SISLEY, Alfred - Paintings in the Ordrupgaard Museum, Charlottenlund, Copenhagen, Denmark
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:
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Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
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Im Licht des Nordens: Dänische Malerei der Sammlung Ordrupgaard: Ausstellung in Hamburg
Impressions of the exhibition In the Light of the North: Danish Painting of the Ordrupgaard Collection from 10.05.2019 to 22.09.2019 at the Hamburger Kunsthalle... read more in German:
Impressionen der Ausstellung Im Licht des Nordens: Dänische Malerei der Sammlung Ordrupgaard vom 10.05.2019 bis 22.09.2019 in der Hamburger Kunsthalle.
Vom Goldenen Zeitalter bis zu in Graustufen erstarrten Räumen: Dänemark bildete im 19. Jahrhunderts eigene nationale Kunststile heraus. Einen so kompakten wie anschaulichen Überblick bietet die Kunsthalle mit Meisterwerken der Sammlung Ordrupgaard.
Einen ausführlichen Bericht finden Sie bei Kunst+Film:
Sophus Bauditz Vej, 2920 Charlottenlund
MOGENS LASSEN SKOVSHOVED
På en rolig og mondæn vej i det skønne Skovshoved ligger denne flotte arkitekttegnede Mogens Lassen villa i klassisk funktionalistisk stil fra 1930erne nu klar til overtagelse.
Terunobu Fujimori Interview: A Feeling of Freedom
Meet Terunobu Fujimori, one of Japan’s most influential architects, who has enchanted the world with his playful, often elevated buildings made of natural materials such as wood, earth and stone. In this short video, Fujimori talks about his original interpretations of a traditional Japanese building – his iconic raised tea houses.
“I started to design tea houses because I was interested in the idea of flexibility and a fun design in a small space.” One of the reasons why the teahouses have flexibility, Fujimori explains, is due to the caste system of 400 years ago (when the Japanese style building was first established), which was suspended inside the tea house: “Everyone was equal inside the tea houses and enjoyed being together. And it is the same now. Inside the tea houses, we don’t think about social status, rich and poor. We just spend time together.” This feeling of freedom inside the tea house is what he tries to preserve when designing the building. In connection to this, Fujimori comments on architecture’s unique ability to please people regardless of their preferences: “So its role is to make people comfortable when they use it.” Moreover, it is essential for Fujimori to place the tea houses in such a way that they blend in with nature, and because of this, he builds with only natural materials from the location.
Terunobu Fujimori (b.1946) is a Japanese architect and leading historian of modern Japanese architecture. His work is characterised by humour, experimentation, the use of natural materials, and a break from traditional techniques. In 1991, Fujimori completed his first architectural work, the Jinchokan Moriya Historical Museum in Nagano Prefecture. Since then he has created several original buildings including Takasugi-an Tea House (2004), Charred Cedar House (2007), and Flying Mud Boat (2012). Fujimori gained widespread acclaim when he designed the Japanese Pavilion at the 2006 Venice Architecture Biennale. He is the recipient of several awards including the Architectural Institute of Japan Prix (2001).
Terunobi Fujimori was interviewed by Kasper Bech Dyg at Ordrupgaard in Charlottenlund, Denmark in May 2018 in connection with his site-specific Japanese tea house, ‘Tea Tree House’.
Camera: Mathias Nyholm
Produced and edited by Kasper Bech Dyg
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2020
Supported by Dreyers Fond
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Hjemme hos Hammershøi - Ordrupgaard
Ordrupgaard markerer 100-året for Vilhelm Hammershøis død med en udstilling, der hylder hans storhedstid. Årene i Strandgade 30, hvor nogle af hans bedste værker blev til, og hvor essensen af Hammershøi fandt frem til lærredet. Se udstillingen inden den 19. juni 2016. Musik: Ravels piano trio nr. 2.
Doug & Mike Starn Interview: The Invisible Architecture of Life
“The piece is all about freedom and respect for everyone – that’s an underlying aspect of it.” Meet the renowned artistic collaborators and identical twins, Doug & Mike Starn, who talk about their spectacular series of large-scale bamboo installations ‘Big Bambú’, which have been constructed at several locations around the world.
