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ART “4” “2”-DAY  17 April v.8.30
^ Born on 17 April 1852: Laura Theresa Epps Alma~Tadema, British painter and illustrator who died on 15 August 1909.
— Born in a family whose friends included such artists as Rossetti and Ford Madox Brown, at an early age she made copies from the Antique in the British Museum, London, and later studied at the British Museum School under William Cave Thomas [1820–1884] and William Bell Scott. In 1870 she began her studies under Lawrence Alma-Tadema [08 Jan 1836 – 28 Jun 1912], whose second wife she became in 1871. The principal subjects of her paintings are children at play, often placed in 17th-century Dutch settings, among Dutch furniture and accessories modeled on those in her husband’s collection. She emphasized everyday scenes in domestic interiors, as seen in Airs and Graces. Although the costumes and setting of this painting, as well as the general composition with the light coming from a window on the right, as in Sunshine, are characteristic of 17th-century Dutch works, the anecdotal sentiment conveyed by the pretty, graceful girls dancing vainly is thoroughly Victorian in feeling. She also painted children in contemporary settings, portraits of children (mainly in pastel), still-lifes (e.g. Still-life with a Self-portrait) and some Classical subjects. From 1873 she exhibited at the Royal Academy of Arts and in other galleries in London and elsewhere in Great Britain. She also showed in Berlin and Paris and in 1878 was one of only two women to be invited to participate in the Exposition Universelle in Paris, where she was awarded a silver medal. She also produced illustrations for the English Illustrated Magazine. She went frequently with her husband to Italy, where she made a number of small landscape studies, and to France, Belgium and the Netherlands. As she also signed her canvases L. Alma-Tadema, her paintings are sometimes confused with those of her husband. Her sister Ellen [Nellie] Gosse (fl 1879–1890) and her stepdaughter Anna Alma-Tadema [1865–1943] were also painters.


–- A Knock at the Door (1897, 64x45cm; 860x596pix, 59kb) _ This domestic interior, in which an elegantly dressed woman stands in front of a mirror, brings to mind similar Dutch scenes painted two centuries earlier. Details, such as the Delft tiles along the floor, the open casement window, and the date of 1684 on the calendar, serve as references to seventeenth-century Holland. Like its predecessors, the painting at first glance appears to be an allegory for domestic diligence, though its full meaning remains vague. As the title indicates, the woman has just heard a knock at the door, possibly from a suitor. She has dropped her embroidery on the chair and hurried to the mirror to check on her appearance.
Sunshine _ a young girl sitting on a window sill, looking out.
Gathering Pansies (33x24cm; 1452x1000pix, 427kb)
A Carol (38x23cm)
Queen Katherine of France (1888; 386x250pix, 56kb).
^ Died on 17 April (18 October?) 1679: Jan van Kessel II, Antwerp, Flanders, still life and flower Baroque painter, draftsman, and designer, baptized as an infant on 05 April 1626, sometimes designated as Jan van Kessel I, because he was the first painter of that name. But the real Jan van Kessel I was his grandfather, a draper. The father of Jan van Kessel II was the painter Hieronymus (= Jeroom) van Kessel [06 Oct 1578 bapt. – 1636+]. David Teniers the Younger [15 Dec 1610 – 25 Apr 1690] was the uncle-in-law of Jan van Kessel II, having married in 1637 his mother's sister Anna Brueghel. The Dutch landscape artist Jan van Kessel [1641 – 24 Dec 1680] was apparently unrelated.
— Jan van Kessel II of Antwerp was the son of the painter Hieronymus van Kessel and the grandson of Jan Brueghel. Van Kessel specialized in small oil paintings on copper and wood. Jan van Kessel painted many animals (especially insects) and flowers, as well as some mythological and biblical scenes. His choice of subject leaned towards those which included animals and plants; for example, he painted Noah's Ark.
— Jan van Kessel II began his training as a painter in 1635 with Simon de Vos [28 Oct 1603 – 15 Oct 1676] and was also taught by his uncle Jan Breughel II [13 Sep 1601 – 01 Sep 1678]. In 1645 he was registered in the Antwerp Guild of Saint Luke as a flower painter, but he also depicted, in both oil and watercolor, animals, birds, fish and insects, as well as a variety of still-life subjects. He continued the traditions of his maternal grandfather, Jan I “Velvet” Brueghel [1568 – 13 Jan 1625], and was also influenced by Daniel Seghers [05 Dec 1590 – 02 Nov 1661]. Van Kessel painted garlands and bouquets of flowers, but is best known for small, jewel-like pictures, often on copper, of insects or shells against a light background, executed with strong color and great exactitude.
     At his marriage to Maria van Apshoven [–1678] in 1647, one of the witnesses was his uncle David Teniers II, who had married Breughel’s daughter Anna ten years previously. In 1655 Jan van Kessel II bought a house opposite the cemetery of the Saint Joriskerk in Antwerp, but by the end of his life all his possessions were heavily mortgaged in order to pay off his debts.
     Jan II taught two of his seven sons to paint, Ferdinand van Kessel [07 Apr 1648 – 1696], who painted in the style of his father, and Jan van Kessel III [1654-1708] (aka, erroneously, Jan van Kessel II)., who followed in the portrait tradition of his grandfather.

