Barbizon: The Cradle of Impressionism
Théodore Rousseau et les peintres de Barbizon
Théodore Rousseau se fixa à Barbizon en 1836. Il y fut rejoint par des peintres qui formèrent la fameuse école de Barbizon.
Jean-Baptiste Camille Corot, Jean-François Millet, Charles-François Daubigny, Honoré Daumier, Jules Breton, Jules Dupré, Jules Coignet, Narcisse Diaz, Constant Troyon ou encore Félix Ziem, ils sont près de cent les artistes peintres paysagistes qui firent de ce petit village situé en lisière de la forêt de Fontainebleau l’un des hauts lieux de la peinture naturaliste et réaliste française.
Sources :
Baudelaire - Critique d’art - Folio essais
Journal de l’impressionnisme - Skira
Dictionnaire universel de la peinture – Le Robert
Wikipedia the free encyclopedia
Jean Mineraud – Les dessous du visible
Barbizon, France
Scituate artists were hosted by residents of their sister city, Sucy-en-Brie, France and visited Barbizon, the home of artist Jean-François Millet. Being struck by the beautiful white forms, Procol Harum's song, Whiter Shade of Pale, seemed a good pairing.
Escuela de Barbizon - Museo Soumaya
Barbizon: La luz antes del Impresionismo.
Millet′s path to Modernismon view in Seoul
모더니즘의 탄생 밀레
The Barbizon school in France is known for breaking with tradition and trying to portray a more realistic image of our natural surroundings.
The school was led by the beloved artist Jean-Francois Millet, and some of his original works are now here in Korea.
And we′re now joined by our Yim Yoonhee to tell us more.
Millet is an artist who revolutionized art.
Nature and beautiful landscapes were no longer just in the background of paintings, but were now as much a part of the works as the people in them.
He influenced many artists after him,... some who went on to become some of the most important artists in history.
Take a look.
Life in the peaceful countryside,... women doing laundry by the stream,... men harvesting the fields.
These are the landscapes of Fontainebleau, the French countryside, that inspired many artists who were part of a movement toward Realism in art.
Artists such as the legendary Theodore Rousseau and of course Claude Monet,... they all found inspiration from the rustic countryside.
Even Vincent Van Gogh had admiration for not just the lands of Fontainbleau, but also the artist who was at the center of it all,... Jean-Francois Millet.
Millet is a French painter from Normandy who lived from 1814 to 1875. He is known for leading the Barbizon school, which was at the forefront of the Realism art movement at a time when artists began focusing on beautiful landscapes, peasants and farmers, instead of dramatic religious scenes and wealthy people. You could even say he is one of the fathers of the Modern art movement.
To celebrate the 200th year of Millet′s birth, the Museum of Fine Arts, Boston put together an extensive collection of over 60 original works that tell the story of the Barbizon school, and its contributions to the birth of Modernism.
Included in the exhibition are four of Millet′s major paintings paintings that not only influenced many future artists, but also played a key role in ushering in other art movements such as the Harvesters Resting painting, one of his most famous works that Millet poured his life into completing.
Millet considers this his most important painting, and practiced on over 50 different drafts before making the final product. He played around with positioning of the figures, and calculated everything. The subtitle says ′Ruth and Boaz′ and it tells the story of this woman named Ruth and the man next to her, named Boaz. The woman was recently widowed, but she works very hard in the fields with her mother-in-law to keep them alive. Boaz sees how hard she is working and falls in love with her, and they end up marrying. Millet retells the Biblical story of redemption and hard work through a contemporary scene.
There are many places, many people,... many faces that contributed to the development of art.
But there are few artists, legends in the field, who have made their mark and will forever be recognized,... artists such as Jean-Francois Mille
Alfred Sisley (French, 1839- 1899) - Part I - Works painted between 1865 and 1871
Alfred Sisley (1839-1899) was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro, found that Impressionism fulfilled his artistic needs.
Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother, Felicia Sell, was a cultivated music connoisseur.
In 1857, at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to capture the transient effects of sunlight realistically. This approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father.
In 1866, Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering-place of many Parisian painters.
In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions.
In 1870, the Franco-Prussian War began; as a result, Sisley's father's business failed, and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, and this allowed him, among other things, to make a few brief trips to Britain.
The first of these occurred in 1874, after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as a perfect moment of Impressionism.
Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur.
In 1881, Sisley made a second brief voyage to Great Britain.
He died on 29 January 1899 of throat cancer in Moret-sur-Loing at the age of 59, a few months after the death of his wife. His body was buried at Moret-sur-Loing Cemetery.
