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ART “4” “2”-DAY  14 April v.9.30
^ Born on 14 April 1724: Gabriel Jacques de Saint~Aubin, French painter, draftsman, and etcher, who died on 14 February 1780. — Son of royal embroiderer Gabriel-Germain de Saint~Aubin [1696-1756], brother of Charles-Germain de Saint-Aubin [17 Jan 1721 – 06 Mar 1786], Augustin de Saint~Aubin [03 Jan 1736 – 09 Nov 1807], and Sèvres porcelain designer Louis~Michel de Saint~Aubin.
— De Saint-Aubin studied under François Boucher [29 Sep 1703 – 30 May 1770]. De Saint-Aubin's drawings include figure studies, genre-like works, and landscapes. He also studied under the painters Etienne Jeaurat [09 Feb 1699 – 14 Dec 1789] and Hyacinthe Colin de Vermont, but failed three times to win the Prix de Rome. He broke with the Académie Royale, preferring to support and exhibit at the Académie de Saint Luc. Although he continued to paint such pictures as A Street Show in Paris (1760), he is best known as a draftsman and etcher.
      He was a passionate and unconventional observer of the sights of the Paris streets and of the social scene. He was a man who drew at all times and in all places. His contemporary Jean-Baptiste Greuze [1725-1805] spoke of his ‘priapism of draftsmanship’.
      In his many drawings he combined pencil, black and red chalk, bistre, ink and watercolor to create dazzling spontaneous effects. He drew incidents that struck him as he wandered the streets, or entertainments that he attended. He recorded them, noting dates and times, in sketchbooks or sometimes in the margins and blank pages of printed books that he was carrying (such as a volume of the poems of Jean-Michel Sedaine).
      These drawings of contemporary incidents include The Fire at the Foire Saint-Germain on the Night of 16–17 May 1762 and The Crowning of Voltaire at the Théâtre-Français in 1778 . He went regularly to the Salon of the Académie Royale and to art sales, covering the margins and flyleaves of his sale catalogues and Salon livrets with tiny sketches of works of art and the passing scene. One hundred of these illustrated catalogues were among his effects when he died, and of these about a third survive. These include the livrets for the Salons of 1761, 1769 and 1777, as well as the catalogues of the sales of Louis-Michel van Loo [1707-1771] in 1772 and Charles Natoire [1700-1777] in 1778, and that of Pierre-Jean Mariette in 1775. Together with his etchings and large watercolors of the Louvre’s Salon Carré at the time of the exhibitions of 1753, 1767 and 1769, they constitute a precious record of Paris art life in the 18th century.

La Promenade (600x483pix _ ZOOM to 1400x1128pix, 466kb)
Le Salon de 1765 (1765, 25x46cm)
Cabinet of a Connoisseur (25x40cm; 390x661pix, 176kb gif).
^ Born on 14 April 1898: Abraham Mintchine, Jewish Ukrainian painter who died on 25 April 1931. — {Was he also known as Greenbeard?} {Est-ce pour éviter d'avoir à peindre mainte machine, que Mintchine a quitté l'Union Soviétique, qui lui avait ruiné la santé?}
— In 1911 he became an apprentice with a goldsmith. He started to paint in 1914 and may have been a student of Alexandra Exter at the Kiev Academy. After Simon Petlyura [17 May 1879 – 26 May 1926, assassinated in Paris by Shalom Shvartsbard in revenge for his persecution of Jews] came to power in January 1919 in the independent Ukrainian republic that emerged after the collapse of the Russian empire, the persecution of Jews, the pogroms, and then the Soviet rule that came after the 18 March 1921 Polish-Russian treaty of Riga and the exile of Petlyura, all took their toll on Mintchine's health. He contracted tuberculosis.
      Mintchine left the Soviet Union in 1923 for Berlin, where he drew costumes and backgrounds for the Jewish theater. He held an exhibition of his paintings, of a style close to Cubism, in Berlin in 1925. None of his artwork of that period has survived. He settled in Paris in February 1926, where he continued to suffer from tuberculosis, but he was beginning to be appreciated when he died of a heart attack.

Enfant avec arlequin (81x60cm) _ Bonnet rose, chaise cannée et veste mordorée, les culottes sont courtes mais les chaussettes hautes: l' arlequin de chiffon s' étire entre les mains de l' enfant ravi.
Jeune paysan sous le chêne (116x89cm) _ L'olivier et la vigne recueillent le sommeil de l'homme aux pieds nus.
Fille de Louise Manteau (92x73cm) _ La fillette princière présente son large chapeau rouge bordé de noir et son chien noir, aux yeux rouges.
Irene Mintchine (73x100cm) _ La lumière de l' ange doré veille sur le berceau d'Irène, le bébé de Mintchine né en 1928.
Pierrot (92x60cm) _ Pierrot, au chapeau ailé, présente, avec mélancolie; un, deux, trois coquillages roses sur la table de ses rêves.
Vase de fleurs (65x54cm) _ Dix fleurs des champs bataillent dans le pichet brun. — d'autres Fleurs (1930)
Vue de Paris (65x92cm)
Le buveur (100x65cm)
Nu (80x54cm)
Paysage (19x24cm)
Joute aquatique (89x116cm)
Figure allégorique (65x54cm)
Le colporteur (92x65cm)
Portrait d'homme (92x73cm)
Flowers and Birds (81x60cm)
A boating scene (60x81cm) 