Insects and Fruit (11x16cm) _ In this painting on copper, a caterpillar is crawling over a small branch, surrounded by butterflies and other insects. Although this painting appears to be a realistic still life, it is actually more like a sampler. The small animals are accurately depicted, only the relation between them and the space around them is not entirely precise. This kind of painting was probably specially intended for people who had a scientific interest in plants and animals. These detailed studies were often produced as prints.
Insects (1660; 600x864pix _ ZOOM to 1400x2016pix)
The Animals (1660, 175x123cm) _ This triptychon contains 40 sections (17x23cm each). The animals are placed in a setting (Netherlandish, mountainous, exotic) corresponding to the species. (8 rows of 5 separate pictures each, tiny in the reproduction)
The Mockery of the Owl (170x234cm) _ The fully-fledged animal painting emerged in the late 16th century with the rise of biological research and collections of rare creatures. Jan van Kessel in The Mockery of the Owl demonstrates a thorough knowledge of exotic animals. The artist uses a narrative subject as a vehicle for painting his animals.
Still-Life (42x77cm) _ This Antwerp artist's teacher and uncle was Jan Brueghel the Younger, and therefore he was a direct descendant on his mother's side from Pieter the Elder [1525-1569] and Jan the Elder (“Velvet”). He painted chiefly still-lifes, frequently representing food laid out sumptuously on light-colored tables and depicted with the delicacy of a miniaturist, using lively colors of a predominately red tint laid on with the tip of the brush. The documentary, informative, educational, and communicative function of these richly laid tables, in which the individual objects are simply added on and depicted from a slightly raised viewpoint, is combined with the evident intention of demonstrating the affluence of the wealthy patrons of these works. It is also possible to discern allegorical intentions alluding to the five senses or the four elements, but while such an interpretation is quite plausible, the principal aim is a purely aesthetic one, offering this profusion of beautiful objects, rendered with exquisite skill, as a simple feast for the eyes. There is a companion piece to this painting, a variation on the same theme.
Still Life with Fruit and Shellfish (1653)
Africa (central panel, detail) (1666)
Europe (central panel, detail) (1666)
6 prints at FAMSF
^ Born on 17 April 1833: George Vicat Cole, English painter who died on 06 April 1893. — {He must have favored Cole colors, especially coal black.}
— The eldest son of the landscape painter George Cole [1810–1883] and Eliza Vicat, he worked in his father’s studio in Portsmouth copying, in black and white, engravings after Turner, Constable and Cox. He accompanied George Cole on sketching tours, visiting the Moselle region in 1851. His work was first exhibited at the British Institution in 1852, and later that year his family moved to London. He married Mary Ann Chignell in 1856. In 1853 two of his works were accepted by the Royal Academy, where he continued to exhibit until 1892. He was a regular exhibitor at the Society of British Artists, of which he became a member in 1858. He was elected ARA in 1870 and RA in 1880.
— George Vicat Cole was born at Portsmouth, son of the landscape painter George Cole, and in his practice he followed his father's lead with marked success. He exhibited at the British Institution at the age of nineteen, and was first represented at the Royal Academy in 1853. His election as an associate of this institution took place in 1870, and he became an Academician ten years later. He died in London. The wide popularity of his work was due partly to the simple directness of his technical method, and partly to his habitual choice of attractive material. Most of his subjects were found in the counties of Surrey and Sussex, and along the banks of the Thames.