Text & images:
The images are only being used for informational and educational purposes
Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
Puedes usar esta canción en cualquiera de tus vídeos, pero debes incluir el siguiente texto en la descripción:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (
Fuente:
Artista:
Aux sources de l'impressionnisme, dans le cercle de Daubigny
Le musée Daubigny accueille jusqu’au mois de mars une exposition mettant en regard l’oeuvre de Charles-François Daubigny, et celle des nombreux peintres qu’il a côtoyés et inspirés. Agnès Saulnier, attachée de conservation du musée, nous explique pourquoi il était essentiel de lever le voile sur cet aspect de la vie de ce précurseur de l’impressionnisme.
SISLEY, Alfred (1839-1899) - Paintings in the Bridgestone Museum of Art, Tokyo, Japan
Alfred Sisley (1839-1899) was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro, found that Impressionism fulfilled his artistic needs.
Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother, Felicia Sell, was a cultivated music connoisseur.
In 1857, at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to capture the transient effects of sunlight realistically. This approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father.
In 1866, Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering-place of many Parisian painters.
In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions.
In 1870, the Franco-Prussian War began; as a result, Sisley's father's business failed, and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, and this allowed him, among other things, to make a few brief trips to Britain.
The first of these occurred in 1874, after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as a perfect moment of Impressionism.
Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur.
In 1881, Sisley made a second brief voyage to Great Britain.
He died on 29 January 1899 of throat cancer in Moret-sur-Loing at the age of 59, a few months after the death of his wife. His body was buried at Moret-sur-Loing Cemetery.
Text & images:
The images are only being used for informational and educational purposes
Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
Puedes usar esta canción en cualquiera de tus vídeos, pero debes incluir el siguiente texto en la descripción:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (
Fuente:
Artista:
SISLEY, Alfred - Paintings by in the Musée des beaux-arts de la ville de Paris, Paris, France.
Alfred Sisley (1839-1899) was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro, found that Impressionism fulfilled his artistic needs.
Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother, Felicia Sell, was a cultivated music connoisseur.
In 1857, at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to capture the transient effects of sunlight realistically. This approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father.
In 1866, Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering-place of many Parisian painters.
In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions.
In 1870, the Franco-Prussian War began; as a result, Sisley's father's business failed, and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, and this allowed him, among other things, to make a few brief trips to Britain.
The first of these occurred in 1874, after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as a perfect moment of Impressionism.
Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur.
In 1881, Sisley made a second brief voyage to Great Britain.
He died on 29 January 1899 of throat cancer in Moret-sur-Loing at the age of 59, a few months after the death of his wife. His body was buried at Moret-sur-Loing Cemetery.
Text & images:
The images are only being used for informational and educational purposes
Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
Puedes usar esta canción en cualquiera de tus vídeos, pero debes incluir el siguiente texto en la descripción:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (
Fuente:
Artista:
SISLEY, Alfred - Paintings in the Musée des Beaux-Arts de Rouen, Rouen, Normandy, France
Alfred Sisley (1839-1899) was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro, found that Impressionism fulfilled his artistic needs.
Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother, Felicia Sell, was a cultivated music connoisseur.
In 1857, at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to capture the transient effects of sunlight realistically. This approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father.
In 1866, Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering-place of many Parisian painters.
In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions.
In 1870, the Franco-Prussian War began; as a result, Sisley's father's business failed, and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, and this allowed him, among other things, to make a few brief trips to Britain.
The first of these occurred in 1874, after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as a perfect moment of Impressionism.
Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur.
In 1881, Sisley made a second brief voyage to Great Britain.
He died on 29 January 1899 of throat cancer in Moret-sur-Loing at the age of 59, a few months after the death of his wife. His body was buried at Moret-sur-Loing Cemetery.
Text & images:
Musée des Beaux-Arts de Rouen:
The images are only being used for informational and educational purposes
Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
Puedes usar esta canción en cualquiera de tus vídeos, pero debes incluir el siguiente texto en la descripción:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (
Fuente:
Artista:
SISLEY, Alfred - Paintings in the Museum of Fine Arts (MFA), Boston, Massachusetts, US.
Alfred Sisley (1839-1899) was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro, found that Impressionism fulfilled his artistic needs.
Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother, Felicia Sell, was a cultivated music connoisseur.
In 1857, at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to capture the transient effects of sunlight realistically. This approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father.
In 1866, Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering-place of many Parisian painters.
In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions.
In 1870, the Franco-Prussian War began; as a result, Sisley's father's business failed, and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, and this allowed him, among other things, to make a few brief trips to Britain.
The first of these occurred in 1874, after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as a perfect moment of Impressionism.
Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur.
In 1881, Sisley made a second brief voyage to Great Britain.
He died on 29 January 1899 of throat cancer in Moret-sur-Loing at the age of 59, a few months after the death of his wife. His body was buried at Moret-sur-Loing Cemetery.
