This website uses cookies to ensure you get the best experience on our website. Learn more

Baptiste 4k

x

Baptiste 4k

:0

Jean-Baptiste Greuze (1725-1805) A collection of paintings 4K Ultra HD

Jean-Baptiste Greuze (1725-1805) was a French painter of portraits, genre scenes, and history painting.

Greuze was born at Tournus, a market town in Burgundy. He is generally said to have formed his own talent; at an early age his inclinations, though thwarted by his father, were encouraged by a Lyonnese artist named Grandon, or Grondom, who enjoyed during his lifetime considerable reputation as a portrait-painter. Grandon not only persuaded Greuze's father to give way to his son's wishes, and permit the boy to accompany him as his pupil to Lyon, but, when at a later date he-himself left Lyon for Paris, Grandon carried young Greuze with him.

Settled in Paris, Greuze worked from the living model in the school of the Royal Academy, but did not attract the attention of his teachers; and when he produced his first picture, Le Père de famille expliquant la Bible a ses enfants, considerable doubt was felt and shown as to his share in its production. By other and more remarkable works of the same class Greuze soon established his claims beyond contest, and won the notice and support of the well-known connoisseur La Live de Jully, the brother-in-law of Madame d'Epinay. In 1755 Greuze exhibited his Aveugle trompé, upon which, presented by Pigalle the sculptor, he was immediately agréé by the Academy.

Towards the close of the same year he left France for Italy, in company with the Abbé Louis Gougenot. Gougenot had some acquaintance with the arts, and was highly valued by the Academicians, who, during his journey with Greuze, elected him an honorary member of their body on account of his studies in mythology and allegory; his acquirements in these respects are said to have been largely utilized by them, but to Greuze they were of doubtful advantage, and he lost rather than gained by this visit to Italy in Gougenot's company. He had undertaken it probably in order to silence those who taxed him with ignorance of great models of style, but the Italian subjects which formed the entirety of his contributions to the Salon of 1757 showed that he had been put on a false track, and he speedily returned to the source of his first inspiration.

In 1759, 1761 and 1763 Greuze exhibited with ever-increasing success; in 1765 he reached the zenith of his powers and reputation. In that year he was represented with at least thirteen works, amongst which may be cited La Jeune Fille qui pleure son oiseau mort, La Bonne Mère, Le Mauvais fils puni (Louvre) and La Malediction paternelle (Louvre). The Academy took occasion to press Greuze for his diploma picture, the execution of which had been long delayed, and forbade him to exhibit on their walls until he had complied with their regulations. I have read the letter, said Diderot, which is a model of honesty and reverence; I have seen Greuze's response, which is a model of vanity and impertinence: he should have backed it up with a masterpiece, and that's precisely what he didn't do.

Greuze wished to be received as a historical painter, and produced a work which he intended to vindicate his right to despise his qualifications as a genre artist. This unfortunate canvas (Sévère et Caracalla) was exhibited in 1769 side by side with Greuze's portrait of Jeaurat and his admirable Petite Fille au chien noir. The Academicians received their new member with all due honours, but at the close of the ceremonies the Director addressed Greuze in these words: Sir, the Academy has accepted you, but only as a genre painter; the Academy has respect for your former productions, which are excellent, but she has shut her eyes to this one, which is unworthy, both of her and of you yourself. Greuze, greatly incensed, quarrelled with his confreres, and ceased to exhibit until, in 1804, the Revolution had thrown open the doors of the Academy to all the world.

In the following year, on 4 March 1805, he died in the Louvre in great poverty. He had been in receipt of considerable wealth, which he had dissipated by extravagance and bad management (as well as embezzlement by his wife), so that during his closing years he was forced to solicit commissions which his enfeebled powers no longer enabled him to carry out with success. At the funeral of the long neglected old man, a young woman deeply veiled and overcome with emotion plainly visible through her veil, laid upon the coffin, just before its removal, a bouquet of immortelles and withdrew to her devotions. Around the stem was a paper inscribed: These flowers offered by the most grateful of his students are emblems of his glory. It was Mlle Mayer, later the friend of Prudhon.


Thank you, please subscribe for future videos
x

Jean-Baptiste-Siméon Chardin (1699-1779) A collection of paintings 4K Ultra HD

Jean-Baptiste-Siméon Chardin (1699-1779) was an 18th-century French painter. He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities.

Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre.

According to one nineteenth-century writer, at a time when it was hard for unknown painters to come to the attention of the Royal Academy, he first found notice by displaying a painting at the small Corpus Christi on the Place Dauphine. Van Loo, passing by in 1720, bought it and later assisted the young painter.

