Journey through the story of European art, masterpiece by masterpiece. Watch the National Gallery in London's official RU-vid channel to discover the stories behind the world’s greatest paintings and artists from the 13th to early 20th centuries. Enjoy behind-the-scenes videos from conservation to art handling, interviews with leading art experts, live recordings of talks and events, and insights into our latest exhibitions.
The vehicle in the water is a log tug. An extendable device to transport logs. Hence the pole sticking out from the back. There is a loaded haywain in the distance.
Mi imbatto solo ora in questo magnifico video. Ho visitato più volte "la National" che sempre mi ha impressionato. Amo particolarmente il S. Gerolamo di Antonello e l Allegoria del trionfo di Venere, del Bronzino. Ma quanti altri dipinti meravigliosi! Dei Tiepolo mi colpisce... il vento che circola tra i personaggi e ravviva le scene. Ricrea il senso del movimento in un oggetto fisso, movimento che attrae sempre gli umani. Mi ricorda, in musica, il loro contemporaneo e conterraneo Antonio Vivaldi. Thank you Ms. Treves! (I like a lot your English).
I am very fond of Constable's effortless ability to depict what he saw around him. sidebar: constableclouds has become a somewhat popular hashtag on visual social media.
Thank you for explaining every single detail of this outstanding landscape masterpiece by Constable so meticulously!! This landscape painting indeed sets a very high bar for any landscape artist to emulate and follow!!😊😊❤❤
Over the years, I have watched several videos about Constable's The Hay Wain; one, an in-depth study presented by Colin Wiggins; another, a bit briefer, presented by Emily Burns (yes, I looked them up to be sure and give credit where credit is due!); and also the one on The Cornfield presented by Mary McMahon (yes!), as well as one on the cleaning of The Hay Wain. It seems I never tire of learning more about this great landscape painting and it has been a pleasure learning some additional facts about the work from Ms. McMahon who, obviously, likes her Constable.
Always fresh things to say about this wonderful painting. Excellent overview with crystal-clear presentation. Thank you National Gallery and Mary McMahon.
Well, I like the portrait. If King George III's only objection was the missing hat, why couldn't Lawrence have painted one in? However, much I like the figure of Charlotte, and appreciate how Lawrence captures her likeness and wistful expression, I think the drapery and shadow over her head casts a pall over the painting that gives her a sad, regretful aspect. Almost as if her future is doubtful, or at risk. The muted color palette does not promote a regal or indeed rosy prospect that a queen would wish to project. My goodness! Couldn't he have conjured some sunshine? In that light, the poor queen looks positively ghostly!
One of the fun details that wasn’t really mentioned in this really great video is that there are a lot of cases where the pigment is used on Mary’s clothes to distinguish her.
I think the same artist painted “1480 Anonymous German artist active in Swabia, portrait of a woman” from the art gallery in Madrid. The same head dress too. Her eyelashes painted in the exact way. I was thinking maybe be a fly was artist’s signature. The other portrait was cut down in the past. May be I had a fly too. And if you zoom in on the fly, you will see that shadows look like it is sitting on the glass or mirror. Both were rare in 15 century though.
57 seconds in and I'm already disagreeing. It is the subject that draws the crowd. We like paintings of mountains. Normal people judge art by subject, not subtilties in technique. Now back to the flic.
I love the melody of greens. Did I miss the medium? Oil on canvas, the fine lines had me wondering. The vertical reminds me of oriental art. I have always enjoyed the compression, it tells a much larger story. I wish I lived near real art museums.
Maybe it’s my limited experience with flies, but that fly seems unnaturally huge. Are flies really that big in Europe, or is it a clue from the artist?
good lecture, however there could have been some comments on the technique; egg tempera that requires some swift painting due to rapid drying. One particular feature of Botticelli is to include contours in the picture
No mention of the use of optical aids, like concave mirror projections, that were readily available during the Renaissance. Wasn’t Botticelli aware of these techniques and if he was, why wouldn’t he use them?
This is a very riveting high-level discussion. I'm going to look at attribution material, because I have a suspicion that the portrait of Caravaggio is interpolated onto the canvas to make us believe the work is his.
Cezanne said if you would be a painter, you must avoid the literary spirit. Just from the start, you are getting a bunch of story lines being expressed as if he never said this. Just look and recieve without thought. You will begin to experience the music...
Artists who plant very realistic flies in their paintings continue the challenge launched not even by Giotto, but by the ancient Greek painters Zeuxis and Parrhasius. Their works have not reached us, but the legend of the competition that made them the kings of the trompe l’oeil genre (in other words, pictorial trompe l’oeil) is alive. The most famous in painting were two pairs of rivals: in the 5th century Zeuxis and Parrasius, in the 4th century Apelles and Protogenes. Zeuxis and Parrhasius argued about who would paint the picture better. People gathered, two rivals came out, each holding a painting under a blanket. Zeuxis pulled back the cover - in the picture there was a bunch of grapes, so similar that birds flocked to peck at it. The people applauded. “Now you pull back the covers!” - Zeuxis said to Parrhasius. “I can’t,” replied Parrhasius, “that’s what I drew.” Zeuxis bowed his head. “You’ve won! - he said. “I deceived the eyes of the birds, and you deceived the eye of the painter.” It was not for nothing that Zeuxis chose a bunch of grapes as the subject for his painting: he knew how to depict this like no one else. One day he painted a boy with a grape in his hands, and again the birds flew in and pecked at the berries, and the people applauded. Only Zeuxis himself was dissatisfied. He said: “So I wrote the boy poorly: if the boy were as good, the birds would be afraid to fly up to the berries.” (Mikhail Gasparov. Entertaining Greece)
