|
|
|
|
ART “4”
“2”-DAY 01 February |
| ^
Died on 01 February 1924: Maurice
Brazil Prendergast, US Impressionist
painter, printmaker, illustrator, and designer, born on 10 October 1858
in Newfoundland. — He moved with his family to Boston in 1868 and was working as a commercial artist by 1886, lettering showcards, but his early attempts at watercolor foretold little of the talent that emerged after he went to Paris in January 1891. He studied for three years at the Atelier Colarossi under Gustave Courtois [1853–1923], and later at the Académie Julian under Benjamin Constant, Joseph Blanc, and Jean-Paul Laurens. Here the influence of the Nabis and of Whistler was particularly important to his development. — Post-impressionist painter, monotypist, and watercolorist. Member of The Eight, but not a teacher as were Henri, Sloan and Luks. Most recognized for vivid, colorful, complex depictions of urban scenes of Venice, Boston with representation of subject on a flat plane. _ 1868 family moved to Boston; _ 1873 left school, initially clerk in dry goods firm, then commercial art apprentice; _ 1873-1877 classes at Free Evening Drawing School at Starr King School; _ 1879 designer of showcards for J.P. Marshall; _ 1886 with brother Charles (artist and framemaker) worked passage on cattle boat to travel to England and Wales; _ 1891 studied in Paris at Academy Colarossi; _ 1892 at Académie Julian; friends with Canadian artist James Wilson Morrice who introduced him to Sickert, Beardsley and Charles Conder; contact with other artists, summer painting trips and sketching in public places of much more importance than his formal study; influenced by Whistler, post-impressionists and Nabis; _ 1894-1895 returned to Boston; _ 1895 illustrated Sir James M. Barrie's My Lady Nicotine and Sir Thomas Hall's Shadow of a Crime for Joseph Knight Company (Boston Publisher); two watercolors at 52nd Annual Exhibit of Boston Arts Club; _ 1895-1898 produced majority of his 151 known monotypes; _ 1898 third trip to Europe, produced watercolors of Venice; _ 1899 returned to Boston; _ 1900 exhibited 30 watercolors and monotypes jointly with Herman Dudley Murphy at Art Institute of Chicago; 60 watercolors and monotypes at Macbeth Gallery, New York; met Luks and Glackens, increased friendship with Glackens and his family; _ 1901 met Henri through Glackens; _ 1901-1902 began to work more extensively in larger format with oils; exhibited watercolors and monotypes at Detroit Institute of Art and Cincinnati Museum Association; Bronze Medal for Watercolor at Pan American Exposition, Buffalo; _ 1902 marked hearing loss (became deaf by 1905); _ 1904 began frequent trips to New York. — LINKS — The Holiday (1907) — Rocky Coast Scene (1913) — After the Review (1895) — Boat Landing at Dinard (also called... aka (1909) — Promenade at Nantasket (1902) — In the Park (1894) |
| ^
Died on 01 February 1905: Oswald
Achenbach, German painter born on 02 February 1827. Brother
of Andreas
Achenbach. — {Many more people have an aching back than an Achenbach}
— He studied at the Kunstakademie in Düsseldorf, as did his elder brother, the painter Andreas Achenbach [1815–1910], who was the main influence on him other than his teacher, Johann Wilhelm Schirmer. At a very early stage he began to prepare studies for landscapes in the area around Düsseldorf, sketching boulders, rocks, bushes, trees and people. From 1843 he went on many study tours, visiting Bavaria in 1843 and northern Italy and Switzerland in 1845. The Bavarian and Italian Alps stimulated him to create a unified approach to landscape painting. In such early works as Landscape (1846) his receptiveness to atmospheric values can be seen, even if the precise detail and clear articulation into foreground, middle ground, and background still clearly show his debt to Schirmer. — LINKS — Italianischer Park mit Zisterne (1850; 600x764pix _ ZOOM to 1400x1783pix) — The Bay of Naples (1884, 140x197cm) — Fishermen with the Bay of Naples and Vesuvius beyond (1877, 64x100cm) |
| ^
Born on 01 February 1849: Albert-Marie-Charles