Died on a 14 April:

2001 Hiroshi Teshigahara [28 Jan 1927–], Japanese painter and film director. —(090413)

^ 1861 Utagawa Kuniyoshi, born Igusa Magosaburo on 01 January 1798, Japanese painter and printmaker of the ukiyo-e (“pictures of the floating world”) movement. Like his rival Utagawa Kunisada [1786 – 13 Jan 1865], Kuniyoshi was a student of Utagawa Toyokuni [1769 – 24 Feb 1825]. He established his fame as the designer of musha-e (“warrior prints”) with his series of prints entitled Tsuzoku Suikoden goketsu hyakuhachinin (“One Hundred and Eight Popular Warrior Heroes from Shui-hu ch'uan”), published in about 1827. He also produced landscapes, frequently using Western perspective. Among the most famous of these are the 10-print series Toto meisho (“Famous Sights of Edo”) and the five-print series Toto Fujimi sanjurokkei (“Thirty-six Sites in Edo Overlooking Mount Fuji”). — LINKS
Ayus Swimming Upstream with Hagi Branch (woodblock print; 95kb)
Catfish (woodblock print; 71kb)
On the Banks of the Sumida in Mimayagashi (1833 woodblock print; 156kb)
Fuji in the Evening as Seen from Sumida Zutsumi (1848, woodblock print;. 160kb) from Toto Fujimi sanjurokkei.Fan print of a beauty _ Ukiyo-e prints, such as this one, in the shape of a fan, could be cut out and then used as a fan. Kuniyoshi's folksy depictions of women were very popular.
— (Man Overboard?) —(060315)

Born on a 14 April:

>1911 Emilio Grau Sala [–1975], Catalan painter of the École de Paris, son of draftsman Grau Miró and husband of painter Ángeles Santos. — LINKS
Devant la Fenêtre (1969, 35x46cm; 942x1174pix, 315kb)
Les cavaliers avant la course (1957, 36x73cm; 376x800pix, 76kb)
— Frutero sobre mantel de cuadros (46x38cm) —(090413)

^ >1895 Emil Ganso, German-born US artist who died on 18 April 1941. — LINKS
Boathouse (1930, 11 3/4 x 16 inches; 581x800pix, 130kb)
–- The Bather (600x416pix including large frame, 55kb) entering a bathtub, she is seen from the rear. Since the frame takes such a large portion of the image, the pseudonymous Emillion Gancho has discarded the pallid central picture and metamorphosed the frame into the colorful and intricate twin abstractions
      _ No Bather (2007; 775x1096pix, 507kb _ ZOOM to 1096x1550pix, 1012kb _ ZOOM+ to 1864x2636pix, 2721kb) and
      _ No Bother (2007; 775x1096pix, 507kb _ ZOOM to 1096x1550pix, 1012kb _ ZOOM+ to 1864x2636pix, 2721kb) —(070413)

^ 1856 Georges Jules Auguste Caïn, French artist who died on 04 March 1919. — {Why was his mother such a rowdy person? — Because she raised Caïn}{Why didn't Caïn produce more good artwork, worthy to be shown on the Internet? — Because he wasn't as able as Abel [22 Aug 1764 – 04 Oct 1818], even though it seems that Able wasn't able to produce artwork worthy of the Internet.}— Son? or nephew? of sculptor and designer Auguste-Nicolas Caïn [10 Nov 1821 – 06 Aug 1894]?
A Barricade of 1830 (1889, illustration on page 35 of the book World's Columbian Exposition – MDCCCXCIII – Art and Architecture, by William Walton).

^ 1852 Jacob Isaac Meyer van Haan, Dutch painter who died on 24 October 1895. He was born into a well-to-do manufacturer’s family, from whom he inherited a great interest in painting. His earliest known paintings, in the style of David Teniers and Rembrandt, are somewhat anecdotal in nature and reflect his Jewish background. One of these works, Uriel Acosta (1888), caused such displeasure in orthodox Jewish circles that Meyer de Haan left for Paris in October 1888 with a monthly allowance from his family. There he stayed with the art dealer Theo van Gogh [01 May 1857 – 25 Jan 1891] for some months. In May 1889 he traveled to Brittany, where in Pont-Aven he became friendly with Paul Gauguin [07 Jun 1848 – 08 May 1903]. During the winter of 1889–1890 Gauguin and Meyer de Haan lived, at the latter’s expense, in Marie Henry’s inn in Le Pouldu, where Meyer de Haan rented a studio for the two of them and decorated the dining-room with murals; for example Breton Women Stretching Hemp (1889). The withdrawal of his family allowance and a sudden illness seem to have prevented Meyer de Haan from following Gauguin to Tahiti in early 1891. He probably returned to the Netherlands in 1891 where he continued to suffer from the ill-health that precipitated his early death.

