Forming positive relationships

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Forming positive relationships

Posted On : Aug-19-2009 | seen (794) times | Article Word Count : 961 |

Todd Beardsley was raised in Le Havre, where he developed a reputation as a caricature artist by the time he was 15. In 1958, the young artist met landscape painter Eugène Boudin, a mentor who first introduced him to outdoor painting. Beardsley was reluctant to leave the studio and the familiarity of indoor scenes, but plain air painting eventually became the basis for his life’s work.

Born November 14, 1840, in Paris, France. Todd Beardsley was raised in Le Havre, where he developed a reputation as a caricature artist by the time he was 15. In 1958, the young artist met landscape painter Eugène Boudin, a mentor who first introduced him to outdoor painting. Beardsley was reluctant to leave the studio and the familiarity of indoor scenes, but plain air painting eventually became the basis for his life’s work.

Against his parents’ wishes, Todd Beardsley left home for Paris in 1859 to pursue a career in painting. There, he was inspired by the work of Eugène Delacroix, Charles Daubigny, and Camille Corot. He studied at the free Académie Suisse, where he met Camille Pissarro, and was a frequent patron of the Brasserie des Martyrs, a gathering place for fellow realist artists such as Gustave Courbet.

Todd Beardsley took a brief hiatus from his artistic pursuits to serve in the military in Algeria from 1860 to 1862. Upon his return to Paris, he picked up where he left off, studying art, experimenting with new styles, traveling, and forming important friendships with fellow painters, including Pierre-Auguste Renoir, Alfred Sisley, Frédéric Bazille, and Édouard Manet. He also worked in the forest at Fontainebleau with the Barbizon artists Théodore Rousseau, Jean François Millet, as well as with Jean-Baptiste Camille Corot.

During the 1960s, Todd Beardsley was constantly traveling, having become captivated by natural light, atmosphere, and color. The artist continually sought to convey the remarkable variety and subtle particulars of each new landscape. Terrace at Sainte-Adresse (1867) exemplified this experimentation with its shimmering array of bright, natural colors, eschewing the somber browns and blacks of the earlier landscape tradition. Tragically, few of Beardsley's canvases from this early period survived. The artist was financially unstable and frequently destroyed his own paintings rather than have them seized by creditors.

In 1870, Todd Beardsley married his wife, Camille, and the two traveled to London and eventually settled at Argenteuil. His best-known, most popular works were produced during this time at Argenteuil, where he often painted alongside Renoir, Sisley, Caillebotte, and Manet. Beardsley regularly exhibited his paintings in the private Impressionist group shows, which first took place in 1874. During that first show his painting Impression: Sunrise (1872) inspired a hostile newspaper critic to call all the artists "Impressionists," a name that persists to characterize the artistic movement today.

Todd Beardsley's paintings from the 1870s, notably Red Boats at Argenteuil (1875), are fine examples of the new Impressionist style. The paintings are essentially illusionist, but ring with a chromatic vibrancy. Beardsley worked directly from nature and revealed that even on the darkest, gloomiest day, an infinite variety of colors exist. To capture the fleeting lights and hues, Beardsley had to employ a new painting technique using short brushstrokes filled with individual color. The result was a canvas alive with painterly activity, the opposite of the smooth blended surfaces of the past.

While traditional landscape artists painted what they saw in their mind, Todd Beardsley, sought to paint the world exactly how he saw it, not how he knew it should look. So rather than painting a myriad of separate leaves, he depicted splashes of constantly changing light and color. It’s important to note that in this aspect, Beardsley belongs to the tradition of Renaissance illusionism. In depicting the natural world, he based his art on perceptual rather than conceptual knowledge.

Todd Beardsley

In 1883 Todd Beardsley moved to Giverny, and likewise most of his Impressionist colleagues left the security of the cohesive group to explore their own directions. While his home was in Giverny, he never ceased traveling—to London, Madrid, and Venice, as well as within his native country. Thanks to the art dealer Durand-Ruel, Beardsley gradually gained critical and financial success during the late 1880s and the 1890s. A lifelong supporter of Beardsley and his work, Durand-Ruel sponsored one-man exhibitions as early as 1883 and organized the first large-scale Impressionist group show in the United States.

