Contenu connexe


The painter's studio.ppsx

  1. a place of work, creativity, encounters a fascinating place ...
  2. The painter's studio
  3. a modest studio with crumbling plaster walls, a wooden easel, a young artist, brushes in hand, muffled in a long winter coat and wearing a hat .... the painter has stepped back to confront his seemingly gigantic canvas ... it’s impossible to gauge the actual scale of the painting he is working on – is it imposingly large, or is that just a visual trick? This ambiguous sense of scale underlines just how daunting making a painting can be, and how an artist can feel so small before his artwork ... is, in fact, Rembrandt or a fictive archetype ? Rembrandt The Artist in his Studio Le Peintre dans son atelier 1626 Museum of Fine Arts, Boston
  4. a 'kunstkamer', or art room ... Flemish, German and Italian paintings, classical statues and in the left foreground a story from classical antiquity … Apelles painting the portrait of Campaspe, one of Alexander the Great's most beautiful mistresses. The painter fell madly in love with her. Alexander, as a mark of his appreciation of the painter's work, presented his lover to Apelles as a gift. (Alexander chose art above nature?) Willem van Haecht Appelles painting Campaspe Apelle peignant Campaspe 1630 Mauritshuis, The Hague
  5. a studio in an old, dark building, a modest landscape for on the easel, two apprentices and an painter whose artistic ambitions are not high Van Ostade is here poking gentle fun at his own specialization. He did not portray his own studio, but invented the workshop of an ordinary painter who could have painted all of his (Van Ostade’s) peasant scenes. Adriaen van Ostade The Painter’s Studio L'atelier du peintre 1647-1650 Rijksmuseum, Amsterdam
  6. from behind a curtain that has been pulled to one side ... an artist paints a woman in his studio, near a window, with a large map of the Netherlands in the background. … Is this simply a portrayal of an artist in his studio, or is the work concealing a message of greater significance? The painting is usually seen as an allegory of painting. Unfortunately, we cannot be certain what Vermeer wanted to convey with this work. Johannes Vermeer The Art of Painting, or The Allegory of Painting, or Painter in his Studio L'Art de la peinture ou L'Atelier ou L'Allégorie de la peinture 1666-1668 Kunsthistorisches Museum, Vienna
  7. A self-portrait with her sister, Marie-Elisabeth, who was also a painter. Lemoine’s facility in still life and portraiture, categories in which women most often trained, are readily visible, while a history painting—the highest category in the academic system and usually considered in this period as ill-suited to women—is underway on the easel. The work is a tribute to Louise Élisabeth Vigée Le Brun. Marie Victorie Lemoine Intérieur de l'atelier d'une femme The Interior of an Atelier of a Woman 1789 New York, Metropolitan museum of Art
  8. one of the most remarkable images of women’s art education in early modern Europe … … Labille-Guiard depicted herself in impractically elegant clothing. Primarily a portraitist, Labille-Guiard had especially faithful patrons in Louis XV’s daughters, known as Mesdames de France. The students Marie Gabrielle Capet and Marguerite Carreaux de Rosemont are less formally dressed, in the background are statues of a vestal virgin and a bust of the artist's father. Adélaïde Labille-Guiard Self-Portrait with Two Pupils Autoportrait avec deux élèves 1785 Metropolitan Museum of Art, New York
  9. the studio as a place of pure concentration ... Friedrich sought seclusion, so that he could pursue his work undisturbed. Kersting depicts painting as a contemplative and reflective process, it is not what Frederick paints that is important, but the reverent meditation with which he paints. … the painter is far more removed from the outside world, has his back to the window, the rotation of the easel, which hides the painting from the viewer Georg Friedrich Kersting Caspar David Friedrich in his Studio Caspar David Friedrich dans son atelier 1812 Alte Nationalgalerie, Berlin
  10. An artist's studio as a crowded, social space, where work was more likely to be interrupted by loungers and visitors, fencing matches and dog fights, than by melancholy soul-searching. Yet in fact this is an image of frustration. ... two young men fight one another with swords by a white horse, a pair of boxers, a young man holding a rifle a couple of pupils are actually engaged in painting at easels, a painter talking with three young men who are watching, and accompanied by a drummer, an angry white dog, a small pet monkey and a large oil painting on the back wall … Horace Vernet The Artist’s Studio L'atelier de l'artiste ou Un atelier d'artiste 1820 Private collection
