|
|
|
|
ART “4”
“2”-DAY 23 October
v.4.50 |
| DEATH:
1698 EHRENSTRAHL |
| ^
Born on 23 October 1852: Jean~Louis
Forain, French Impressionist
draftsman-satirist, painter, etcher, lithographer, and illustrator, who
died on 11 July 1931. — Born in Rheims, son of a house-painter. Studied for a year with J. de la Chevreuse and briefly under Gérôme at the École des Beaux-Arts. Copied drawings and etchings in the Louvre and the Bibliothèque Nationale; also studied modeling for a year under Carpeaux. First began to paint in the studio of André Gill in 1870. Became a friend and disciple of Degas and contributed to four of the last Impressionist exhibitions 1879-1886. From 1887 to 1890 became a prolific and famous contributor of satirical drawings of Parisian life and later political satire to Le Courrier Français, Le Figaro and other papers, accompanying the drawings by his own biting captions; also published two papers of his own, Fifre 1889 and (with Caran d'Ache) the anti-Dreyfus Psst...! 1898-1899. First one-man exhibition at the Galerie Boussod-Valadon, Paris, 1890. After about 1900 he painted a number of law-court scenes influenced by Daumier, but in darker tones. Died at Le Chesnay, near Versailles. — About 1860 he moved with his family to Paris, where he was taught by Jacquesson de la Chevreuse [1839–1903], Jean Baptiste Carpeaux and André Gill. He participated in the Franco-Prussian War (1870–1871) and was a friend of the poets Paul Verlaine and Arthur Rimbaud; the latter is the presumed subject of a portrait (1874) that may have influenced Manet’s late portrait of Mallarmé (1876). Forain first met Manet through his friendship with Degas in the early 1870s at the salon of Nina de Callias. He continued to associate with Manet, meeting the group of young Impressionists at the Café Guerbois and the Café de la Nouvelle Athènes. In 1878 Forain painted a small gouache, Café Scene, which probably influenced Manet’s Bar at the Folies-Bergère (1882) — LINKS — The Patron and the Artist (1921, 58x48cm; half-size) — Danseuse Rattachant son Chausson (27x23cm; 3/4 size) — Montmartre (51x62cm; recommended 2/5 size; or see it 4/5 size) — Dans les Coulisses (1878; 1044x784pix) — The Tightrope Walker (1880) — The Fisherman (1884) — Music Hall (1895) — Le Tribunal (1903, 60x73cm) — Avocat et accusé (1908, 65x81cm) — 31 images at Webshots — 28 prints at FAMSF — {Quoi? Pas de portraits de romanichels?} |
^
Died on 23 October 1698: David
Klöcker “Ehrenstrahl”, in
Hamburg, German Baroque painter, active in Sweden, born on 23 September
1629. Some incorrectly give 27 Apr 1628 as the date of his birth. Also
incorrect is 27 October 1698 as the date of his death (it may have been
his burial). |
Died on a 23 October: ^ 1917 Eugène-Samuel Grasset, Swiss-born French illustrator, decorative artist, and printmaker, born on 25 May 1841. Before arriving in Paris in the autumn of 1871, Grasset had been apprenticed to an architect, attended the Polytechnic in Zürich and traveled to Egypt. In Paris he found employment as a fabric designer and graphic ornamentalist, which culminated in his first important project, the illustrations for Histoire des quatre fils Aymon (1883). Grasset worked in collaboration with Charles Gillot, the inventor of photo-relief printing and an influential collector of Oriental and decorative arts, in the production of this major work of Art Nouveau book design and of color photomechanical illustration. Grasset used a combination of medieval and Near Eastern decorative motifs to frame and embellish his illustrations, but most importantly he integrated text and imagery in an innovative manner which has had a lasting influence on book illustration. — Some of Grasset's students were Paul Follot, Augusto Giacometti, Pierre Roy, Eliseu Visconti, Paul Berthon. 1890 Charles (or Karel) Michel Maria Verlat, Antwerp Belgian painter and teacher, born on 24 November 1824. He studied at the Antwerp Academy. Joseph Lies was one of his teachers. Verlat was admitted to Ary Scheffer’s atelier at the École des Beaux-Arts in Paris in 1850. He discovered Delacroix in the museums and studios of Paris, but he remained Flemish at heart, particularly admiring the colors of Rubens’s Medici cycle in the Louvre. With his contemporary, Eugène Verboeckhoven, he became the heir to the Flemish tradition of genre painting in which animals were the main protagonists, capturing the subtle color and texture of fur with great exactitude (e.g. Pig and Donkey). He remained in Paris until 1868, and from 1869 to 1874 he taught at the Weimar Kunstschule. — The students of Verlat included Floris Arntzenius, Frank Bramley, Norman Garstin, Max Liebermann, Charles Mertens, Walter Frederick Osborne. 