Doug & Mike Starn believe in an inherent interdependence of everything – that things always come out of something else – and their ‘Big Bambú’ series arose out of the realisation that this philosophy could be demonstrated as a sculpture. For the various installations around the world, the artists try to find an expression that steps beyond control and instead reflects how life works: “It’s a random interdependence, and that’s the invisible architecture of life… ‘Big Bambú’ is that made visible.” The Starns grew up near the ocean, and their love of it is reflected in the installation series, where their initial idea was to make “a piece that never ends” by creating a sort of seascape with a sculptural wave “that was continuously generating itself.” Moreover, they appreciate that the shape of the bamboo sculpture also gives you a sense of not knowing where you are, “because we never know where we are in life.”
Doug & Mike Starn (b. 1961) are American artists. The Starn brothers first gained international attention at the 1987 Whitney Biennial. They primarily work conceptually with photography but are also known to defy categorisation, combining photography, sculpture and architecture. Their 2010 installation ‘Big Bambú: You Can’t, You Don’t, and You Won’t Stop’ at the roof garden of the Metropolitan Museum of Art in New York was the 9th most attended exhibition in the museum’s history. Throughout the six-month exhibit, the Starns and their crew of rock climbers continuously lashed and sculpted over 7,000 bamboo poles, forming a section of a seascape with a cresting wave above Central Park. Their work has been the object of numerous museum and gallery exhibitions worldwide, including solo exhibitions at The Israel Museum in Jerusalem, The Cincinnati Art Museum, Portland Museum of Art, National Gallery of Victoria in Melbourne, San Francisco Museum of Modern Art, and the 54th Venice Biennale in Venice. Moreover, they have received two National Endowment for the Arts Grants and The International Center for Photography’s Infinity Award for Fine Art Photography. For more see:
Doug & Mike Starn were interviewed by Kasper Bech Dyg at Ordrupgaard in Charlottenlund, Denmark in May 2018 in connection with their site-specific bamboo installation ‘Geometry of Innocence’.
Camera: Mathias Nyholm
Produced and edited by: Kasper Bech Dyg
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019
Supported by Nordea-fonden
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Nelli Palomäki - Breathing the same air 7.2.2013
Nelli Palomäki esittelee valokuvanäyttelynsä Breathing the same air kertomalla teoksistaan. Näyttely Ordrupgaardin Taidemuseossa, Tanskassa, 7.2-1.4.2013. Toteutettu Aalto- Yliopiston, Helsinki Schoolin sekä Suomen Tanskan Kulttuuri-instituuttin yhteistyön seurauksena.
Nelli Palomäki walks us through her photography exhibition at Ordrupgaard artmuseum in Charlottenlund. The exhibition could be seen from February 7th until April 1st 2013. The exhibition is the result of a cooperation between Aalto university, Helsinki School and the Finnish Cultural Institute in Denmark. The video is in Finnish.
Doug & Mike Starn Interview: The Artist We Are Together
“Art is about communicating with people.” Watch acclaimed American artists – and identical twins – Doug & Mike Starn on how their “twin-language” is art: “It’s something that we have together, and we put it out there.”
“I think every child is an artist, and we were no different.” As children, Doug & Mike Starn completed each other’s artwork, and later, they went to art school on a single portfolio. They would do separate projects, but the works they did together were always the best: “We have that plus, an externalized debate.” In all of their work, they explain, you see pieces being put together: “Together we’re a single artist in a sense, yet we’re distinct individuals, so we’re very conscious of parts.” This, they continue, is true with everything in the world – everything is interconnected or interdependent with everything else: “Nothing is existing on its own. Nothing.”
Doug & Mike Starn (b. 1961) are American artists. The Starn brothers first gained international attention at the 1987 Whitney Biennial. They primarily work conceptually with photography but are also known to defy categorization, combining photography, sculpture and architecture. Their 2010 installation ‘Big Bambú: You Can’t, You Don’t, and You Won’t Stop’ at the roof garden of the Metropolitan Museum of Art in New York was the 9th most attended exhibition in the museum’s history. Throughout the six-month exhibit, the Starns and their crew of rock climbers continuously lashed and sculpted over 7,000 bamboo poles, forming a section of a seascape with a cresting wave above Central Park. Their work has been the object of numerous museum and gallery exhibitions worldwide, including solo exhibitions at The Israel Museum in Jerusalem, The Cincinnati Art Museum, Portland Museum of Art, National Gallery of Victoria in Melbourne, San Francisco Museum of Modern Art, and the 54th Venice Biennale in Venice. Moreover, they have received two National Endowment for the Arts Grants and The International Center for Photography’s Infinity Award for Fine Art Photography. For more see:
Doug & Mike Starn were interviewed by Kasper Bech Dyg at Ordrupgaard in Charlottenlund, Denmark in May 2018 in connection with their spectacular bamboo installation ‘Geometry of Innocence’.
