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Tintoretto: A Collection of 226 paintings (HD)

Tintoretto: A Collection of 226 paintings (HD)

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10 Facts You Might not Know about the Masterpiece

1. Picasso kept "Les Demoiselles d'Avignon" in his Montmartre, Paris studio for years after its completion in 1907, due to the mostly negative reactions of his immediate circle of friends and colleagues. The public was first able to view the painting at the Salon d'Antin in 1916, although a photo of the work appeared in The Architectural Record in 1910.

2. The art world did not begin to embrace the painting, Picasso's nascent Cubist work, until early in the 1920s, when Andre Breton republished the photo and the article entitled, "The Wild Men of Paris: Matisse, Picasso and Les Fauves."

3. Picasso prepared over six months for the final creation of "Les Demoiselles" by making hundreds of sketches, drawings and paintings. His preparatory work was perhaps more comprehensive than that of any other artist in history for a single artwork and certainly more intensive than for any other artwork he produced.

4. When colleague and competitor Henri Matisse saw Picasso's painting, he reacted violently. Matisse thought "Les Demoiselles" was a criticism of the modern art movement and felt that the painting stole the thunder from his own Blue Nude and Le Bonheur de Vivre. He called the figures in the painting hideous whores.

5. One reason "Les Demoiselles" is revolutionary is the artist's omission of perspective. There is no vanishing point, nowhere for the eye to move beyond the women and their pointed glances.

6. By reducing his figures to a combination of geometric shapes, Picasso runs counter to centuries of artistic tradition in which the human form is deified, anatomically duplicated and/or romanticized.

7. The masks in the painting reflect Picasso's obsession with primitive art, not only of African origin but also the art of ancient Iberia, or modern-day Spain and Portugal. The simple forms, angular planes and bold shapes used in primitive art were instrumental in the artist's restructuring of artistic conventions.

8. In an earlier sketch of "Les Demoiselles," the figure to the left was a male medical student, skull in hand, entering the brothel, but the artist decided that such a customer added an element of narrative that would detract from the overall impact of the scene.

9. Picasso was deeply impacted by Tahitian journals of Paul Gauguin and his 1906 art exhibition. Gaughin's sculpture of the Tahitian goddess Oviri inspired Picasso to try his hand at ceramics and woodcuts in 1906. Art historians attribute the strong element of primitivism in Gaughin's work as a significant influence on "Les Demoiselles d'Avignon."

10. In the title of the artwork, "Avignon" refers not to the city in Provence but to the name of a street in Barcelona in a district known for prostitution.

Leonardo di ser Piero da Vinci

Leonardo di ser Piero da Vinci (April 15, 1452 &ndash May 2, 1519) was an Italian polymath, having been a scientist, mathematician, engineer, inventor, anatomist, painter, sculptor, architect, botanist, musician and writer. Born as the illegitimate son of a notary, Piero da Vinci, and a peasant girl, Caterina, at Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter, Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, spending his final years in France at the home given to him by King François I.

Leonardo has often been described as the archetype of the "Renaissance man", a man whose seemingly infinite curiosity was equalled only by his powers of invention. He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived.

It is primarily as a painter that Leonardo was and is renowned. Two of his works, the Mona Lisa and The Last Supper occupy unique positions as the most famous, most reproduced and most parodied portrait and religious painting of all time, their fame approached only by Michelangelo's Creation of Adam. Leonardo's drawing of the Vitruvian Man is also iconic. Perhaps fifteen of his paintings survive, the small number due to his constant, and frequently disastrous, experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists only rivalled by that of his contemporary, Michelangelo.

As an engineer, Leonardo's ideas were vastly ahead of his time. He conceptualised a helicopter, a tank, concentrated solar power, a calculator, the double hull and outlined a rudimentary theory of plate tectonics. Relatively few of his designs were constructed or were even feasible during his lifetime, but some of his smaller inventions, such as an automated bobbin winder and a machine for testing the tensile strength of wire, entered the world of manufacturing unheralded.[d] As a scientist, he greatly advanced the state of knowledge in the fields of anatomy, civil engineering, optics, and hydrodynamics. (From Wikipedia)


The series recounts Leonardo da Vinci's extraordinary life through the works that made him famous, through the stories hidden within those works, revealing little by little the inner torment of a man obsessed with attain. Read all The series recounts Leonardo da Vinci's extraordinary life through the works that made him famous, through the stories hidden within those works, revealing little by little the inner torment of a man obsessed with attaining perfection. The series recounts Leonardo da Vinci's extraordinary life through the works that made him famous, through the stories hidden within those works, revealing little by little the inner torment of a man obsessed with attaining perfection. The series recounts Leonardo da Vinci's extraordinary life through the works that made him famous, through the stories hidden within those works, revealing little by little the inner torment of a man obsessed with attaining perfection. The series recounts Leonardo da Vinci's extraordinary life through the works that made him famous, through the stories hidden within those works, revealing little by little the inner torment of a man obsessed with attaining perfection.