1879 Pierre Justin Ouvrié, French artist born on 19 January or May 1806.— {A son oeuvre on connait un Ouvrié, malheureusement je n'en trouve aucun échantillon sur l'Internet} ^ 1873 George-Henry Laporte, German painter born in 1799. — Arab Mare and Foal with Attendant by a Ruined Temple (1835, 49x67cm) — [Quand des rivaux arrivaient chez lui, on leur montrait Laporte?] 1690 Antoni (or Anthonie) Waterlo (or Waterloo), Dutch painter, draftsman, and etcher, born on 06 May 1609. — [When did he come to his Waterloo, that I can find no examples of his work on the Internet?] — He was the son of a Flemish cloth-shearer who had fled to Amsterdam for religious reasons. In 1640 Antoni married Cathalyna van der Dorp in Amsterdam, and between 1641 and 1651 they had six children. Although he is recorded as a ‘painter’ in the baptismal registers of his children, his work predominantly consists of landscape drawings and etchings. His earliest known dated work is a sheet depicting a View of the Blaauwbrug in Amsterdam (1649). 1657 Rafel Govertszoon Camphuysen, Dutch artist born in 1598. — Related? to Govert Dirckszoon Camphuysen [1623 – 04 Jul 1672 bur.]? |
| ^
Born on 23 October 1844:
Wilhelm Maria Hubertus Leibl, German painter
of portraits and genre scenes who died on 04 December 1900. He was one of
the most important German Realists of the late 19th century. Leibl entered the Munich Academy in 1864. He worked from 1866 to 1868 under Avon Ramberg and in 1869 under Karl von Piloty [01 Oct 1826 – 21 Jul 1886]. In 1870 he went to Paris to work with Gustave Courbet [10 Jun 1819 – 31 Dec 1877] but returned to Munich after only nine months because of the outbreak of the Franco-Prussian War. He resided in Munich for three years and then settled in a number of small villages in Bavaria (Berbling, 1878–1881; Aibling 1881–1892; and Kutterling 1892–1900), drawing on the local peasant life for subject matter. Leibl's painting was in opposition to the Romantic naturalism then prevalent in Germany. Like that of Courbet in France, Leibl's objective style was based on a direct, careful recording of nature, objects, figures, and situations. His most characteristic and popular works are from his “Holbein period,” about 1870–1880 (e.g., Three Women in Church, 1882). Later he abandoned the hard brilliance of his former works and drew softer outlines. He followed his own strong instinct for color, reproducing what he saw with a bold, sure touch (e.g., In the Kitchen, 1898). His superb technique enabled him to paint fluidly and broadly and yet to render detail with the utmost delicacy. — LINKS — Selbstbildnis (1871; 600x622pix, 143kb) — Schlafender Savoyardne Knabe (1869, 44x64cm; 600x884pix, 168kb _ ZOOM++ not recommended to blurry 1738x2560pix, 393kb) — Die Dorfpolitiker (1871; 693x901pix, 126kb _ ZOOM to 1400x1820pix) — Bauernmädchen mit weißem Kopftuch (1878; 600x456pix _ ZOOM to 1400x1064pix) — different Bauernmädchen mit weißem Kopftuch (1885, 25x23cm; 543x500pix, 72kb) — Das ungleiche Paar (1877, 16x62cm; 600x488pix _ ZOOM to 1400x1139pix) _ The painting depicts the old fisherman Lenz and Theresia Bauer, with whom Leibl had a brief and unhappy love affair. The two figures sit close together in the corner of a rustic room, facing the observer. The old, almost toothless man puts his arm loosely around the pretty young woman. At first sight, she seems to take his importunate manner in her stride. But the impression is false. Theresia holds the glass in her right hand at such an oblique angle that she could at any moment dump its contents, thereby ending abruptly the supposed idyll. However, Leibl was less interested in the moral dimension of this scene than in the opportunity it presented to depict an old and a young face next to each other. — Frau Gedon (1869, 120x96cm; 900x725pix, 81kb _ ZOOM to 1400x1128p
— Lina Kirchdorffer (1872; 118kb) — Wilhelm Trübner (1872; 127kb) |