Camera: Mathias Nyholm
Produced and edited by: Kasper Bech Dyg
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019
Supported by Nordea-fonden
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Danish Paintings: Impressionist Treasures
Who are the artists from the Danish Golden Age of painting? Get a private tour of works by C. W. Eckersberg, Vilhelm Hammershøi, and other unparalleled artists in this short video. Then come see the real treasures at the National Gallery of Canada until September 9, 2018. #ImpressionistsNGC
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Peder Severin Krøyer (1851-1909) Danish painter ✽ Francis Goya / Guitar concerto
Thank you all for viewing and comments! ✽ All the best!
The Danish painter Peder Severin Krøyer (1851–1909) is best known for the landscape and figural paintings he produced as a member of the fin-de-siècle art colony in Skagen, Denmark, (figs. 1–3) and it was in significant part due to Krøyer's stylishly elegant images of its recreational life that Skagen emerged in the 1880s and 1890s as a world-renowned summer beach resort. In Krøyer's paintings, the once threatening waters of the Kattegat Sea were tamed into a glistening backdrop for the evening promenades of pretty people and the splashing amusements of playful children. It was Krøyer, explains art historian Elisabeth Fabritius, who was the leading shaper of the myth of Skagen as a synonym for sun and summer fun, partying and youth, happiness and the idyll of sun-lit summer nights.[1] This mood of reverie and nostalgia has inflected the language of Krøyer's reception since his lifetime and has made him one of the more romanticized figures in the history of nineteenth-century Danish art. The following analysis of Krøyer's Skagen paintings offers an urgently needed corrective to this image of the artist.
Fodterapeut Helene S. Pedersen 2920 Charlottenlund
Statsautoriseret Fodterapeut Helene Skovgaard Pedersen Hyldegaardsvej 27 2920 Charlottenlund
Carl Heinrich Bloch (1834-1890) A collection of paintings 4K Ultra HD
Carl Heinrich Bloch (18341890) was a Danish painter.
He was born in Copenhagen, Denmark and studied there at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) under Wilhelm Marstrand .
Bloch's parents wanted their son to enter a respectable profession - an officer in the Navy. This, however, was not what Carl wanted. His only interest was drawing and painting, and he was consumed by the idea of becoming an artist. He went to Italy to study art, passing through the Netherlands, where he became acquainted with the work of Rembrandt, which became a major influence on him. Carl Bloch met his wife, Alma Trepka, in Rome, where he married her on 31 May 1868. They were happily married until her early death in 1886.
His early work featured rural scenes from everyday life. From 1859 to 1866, Bloch lived in Italy, and this period was important for the development of his historical style.
His first great success was the exhibition of his Prometheus Unbound in Copenhagen in 1865. After the death of Marstrand, he finished the decoration of the ceremonial hall at the University of Copenhagen. The sorrow over losing his wife weighed heavily on Bloch, and being left alone with their eight children after her death was very difficult for him.
In a New Year's letter from 1866 to Bloch, H. C. Andersen wrote the following: What God has arched on solid rock will not be swept away! Another letter from Andersen declared Through your art you add a new step to your Jacob-ladder into immortality.
In a final ode, from a famous author to a famous artist, H.C. Andersen said Write on the canvas; write your seal on immortality. Then you will become noble here on earth.
He was then commissioned to produce 23 paintings for the King's Chapel at Frederiksborg Palace. These were all scenes from the life of Christ which have become very popular as illustrations. The originals, painted between 1865 and 1879, are still at Frederiksborg Palace. The altarpieces can be found at Holbaek, Odense, Ugerloese and Copenhagen in Denmark, as well as Loederup, Hoerup, and Landskrona in Sweden.
Through the assistance of Danish-born artist Soren Edsberg, the acquisition of Christ healing at the pool of Bethesda, , was made possible for The Museum of Art, Brigham Young University (BYU), Provo, Utah, United States. A second work by Bloch, an 1880 grisaille version of The Mocking of Christ, was purchased by BYU in June 2015.
