Interno dello moschea dell'Alhambra; Porta d'una moschea, and Palazzo del Generalife; Porta di un vecchio arsenale; Mercato del lunedì nella piazza of the Moschea a Costantinopoli; Cavalli al pascolo in Siria; Cortile di un vecchio joly; La sentinella; Le staffette (Group of irregular cavalry at the door of a mosque in Asia Minor); Courtyard of the Lions in Granada; Gruppo di case nel Rubatto Yesel Giani; Un'arcata of the facciata di San Marco; Porta del Palazzo Moriani; and La Salute. Gubernatis quotes the contemporary art critic Virgilio Colombo as saying of his paintings: Pasini faithfully reproduces the architectural accessories, which sparkle in the sun and bathe in the blue shadows: in this, he is unrivaled and shows extraordinary ingenuity to create huge paintings in small canvases. What skill in painting finger-high figures, fine horses, grim and thoughtful knights, with sumptuous trappings, damask-decorated weapons, kiosks, markets and menageries, saddles encrusted with gems, the turbans, the fabrics, the courtesans of princesses, the military camps, the intimate recesses of the harem, the profiles of city with jagged spires and minarets, and the hunts through the interminable space of the plains. The oriental scenes are exquisitely treated, not by way of searching for the usual sunsets and fiery skies. The atmosphere is fine and transparent and stretches across a silvery coat all grace and subtlety Thank you, please subscribe for future videos

《 Battle Of The ISANDLWNA 》( 1879/01/22 )

The Battle of Isandlwana on 22 January 1879 was the first major encounter in the Anglo-Zulu War between the British Empire and the Zulu Kingdom. Eleven days after the British commenced their invasion of Zululand in South Africa, a Zulu force of some 20,000 warriors attacked a portion of the British main column consisting of about 1,800 British, colonial and native troops and perhaps 400 civilians. The Zulus were equipped mainly with the traditional assegai iron spears, iklwa and cow-hide shields, but also had a number of muskets and old rifles though they were not formally trained in their use.

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Andre Rieu & 3 year old violinist, Akim Camara 2005

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Adolphe Alexandre Lesrel (1839-1921) A collection of paintings 4K Ultra HD

Adolphe Alexandre Lesrel (19 May 1839 - 25 February 1929) was a French painter. His paintings are exhibited at the Musée des Beaux-Arts in Nantes and the Musée des Beaux-Arts in Rouen. He specialized in historical genre paintings. At a 2012 Sotheby's auction, one of his paintings, The Practice Recital, was sold for US$86,500. Thank you, please subscribe for future videos

Alphonse de Neuville (1835-1885) was a French Academic painter who studied under Eugène Delacroix.

His dramatic and intensely patriotic subjects illustrated episodes from the Franco-Prussian War, the Crimean War, the Zulu War and portraits of soldiers.

Some of his works have been collected by the Hermitage Museum in St. Petersburg and by the Metropolitan Museum in New York.

Born Alphonse-Marie-Adolphe Deneuville to wealthy parents at Saint-Omer, Pas-de-Calais, earned his degree of bachelier ès-lettres, and in spite of family opposition, he entered (1856) the naval school at Lorient; it was there that his artistic instincts started.

He was discouraged by several painters of repute, but he was admitted to work in the studio of François-Edouard Picot; he did not remain there long. He was painting by himself when he produced his first picture,

The Fifth Battalion of Chasseurs at the Gervais Battery (Malakoff). In 1860 Neuville painted an Episode of the taking of Naples by Garibaldi for the Artists' Club in the rue de Provence, and sent to the Paris Salon in 1861 The Guard Chasseurs in the Trenches of the Mamelon Vert.

He participated in illustrating the Hetzel editions of Twenty Thousand Leagues Under the Sea.

He also illustrated Le Tour du monde and Guizot's History of France. At the same time he painted a number of remarkable pictures:

The Attack in the Streets of Magenta by Zouaves and the Light Horse (1864), A Zouave Sentinel (1865), The Battle of San Lorenzo (1867), and Dismounted Cavalry crossing the Tchernaia (1869). In these he showed peculiar insight into military life.

His full power was reached after the Franco-Prussian War of 1870–71. The long-term French reaction was Revanchism: a deep sense of bitterness, hatred and demand for revenge against Germany, especially because of the loss of Alsace and Lorraine. Paintings that emphasized the humiliation of the defeat came in high demand, such as "the Spy" by de Neuville.

He then aimed at depicting in his works the episodes of that conflict, and began by representing the Bivouac before Le Bourget (1872). His fame spread rapidly, and was increased by The Last Cartridges (1873), memorializing an episode involving the Blue Division of the French marines, in which it is easy to discern the vast difference between the conventional treatment of military subjects, as practised by Horace Vernet, and that of a man who had lived the life that he painted.

In 1874 the Fight on a Railroad was not less successful, and was followed by the Attack on a House at Villersexel (1875) and the Railway Bridge at Styring (1877). In 1878 the painter exhibited (not at the Great Exhibition) Le Bourget, the Surprise at Daybreak, The Intercepted Despatch-bearer, and a considerable number of drawings. He also exhibited in London some episodes of the Zulu War. Fifty thousand people paid to see his impression of The Defence of Rorke's Drift (1880), which the infant Art Gallery of New South Wales in Sydney paid a large sum to acquire.

In 1881 he was made an officer of the Légion d'honneur for The Cemetery of Saint-Privat and The Despatch-bearer and the "Huns in the Battle of Chalon". During these years Neuville was at work with Édouard Detaille on an important though less artistic work, The Panorama of Rézonville.

Neuville died in Paris on May 18, 1885.

At the sale of his works the state purchased for the Palais du Luxembourg the Bourget and the Attack on a Barricaded House, with a watercolor The Parley, and a drawing of a Turco in Fighting Trim.

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