Text & images:
The images are only being used for informational and educational purposes
Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
Puedes usar esta canción en cualquiera de tus vídeos, pero debes incluir el siguiente texto en la descripción:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (
Fuente:
Artista:
Armand Point
Armand Point (23 March 1860 or 23 March 1861 – February 1932 or March 1932) was a French painter, engraver and designer who was associated with the Symbolist movement and was one of the founders of the Salon de la Rose + Croix. Later he formed his own atelier. Sources differ over the details of his birth and death.
This video is targeted to blind users.
Attribution:
Article text available under CC-BY-SA
Creative Commons image source in video
AUVERS SUR OISE . VISITE AUTOUR DU PEINTRE DAUBIGNY
AUVERS SUR OISE SEPTEMBRE 2017 :
PROMENADE AUTOUR DU PEINTRE DAUBIGNY
Anne Distel: This kind of painting sells!: Collectors of Impressionist Painting 1874-1914
Anne Distel, Curator Emerita, French National Museums, Paris, presents her lecture This kind of painting sells!: Collectors of Impressionist Painting 1874-1914. This video is one of a series of lectures from the symposium '150 Years of Collecting Impressionist Art: From the Avant-Garde to the Mainstream,' presented by The Frick Collection on May 11 & 12, 2018.
[previously hosted on Vimeo: 51 views]
SISLEY, Alfred - In the National Gallery, London, England, United Kingdom.
Alfred Sisley (1839-1899) was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro, found that Impressionism fulfilled his artistic needs.
Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother, Felicia Sell, was a cultivated music connoisseur.
In 1857, at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to capture the transient effects of sunlight realistically. This approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father.
In 1866, Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering-place of many Parisian painters.
In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions.
In 1870, the Franco-Prussian War began; as a result, Sisley's father's business failed, and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, and this allowed him, among other things, to make a few brief trips to Britain.
The first of these occurred in 1874, after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as a perfect moment of Impressionism.
Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur.
In 1881, Sisley made a second brief voyage to Great Britain.
He died on 29 January 1899 of throat cancer in Moret-sur-Loing at the age of 59, a few months after the death of his wife. His body was buried at Moret-sur-Loing Cemetery.
Text & images:
The images are only being used for informational and educational purposes
Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
Puedes usar esta canción en cualquiera de tus vídeos, pero debes incluir el siguiente texto en la descripción:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (
Fuente:
Artista:
Jean Charles Cazin: A collection of 42 paintings (HD)
Jean Charles Cazin: A collection of 42 paintings (HD)
Description: French painter, part of a family of artists. The painter and ceramicist Jean-Charles Cazin and his wife, Marie Cazin (1845-1924), a sculptor and decorative artist, represent a wide range of artistic involvement characteristic of the late 19th-century movement to unify the arts. Their son Michel Cazin (b. 1869) was active as a medallist, sculptor, ceramicist and printmaker.
Jean-Charles Cazin's earliest paintings reveal close affinities with the realist tradition, while his later compositions (mostly landscapes of northern France) demonstrate an awareness of Impressionism and a commitment to recording the changing effects of light and atmosphere. He was sent to England for health reasons but by 1862 or 1863 was living in Paris and active in avant-garde artistic circles. In 1863 he exhibited Recollections of the Dunes of Wissant (untraced), a work based on close observation of the coastline of northern France, at the Salon des Refusés. He enrolled at the Ecole Gratuite de Dessin under Horace Lecoq de Boisbaudran, where he became friends with Alphonse Legros, Théodule Ribot, Henri Fantin-Latour and Léon Lhermitte, all of whom adopted Boisbaudran's method of developing paintings from memory as a way of heightening perceptions. During this period Cazin also met Marie Guillet, whom he married in 1868.
He was recommended by his former teacher Lecoq de Boisbaudran for a teaching position at the École Spéciale d'Architecture in Paris in 1866. He moved to Chailly, near Barbizon, where he produced a series of landscapes that were accepted at the Salons of 1865 and 1866. He was nominated for the post of Director of the École de Dessin and Curator of the Musée des Beaux-Arts in Tours in 1868. Cazin reorganized the school and became interested in the promotion the industrial arts.
Cazin's position as curator allowed him the opportunity to travel and study museum collections in other cities and countries. By 1871, the upheaval of the Paris Commune following the Franco-Prussian War and disagreements with the central museum administration concerning his programs forced him to move to England (1871-1875). Cazin taught art to London students, experimented with wax painting, developed an interest in ceramics and collaborated with the Fulham Pottery as a painter/decorator.
In 1875, Cazin returned to France and he settled near the coastal town of Boulogne where he had spent his childhood. In 1876 he submitted his first major work to the Paris Salon, entitled The Boatyard, and continued to exhibit at the Salon through 1883, receiving a First Class Medal in 1880 and a Gold Medal at the 1889 Universal Exposition.