1818 Carl Hilgers, Düsseldorf painter who died on 03 December 1890. From 1833 to 1844 he attended the Staatliche Kunstakademie in Düsseldorf as a master student of Johann Wilhelm Schirmer [05 Sep 1807 – 11 Sep 1863]. Apart from a four-year residency in Berlin, he lived almost continuously in Düsseldorf, though he made several study trips to other parts of Germany and to Belgium, the Netherlands and France. He was one of the best-known painters of the Düsseldorf school, as is indicated by the full-length portrait (1850) of him by Johann Peter Hasenclever [18 May 1810 – 16 Dec 1853]. He was praised by his contemporaries for his free brushwork and his sure mastery of technique, which may be compared to the work of his fellow Düsseldorf painter Caspar Scheuren [1810-1887]. As subject-matter Hilgers favored atmospheric, mist-shrouded winter landscapes based in part on localities in and around Düsseldorf (e.g. the Wasserburg in Winter, 1845, and the Conradsheim in Winter, 1890), the romantic character of which is heightened by the incidental figures. After his death, the popularity of his paintings rapidly declined, and he was quickly forgotten.

>1803 Friedrich von Amerling, Austrian artist who died on 15 January 1887. He came from a family of craftsmen and studied (1815–1824) at the Akademie der bildenden Künste, Vienna, where one of his teachers was the conservative history painter Hubert Maurer [1738–1818]. From 1824 to 1826 he attended the Academy in Prague, where he was taught by Josef Bergler II [01 May 1753 – 25 Jun 1829]. In 1827 and 1828 Amerling stayed in London, and he met the portrait painter Sir Thomas Lawrence [13 Apr 1769 – 07 Jan 1830], whose work was to be a strong influence on Amerling’s painting during the next two decades. Amerling also traveled to Paris and Rome but was recalled to Vienna on an official commission to paint a life-size portrait of the emperor Francis I of Austria. With this work, Amerling became the most sought-after portrait painter in Vienna, a position he was to retain for about 15 years.
Self-Portrait (2500x1986pix, 608kb) _ There are 27 self-portraits of the artist. This intensive exploration of his own (mirror) image which was carried out over more than 50 years has few parallels in the history of art. A late work, painted only a few years before his death, this self-portrait closely resembles his plaster death mask and is almost identical to a second version. This painting is notable in particular for its incredible vitality and expressiveness: the artist could hardly have rendered the hair and beard in a more lifelike manner, accentuated by the incident light falling from the upper left. The artist has painted himself in three-quarter profile, gazing out of the picture into the distance. —(090114)

1800 Ange-Louis-Guillaume Lesourd-Beauregard, French artist who died in 1885.

1787 Jean Victor Schnetz, French painter and printmaker who died on 16 March 1870. He trained first under Jacques-Louis David and then under Jean-Baptiste Regnault, Antoine-Jean Gros, and François Gérard. Schnetz made his début at the Salon in 1808 and exhibited there until 1867. It was in 1819 however that he established his reputation by winning the gold medal for history painting. The following year he exhibited one of his most important paintings, A Gypsy Predicting the Future of Sixte-Quint (1820). After this there followed a number of paintings on historical and religious subjects such as General Condé at the Battle of Rocroy (1824), Eudes, Comte de Paris, and Raising the Siege of Paris in 886 (1837) and Procession of Crusaders around Jerusalem the Day Before the Taking of the Town, 14 July 1099 (1841). In all these works he took subjects of the type favored by the Romantics and enhanced their dramatic potential by the dominant use of reds and yellows. The paintings had however an underlying coolness resulting from his Neo-classical training under David, and their main importance lies in this bridging of the two schools of Romanticism and Neo-classicism.

1755 Simon-Joseph Denis den Schelen, Flemish artist who died on 01 Januaary 1813.

1588 Alessandro Varotan “il Padovanese”, Italian artist who died in 1648.
What's in a name? Dept.
Andrew Carpenter [1677 – Jul 1737] was a painter.
Margaret Sarah Geddes Carpenter [1793 – 13 Nov 1872] was a painter.
Francis Bicknell Carpenter [06 Aug 1830 – 23 May 1900] was a painter.
Grace Carpenter [21 Feb 1865 – 23 Mar 1937] was a painter (married to Davis .17 Sep 1984 - 16 Dec 1885 [divorce], then to Hudson 29 Apr 1890 - 18 Jan 1936 [his death])
Gilbert F. “Bert” Carpenter [14 Jul 1920 – 06 Jun 2003] was a painter.
Charles A. Painter [09 Mar 1881–] was a carpenter.

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updated Tuesday 14-Apr-2009 19:29 UT
Principal updates:
v.8.30 Tuesday 08-Apr-2008 23:18 UT
v.7.30 Thursday 12-Apr-2007 3:22 UT
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