Autumn Morning
On Holmbury Hill
On the Tamar, Devon (1875)
On the Run (1869, 66x102cm)
Deer in a Woodland Glade (1862, 91x122cm)
A Welsh Landscape (1859, 104x153cm)
The Swan at Pangbourne (57x77cm)
The Pool of London (1888, 1950x305cm)
^ >Died on 17 April 1970: Domenico Gnoli II, Italian painter and stage designer born on 03 (02?) May 1933.
      His interest in art was encouraged by his father, the art historian Umberto Gnoli, and his mother, the painter and ceramicist Annie de Garon, but his only training consisted of lessons in drawing and printmaking from the Italian painter and printmaker Carlo Alberto Petrucci [1881–]. After holding his first one-man exhibition in 1950, he studied stage design briefly in 1952 at the Accademia di Belle Arti in Rome; he enjoyed immediate success in this field, for example designing a production of William Shakespeare’s As You Like It for the Old Vic Theatre in London in 1955.
     He then began to live part-time in New York, where he began to work as an illustrator for magazines such as Sports Illustrated. During this period he drew inspiration from earlier art, especially from master printers such as Jacques Callot and Hogarth, from whom he derived his taste for compositions enlivened by large numbers of figures stylized to the point of caricature. In other works he emphasized the patterns of textiles or walls, boldly succumbing to the seduction of manual dexterity and fantasy in a style that was completely out of step with the prevailing trends of the 1950s.
— Nato a Roma, Domenico Gnoli comincia giovanissimo la sua carriera come scenografo e illustratore, lavorando per importanti riviste e per l’editoria. In seguito a lunghi soggiorni a Londra, New York, Parigi, dopo il 1955 si dedica alla pittura, iniziando così anche un’intensa attività espositiva in prestigiose gallerie e musei europei e americani. Nel 1962 l’amico Ben Jakober lo convince a trasferirsi nella capitale francese, dove incontra la pittrice Yannick Vu che diventerà sua moglie. Qui ha la possibilità di intrecciare importanti relazioni che lo inseriranno nel circuito del mercato internazionale. Proseguono numerose le mostre che lo portano a viaggiare, soprattutto all’estero, e ad affermarsi come uno dei più ricercati protagonisti dell’arte figurativa degli anni Sessanta. Dopo una breve malattia, muore prematuramente a New York.