Interpretation of The Night Watch

One of the greatest portrait paintings of the 17th century Dutch Baroque era, The Night Watch was executed by Rembrandt at the height of his career in Amsterdam. Originally called The Company of Frans Banning Cocq and Willem van Ruytenburch, it is a group portrait of a militia company, commissioned and paid for by the members concerned, and was intended for the Great Room of the Kloveniersdoelen (the Musketeers Assembly Hall). It was given its popular but misleading title in the late 18th-century, based on the false assumption that it depicted a nocturnal scene. In fact, its subdued lighting was caused by the premature darkening of its multi-layered varnish. The picture was a huge success at the time, not least because it turns a fairly humdrum subject into a dynamic work of art. Unlike other Baroque portraits of militia companies, which traditionally portrayed members lined up in neat rows or sitting at a banquet, Rembrandt's painting shows the company fully equipped, ready for action, and about to march. The full title of the portrait, as recorded in the family album of Captain Banning Cocq, runs: "Captain Heer van Purmerlandt (Banning Cocq) orders his lieutenant, the Heer van laerderdingen (Willem van Ruytenburch), to march the company out." Marked by Rembrandt's signature chiaroscuro and dramatic tenebrism, the work is among the most famous examples of 17th century Dutch painting. It hung in the Kloveniersdoelen in Amsterdam until 1715 when it was moved to the Town Hall in 1808 it was transferred to the Rijksmuseum.

So famous a picture, which in the past has been almost as much abused as praised, has not surpringly triggered an immense amount of analysis, only some of which can be discussed here. Known for its colossal size (roughly 12 feet x 14 feet), the canvas - when compared to earlier copies, like the version (c.1650) by Gerrit Lundens, now in the National Gallery, London - has obviously been trimmed, probably when it was moved to the Town Hall in 1715. About 60 cm, incorporating two background figures and a baby, have been removed from the left side, and lesser amounts from the other three sides. This unbalances the composition (the arch in the background was originally nearer the center) and compresses the figures into too confined a space. In all twenty-six figures are now fully or partially visible, including three children (or dwarves) and small parts of five more figures can just be discerned in the background. To the right of the arch there is a shield, added later, bearing the name of eighteen of the persons portrayed. According to two of them, who gave evidence on Rembrandt's behalf during the investigation into his financial affairs in 1658, he was paid a total of 1,600 guilders - the sitters contributed an average of 100 guilders each, the sum varying with their prominence in the picture.

At least since the cleaning of the picture in 1946-7, it has been evident that the scene takes place in daylight, with the sun streaming down from the top left. A further cleaning completed in 1980 showed that the tones are predominantly cool. The traditional title The Nightwatch which dates from the late 18th century, is therefore incorrect but it would be absurdly pedantic to suggest changing it now.

Demonstrating his mastery of sunlight and shade, Rembrandt leads the eye to the three key characters among the ensemble - the two officers in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Behind them the company's colours are carried by the ensign, Jan Visscher Cornelissen. The senior and central officer, Captain Franz Banning Cocq (1605-55), is dressed in black with a red sash. His Lieutenant, Willem Van Ruytenburch, is in pale yellow with a white sash, and carries a ceremonial lance.

The girl to the left of and behind Banning Cocq acts as a sort of pictorial mascot. She carries the guild's costly drinking horn and, at her girdle, a dead fowl, the prominent claw of which is an emblem of the Musketeers. This bird may also be intended as a pun on the Captain's name.

The man in front of the girl is wearing a helmet with an oak leaf, another traditional emblem of the Musketeers or Arquebusiers. Several figures are shown handling their weapons. One pours powder down the barrel of his musket another, to the right and behind the Lieutenant, is attending to the priming pan a third - the small figure in a helmet directly behind Banning Cocq - appears to be firing his musket into the air. Some characters are represented much more distinctly than others, while the eighteen who subscribed are supplemented by almost as many subordinate figures, included by Rembrandt for pictorial effect. Adding these extra subjects also allowed him to make use of his broad repertoire of figure drawing and other studies.