In the late 1880's a divergence grew between older artists faithful to the academic traditions and the younger artists who followed a freer expression of their talents. In 1890 this divergence of ideas and styles led to the creation of the Société Nationale des Beaux-Arts and Cazin, a founding member, would soon be elected its Vice-president.
In 1893, Cazin traveled to America and exhibited nearly 180 paintings at the American Art Galleries. The exhibition was an instant success. In 1898, the French government appointed Cazin to finish the mural decorations in the Panthéon in Paris begun by Pierre Puvis de Chavannes. Cazin was awarded a Grand Prix in at the 1900 Universal Exposition in Paris. He remained at the forefront of French landscape painting until his death in 1901.
---
SUBSCRIBE: youtube.com/c/LearnFromMasters?sub_confirmation=1
Facebook:
Google+:
Contact: LearnFromMasters01@gmail.com
---
Thanks for all support!
Julius Leblanc Stewart 朱利葉斯·斯圖爾特勒布朗 (1855-1919) Realism Academicism America
Julius LeBlanc Stewart 朱利葉斯·斯圖爾特勒布朗 (September 6, 1855, Philadelphia, Pennsylvania — January 5, 1919, Paris, France), was an American artist who spent his career in Paris. A contemporary of fellow expatriate painter John Singer Sargent, Stewart was nicknamed "the Parisian from Philadelphia".
His father, the sugar millionaire William Hood Stewart, moved the family from Philadelphia, Pennsylvania to Paris in 1865, and became a distinguished art collector and an early patron of Marià Fortuny and the Barbizon artists. Julius studied under Eduardo Zamacois as a teenager, under Jean-Léon Gérôme at the École des Beaux-Arts, and later was a pupil of Raymondo de Madrazo.
Stewart's family wealth enabled him to live a lush expatriate life and paint what he pleased, often large-scaled group portraits. The first of these, After the Wedding (Drexel University Art Collection, 1880), showed the artist's brother Charles and his bride Mae, daughter of financier Anthony J. Drexel, leaving for their honeymoon. Subsequent group portraits depicted his friends — including actresses, celebrities and aristocrats — often with a self-portrait somewhere in the crowd.
He exhibited regularly at the Paris Salon from 1878 into the early 20th century, and helped organize the "Americans in Paris" section of the 1894 Salon. The Baptism (Los Angeles County Museum of Art, 1892), which reportedly depicts a gathering of the Vanderbilt family, was shown at the 1893 Chicago World's Columbian Exposition, and received acclaim at the 1895 Berlin International Exposition.
He painted a series of sailing pictures aboard James Gordon Bennett, Jr.'s yacht Namouna. The most accomplished of these, On the Yacht "Namouna", Venice (Wadsworth Atheneum, 1890), showed a sailing party on deck and included a portrait of the actress Lillie Langtry. Another, Yachting on the Mediterranean (1896), set a record price for the artist, selling in 2005 for US$2.3 million.
Late in life, he turned to religious subjects, but Stewart is best remembered for his Belle Époque society portraits and sensuous nudes.
Although he resides permanently in Paris, America claims Julius L. Stewart as one of her own artists, on the score of birth. He was born in Philadelphia. His father was a banker, who settled in Paris to conduct the European business of his banking house, and his son was educated in Paris. The banker Stewart was a great art-lover, and one of the very first patrons in France of Fortuny, Raimond de Madrazo, and Zamacois, for he was especially fond of the brilliant and audacious modern Spanish school. As young Stewart positively declined to be made a banker, and asserted his intention to become a painter, he was given his course. He had probably been inspired to his resolution by the artistic surroundings of his father's house. At any rate, he studied under Zamacois, Madrazo, and Gerome, but his innate talent broke a path for itself, and his later works suggest none of his masters. He created a style of his own which has been received in Paris, London, and America as thoroughly original. He first exhibited at the Salon in 1878, and since then has received many awards of merit. His "Spring" is one of his higher compositions, and was painted for a decorative purpose.
PINTURA DE LA ESCUELA DE FONTAINEBLAU
Denominación aplicada a los artistas que trabajaron en la corte francesa de Fontainebleau en el siglo XVI. El palacio de Fontainebleau fue la brillante expresión de la ambición de Francisco I para glorificar la Corona francesa emulando el generoso mecenazgo de los grandes príncipes humanistas de Italia.
Francia carecía de una tradición autóctona en la pintura mural que se adecuase a sus grandiosas concepciones, e hizo venir a algunos maestros italianos para que dirigiesen la obra. Los maestros italianos supieron adaptar sus estilos a los ideales cortesanos del gusto francés, ayudados por artistas franceses y flamencos. De esta combinación surgió un peculiar estilo manierista, una mezcla de sensualidad y gusto decorativo,