Lebourg, French painter who died on 07 January 1928. — He had an early interest in architecture and studied under the architect Drouin at the Ecole Municipale de Dessin in Rouen. He became increasingly interested in art and through Drouin met the landscape painter Victor Delamarre [1811–1868] who advised and taught him. Giving up architecture altogether, he then attended the École Municipale de Peinture et de Dessin in Rouen under Gustave Morin [1809–1886]. In 1871 he met the collector Laperlier through whom he obtained the post of professor of drawing at the Société des Beaux-Arts in Algiers. He remained there from 1872 to 1877, producing works such as Une Rue à Algers (1875). He also experimented with depicting a single site in a variety of different lights, in a manner similar to the late works of Monet. After giving up his teaching post in Algeria in 1877 he returned to Paris where he attended Jean-Paul Laurens’s studio from 1878 to 1880. It was at this point that he became aware of Impressionism; later he became friendly with Degas, Monet and Sisley. He first exhibited at the Salon de la Société des Artistes Français in 1883 and again in 1886, and after the foundation of the Société Nationale des Beaux-Arts (1889) he exhibited there regularly from 1891 to 1914. Between 1884 and 1886 he spent much time in the Auvergne region, producing such Impressionist works as Neige en Auvergne (1886), in which a river re-establishes the habitual presence of water in his work. After living and working in numerous places in northern France, Lebourg went to the Netherlands (1895–1897), and in 1900 he spent a short period in Britain, which confirmed his love of Turner, Constable, and Gainsborough. He continued working in a luminous Impressionist style with landscapes such as Petite Ferme au Bord de l'Eau (Ile de Vaux) (1903), up until 1921 when he was paralyzed by a stroke. — LINKS — Swiss Lake Landscape (372kb) — Boats by the Banks of Lake Geneva at Saint-Gingolph (822x1018pix, 167kb) — Notre Dame de Paris and the Bridge of the Archévêché (631x1013pix, 139kb) — 94 images at Webshots |
| ^
Died on 01 February 1944: Pieter
Cornelis Mondriaan “Piet Mondrian”,
Dutch Neo~Plasticist
painter born on 07 March 1872. Mondrian carried abstraction to its furthest limits. Through radical simplification of composition and color, he sought to expose the basic principles that underlie all appearances. [click on image for full self-portrait >] 
Born in Amersfoort, the Netherlands, Mondrian embarked on an artistic career
over his family's objections, studying at the Amsterdam Academy of Fine
Arts. His early works, through 1907, were calm landscapes painted in delicate
grays, mauves, and dark greens. In 1908, under the influence of the Dutch
painter Jan
Toorop, he began to experiment with brighter colors; this represented
the beginning of his attempts to transcend nature. Moving to Paris in 1911,
Mondrian adopted a cubist-influenced style, producing analytical series
such as Trees (1912-1913) and Scaffoldings (1912-1914).
He moved progressively from seminaturalism through increased abstraction,
arriving finally at a style in which he limited himself to small vertical
and horizontal brushstrokes. In 1917 Mondrian and the Dutch painter Theo van Doesburg founded De Stijl magazine, in which Mondrian developed his theories of a new art form he called neoplasticism. He maintained that art should not concern itself with reproducing images of real objects, but should express only the universal absolutes that underlie reality. He rejected all sensuous qualities of texture, surface, and color, reducing his palette to flat primary colors. His belief that a canvas—a plane surface—should contain only planar elements led to his abolition of all curved lines in favor of straight lines and right angles. His masterly application of these theories led to such works  as
Composition
with Red, Yellow, and Blue (1942, 39x35cm), in which the painting,
composed solely of a few black lines and well-balanced blocks of color,
creates a monumental effect out of all proportion to its carefully limited