Carl Bloch died of cancer on 22 February 1890. His death came as an abrupt blow for Nordic art according to an article by Sophus Michaelis. Michaelis stated that Denmark has lost the artist that indisputably was the greatest among the living. Kyhn stated in his eulogy at Carl Bloch's funeral that Bloch stays and lives.
A prominent Danish art critic, Karl Madsen, stated that Carl Bloch reached higher toward the great heaven of art than all other Danish art up to that date. Madsen also said If there is an Elysium, where the giant, rich, warm and noble artist souls meet, there Carl Bloch will sit among the noblest of them all!
Bloch's influence
For over 40 years The Church of Jesus Christ of Latter-day Saints has made heavy use of Carl Bloch's paintings, mostly from the Frederiksborg Palace collection, in its church buildings and printed media. The LDS church has produced films depicting scriptural accounts of Christ's mortal ministry, using Bloch's paintings as models for the colour, light and overall set design as well as the movement of the actors in many of the films' scenes. The most notable example of this is the movie The Testaments of One Fold and One Shepherd.
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Peter Ilsted: A collection of 57 works (HD)
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Peter Ilsted: A collection of 57 works (HD)
Description: Born on 14th February 1861, Peter Vilhelm Ilsted was one of a number of Danish painters born within the span of a few years who were to achieve international renown, amongst them Carl Holsoe (1863-1935), Paul Fischer (1860-1934), Vilhelm Hammershoi (1964-1916) and Peder Mork Monsted (1859-1941).
In his early work Ilsted was a painter of genre and portraits, however, his sister having married Vilhelm Hammershoi, he came under the influence of both his brother-in-law and his close friend Carl Holsoe. As a result of this, he too was to become widely known for his interior scenes. Using the interior of his home and members of his family as sitters, Ilsted’s subjects would be scenes set in the kitchen preparing food, or in a dining or drawing room with or without figures, but always with an emphasis on light and its interplay on surfaces.
Like so many of his Danish contemporaries, Ilsted travelled widely, in Italy, Greece, the Middle East, Spain and France in 1886, returning to Italy and France in 1891 and to Italy again in 1894 and 1905, and to England in 1913. Ilsted was widely known throughout Europe, he exhibited at the Paris Salon in 1889, receiving an honourable mention and again in 1890 being awarded a medal, and also in 1900; he exhibited in Copenhagen 1891-99, Budapest 1906-7, Munich 1909 and 1913, Berlin 1910-11, Malmo 1914 and Stockholm 1924. Further afield Ilsted exhibited in Chicago in 1893. An artist highly regarded in Scandinavia, Ilsted was recognised as an artist of International stature and popularity.
His work can be found in museums in: Aalborg; Aarhus; Copenhagen; Krefeld; Paris, Musée d’Orsay and Randers.
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Painting Sailboats on a Lake in Scotland
VIDEO DESCRIPTION
This simple tutorial will take you through easy to follow, step-by-step instructions on how to paint this beginner level painting of Sailboats on a Lake in Scotland. With subtle colors, basic brush stroke techniques and tips on how to achieve the highlight effect of clouds and mountains, you'll learn how to create this peaceful and serene image. Using only 2 brushes and 7 colors you'll enjoy the process of creating your own Scottish landscape Masterpiece! So let's get painting and let's get sipping!
IMAGE LINK FOR PRINTING:
MATERIALS:
Canvas: 16x20 stretched primed canvas
Brushes: 1 inch flat bristle, #4 round synthetic
Acrylic Paint: mars black, titanium white, cobalt blue, fire red, deep yellow, green
oxide, burnt sienna
Other: #2 pencil, palette, cup of water for washing brushes, paper towel for drying brushes
STEPS:
1. Pencil - sketch mountains
2. Bristle brush - Paint the sky with blue, white and black
3. Bristle brush - Paint the back hill with blue, white, black, green, yellow and burnt sienna
4. Bristle brush - Paint the front hills with black, green, burnt sienna, yellow and white
5. Bristle brush - Paint the water with white, blue and black
7. #4 round - Add the castle with white, black, burnt sienna, yellow and green
8. #4 round - Paint the sailboats with white, black, blue, red, yellow and green
9. #4 round - Signature with black
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Laurits Tuxen (1853-1927) A collection of paintings 4K
Laurits Tuxen (9 December 1853 – 21 November 1927) was a Danish painter and sculptor specialising in figure painting. He was also associated with the Skagen Painters. He was the first head of Kunstnernes Frie Studieskoler, an art school established in the 1880s to provide an alternative to the education offered by the Royal Danish Academy of Fine Arts. The still life- and flowerpainter Nicoline Tuxen (1847-1931) was his older sister.
