Alfred Stevens – Gallery


Alfred Stevens

 

(1823 – 1906)




 

Alfred Émile Léopold Stevens was a Belgian painter.

Alfred Stevens was born in Brussels. He came from a family involved with the visual arts: his older brother and his son Léopoldwere painters, while another brother – Arthur, was an art dealer and critic.His father was an art collector who owned several watercolors by Eugène Delacroix, among other artists. His mother’s parents ran Café de l’Amitié in Brussels, a meeting place for politicians, writers, and artists.

He studied at the Académie Royale des Beaux-Arts in Brussels, where he knew François Navez, the Neo-Classical painter and former student of Jacques-Louis David. There, he drew from casts of classical sculpture for the first two years, and then drew from live models. Later he was admitted to the École des Beaux-Arts, the most important art school in Paris.

Stevens’s work was shown publicly for the first time in 1851, when three of his paintings were admitted to the Brussels Salon. He was awarded a third-class medal at the Paris Salon in 1853, and a second-class medal at the Universal Exposition in Paris in 1855.

During the 1860s, Stevens became an immensely successful painter, known for his paintings of elegant modern women. His exhibits at the Salons in Paris and Brussels attracted favorable critical attention and buyers. An excellent example of his work during this time is La Dame en Rose or Woman in Pink (Musées royaux des Beaux-Arts de Belgique, Brussels), painted in 1866, which combines a view of a fashionably dressed woman in an interior with a detailed examination of Japanese objects, a fashionable taste called japonisme of which Stevens was an early enthusiast.

The single most important work from the second half of Stevens’s career is the monumental Panorama du Siècle, 1789–1889, which he painted with Henri Gervex. Stevens painted the women and details and Gervex the men, with the help of fifteen assistants.

In 1900, Stevens was honored by the Ecole des Beaux-Arts in Paris with the first retrospective exhibition ever given to a living artist.

Alfred Stevens – Gallery I

 

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Alexander Brulloff – Gallery


Alexander Pavlovich Brullov

(Brulloff)

(1798 – 1877)


 

Alexander Pavlovich Brullov was a Russian artist; it was associated with the latest phase of the Russian Neoclassicism.

His name was spelled Brulleau until 1822, when the family name was changed according to Russian pronunciation, sometimes also spelled Brulloff.

Alexander Brullov was born in Saint Petersburg into a family of French artists: his great grandfather, his grandfather, his father and his brothers (including Karl Brullov) were artists. His first teacher was his father Paul Brulloff.

After he attended the Imperial Academy of Arts’ architect class from 1810 to 1820, and graduated with honors, was sent to Europe to study art and architecture as a pensioner of the Society for the Promotion of Artists. He spent eight years abroad from 1822 to 1830, in Italy, Germany and France, studying architecture and art. He painted a lot of watercolor portraits at that time.

In 1831, after his return to Russia, he was appointed professor of the Imperial Academy of Arts and these were the years when he created his best architectural projects. Among others, he designed and built the following buildings in St. Petersburg: Mikhailovsky Theatre (now Maliy Theater, 1831–1833), Lutheran Church of Saint Peter and Saint Paul on Nevsky Prospekt (1833–1838), Pulkovo Observatory (1834–1839), the Headquarters of Guard Corps on Palace Square (1837–1843). He was one of the main architects of the reconstruction of the Winter Palace after the fire of 1837. He designed many striking interiors there including the Pompei Hall, the Malachite Room, and the White Hall.

Alexander Brullov was also talented painter. One of the best portraits created by A. Brulloff at this period was a portrait of Natalya Goncharova-Pushkina. (1831), wife of the Russian poet Alexander Pushkin. Alexander Brulloff also made illustrations for the books and magazines.

 

[The biographical information is credited to ©Wikipedia Website]

 

 

Alexander Pavlovich Brullov (Brulloff)

 – Gallery

 

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Alessandro Turchi – Gallery


Alessandro Turchi

 

(1578 – 1649)

 

Alessandro Turchi  was an Italian painter of the early Baroque.

He was born and active mainly in Verona, and moving late in life to Rome.

He also went by the name Alessandro Veronese or the nickname L’Orbetto.

Turchi initially trained with Felice Riccio (il Brusasorci), in Verona.

By 1603, he is already working as independent painter, and in 1606-1609, Turchi paints the organ shutters for the Filarmonica Academy of Verona.

After the death of Brusasorci, in 1605, Turchi and Pasquale Ottino complete a series of their deceased master’s canvases. In 1610, he completes an Assumption altarpiece for the church of San Luca of Verona. In 1612, the Veronese Guild of the Goldsmiths commissions from Turchi an altarpiece, today lost, of the Madonna and Saints. On leaving the school of Riccio, he went to Venice, where he worked for a time under Carlo Cagliari.

Turchi participated also in the fresco decoration (Gathering of Manna) of the Sala Reggia of the Quirinal Palace, and painted  for cardinal Scipione Borghese – a Christ, Magdalen, and Angels.

He painted also some pictures in the church of Santa Maria della Concezione dei Cappuccini.

He also painted a Flight into Egypt for the church of San Romualdo; a Holy Family for S. Lorenzo in Lucina; and a S. Carlo Borromeo in S. Salvatore in Lauro. He was much employed on cabinet pictures, representing historical subjects, which he frequently painted on black marble.