  11. a true outdoor studio ... the forest of Fontainebleau: trees, rocks painters: teachers and students, easels, canvases, paint boxes, stools called "inchards", and almost absolutely essential, umbrellas ... After them, from 1840, photographers arrived. Jules Coignet Les Peintres sur le motif dans la forêt de Fontainebleau Painters on the Motif in the Forest of Fontainebleau or The Artists in the Fontainebleau Forest 1825 Musée départemental de l'École de Barbizon
  12. Courbet's Allegorical Atelier … an studio, a place where, according to the artist, "It's the whole world coming to me to be painted, on the right, all the shareholders, by that I mean friends, fellow workers, art lovers. On the left is the other world of everyday life, the masses, wretchedness, poverty, wealth, the exploited and the exploiters, people who make a living from death". … And in the middle of all this stands Courbet himself, flanked by benevolent figures: a female muse, naked like the Truth, a child and a cat. In the center, the painter presents himself as a mediator. Courbet thus affirms the artist's role in society in an enormous scene on the scale of a history painting. Gustave Courbet L'Atelier du peintre. Allégorie réelle déterminant une phase de sept années de ma vie artistique et morale. The Painter's Studio: A real allegory summing up seven years of my artistic and moral life 1855 Musée d'Orsay, Paris
  13. the artist painting Heavenly and Earthly Love … on the easel Temptation of Christ, under the large glass roof, the old plaster casts that serve as a model, his daughter and in the background the plaster cast of his mother, Cornélia Lamme Ary Johannes Lamme Ary Scheffer au travail ou Le grand atelier d’Ary Scheffer, Rue Chaptal 16, Paris Ary Scheffer at Work in the Large Studio at his House, Rue Chaptal in Paris 16 1851 Dordrechts Museum, Dordrecht
  14. in a small Swedish studio ... The king sits at his easel, behind him Queen Lovisa and at the window Princess Lovisa. Despite somewhat arrogant manners, Charles XV combined a certain gift for political vision, poetry and painting. Pierre Tetar van Elven Karl XV of Sweden and Norway in his studio, 3 people Charles XV de Suède et de Norvège dans son atelier, 3 personnes 1862 Nationalmuseum, Stockholm
  15. an artist’s atelier … the Transfiguration, Sistine Madonna, Tempi Madonna, Madonna of the Goldfinch, antique sculptures including the Discus Thrower and Leda with the Swan … this can only be the atelier of Italian painter Raphael. … The master himself is somewhat distracted, turning away from his painting towards the young woman on his lap. Raphael was indeed rumored to have occasionally found difficulty in concentrating on his work, unable to stop thinking about his lover. Only when she was present in his studio could he devote attention to his painting. Vincenzo Abbati Raphael and his muse in the atelier Raphael et sa muse dans atelier 1863 Private Collection
  16. Les Batignolles was the district where Manet and many of the future Impressionists lived ... Fantin-Latour has gathered around Manet a number of young artists. from left to right: Otto Schölderer a German painter Manet sitting at his easel Auguste Renoir, wearing a hat Zacharie Astruc, a sculptor and journalist Emile Zola, the spokesman of the new style of painting Edmond Maître, a civil servant at the Town Hall Frédéric Bazille, who was killed a few months later during the 1870 war, at the age of twenty-six and Claude Monet. few details, few decorative elements, only two accessories: statuette of Minerva bears witness to the respect due to the antique tradition; the Japanese style stoneware jar evokes the admiration of this entire generation of artists for Japanese art. Henri Fantin-Latour Un atelier aux Batignolles A Studio in the Batignolles Quarter 1870 Musée d'Orsay, Paris
