Become ambassador of art! Write to: artu@blulight.eu

Art unites the peoples of the Earth… how do you feel hearing to this slogan? Do you feel it vibrate on your skin?
Through art the peoples of the earth dialogue with each other and doesn’t matter if their languages are different and if political limits create barriers… Through art any obstacle can be removed.
Art unites the peoples of the Earth… is it illusive? Yet much has been done so far: music ambassadors — great composers and performers — went beyond any frontiers with their melodies, gathering in listening billions of human beings.

Now it is time I make my plea, to involve you in an exceptional initiative.

Blulight gallery is a YouTube channel promoting art all over the world through the slogan “Art unites the peoples of the Earth”. With its videos Blulight gallery has spread its message in over 230 countries, talking of art with many and many friends of any origin.Now Blulight gallery means to appoint its own ambassadors, friends who, in name of culture, can show through a video camera art in their countries, in any way: interviewing young artists or great masters, or simply looking around through exhibitions, museums, monuments and street concerts.
Each ambassador can send her/his videos to Blulight gallery, which will publish them. Each ambassador will have her/his own playlist dedicated and high visibility to the 30,000 members of the channel and to millions of possible audience from any part of the earth.

Just image what huge cultural revolution we could do all together! Many cultural ambassadors from any part of the earth joined by one only slogan: “Art unites the peoples of the Earth”.
Maybe it’s a dream difficult to realize… I know… yet I strongly believe that if you who are watching this video will join the project, nothing will stop us.
Turn your love for art into cultural revolution and be its protagonists! Be ambassadors of Blulight gallery in your country! To produce your videos you won’t need any expensive equipment… a small video camera and an internet connection will be enough. Thank you from the bottom of my heart to all of you who will help me realize this project and who will share this video with their friends!

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The Old Musician is an 1862 oil painting on canvas by French painter Édouard Manet, produced during the period when the artist was influenced by Spanish art. The painting also betrays the influence of Gustave Courbet. This work is one of Manet’s largest paintings and is now conserved at the National Gallery of Art in Washington, DC..

The painting is composed of six characters and a baby in a landscape. Most of them are in fact real individuals. The old musician in the center who is preparing to play the violin is Jean Lagrène, the leader of a local gypsy band. At the right, there are a young girl standing with a baby in her arms, and two young boys. In the background, the man in the top hat is the rag picker and ironmonger Colardet. At the right, the Oriental man with a turban and a long robe, partly shown, represents Guéroult, a “wandering Jew”. Attitudes and clothes of the characters seem to be inspired by Diego Velázquez or Louis Le Nain.[1][2]

The painting contains a series of more or less explicit allusions: the man in the top hat is the same character as The Absinthe Drinker, painted by Manet some years earlier and who reappears in this painting without any particular reason. The young boy in straw hat, meanwhile, is explicitly inspired by Antoine Watteau’s Pierrot.

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Hippolyte De La Roche (Paris 17 July 1797 — 4 November 1856 Paris), commonly known as Paul Delaroche, was a French painter. He was trained by Antoine-Jean, Baron Gros, who was painting life-size historical subjects and had many students.

The first Delaroche picture exhibited was the large Jehosheba saving Joash (1822). This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix, with whom he formed the core of a large group of Parisian historical painters. He visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome. In 1845, he was elected into the National Academy of Design, New York, as an Honorary Academician.

Delaroche’s studio in Paris was in the rue Mazarin. His subjects were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This texture was the manner of the day and was also found in the works of Vernet, Ary Scheffer, Louis Léopold Robert and Jean Auguste Dominique Ingres. Among his students were British landscape artist Henry Mark Anthony (1817–1886), British history painters Edward Armitage RA (1817–1896) and Charles Lucy (1814–1873), and American painter/photographer Alfred L. Boisseau (1823–1901).

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Giotto di Bondone (1266/7 — January 8, 1337), known as Giotto (Italian: [ˈdʒɔtto]), was an Italian painter and architect from Florence in the late Middle Ages. He is generally considered the first in a line of great artists who contributed to the Italian Renaissance.

Giotto’s contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was “the most sovereign master of painting in his time, who drew all his figures and their postures according to nature. And he was given a salary by the Comune of Florence in virtue of his talent and excellence.”

The late-16th century biographer Giorgio Vasari describes Giotto as making a decisive break with the prevalent Byzantine style and as initiating “the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years.”

Giotto’s masterwork is the decoration of the Scrovegni Chapel in Padua, also known as the Arena Chapel, completed around 1305. This fresco cycle depicts the life of the Virgin and the life of Christ. It is regarded as one of the supreme masterpieces of the Early Renaissance.[3] That Giotto painted the Arena Chapel and that he was chosen by the Comune of Florence in 1334 to design the new campanile (bell tower) of the Florence Cathedral are among the few certainties of his biography. Almost every other aspect of it is subject to controversy: his birthdate, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether or not he painted the famous frescoes at Assisi, and his burial place.

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The sculptural rendering of the figures against a shimmering landscape and the careful application of dry paint reflect the tradition of seventeenth- and eighteenth-century French painting. Renoir–in an attempt to reconcile this tradition with modern painting–labored over this work for three years, making numerous preparatory drawings for individual figures and at least two full-scale, multifigure drawings. Faced with criticism of his new style after completing The Large Bathers, an exhausted Renoir never again devoted such painstaking effort to a single work.

http://www.philamuseum.org/collections/permanent/59196.html

Pierre-Auguste Renoir was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that “Renoir is the final representative of a tradition which runs directly from Rubens to Watteau.”

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Amor Vincit Omnia (“Love Conquers All”, known in English by a variety of names including Amor Victorious, Victorious Cupid, Love Triumphant, Love Victorious, or Earthly Love) is a painting by the Italian early realist / post-Mannerist artist Caravaggio.
Amor Vincit Omnia shows Amor, the Roman Cupid, wearing dark eagle wings, half-sitting on or perhaps climbing down from what appears to be a table. Scattered around are the emblems of all human endeavours — violin and lute, armour, coronet, square and compasses, pen and manuscript, bay leaves, and flower, tangled and trampled under Cupid’s foot. The painting illustrates the line from Virgil’s Eclogues X.69, Omnia vincit amor et nos cedamus amori (“Love conquers all; let us all yield to love!”). A musical manuscript on the floor shows a large “V”. It has therefore been suggested also that the picture is a coded reference to the attainments of Marchese Vincenzo Giustiniani: his Genoese family ruled Chios (until the island’s capture by the Turks) in 1622, hence the coronet; the cultivated Marchese also wrote about music and painting (pen, manuscript and musical instruments), was constructing an imposing new palazzo (geometrical instruments), studied astronomy (astral sphere), and was praised for his military prowess (armour). The symbology thus holds the possible reading: Vincenzo Conquers All. Giustiniani is said to have prized it above all other works in his collection.

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