Born on a 23 October: ^ 1920 Lygia Clark, Brazilian painter, sculptor, and performance artist, who died on 26 April 1988. She first studied painting with Roberto Burle Marx in Rio de Janeiro and in 1950 moved to Paris, where she completed her studies with Fernand Léger and Arpad Szènes [1900–]. Under the influence of Soviet Constructivism, the Bauhaus and Neo-plasticism, she abandoned her early figurative style for geometric abstraction, joining the Frente group on her return to Rio de Janeiro in 1954. Between 1954 and 1958 she produced two series of radical experiments in concrete art, Modulated Surfaces and Counter-reliefs. These were followed between 1959 and 1961 by Animals, metal sculptures which the spectator was free to rearrange. Her move to Europe in 1968, marked by a retrospective at the Venice Biennale, where she also showed her installation The House is the Body, confirmed her growing reputation in Europe. Before returning to Rio de Janeiro she taught a course at the Sorbonne, Paris, from 1970 to 1975, entitled Imagery of the Body. In her work she substituted flat surface with unrestricted space so as to invite the physical participation of the spectator, thereby encouraging the spontaneous rediscovery of the body and the transformation of behavior in art. 1910 Richard Mortensen, Copenhagen painter and stage designer who died on 12 January 1993. He studied at the art academy in Copenhagen from 1931 to 1932. In 1932 he visited Berlin with the painter Ejler Bille and saw paintings by Vasily Kandinsky, after which he began to make abstract pictures with pure, geometrical forms. He was also attracted by Surrealism and in his paintings of 1933–1934 sometimes incorporated fragments of reality, such as an eye and a pair of lips, in otherwise abstract compositions, which gave them a fantastic and erotic character. In 1934 he made some paintings that were purely Surrealist (influenced by Salvador Dalí and Yves Tanguy) as well as drawings of an automatist nature; his works were already exceptionally striking in color. 1898 Werner Scholz, German artist who died in 1982. ^ 1769 James Ward, English Romantic painter and engraver, specialized in animals. He died on 23 (17?) November 1859. He was the most important animal painter of his generation. Many of his dynamic compositions depict horses, dogs or wild animals in agitated emotional states, the sense of movement being reinforced by vigorous brushwork and strong colors. With their sweeping landscapes and dramatic skies, his canvases epitomize Romanticism. Not content to excel merely as an animal painter, Ward also produced portraits, landscapes and genre and history paintings of varying quality. A prolific artist, he was a frequent exhibitor at the British Institution and at the Royal Academy, London. — William Say was a student of Ward. — LINKS — Miranda and Caliban — Sheep 1677 Giuseppe Antonio Petrini (or Pietrini), Swiss painter who died in 1758. Now considered one of the most gifted and original artists of the Baroque from the Ticino, he was almost totally unknown before the exhibition of his work held at Lugano in 1960. However, neither a precise chronology of his life nor a comprehensive catalogue of his paintings has yet been established. He studied with Bartolomeo Guidobono after 1700. His early works also suggest other Lombard, Venetian and Roman influences. His late works imply a knowledge of mystic Spanish painting, especially in the austere settings he favored. He painted works in Como, Bergamo and perhaps Milan, but most of his pictures are located in Lugano and the surrounding area. He is also listed in at least three documents between 1711 and 1753 as fabbriciere of the church of Madonna d’Onegro, Carona, suggesting he had some architectural training. |
site safe for children 
—
‘Ehrenstrahl’ was an honorific title received on his ennoblement in Sweden
in 1674; his eventual appointment as court steward there in 1690 reflects
his status as a founding father of Swedish painting. He initially studied
in the Netherlands (1648–1650), but his early works, stylistically undecided,
reflect contemporary German painting. Such a work is his equestrian portrait
of Field Marshal Carl Gustaf Wrangel (1652), in whose service
he went to Sweden in 1651. In 1654 he went to study in Italy. In Rome
he learnt from Pietro da Cortona’s allegories and his mastery of compositional
devices, movement, color, light and shade. From there he went to Paris,
where he became acquainted with the work and career of Charles Le Brun.
When Klöcker returned to Sweden in 1661, the influence of Hedvig
Eleanora, the Queen Mother, secured him a position as a court painter.