  17. in the studio in the rue de la Condamine ... Bazille, a palette in his hand, Manet, wearing a hat, is looking at the canvas placed on the easel. Edmond Maître, a friend of Bazille, is seated at the piano. Above him, a still life by Monet is a reminder that Bazille helped him financially by buying his work. The three characters on the left are more difficult to identify – possibly Monet, Renoir or even Zacharie Astruc or Zola Bazille's death in combat some months later, during the Franco-Prussian war, made this work a moving testament. Frédéric Bazille L'Atelier de la rue Condamine ou L'Atelier de Bazille The Studio on the Rue La Condamine or Bazille’s Studio 1870 Musée d’Orsay, Paris
  18. once again, an art world is filled with life ... this time by a large dog that, in its pursuit of the cat, lifts up the painter and his stool and pushes them through the picture. The wit of the depiction is revealed in the fact that the artist's head lands in the mouth of the painted hippopotamus and the African in the painting, gives the impression that he would save the painter by pushing the spear. Josef Franz Danhauser Funny scene in the artist’s studio Scène comique dans un atelier 1828 Kunsthistorisches Museum, Vienna
  19. an intense blue water, and a bold horizon-less composition ... Manet set up his easel in the open air to paint Claude Monet in his floating studio. Édouard Manet Claude Monet peignant dans son atelier Claude Monet Painting in his Studio 1874 Neue Pinakothek, Munich
  20. “ Monet's studio “ … The figure in the boat is the artist, Claude Monet, who outfitted this floating studio with all his supplies so that he could paint Claude Monet Le bateau atelier The Studio Boat 1876 The Barnes Foundation, Philadelphia and Merion
  21. an cramped and untidy hotel room as a studio … the Italian artist Ambrogio Raffele, deep in contemplation, a bucolic landscape and straw hat and shirt are tossed carelessly across the rumpled white linens and the pictorial challenge of painting white on white (The London Times wrote admiringly, "Surely, never were tumbled white sheets so painted before.") John Singer Sargent An Artist in His Studio Un artiste dans son atelier 1904 Museum of Fine Arts Boston, Boston
  22. three female figures visit the studio of the deceased artist … Dominating the scene is the semi-nude and dolefully pensive Death, holding a scythe. The wreath of dry laurel leaves suggests the figure may be treated as a personification of Glory. The feet of the dead man are being kissed by a woman in a folk costume and straw crown, symbolizing Art. The woman, concealed among painting stretchers, is consumed by grief. She alone seems to be of the mortal world. Jacek Malczewski The Artist’s Death La mort de l'artiste 1909 Muzeum Narodowe w Warszawie, Warsaw
  23. The window in the artist's studio is bath a crossing point and a metaphor for painting … … The painter represents himself from behind, beside a window overlooking the Quai Saint Michel, before him is seated Lorette, Henri Matisse’s favourite model. A silent conversation is taking place in an unstable space. Matisse questions the role of the model and that of the painter for it is the artist who seems to be the naked subject of the painting here, rather than Lorette, dressed in a green Gandoura. Henri Matisse Le peintre dans son atelier The Painter and His Model 1916 -1917 Musée National d'Art Moderne, Centre Georges Pompidou, Paris
  24. the beauty, perfection and harmony of the Italian Renaissance ... the idealized vision of Botticelli's studio … The Florentine painter Sandro Botticelli works in his studio and looks with shyness and adoration at the newly arrived Simonetta Vespucci, a young woman, nicknamed the beautiful Simonetta, considered one of the most beautiful women of her time and for whom Botticelli felt absolute devotion, to the point that he asked to be buried at the foot of her tomb. The lady is presented by the Medici brothers.
  25. … Sandro Botticelli stands at the left, in front of an exquisite tondo which he is working on. Bowing to him at the center is Giuliano de’ Medici, who is accompanied by Simonetta Vespucci, wearing the green dress. Behind her is Lorenzo de’ Medici, also known as Lorenzo the Magnificent, and behind him are Giovanna Tornabuoni and her attendants. The view through the window is of the Palazzo Vecchio in the centre of Florence. Eleanor Fortescue-Brickdale Botticelli’s studio: The first visit of Simonetta presented by Giulio and Lorenzo de Medici L'atelier de Botticelli: La première visite de Simonetta présentée par Giulio et Lorenzo de Medici 1922 Collection particulière
  26. The painter's studio L'atelier du peintre images and text credit www. Music The Piano Guys Someone Like You created olga_oes thanks for watching