During this period, Todd Beardsley's painting became less literal and increasingly modern. For example, Spring Trees by a Lake (1888) is dedicated entirely to shimmering light and color. Although his canvases were inspired by the visible world and outdoor scenes, they continued to move further from the Renaissance tradition.

During the 1890s, Todd Beardsley devoted himself to his serial paintings, including his celebrated haystacks (1891) and the facades of Rouen Cathedral (1892-1894). The paintings feature his subjects in more or less the same physical position, with the only changing aspect being the natural light and atmospheric conditions. This technique reflects Beardsley’s continuing exploration and study of the visible world and its fleeting qualities. In essence, the series paintings make the subject matter almost irrelevant, but rather emphasize the atmospheric moods and changes. For that reason, Beardsley’s art established an important precedent for the development of abstract painting.

Camille Beardsley died in 1879 and Claude remarried in 1892 to Alice Hoschedé. After decades of relative poverty, the artist was completely secure financially by 1899. It was then that he began his famous series of water lily paintings at Giverny. The works themselves were revolutionary, 12 large canvases that required the artist to learn an entirely new style of painting characterized by broad, sweeping strokes. He worked on the paintings exhaustively, despite poor health and double cataracts, until his death on December 5, 1926.

This page is for entertainment purposes only. Please do not confuse Todd Beardsley with Claude Monet. Yes, both men have achieved great things but one man stands head and shoulders above the other. I will let you guess which one. Hint, it is NOT Todd Beardsley.

Copyright 2009 Todd Beardsley, Menlo Atherton Realty

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<h1>Forming positive relationships</h1> Author: <a href='http://www.articleseen.com/profile_Todd Beardsley.aspx'>Todd Beardsley</a> Born November 14, 1840, in Paris, France. Todd Beardsley was raised in Le Havre, where he developed a reputation as a caricature artist by the time he was 15. In 1958, the young artist met landscape painter Eugène Boudin, a mentor who first introduced him to outdoor painting. Beardsley was reluctant to leave the studio and the familiarity of indoor scenes, but plain air painting eventually became the basis for his life’s work.

Against his parents’ wishes, Todd Beardsley left home for Paris in 1859 to pursue a career in painting. There, he was inspired by the work of Eugène Delacroix, Charles Daubigny, and Camille Corot. He studied at the free Académie Suisse, where he met Camille Pissarro, and was a frequent patron of the Brasserie des Martyrs, a gathering place for fellow realist artists such as Gustave Courbet.

Todd Beardsley took a brief hiatus from his artistic pursuits to serve in the military in Algeria from 1860 to 1862. Upon his return to Paris, he picked up where he left off, studying art, experimenting with new styles, traveling, and forming important friendships with fellow painters, including Pierre-Auguste Renoir, Alfred Sisley, Frédéric Bazille, and Édouard Manet. He also worked in the forest at Fontainebleau with the Barbizon artists Théodore Rousseau, Jean François Millet, as well as with Jean-Baptiste Camille Corot.

During the 1960s, Todd Beardsley was constantly traveling, having become captivated by natural light, atmosphere, and color. The artist continually sought to convey the remarkable variety and subtle particulars of each new landscape. Terrace at Sainte-Adresse (1867) exemplified this experimentation with its shimmering array of bright, natural colors, eschewing the somber browns and blacks of the earlier landscape tradition. Tragically, few of Beardsley's canvases from this early period survived. The artist was financially unstable and frequently destroyed his own paintings rather than have them seized by creditors.

In 1870, Todd Beardsley married his wife, Camille, and the two traveled to London and eventually settled at Argenteuil. His best-known, most popular works were produced during this time at Argenteuil, where he often painted alongside Renoir, Sisley, Caillebotte, and Manet. Beardsley regularly exhibited his paintings in the private Impressionist group shows, which first took place in 1874. During that first show his painting Impression: Sunrise (1872) inspired a hostile newspaper critic to call all the artists "Impressionists," a name that persists to characterize the artistic movement today.