Upon presentation of The Ray in 1728, he was admitted to the Académie Royale de Peinture et de Sculpture. The following year he ceded his position in the Académie de Saint-Luc. He made a modest living by producing paintings in the various genres at whatever price his customers chose to pay him. In November 1731 his son Jean-Pierre was baptised, and a daughter, Marguerite-Agnès, was baptised in 1733. In 1735 his wife Marguerite died, and within two years Marguerite-Agnès had died as well.

Chardin's work gained popularity through reproductive engravings of his genre paintings (made by artists such as François-Bernard Lépicié and P.-L. Sugurue), which brought Chardin income in the form of what would now be called royalties. In 1744 he entered his second marriage, this time to Françoise-Marguerite Pouget. The union brought a substantial improvement in Chardin's financial circumstances. In 1745 a daughter, Angélique-Françoise, was born, but she died in 1746.

In 1772 Chardin's son, also a painter, drowned in Venice, a probable suicide. The artist's last known oil painting was dated 1776; his final Salon participation was in 1779, and featured several pastel studies. Gravely ill by November of that year, he died in Paris on December 6, at the age of 80.

Chardin's work had little in common with the Rococo painting that dominated French art in the 18th century. At a time when history painting was considered the supreme classification for public art, Chardin's subjects of choice were viewed as minor categories. He favored simple yet beautifully textured still lifes, and sensitively handled domestic interiors and genre paintings. Simple, even stark, paintings of common household items and an uncanny ability to portray children's innocence in an unsentimental manner nevertheless found an appreciative audience in his time, and account for his timeless appeal.

Largely self-taught, Chardin was greatly influenced by the realism and subject matter of the 17th-century Low Country masters. Despite his unconventional portrayal of the ascendant bourgeoisie, early support came from patrons in the French aristocracy, including Louis XV. Though his popularity rested initially on paintings of animals and fruit, by the 1730s he introduced kitchen utensils into his work (The Copper Cistern, ca. 1735, Louvre). Soon figures populated his scenes as well, supposedly in response to a portrait painter who challenged him to take up the genre. Woman Sealing a Letter, which may have been his first attempt, was followed by half-length compositions of children saying grace, as in Le Bénédicité, and kitchen maids in moments of reflection. These humble scenes deal with simple, everyday activities, yet they also have functioned as a source of documentary information about a level of French society not hitherto considered a worthy subject for painting. The pictures are noteworthy for their formal structure and pictorial harmony. Chardin said about painting, Who said one paints with colors? One employs colors, but one paints with feeling.

In 1756 Chardin returned to the subject of the still life. In the 1770s his eyesight weakened and he took to painting in pastels, a medium in which he executed portraits of his wife and himself. His works in pastels are now highly valued. Chardin's extant paintings, which number about 200, are in many major museums, including the Louvre.

Chardin's influence on the art of the modern era was wide-ranging, and has been well-documented. Édouard Manet's half-length Boy Blowing Bubbles and the still lifes of Paul Cézanne are equally indebted to their predecessor. He was one of Henri Matisse's most admired painters; as an art student Matisse made copies of four Chardin paintings in the Louvre. Chaim Soutine's still lifes looked to Chardin for inspiration, as did the paintings of Georges Braque, and later, Giorgio Morandi. In 1999 Lucian Freud painted and etched several copies after The Young Schoolmistress.

Thank you, please subscribe for future videos

Artist: Jean Baptiste Greuzei (1725 –1805) | 183 classic paintings | 4K Ultra HD slideshow

Jean-Baptiste Greuze (21 August 1725 – 4 March 1805) was a French painter of portraits, genre scenes, and history painting.

Early life.
Greuze was born at Tournus, a market town in Burgundy. He is generally said to have formed his own talent; at an early age his inclinations, though thwarted by his father, were encouraged by a Lyonnese artist named Grandon, or Grondom, who enjoyed during his lifetime considerable reputation as a portrait-painter. Grandon not only persuaded Greuze's father to give way to his son's wishes, and permit the boy to accompany him as his pupil to Lyon, but, when at a later date he-himself left Lyon for Paris, Grandon carried young Greuze with him.
Settled in Paris, Greuze worked from the living model in the school of the Royal Academy, but did not attract the attention of his teachers; and when he produced his first picture, Le Père de famille expliquant la Bible a ses enfants, considerable doubt was felt and shown as to his share in its production. By other and more remarkable works of the same class Greuze soon established his claims beyond contest, and won the notice and support of the well-known connoisseur La Live de Jully, the brother-in-law of Madame d'Epinay. In 1755 Greuze exhibited his Aveugle trompé, upon which, presented by Pigalle the sculptor, he was immediately agréé by the Academy.