A Militia Company Portrait

Local militia companies were raised during the 16th century during the Dutch war of Independence, to protect the cities from invasion by the Spanish army active in Flanders. But by Rembrandt's time they were no longer employed in a military capacity except on the borders, and were kept in being purely for symbolic reasons. It seems that the company in Rembrandt's painting is marching out to take part in a shooting match. Various other interpretations of the picture involving illusions to past and contemporary historical events have also been put forward, but they are all now discredited. The meaning of the painting is likely to be purely that of a role portrait, the theme of which is the 'citizen in arms'.

Militia Portrait Transformed

Visually, The Nightwatch tranforms the prosaic genre of militia portraiture into an action picture - a work of great movement, dazzling inventiveness and splendour or, as some 19th century critics maintained, a widely over-inflated account of a very ordinary event, or a cross between a portrait and genre painting. It marked at once a revolution in, and the swan song of, the militia company portrait, for shortly afterwards, the demand for these portraits ceased and artists turned to the quieter and more humdrum scenes of the guild portrait and the portrait of the board of hospital governors. (Compare his novel treatment of militia portraits with his treatment of 'dissection portraits' as in his famous Anatomy Lesson of Dr. Nicolaes Tulp (1632, Mauritshuis). Moreover, Rembrandt himself was never to paint such a flamboyant or such a fully Baroque picture again. However, one thing is certain the painting was a major success at the time, and more than justified his status as one of the best portrait artists in Europe. The story that it was disliked by those portrayed and that it was the cause in the decline in Rembrandt's contemporary reputation (which did occur to some extent in the late 1640s and 1650s) is a romantic fiction invented in the 19th century. Indeed it is a wonder how this fiction arose, since there is abundant evidence to show that for more than a hundred years after it was painted, The Nightwatch was widely regarded as Rembrandt's most celebrated work.

One of the greatest Dutch Realist artists, Rembrandt is famous for his penetrating and powerful portraiture, of both individuals and groups. This, together with his supreme painting skills, his atmospheric handling of light, and his mastery of chiaroscuro, make him one of the best artists of all time.

Analysis of Other Paintings by Rembrandt van Rijn

Portrait of Jan Six (1654) The Six Foundation, Amsterdam.

The Suicide of Lucretia (c.1666) The Minneapolis Institute of Arts.

The Jewish Bride (c.1665-8) Rijksmuseum, Amsterdam.

• For more about Dutch militia company portraiture, see our main index: Homepage.

Did you know?

Mona Lisa

This is the most famous portrait in the world. It shows Lisa Gherardini, wife of the Florentine silk merchant Francesco del Giocondo &ndash hence her Italian name La Gioconda and her French name La Joconde. Painted against a distant landscape, she stares out at us with her famously enigmatic smile. but another aspect of the painting that makes it so special is Leonardo da Vinci&rsquos sfumato technique, based on the use of glazes to create a &lsquosmoky&rsquo effect with subtle contours and contrasts. Leonardo captured the sitter turning towards the viewer in a natural movement that brings the painting to life.

Léonard de Vinci, La Joconde, portrait de Monna Lisa (détail)

Salle 711, Aile Denon, Niveau 1

En tête-à-tête avec la Joconde

The theft of the century

On 21 August 1911, panic broke out at the Louvre&hellipthe Mona Lisa had disappeared! The news spread like wildfire and generous rewards were promised for her return &ndash but all in vain. Nothing was heard of the painting for over two years. Then one day, Vincenzo Peruggia, a glazier who had worked at the Louvre, tried to sell the world&rsquos most famous painting to an Italian art dealer. who alerted the authorities. So the Mona Lisa was recovered &ndash and her fame was all the greater.

Les Odyssées du Louvre : le vol de la Joconde

Le vol de la Joconde

Regarder la vidéo sur Petit Louvre

For this installment of our creative writing platform, "The Prompt," Beth Lisick imagines an awkward-but-wholesome dinner party within the apartments overlooking David Hockney's neat lawn.

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Something to Remember

While not quite so famous as his Mona Lisa, Leonardo Da Vinci’s Last Supper is one of the most reproduced and discussed works in art history.

From the originality of its composition to the tragic damages and decay that plagued it, to the hotly debated potential meaning behind every grain of salt, it maintains its relevance in the present day: forever memorable, and forever remembered.

The work can be viewed at the Convent of Santa Maria Delle Grazie, Milan, Italy.

Watch the video: Domenico Tintoretto Artworks Mannerism Art (July 2022).


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