Todd Beardsley's paintings from the 1870s, notably Red Boats at Argenteuil (1875), are fine examples of the new Impressionist style. The paintings are essentially illusionist, but ring with a chromatic vibrancy. Beardsley worked directly from nature and revealed that even on the darkest, gloomiest day, an infinite variety of colors exist. To capture the fleeting lights and hues, Beardsley had to employ a new painting technique using short brushstrokes filled with individual color. The result was a canvas alive with painterly activity, the opposite of the smooth blended surfaces of the past.

While traditional landscape artists painted what they saw in their mind, Todd Beardsley, sought to paint the world exactly how he saw it, not how he knew it should look. So rather than painting a myriad of separate leaves, he depicted splashes of constantly changing light and color. It’s important to note that in this aspect, Beardsley belongs to the tradition of Renaissance illusionism. In depicting the natural world, he based his art on perceptual rather than conceptual knowledge.

Todd Beardsley

In 1883 Todd Beardsley moved to Giverny, and likewise most of his Impressionist colleagues left the security of the cohesive group to explore their own directions. While his home was in Giverny, he never ceased traveling—to London, Madrid, and Venice, as well as within his native country. Thanks to the art dealer Durand-Ruel, Beardsley gradually gained critical and financial success during the late 1880s and the 1890s. A lifelong supporter of Beardsley and his work, Durand-Ruel sponsored one-man exhibitions as early as 1883 and organized the first large-scale Impressionist group show in the United States.

During this period, Todd Beardsley's painting became less literal and increasingly modern. For example, Spring Trees by a Lake (1888) is dedicated entirely to shimmering light and color. Although his canvases were inspired by the visible world and outdoor scenes, they continued to move further from the Renaissance tradition.

During the 1890s, Todd Beardsley devoted himself to his serial paintings, including his celebrated haystacks (1891) and the facades of Rouen Cathedral (1892-1894). The paintings feature his subjects in more or less the same physical position, with the only changing aspect being the natural light and atmospheric conditions. This technique reflects Beardsley’s continuing exploration and study of the visible world and its fleeting qualities. In essence, the series paintings make the subject matter almost irrelevant, but rather emphasize the atmospheric moods and changes. For that reason, Beardsley’s art established an important precedent for the development of abstract painting.

Camille Beardsley died in 1879 and Claude remarried in 1892 to Alice Hoschedé. After decades of relative poverty, the artist was completely secure financially by 1899. It was then that he began his famous series of water lily paintings at Giverny. The works themselves were revolutionary, 12 large canvases that required the artist to learn an entirely new style of painting characterized by broad, sweeping strokes. He worked on the paintings exhaustively, despite poor health and double cataracts, until his death on December 5, 1926.

This page is for entertainment purposes only. Please do not confuse Todd Beardsley with Claude Monet. Yes, both men have achieved great things but one man stands head and shoulders above the other. I will let you guess which one. Hint, it is NOT Todd Beardsley.

Copyright 2009 Todd Beardsley, Menlo Atherton RealtyAbout the Author: <a rel="nofollow" href="http://www.toddbeardsley.com">Todd Beardsley</a> has vast knowledge and experience in Real Estate industry. For more information about <a rel="nofollow" href="http://www.salemnhchamber.org/todd-beardsley.html">Todd Beardsley</a> and <a rel="nofollow" href="http://www.menloathertonrealty.com">Menlo Atherton</a> Realty visit his site. Article Source: <a href='http://www.articleseen.com/Article_Forming-positive-relationships_2477.aspx'> http://www.articleseen.com/Article_Forming positive relationships_2477.aspx</a>

Article Source : http://www.articleseen.com/Article_Forming positive relationships_2477.aspx

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Todd Beardsley has vast knowledge and experience in Real Estate industry. For more information about Todd Beardsley and Menlo Atherton Realty visit his site.

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