The Guitarist (1757), National Museum in Warsaw.
Towards the close of the same year he left France for Italy, in company with the Abbé Louis Gougenot. Gougenot had some acquaintance with the arts, and was highly valued by the Academicians, who, during his journey with Greuze, elected him an honorary member of their body on account of his studies in mythology and allegory; his acquirements in these respects are said to have been largely utilized by them, but to Greuze they were of doubtful advantage, and he lost rather than gained by this visit to Italy in Gougenot's company. He had undertaken it probably in order to silence those who taxed him with ignorance of great models of style, but the Italian subjects which formed the entirety of his contributions to the Salon of 1757 showed that he had been put on a false track, and he speedily returned to the source of his first inspiration.

Relations with the Academy.
In 1759, 1761 and 1763 Greuze exhibited with ever-increasing success; in 1765 he reached the zenith of his powers and reputation. In that year he was represented with no less than thirteen works, amongst which may be cited La Jeune Fille qui pleure son oiseau mort, La Bonne Mère, Le Mauvais fils puni (Louvre) and La Malediction paternelle (Louvre). The Academy took occasion to press Greuze for his diploma picture, the execution of which had been long delayed, and forbade him to exhibit on their walls until he had complied with their regulations. I have read the letter, said Diderot, which is a model of honesty and reverence; I have seen Greuze's response, which is a model of vanity and impertinence: he should have backed it up with a masterpiece, and that's precisely what he didn't do.

The White Hat, 1780
Greuze wished to be received as a historical painter, and produced a work which he intended to vindicate his right to despise his qualifications as a genre artist. This unfortunate canvas (Sévère et Caracalla) was exhibited in 1769 side by side with Greuze's portrait of Jeaurat and his admirable Petite Fille au chien noir. The Academicians received their new member with all due honours, but at the close of the ceremonies the Director addressed Greuze in these words: Sir, the Academy has accepted you, but only as a genre painter; the Academy has respect for your former productions, which are excellent, but she has shut her eyes to this one, which is unworthy, both of her and of you yourself.[3] Greuze, greatly incensed, quarrelled with his confreres, and ceased to exhibit until, in 1804, the Revolution had thrown open the doors of the Academy to all the world.

Portrait of Benjamin Franklin, 1777
In the following year, on 4 March 1805, he died in the Louvre in great poverty. He had been in receipt of considerable wealth, which he had dissipated by extravagance and bad management (as well as embezzlement by his wife), so that during his closing years he was forced to solicit commissions which his enfeebled powers no longer enabled him to carry out with success. At the funeral of the long neglected old man, a young woman deeply veiled and overcome with emotion plainly visible through her veil, laid upon the coffin, just before its removal, a bouquet of immortelles and withdrew to her devotions. Around the stem was a paper inscribed: These flowers offered by the most grateful of his students are emblems of his glory. It was Mlle Mayer, later the friend of Prudhon.
x

4K COVER - Psycho - MUSE (Drums, Bass, Guitar)

A cover fulfilled in 2017.
Cover of : MUSE - PSYCHO

Enjoy ! :)

[4K] Overwatch: Healing with Baptiste

i love the fast paced challenging gameplay he imposes, i like to main heals and having something fresh and fun to heal with is always welcome in my book, i cant stop using this new hero!
x

4k bomb against baptiste

Jean-Baptiste van Loo (1684-1765) A collection of paintings 4K Ultra HD

Jean-Baptiste van Loo (1684-1745) was a French subject and portrait painter.

He was born in Aix-en-Provence, and was instructed in art by his father Louis-Abraham van Loo, son of Jacob van Loo. Having at an early age executed several pictures for the decoration of the church and public buildings at Aix, he was employed on similar work at Toulon, which he was obliged to leave during the siege of 1707.

He was patronized by the prince of Carignan, who sent him to Rome, where he studied under Benedetto Luti. He was much employed painting for churches in Rome, and in particular executed a greatly praised Scourging of Christ for the church of Santa Maria in Monticelli. At Turin he painted Charles Emmanuel II, Duke of Savoy and several members of his court. Then, moving to Paris, where he was elected a member of the Académie Royale de Peinture et de Sculpture, he executed various altar-pieces and restored the works of Francesco Primaticcio at Fontainebleau.

In 1737 he went to England, where he attracted attention by his portrait of Colley Cibber and of Owen McSwiny, the theatrical manager; the latter, like many other of van Loo's works, was engraved in mezzotint by John Faber Junior. He also painted Sir Robert Walpole, whose portrait by van Loo in his robes as chancellor of the exchequer is in the National Portrait Gallery, London, and the prince and princess of Wales. He did not, however, practise long in England, for his health failing he retired to Paris in 1742, and afterwards to Aix, where he died on 19 December 1745. His likenesses were striking and faithful, but seldom flattering, and his heads are forcible in coloring.

