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The Rembrandt Database

The Rembrandt Database
Related:  Peinture / Dessin

Goya en El Prado:  Inicio Los documentos manuscritos de Goya, especialmente sus cartas, tienen un papel esencial para su conocimiento como artista y ser humano. La investigación sobre el pintor pasa necesariamente por el estudio riguroso y sistemático de toda su obra, y por tanto de todos los documentos escritos con él relacionados. En este sentido las cartas a su amigo Martín Zapater, escritas entre 1775 y 1799, los años del ascenso de Goya en la corte hasta su nombramiento como Primer Pintor de Cámara, además de aportar información biográfica de tipo profesional y personal, revelan sin reservas su carácter. Lo mismo ocurre con una de las últimas cartas escritas por el pintor desde su exilio en Burdeos, en este caso al banquero Joaquín María Ferrer, que constituye lo más parecido a un testamento vital del artista en su vejez. Por último, el comentario manuscrito de los Caprichos es una fuente excepcional para comprender el significado otorgado a esta serie en época de Goya.

Hyacinthe Rigaud le peintre des rois About The Rembrandt Database is an inter-institutional research resource for information and documentation on paintings by Rembrandt – or attributed to him, either now or in the past – in museums around the world. The Rembrandt Database is open to anyone, but focuses on academic and museum professionals and students. The database is still in the development stage. The contents and functionalities of this website are being improved and expanded continuously. The Rembrandt Database is a joint initiative of the RKD (Netherlands Institute for Art History) and the Royal Picture Gallery Mauritshuis in The Hague, the Netherlands. The Rembrandt Database started as a pilot project in 2008. Why a Rembrandt Database? For years Rembrandt’s paintings have been the subject of many exhibitions and publications and a specific focus of technical research, which has produced an extensive and wide-ranging body of information and documentation. Mission and scope Connection to the Rembrandt Research Project (RRP)

CRANACH DIGITAL ARCHIVE Philippe de Champaigne - The complete works Canal Educatif à la Demande (CED) Upload Canal Educatif Subscription preferences Loading... Working... Canal Educatif à la Demande (CED) ArtSleuth 4 - VIGÉE-LEBRUN: Marie-Antoinette and her Children - Palace of Versailles 5,554 views 10 months ago Marie-Antoinette loves her children, but why isn't that enough to save her? Read more Popular uploads Play ArtSleuth (new final versions) - 10 artworks make a confession Play ArtSleuth is a new webseries about art (10 x 12 min) which makes you explore artworks like a detective.More videos on L'Art en Question (nouvelles versions) - 10 œuvres passent aux aveux L'Art en Question est une web-série documentaire de 10 épisodes (12min en moyenne) née de la volonté de cultiver un regard plus interrogateur et plus démocratique sur les œuvres d'art. English videos

Closer to Van Eyck The panels of the Ghent Altarpiece are coated with layers of varnish. Varnish serves as a protective coating for paint layers and has important optical functions, since it saturates a painting's colors and creates a more even surface. However, most varnishes gradually degrade over time, getting brittle and opaque, and becoming a darkened and yellowed layer that can dramatically impact the perception of a painting's colors and tonal values. Since a degraded varnish will make the dark areas appear lighter, it will also affect our perception of the rendering of volume and space. During the 2010 urgent conservation treatment of the Ghent Altarpiece, cleaning tests were performed to establish the condition, compounds used, and solubility of the varnish layers. The condition of the varnish layers is very poor indeed, and the color balance of the paintings is now dramatically affected by the dirty, degraded coatings. Panel 1: Adam Panel 2: Singing Angels Panel 3: Virgin Enthroned Panel 7: Eve

James Pradier l'atelier de peinture et de dessin : apprendre la peinture et le dessin Remembering an Artist: Jean-Paul Laurens Jean-Paul Laurens (28 March 1838 – 23 March 1921), was a French painter and sculptor, and one of the last major exponents of the French Academic style. Born in Fourquevaux, he was a pupil of Léon Cogniet and Alexandre Bida. Strongly anti-clerical and republican, his work was often on historical and religious themes, through which he sought to convey a message of opposition to monarchical and clerical oppression. Laurens was commissioned to paint numerous public works by the French Third Republic, including the steel vault of the Paris City Hall, the monumental series on the life of Saint Genevieve in the apse of the Panthéon, the decorated ceiling of the Odéon Theater, and the hall of distinguished citizens at the Toulouse capitol. Laurens was a professor at the École nationale supérieure des Beaux-Arts in Paris, where he taught André Dunoyer de Segonzac and George Barbier. Among Laurens' many students are: Artistic Works:

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