Senza Natura Morta n.1 (1966) _ a tablecloth covered round table top with nothing on it. _ This has been carried to the ultimate by the pseudonymous Don Enrico Gnauli dei Ignobili in his
      _ Senza Niente aka Without a Polar Bear Attempting to Break Into an Abandoned Igloo During a Snow Storm White-Out in the Arctic (2006; screen filling, 1kb _ ZOOM to 93'200x65'900pix, 1kb) and
      _ Senza Natura Morta, Senza Tavolo, Senza Tovaglia, Senza Sforzo, Senza Significato, Senza Arte, Senza Tutto aka Without the Caged Raven Which Was Substituting For a Canari as Poison Gas Detector in an Coal Mine Tunnel Six Hundred Meters Underground, After the Raven Died Signaling a Gas Leak and, Contrary to What Happens All Too Often in Similar Situations, Every Single Miner Fled Unhurt to Safety, Following Which the Lights Failed, a Tremendous Explosion Was Heard, and the Tunnel Collapsed, at Midnight on a Moonless Night Under a Heavily Overcast Sky (2006; screen filling, 1kb _ ZOOM to 93'200x65'900pix, 1kb).
Poltrona (1967, 203x143cm; 800x556pix, 158kb) _ Gnauli has doubled this picture and modified it to become
      _ L'insouciant et le poltron (2006; screen filling, 206kb _ ZOOM to 932x1318pix, 509kb) which he has further evolved into the much more colorful, intricate, and interesting symmetrical abstractions
      _ Paul trôna aka Pooch Coop (2006; screen filling, 358kb _ ZOOM to 1318x1864pix, 1934kb) and
      _ Pot, le trône aka Loop Spool (2006; screen filling, 389kb _ ZOOM to 1318x1864pix, 1752kb).
–- Le Bouton (900x597pix, 54kb) _ The button has been duplicated in a brighter color in Gnauli's otherwise abstract
      _ But On No Tub (2006; screen filling, 306kb _ ZOOM to 932x1318pix, 817kb)
–- Pelliccia (900x565pix, 89kb) almost monochrome _ Gnauli has put the button (preceding image) on the coat and given bright colors to Gnoli's dull images, resulting in
      _ Boutonné aka Ton Bouton (2006; screen filling, 244kb _ ZOOM to 932x1318pix, 411kb). Then he has surpassed himself by metamorphosing this into the splendid symmetrical abstraction
      _ Pas le taux aka Leper Repel (2006; screen filling, 351kb _ ZOOM to 1318x1864pix, 1509kb)
–- Shoulder (510x446pix, 18kb) of a business suit, a picture suitable at best for an advertisement of men's clothing.
La cravatta (1967; 439x225pix, 15kb) same remark as above. Gnauli was provoked into combining these two pictures and transforming them into the colorful abstraction
      _ Should Her Craving for Him Wearing a Tie on His Shoulder Be Repressed? aka Deity Tied (2006; screen filling, 361kb _ ZOOM to 932x1318pix, 921kb).
La mela
Il ricciolo.

Died on a 17 April:

2007 Michael Malone “Rollo Banks” [25 Apr 1942–], US tattoo artist and painter, shoots himself after a long illness. — Not to be confused with Michael John Malone [23 Oct 1939~], bishop of Maitland-Newcastle, Australia, sine. 03 November 1995. —(080417)

^ 1824 William Ashford, British painter born in 1746. Although he was later to become one of Ireland’s finest landscape painters, Ashford did not go to Ireland until 1764, when he took up an appointment at the Ordnance Office in Dublin. He worked at the office for over 20 years and traveled widely throughout the country. His earliest known works as a painter date from 1767 when he exhibited two flower pieces at the Dublin Society of Arts. He exhibited his first landscapes in 1772 and was awarded the second premium from the Dublin Society. One of these exhibits, the earliest known example of the country house views for which he later became so celebrated, was a view of Mount Kennedy, General Cunningham’s great house near Dublin (later view of the house, 1785). The next year he exhibited seven further paintings and won the Society’s first prize. In 1775 he made his first appearance at the Royal Academy in London, where at various dates until 1811 he exhibited a total of 25 works, mainly Irish landscapes. He left the Dublin Ordnance Office in about 1788 and traveled to London via North Wales, and for two years his exhibits in London included a number of Welsh views.
The Scalp in the County of Wicklow (38x50cm; 881x1158pix, 69kb) _ featuring a distinctive rock, surrounded by a pastoral romance, goats, sheep, and travelers.

^ 1672 François Garnier, French painter born in 1600. Garnier was first recorded in Paris in 1627. The celebrated Louise Moillon [1610-1696] was his daughter-in-law. His work is careful and realistic, and close to that of Jacques Linard [1600-1645]. His type of realism can be found much later in the century, in the work of the equally obscure Dutch artist, Adriaen Coorte [1660-1707].
Cherries and Gooseberries on a Table (1644, 24x35 cm, 614x943pix, 89kb) _ ZOOM to 1400x2040pix) _ Garnier comes close to Moillon in this painting, but his sense of the picturesque quality of the fruits and leaves hanging from their branches is obvious, whereas Moillon never allowed such charm to intrude on her distillations of banal subject-matter.
Nature morte au plat de cerises sous des feuilles de châtaigner (31x43cm; 388x500pix, 78kb)

Born on a 17 April:

^ 1862 Arnaldo Ferraguti, Italian artist who died in 1925. — {Was he known as “Iron Guts”?} — He studied in Naples and was a student of D. Morelli.
Alpigiana della Valle dell'Ossola (356x282pix, 13kb)

