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


(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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Genurile artelor plastice

Genurile artelor plastice


 09-Genurile artelor plastice


Ţin să mulţumesc realizatorilor unui alt site ce vizează domeniul artistic, de asemenea persoanei care se ocupă cu administrarea sa pentru acordarea permisiunii de a posta unele articole care vor contribui permanent la educarea noastră şi promovarea spiritului artistic. Invit de asemenea pe cei care vor citi acest articol spre navigarea pe site-ul , deoarece vor găsi acolo o resursă bogată în privinţa domeniului nostru îndrăgit: Arta.

În continuare, redau un prim articol, cu referinţă asupra artelor plastice:

[Sursa Informativă:  ]


Arta plastică, următoarele genuri, cunoscute ca arte majore (pictura, sculptura, grafica) şi minore, care se asociază cu artele decorative. La rîndul lor, fiecare gen are mai multe subdiviziuni, care vizează specificul tehnicii, materialul de bază utilizat şi subiectul reprezentat.


Pictura, de exemplu, se realizează în encaustică, temperă, ulei, acril, pe suport de lemn, pînză sau carton, în calitate de subiecte fiind selectate cele mai diverse  teme – biblice, mitologice, istorice, cotidiene, care pot fi reprezentate ca tablou de gen, peisaj, portret, natură statică, cu sau fără prezenţă umană, redate tridimensional, creînd iluzia spaţială a imaginilor prin intermediul volumului, formei, clarobscurului, facturii, luminii şi umbrei etc.


Grafica, la rîndul său, apelează la motive similare, avînd  însă alte materiale, forme şi tehnici, de la care, uneori provine şi denumirea subdiviziunilor – miniatură, acuarelă, pastel, gravură (desen, laviu, xilogravură, acvaforte, mezzotinto, linogravură), spre exemplu: gravura de carte sau cea de şevalet (stampa).


Sculptura este genul de artă care poate fi contemplată  de jur-împrejur şi poate fi realizată prin cioplire (dăltuire) (granitul, marmura) sau turnare (bronzul,diferite aliaje metalice), constituind sculptura în rond-bosse (rotundă), relief şi altorelief, apelînd, de obicei, la un limbaj plastic specific – alegoric, simbolic sau comemorativ.


Artele decorative (ceramica, giuvaergeria, sticla artistică, tapiseria, batic-ul) au avut la începuturi doar funcţii utilitare (pentru păstrarea, transportarea şi utilizarea alimentelor, pentru protecţie) fiind decorate cu imagini sau ornamente decorative, devenind, cu timpul, obiecte estetice de lux, care înfrumuseţează ambianţa locuinţelor. Sunt cunoscute renumitele vase de ceramică greacă pictate cu figuri roşii şi negre, porţelanul şi batic-ul chinez, majolica italiană, tapiseria franceză şi cea germană.


Pictura şi sculptura mai au şi o altă formă de artă – arta monumentală, care este o simbioză a supradimensionării formei şi volumelor. Din această categorie face parte sculptura (statuile, statuile ecvestre, monumentele comemorative) şi pictura cu diverse tehnici în frescă, pictură murală, mozaic, vitraliu), realizate în proporţii şi forme considerabile.


În diverse perioade ale existenţei artelor plastice, operele, sunt atribuite, convenţional, unor stiluri şi tendinţe diverse, delimitate pe anumite intervale de timp şi regiuni (manierism, baroc, clasicism, academism, realism, romantism, impresionism, postimpresionism, abstracţionism, etc.), manifestîndu-se în cadrul tuturor genurilor de artă.


Operele de artă plastică sunt principalele obiective ale muzeelor şi colecţiilor de artă din toată lumea.  “


[pentru articol, Drepturi Depline Rezervate © ]



Scurt istoric al picturii cu acrilice

Scurt istoric al picturii cu acrilice


12-Scurt istoric al picturii cu acrilice



[Sursa Informativă:  ]


Mulţumesc acestui site pentru acordarea dreptului de postare în privinţa unui articol. Ţin să apreciez gestul persoanei care administrează/care se ocupă de acest site, citând  din răspunsul său în privinţa scopului o satisfacţie sufletească dacă îi sunt utile cuiva aceste articole” . Mă bucură faptul că dincolo de interesele financiare ale multor site-uri, sunt prioritare cele de a promova o artă sau o parte integrantă a acestui domeniu. În continuare postez unul din articolele de pe site-ul lor şi sunt sigur că voi, drept cititori, o să mai găsiţi şi alte articole interesante, vizitându-le site-ul. Voi posta doar o parte a articolului, care se referă la istorie şi vă invit să luaţi în consideraţie recomandarea mea spre a citi articolul complet fiindcă are şi alte părţi integrante care sigur vă vor aduce un beneficiu prin amănunte, cunoştinţe pe acest domeniu integrant picturii.


Scurt istoric al picturii cu acrilice

Intre anii 1946 si 1949, a fost inventata solutia pentru vopseaua acrilica sub denumirea de Magna Paint de catre Leonard Bocour si Sam Golden. Putin mai tarziu a urmat si „nasterea” solutiei numita Aquatec, aceasta fiind insa vopsea acrilica ce avea la baza apa. Otto Rohm a inventat acrilica pe baza de rasina, care a devenit in cele din urma, destul de rapid, vopseaua acrilica, cunoscuta in prezent, desigur cu cateva deviatii. Aceste tipuri de vopseluri au inceput sa fie comercializate si disponibile abia pe la sfarsitul anilor 1950, ele fiind numite Magna, ca si la inceputuri, avand la baza minerale, iar cele pe baza de apa au fost ulterior vandute ca si vopseluri pentru casa, cu pseudonimul de „latex”, chiar daca derivatele din acrilice nu foloseau deloc latex in compozitie, derivata fiind dintr-un arbore de cauciuc. Acele vopsele de interior „latex” erau practic o combinatie de lianti diversi (aici se includeau cateodata acrilice, viniluri, pva si altele), pigment, apa si altele. Vopsele de exterior din „latex” pot fi de asemenea o combinatie cu „co-polymer”, desi cele mai bune vopseluri de exterior bazate pe apa raman acrilice 100%. La putin timp dupa ce acestea au fost introduse oficial ca vopseluri de casa, de interior si exterior, artistii si diverse companii au inceput sa exploreze universul si potentialul acestor noi compozitii in alte scopuri decat cele de amenajare. Acrilicele solubile in apa pentru arta au inceput sa fie disponibile incepand cu anii 1950, fiind oferite de Liquitex, avand o vascozitate similara cu cea a acrilicelor din ziua de astazi, care au devenit disponibile abia un deceniu mai tarziu. In anul 1963, Rowney (cel care face parte din corporatia Daler-Rowney Ltd in prezent) a fost primul producator care a introdus o culoare acrilica artistica in Europa, pe care a numit-o Cryla, aceasta devenind chiar un brand. In cele din urma, acrilicele au devenit cele mai ravnite tipuri de vopseluri in pictura, avand in vedere frumusetea lor si rezistenta in timp.


[TEXTUL nu conţine diacritice]


[pentru articol, Drepturi Depline Rezervate ©]