means. [< image]When Mondrian moved to New York City in 1940, his style became freer and more rhythmic, and he abandoned severe black lines in favor of lively chain-link patterns of bright colors, particularly notable in his last complete masterwork, Broadway Boogie-Woogie (1943, 127x127cm). Mondrian was one of the most influential 20th-century artists. His theories of abstraction and simplification not only altered the course of painting but also exerted a profound influence on architecture, industrial design, and the graphic arts. Mondrian died in New York. — [Nederlands biografie] — LINKS — Self Portrait (1918) — River View with Boat (1908) — Little Girl (1901) — Still Life with Gingerpot II — Composition with Large Blue Plane, Red, Black, Yellow, and Gray (1921) — Composition blanc, rouge et jaune (1936) — River View with Boat (1908) — Molen (Mill); Mill in Sunlight — Avond (Evening); Red Tree (1908 ) — Amaryllis (1910) — Gray Tree (1911) — Composition No. II; Composition in Line and Color (1913) — Ocean 5 (1915) — Composition with Color Planes and Gray Lines 1 (1918) — Composition with Gray and Light Brown (1918) — Composition A: Composition with Black, Red, Gray, Yellow, and Blue (1920) — Lozenge Composition with Yellow, Black, Blue, Red, and Gray (1921) — Composition with Red, Yellow and Blue (1921) — Composition with Blue, Yellow, Black, and Red (1922) — Lozenge Composition with Red, Black, Blue, and Yellow (1925) — Fox Trot; Lozenge Composition with Three Black Lines (1929) — Composition with Yellow Patch (1930) — Composition with Yellow (1930) — Composition No. III Blanc-Jaune (1942) — Rhythm of Black Lines (1942) — Vertical Composition with Blue and White (1936) — Composition No. 8 (1942) — Composition No. 10 (1942) — New York City (1942) — Broadway Boogie Woogie (1943) — Solitary House (1898) — Composition with Oval in Color Planes II (1914) — Composition with Grid VII (Lozenge, 1919) — Composition with Grid IX (1919) — Composition A (1920) — Composition with Black, Red, Gray, Yellow, and Blue (1921) — Lozenge Composition with Red, Gray, Blue, Yellow, and Black (1925) — Place de la Concorde (1943) — New York City I (1942) — Victory Boogie Woogie (1943) |
| ^
Born on 01 February 1801: Thomas
Cole, English US Hudson
River School painter, specialized in Landscapes,
who died on 11 February 1848. — Cole would be one of the founders of Romantic landscape painting in the New World. He is born into an Anglo-American family in England. The family would return to the United States in 1818. Until then young Thomas had received training in drawing and wood engraving. In the USA, he entered the Philadelphia Academy of Art in 1823. Later he settled in the Catskills on the Hudson and became a cofounder of the so-called Hudson River School, which established Romantic landscape painting in America. Direct, spontaneous landscapes painted in the wilderness of the Catskill Mountains brought rapid recognition and attracted New York buyers: The Clove, Catskills (1827). In 1829 and 1841-1842 Cole traveled to Europe, he visited England, Switzerland, and Italy, studying in particular the landscapes of European masters. On his return, having also absorbed philosophical and literary ideas, Cole introduced a new type of painting to America: the symbolic, moral landscape, as represented by the series on the themes of The Course of Empire (1832; New York, Historical Society) and The Voyage of Life (1839/40; Utica, Munson William Proctor Institute): The Course of Empire: The Savage State (1836), The Voyage of Life: Childhood (1842). These are fantastic, symbolic scenes full of unusual effects of grandiose space and theatrical contrasts of light. Not satisfied with great American nature any longer, Cole increases fantastic and mystical character by introducing Biblical and antique subjects. His late pictures do not attain the fine quality of his earlier atmospheric landscapes, they are rough and primitive, but are supposed to stun spectators with extremely pretentious surrealism. — LINKS — Prometheus Bound (1847, 163x244cm; 1/8 size, 108kb _ ZOOM to 1/4 size, 422kb _ ZOOM++ to 1/2 size, 1900kb) — Peace at Sunset (Evening in the White Mountains) (1827, 69x82cm; 1/3 size, 166kb _ ZOOM to 2/3 size, 678kb) — View near the Village of Catskill (1827, 62x89cm, 69x82cm; 1/3 size, 193kb _ ZOOM to 2/3 size, 820kb) — Landscape (1825, 92x111cm; 1/4 size, 840kb _ ZOOM to half-size, 3237kb) _ Here Cole portrays a community of frontier people living in a valley, probably in upstate New York, where they attempt to tame the wilderness. — The Voyage of Life: Childhood (1842) — The Voyage of Life: Youth (1842) — The Voyage of Life: Manhood (1842) — The Voyage of Life: Old Age (1842) — Expulsion from the Garden of Eden (1828) — Niagara Falls (1830) — The Consummation from the series: The Course of the Empire (1836) — The Connecticut River near Northampton (1846). — 112 images at Webshots |
|
|
site safe for children 