^ 1729 Johannes Janson, Dutch artist who died on 01 April 1784. Janson was sent from Indonesia to Holland at the age of eight and apprenticed to the army's engineering section. After resigning his military functions, he settled in Leyden and was listed in its guild in 1761 under the name of Jacobus. Janson is known for his idyllic landscapes filled with animals and village scenes, painted in the style of seventeenth-century Dutch artists such as Paulus Potter, whose paintings he copied. He also often used dramatic receding perspective to create rapid movement into spatial depth. Many of Janson's patrons were members of Leyden's upper middle class who wanted a painted visual record of their formal gardens on canvas. Janson also made landscape etchings after his drawings.
A Formal Garden (1766, 52x72cm; 466x640pix, 81kb) _ Prosperous eighteenth-century Dutch citizens were so proud of their gardens that they hired artists like Johannes Janson to record them for posterity. The estate shown here may have been located in the province of Noordholland, north of Amsterdam. The picture shows the wealth and the sophisticated leisure afforded by the estate: the promenade at left leads to farmland, while the path at right leads to a shipping scene, two primary sources of Holland's prosperity. The flower gardens in the foreground form a broderie parterre, literally "embroidery flower bed"; these gardens were often designed by the same artists who made drawings for bedspreads, bed hangings, and other items. They were not filled with flowers but with a contrasting soil or gravel, neatly framed with small box plants.
A Winter Scene with Figures Skating and Carousing by a Tent in the foreground (27x34cm; 400x500pix, 34kb)

^ 1644 (infant baptism) Abraham Sturckenburch “Storck”, Amsterdam Dutch landscape and marine painter who would be buried on 08 April 1708. Like his father and three brothers, all artists, he inherited the surname Sturckenburch; but he changed it to Storck about 1688. Considered the best of them all, he lived and worked in Amsterdam where he entered the Guild of Saint Luke before establishing an independent studio. Its prolific production of fashionable harbor scenes and topographical views required the employment of assistants, and this contributed to an uneven quality in his works. Other artists had significant influence on him. He seems to have learned the detailed portrayal of ships from the van de Veldes and modelled some of his battle and winter scenes on Jan Abrahamszoon Beerstraten. In Storck’s paintings prominence is typically given to vessels; their large silhouettes fill a greater part of the composition and are complemented by considerable human activity, be it military action, whale fishing or other staffage. Storck also produced colorful depictions of marine parades. One such painting commemorates the Mock Battle Staged for Peter the Great on the River IJ on the occasion of the Tsar’s visit to Holland in 1697. Views of Mediterranean ports are yet another popular subject he pursued. The architecture of his Italian scenes and the color schemes he employed suggest that he relied on his imagination, and perhaps prints, rather than actual visits to the South. — No paintings are known by the Amsterdam painter Jan Jansz. Sturck, who later changed his name to Sturckenburch, but he had three sons, all painters, who used the name Sturckenburch until c. 1688, later calling themselves Storck or Sturck. There are no surviving works by the eldest son, Johannes (c. 1630-1673). Abraham Storck, the youngest, was the best known of the three artists. He was a versatile artist, renowned for his marine paintings, topographical views and Italianate harbour scenes. His brother Jacobus Storck painted similar subjects, but his works are fewer and less accomplished. Both brothers' pictures are mainly of a modest size and painted on canvas more often than on panel. Abraham trained and worked with his father and became a member of the Guild of St Luke in Amsterdam. In 1694 he married Neeltje Pieters van Meyservelt, a surgeon's widow. His river and coastal scenes were greatly influenced by Ludolf Bakhuysen in the pictorial treatment of sky and water, as, for example, in the Shipping Scene and the Roads of Enkhuizen (1521). Abraham also absorbed influences from other well-known Amsterdam marine painters, notably Willem van de Velde the Younger and Jan Abrahamszoon Beerstraten. The Beerstraten and Storck families were close friends and distantly related by marriage. In his paintings of sea battles Abraham emulated Jan Beerstraten's somewhat crowded and agitated compositions. — LINKS
The Royal Prince and other vessels at the Four Days Fight, 11–14 June 1666 _ This depicts a battle between the Dutch and the British fleets in the English Channel, during the Second Anglo-Dutch War. In the foreground the Swiftsure with Berkeley sinks. On the right the grounded Prince Royal with admiral Ayscue surrenders by firing white smoke; admiral Michiel de Ruyter [24 March 1607 – 29 April 1676] on the Zeven Provinciën accepts. In between the Royal Charles can just be seen with a broken mast. The British fleet sustained the loss of 8000 men and 17 ships.
— a slightly different version: The Four Days' Battle (442x760pix, 57kb)
— a quite different version: The Four Days' Battle (1666, 95x128cm; 400x533pix, 50kb) _ The Dutch squadron's two principal ships, the Gouda and the Spiegel, appear toward the center of this version.
Shipping (1695, 682x800pix, 73kb)
11 images at the British National Maritime Museum