Alessandro Turchi  – Gallery

 

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Albrecht Durer – Gallery


Albrecht Dürer

(1471 – 1528)


 

Albrecht Dürer was a German painter, engraver, printmaker, mathematician, and theorist from Nuremberg.

He has been conventionally regarded as the greatest artist of the Northern Renaissance because of his high-quality woodcuts (nowadays often called Meisterstiche or “master prints”).

His vast body of work includes altarpieces, religious works, numerous portraits and self-portraits, and copper engravings.

His well-known prints include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514).

His watercolours also mark him as one of the first European landscape artists.

Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series.

Between 1513 and 1514 Dürer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus’s treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514).

Dürer’s work on human proportions is called the Four Books on Human Proportion (Vier Bücher von Menschlicher Proportion) of 1528.

[The biographical information is credited to ©Wikipedia Website]

Albrecht Dürer – Gallery

 

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Istoria artelor plastice


Istoria artelor plastice

 

 14-Istoria artelor plastice

 

[pentru articol, Drepturi Depline Rezervate © Moldovenii.md ]

 

În ultimii ani noţiunea de istoria artelor tot mai mult se reduce la categoria artelor vizuale (artele plastice şi arhitectura), pentru a le distinge de muzicologie şi studiile în arta spectacolului (teatrul, dansul, circul), care au tangenţe cu alte componente ale patrimoniului cultural.

În conformitate cu principiile şi criteriile cronologice şi geo-culturale acceptate, istoria artei universale cuprinde cele mai importante evenimente artistice şi ţări, fiind divizată astfel:

  • Arta preistorică (40.000 – 4.000 î.e.n., cultura Cucuteni-Tripolie);
  • Arta antică (jum. mil. IV î.e.n. – sec. III e.n., mesopotamiană, egipteană, greacă, romană şi paleo-creştină);
  • Arta medievală (sec. IV- XIV, bizantină, romanică şi gotică);
  • Arta în Europa (sec. XIV – XVIII, Renaşterea, manierismul, barocul şi clasicismul,iconografia, stilurile rococo şi academismul)
  • Arta modernă contemporană din sec. XIX-XX care include asemenea curente, ca neoclasicismul, romantismul, realismul, impresionismul şi post-impresionismul, fovismul, cubismul şi arta abstractă.

 

 

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Arta şi meşteşugul


Arta şi meşteşugul

 

13-Arta şi meşteşugul 

 

 

Nu am găsit o adresă de email ca să cer permisiunea postării, însă, alături de un scurt citat din articolul original, vă invit să vizualizaţi aticolul complet, aparţinând site-ului în cauză.

[pentru articol, Drepturi Depline Rezervate ©CrestinOrtodox.ro]

 

 

“ Nu fara temei, Romania a fost numita tara artei populare; asa este cunoscuta si in strainatate. In adevar poporul roman s-a realizat si exprimat pe plan artistic intr-un chip superior, asa cum nu s-a intamplat in celelalte activitati ale sale. Dimensiunea artistica a vietii este aici deplin traita. In satul romanesc arta este o expresie a comunitatii de viata si totodata, am putea spune o nazuinta a ei. De aceea arta este prezenta pretutindeni in civilizatia noastra sateasca.

 

Arta populara romaneasca nu este o activitate izolata, ea face parte dintr-un ansamblu de viata, este una din expresiile firesti ale neamului format pe aceste locuri. Pentru a fi inteleasa trebuie redata acestei vieti, viata care in civilizatia noastra sateasca isi are o expresie fireasca si organica. Arta alaturi de vechile forme de organizatie sociala, de religie, de magie, de tehnica si limba, exprima pe o cale a sa viata originala a acestui popor. In arta populara, mai mult poate decat in celelalte activitati, prinde corp, se obiectiveaza sensibilitatea si viziunea de viata a neamului nostru de tarani. El raspunde in fata lumii cu creatiuni proprii, pe calea carora putem afla cat ii este de larg orizontul vietii, de nuantata isi pura sensibilitate.

 

Arta populara se situeaza la limita dintre religie si magie pe deoparte si tehnica pe de alta. Uneori ea este adusa la viata de o functie magico-religioasa, alteori apare in activitati de ordin practic, in constructii, industrie casnica, costume si unelte. De cele dintai este legata prin semnificatia spirituala ce o cuprinde; de cele din al doilea rand este legata prin tehnica pe calea careia se realizeaza. Arta populara, fie ea icoana, poarta, covor sau cana, pe langa si dincolo de functiunile ce le indeplineste, pe langa si dincolo de indemanarea, de mestesugul pe care il cere, arata o inclinare isi un dar artistic deosebit al neamului nostru. Romanul infrumuseteaza pretutindeni si continuu productiunile sale.

 

In capitolul de fata vorbim laolalta despre arta si mestesug. Aceasta, nu pentru ca am fi in fata singurei legaturi cu putinta. Realitatea, am vazut, ne indica si altele. Discutam arta si mestesug impreuna, pentru ca legatura dintre ele este mai apropiata in practica zilnica: acolo unde apare mestesugarul, acolo unde apare indemanarea, tehnica, maiestria, acolo apare de obiceiul isi arta. Ca este arhitectura (constructie), sculptura (crestatura in lemn), pictura (icoane), ceramica, tesatura, broderie si oricare alta activitate a setei de frumusete, arta populara nu apare izolata, desine statatoare ca cea culta, ci odata si impreuna cu mestesugul si maestria. “

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