Tuxen grew up in Copenhagen and studied at the Royal Danish Academy of Art where together with P. S. Krøyer he was considered to be one of the best painters.
He first visited Skagen in 1870, returning on several occasions. In the 1880s and 1890s, he travelled widely painting portraits for Europe's royal families including Christian IX of Denmark, Queen Victoria and the Russian royalty. In 1901, after the death of his first wife Ursule de Baisieux from Belgium, he married the Norwegian Frederikke Treschow and shortly afterwards purchased Madam Bendsen's house in Skagen in the north of Jutland, converting it into a stately summer residence.
In 1914 he made a study trip to Greece to paint the entry of George I of Greece into Salonika, for the Christian castle. He made lively and well-characterized portraits, among them his self-portrait in the Uffizi Gallery in Florence, and portraits of P. S. Krøyer, in the Museum of Fine Arts in Budapest. He also made portraits in sculpture, including a portrait group of Krøyer and Michael Ancher.
Tuxen went on to paint a number of landscapes in and around Skagen, but also completed a number of paintings of his family, friends and garden flowers.
Skagen Painters:
Carl Locher (1851-1915):
Laurits Tuxen (1853-1927):
Viggo Johansen (1851-1935):
Michael Peter Ancher (1849-1927):
Anna Ancher (1859-1935):
Peder Severin Krøyer (1851–1909):
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Copenhagen (Denmark) Gardens, Nature, Architecture, Arts & Culture
Copenhagen (Denmark) Gardens, Nature, Architecture, Arts & Culture
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 (
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Anna Airy (1882-1964) A collection of paintings 4K Ultra HD
Anna Airy (6 June 1882 – 23 October 1964) was an English oil painter, pastel artist and etcher. She was one of the first women officially commissioned as a war artist and was recognised as one of the leading women artists of her generation.
Airy was born in Greenwich, London, the daughter of an engineer, Wilfrid Airy, and Anna née Listing, and the granddaughter of the Astronomer Royal George Biddell Airy. Airy trained at the Slade School of Fine Art in London from 1899 to 1903, where she studied alongside William Orpen and Augustus John, and under Fred Brown, Henry Tonks and Philip Wilson Steer. Airy won prizes at the Slade School for portrait, figure, and other subjects including the Slade School Scholarship in 1902. She also won the Melville Nettleship Prize in 1900, 1901 and 1902.
An Aircraft Assembly Shop, Hendon (Art.IWM ART 1931)
During World War I, Airy was given commissions in a number of factories and painted her canvases on site in often difficult and, sometimes, dangerous conditions. For example, while working at great speed to paint A Shell Forge at a National Projectile Factory, Hackney Marshes, London in an extremely hot environment, the ground became so hot that her shoes were burnt off her feet. This painting was featured in an exhibition at the Imperial War Museum's 2011–2012 exhibition Women War Artists.
The Chilwell commission was replaced by a request for a painting of work at the Singer factory in Glasgow. Airy was also commissioned by the Women's Work Section of the IWM during the war. In 1917 she was commissioned by the Canadian War Memorials Fund; and in 1940 by the Ministry of Munitions.
Airy was married to the artist Geoffrey Buckingham Pocock and for many years the couple lived at Haverstock Hill in Hampstead before moving to Playford near Ipswich.
Airy's work was exhibited at the Royal Academy in 1905 and in each subsequent year there until 1956, her first one-woman exhibition having been held at the Carfax Gallery in 1908. Airy also exhibited at exhibitions at the Paris Salon and in Italy, Canada and in the United States. She has been represented in the British Museum; the Victoria and Albert Museum; and the Imperial War Museum. Her work also appeared in the Art Gallery of New South Wales, Sydney as well as in Auckland, New Zealand; Vancouver and Ottawa in Canada; and in the Corporation Art Galleries of Liverpool, Leeds, Huddersfield, Birkenhead, Blackpool, Rochdale, Ipswich, Doncaster, Lincoln, Harrogate, Paisley and Newport. Her etching Forerunners of Fruit (c.1925) is in the collection of the Art Gallery of New South Wales.
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Daily Art Adventure 386. Finishing a Portrait.