The van Loo family - A dynasty of painters:
Jacob van Loo (1614-1670) -
Jean-Baptiste van Loo (1684-1765) - This video
Charles-André van Loo (1705-1765) -
Louis-Michel van Loo (1707-1771) - Coming soon
Charles-Amédée-Philippe van Loo (1719-1795) - Coming soon
Cesar van Loo (1743-1821) - Coming soon




Thank you, please subscribe for future videos

Paraglider Jean-Baptiste Chandelier - Part 1

Incredible images and intimate interview with professional paraglider Jean-Baptiste Chandelier as he flies across Chamoix and Mount Blanc!

See part 2 here:

Saint-Pierre-Baptiste / FERMETTE À VENDRE 118 acres (4k)

Fermette de 118 acres de terrain ( 30 acres en prairie, plantations d'épinettes et de sapins,) érablière de 400 entailles, rivière et ruisseau.
Bâtiments:
Maison de 2400'carrés, 6 chambres, 2 salles de bains
Écurie de 24'x36 chauffé avec garage, electricité, eau chaude, 3boxes à chevaux, arèna de 150'x360', grand pâturage et abris
Grange 2 étages de 36'x100' eau et électricité
Cabane à sucre avec évaporateur de 2'x6'
Pour plus d'info:
x

Jean-Baptiste-Camille Corot (1796–1875) volume one A collection of paintings 4K

Jean-Baptiste-Camille Corot (1796-1875) was a French landscape and portrait painter as well as a printmaker in etching.

He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.

Early life and training
Jean-Baptiste-Camille Corot (Camille Corot for short) was born in Paris on July 16, 1796, in a house at 125 Rue du Bac, now demolished. His family were bourgeois people—his father was a wigmaker and his mother a milliner—and unlike the experience of some of his artistic colleagues, throughout his life he never felt the want of money, as his parents made good investments and ran their businesses well. After his parents married, they bought the millinery shop where his mother had worked and his father gave up his career as a wigmaker to run the business side of the shop. The store was a famous destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three children born to the family, who lived above their shop during those years.

Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen, but left after having scholastic difficulties and entered a boarding school. He was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, before 1815 Corot showed no such interest. During those years he lived with the Sennegon family, whose patriarch was a friend of Corot's father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature. At nineteen, Corot was a big child, shy and awkward. He blushed when spoken to. Before the beautiful ladies who frequented his mother's salon, he was embarrassed and fled like a wild thing... Emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corot's parents moved into a new residence in 1817, the 21-year-old Corot moved into the dormer-windowed room on the third floor, which became his first studio as well.

With his father's help Corot apprenticed to a draper, but he hated commercial life and despised what he called business tricks, yet he faithfully remained in the trade until he was 26, when his father consented to his adopting the profession of art. Later Corot stated, I told my father that business and I were simply incompatible, and that I was getting a divorce. The business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and began immediately with landscapes.

During the period when Corot acquired the means to devote himself to art, landscape painting was on the upswing and generally divided into two camps: one―historical landscape by Neoclassicists in Southern Europe representing idealized views of real and fancied sites peopled with ancient, mythological, and biblical figures; and two―realistic landscape, more common in Northern Europe, which was largely faithful to actual topography, architecture, and flora, and which often showed figures of peasants. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors. Highly influential upon French landscape artists in the early 19th century was the work of Englishmen John Constable and J. M. W. Turner, who reinforced the trend in favor of Realism and away from Neoclassicism.

For a short period between 1821 and 1822, Corot studied with Achille Etna Michallon, a landscape painter of Corot's age who was a protégé of the painter Jacques-Louis David and who was already a well-respected teacher. Michallon had a great influence on Corot's career. Corot's drawing lessons included tracing lithographs, copying three-dimensional forms, and making landscape sketches and paintings outdoors, especially in the forests of Fontainebleau, the seaports along Normandy, and the villages west of Paris such as Ville-d'Avray. Michallon also exposed him to the principles of the French Neoclassical tradition, as espoused in the famous treatise of theorist Pierre-Henri de Valenciennes, and exemplified in the works of French Neoclassicists Claude Lorrain and Nicolas Poussin, whose major aim was the representation of ideal Beauty in nature, linked with events in ancient times.

For the continuing biography of Corot please see the next video in the series.

Volume two - coming soon

Thank you, please subscribe for future videos

Ryan John-Baptiste at IFBB Moscow Pro 2016 (final) [4k]

x

Ryan John-Baptiste at IFBB Moscow Pro 2016 (final, posing) [4k]

Shares

x

Check Also

x

Menu