Hyperonymies Bosch art gallery

I've uploded the Hyperonymies Bosch art gallery:

• Allegory of Gluttony and Lust
• Crucifixion of St. Julia (Triptych)
• Death and the Miser
• Ecce Homo
• Epiphany
• Haywain (Triptych)
• Last Judgement (Triptych)
• Marriage Feast at Cana
• Saint Christopher Carrying the Christ Child
• Saint Jerome at Prayer
• Saint John on Patmos
• Saint John the Baptist
• The Adoration of the Magi
• The Cure of Folly (Extraction of the Stone of Madness)
• The Magician
• The Seven Deadly Sins
• The Ship of Fools
• The Temptation of Saint Anthony

Paris Bordone Biography

Paris Bordone Biography

Paris Bordone Art

Article from Wikipedia

Paris Bordon (or Paris Paschalinus Bordone) (5 July, 1500 – 19 January, 1571) was an Italian painter of the Venetian Renaissance who, despite training with Titian, maintained a strand of mannerist complexity and provincial vigor.

Biography

Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone.

From the 1520s, we have works by Bordone, including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in the Pinacoteca di Brera. In 1525–26, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is now in Brera gallery.

In 1534–35, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the Fisherman delivering the Marriage Ring of Venice to the Doge (Accademia). However, comparison between this latter painting and the near-contemporary, and structurally similar, Presentation of the Virgin[1] reveals Bordone's limitations, his use of superior perspective which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian.

Bordone is at his best in his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.

Paris Bordone subsequently executed many important mural paintings in Venice, Treviso and Vicenza, all of which have perished. In 1538 he was invited to France by Francis I, at whose court he painted many portraits, though no trace of them is to be found in French collections, the two portraits at the Louvre being later acquisitions. On his return journey he also worked for the Fugger palace at Augsburg, but again the works have been lost.

Gerard ter Borch Biography

Gerard ter Borch Biography

Gerard ter Borch Art Gallery

Article from Wikipedia

Gerard ter Borch (Dutch pronunciation: [ɣəˈrɑrt tər ˈbɔrx]) (or Terburg [Dutch pronunciation: [tərˈbʏrx]]) (December 1617 – 8 December 1681) was a Dutch genre painter, who lived in the Dutch Golden Age.

Biography

Gerard ter Borch was born in December 1617 in Zwolle in the province of Overijssel in the Dutch Republic.

He received an excellent education from his father, also an artist, and developed his talent very early. The inscription on a study of a head proves that Ter Borch was at Amsterdam in 1632, where he studied possibly under Willem Cornelisz Duyster or Pieter Codde. Duyster's influence can be traced in a picture bearing the date 1638, in the lonides Bequest (Victoria and Albert Museum). In 1634 he studied under Pieter de Molijn in Haarlem. A record of this Haarlem period is the Consultation (1635) at the Berlin Gallery.

In 1635 he was in London, and subsequently he travelled in Germany, France, Spain and Italy. It is certain that he was in Rome in 1641, when he painted the small portraits on copper of Jan Six and A Young Lady (Six Collection, Amsterdam). In 1648 he was at Münster during the meeting of the congress which ratified the treaty of peace between the Spaniards and the Dutch, and executed his celebrated little picture, painted upon copper, of the assembled plenipotentiaries--a work which, along with the a portrait of a Man Standing, now represents the master in the national collection in London. The picture was bought by the marquess of Hertford at the Demidoff sale for 1280, and presented to the National Gallery by Sir Richard Wallace, at the suggestion of his secretary, Sir John Murray Scott.

At this time Ter Borch was invited to visit Madrid, where he received employment and the honour of knighthood from Philip IV, but, in consequence of an intrigue, it is said, he was obliged to return to the Netherlands. He seems to have resided for a time in Haarlem; but he finally settled in Deventer, where he became a member of the town council, as which he appears in the portrait now in the gallery of the Hague. He died at Deventer in 1681.

Works

Ter Borch is excellent as a portrait painter, but still greater as a painter of genre subjects. He depicts with admirable truth the life of the wealthy and cultured classes of his time, and his work is free from any touch of the grossness which finds so large a place in Dutch art.[not specific enough to verify] His figures are well drawn and expressive in attitude; his colouring is clear and rich, but his best skill lies in his unequalled rendering of texture in draperies, which is seen to advantage in such pictures as The Letter and in The Gallant Conversation engraved by Wille – which exists in various repetitions at Berlin and Amsterdam, and in the Bridgewater Gallery.

Ter Borch's works are comparatively rare; only about eighty have been catalogued. Six of these are at the Hermitage, six at the Berlin Museum, five at the Louvre, four at the Dresden Museum, three at the Getty Center, and two at the Wallace Collection. A pair of portraits are located at the Corcoran Gallery in Washington D.C., highlighted in 2010 by Blake Gopnik.

The artist's painting The Suitor's Visit, c. 1658, oil on canvas, 80 x 75 cm (31½ × 29 9/16 in.) in the Andrew W. Mellon Collection, was used on the cover of Marilyn Stokstad's second edition of Art History.

Pierre Bonnard Biography

Pierre Bonnard Biography

Pierre Bonnard Art Gallery

Article from Wikipedia

Pierre Bonnard (3 October 1867 – 23 January 1947) was a French painter and printmaker, as well as a founding member of Les Nabis.

Biography

Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine. He led a happy and carefree youth as the son of a prominent official of the French Ministry of War. At the insistence of his father, Bonnard studied law, graduating and practising as a barrister briefly. However, he had also attended art classes on the side, and soon decided to become an artist.

In 1891 he met Toulouse-Lautrec and began showing his work at the annual exhibition of the Société des Artistes Indépendants. His first show was at the Galerie Durand-Ruel in 1896.

In his twenties he was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Édouard Vuillard and Maurice Denis. He left Paris in 1910 for the south of France.

Bonnard is known for his intense use of color, especially via areas built with small brushmarks and close values. His often complex compositions—typically of sunlit interiors of rooms and gardens populated with friends and family members—are both narrative and autobiographical. His wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the kitchen table, with the remnants of a meal; or nude, as in a series of paintings where she reclines in the bathtub. He also painted several self-portraits, landscapes, and many still lifes which usually depict flowers and fruit.

Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes.

In 1938 there was a major exhibition of his work along with Vuillard's at the Art Institute of Chicago. He finished his last painting, The Almond Tree in Flower, a week before his death in his cottage on La Route de Serra Capeou near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's eightieth birthday.

Two major exhibitions of Bonnard's work took place in 1998: February through May at the Tate Gallery in London, and from June through October at the Museum of Modern Art in New York City.