^ 1601 Frans Ykens (or Ijkens), Flemish painter specialized in Still Life, who died on a 27 February before 1693. — In 1613–1614 he was apprenticed to his uncle, the flower and still-life painter Osias Beert I [1580-1624], and he became a Master at Antwerp in 1630. According to his own declaration (1641), Ykens traveled in Provence after his apprenticeship, staying at Aix and Marseille. He married in 1635, purchased a house in 1651, and made a will in 1666. Most of his work is signed. — LINKS
Flower Still Life (1644) _ Like so many seventeenth-century still-life specialists, François Ykens studied flowers with a scientific scrutiny and represented them faithfully, yet he was interested in more than simple illustration. In this painting, Ykens drew the varied and intricate shapes with a lively sense of rhythm and movement. To enhance both the illusion of three-dimensional form and the clarity of details, he created a striking contrast between the dark, empty background and the brilliantly colored flowers. Because of its pictorial intensity, theatrical lighting and dynamic movement, the painting is typical of the Baroque period. Ykens's success with elegant floral compositions over an unusually long career made him a well-established figure who had many students. Peter Paul Rubens owned a number of still lifes by his friend Ykens.

^ 1539 Tobias Stimmer, Swiss draftsman, painter, and wood-engraver, who died on 14 (04?) January 1584. His early drawings (1557 and 1558) show surprising self-assurance and by the early 1560s were of extremely high quality, as is shown by Christ on the Cross (1561), Crucifixion (1562) and Squirrel Eating a Nut (1563), a brush drawing with white highlights in watercolor and bodycolor, notable for its naturalistic style and reminiscent of studies of nature by Albrecht Dürer. Stimmer's Self-portrait (1563), a pen and watercolor drawing in brown over a preparatory drawing in chalk, is a striking departure from the norm of self-portrayal: his head is bent down so that his right eye is completely obscured by his nose, a position that could hardly have been seen by looking in the mirror. In a second Self-portrait (1569) a pen drawing with white highlights, Stimmer posed with his head imperiously raised. He also produced a group of drawings for bannerets, for example Banneret of Berne (1569), a pen drawing with white highlights on a red ground.
— He was one of the 11 children of schoolmaster/calligrapher/painter Christoph Stimmer I [1490 – 23 Oct 1562], some of whose other sons were calligrapher Christoph Stimmer II [1522 – <Oct 1562), painter/etcher Abel Stimmer [07 Jun 1542 – 1606+], painter Gideon Stimmer [21 Aug 1545 – 1577], pattern-cutter Hans Christoffel Stimmer [17 March 1549 – >18 Jul 1578), painter Josias Stimmer [24 Feb 1555 – 1574+].
— Peter Paul Rubens described Tobias Stimmer's woodcuts as "a special jewel of our art," and Stimmer's fame in fact spread primarily through prints, both those he made and those he simply designed. The son of a schoolmaster and artist, Stimmer had at least five brothers who were artists. From 1565 he owned a workshop in Schaffhausen, designing everything from banners to escutcheons. Unfortunately, many of his paintings were large decorative schemes now destroyed and known only from drawings and written sources. His first major commission, frescoing the facade of a fine house, now reconstructed, shows Stimmer as a proud and majestic artist. He also painted portraits that display his interest in the sitter's psychology. In 1570 Stimmer moved to Strasbourg, where he illustrated anti-Catholic books and pamphlets, created chiaroscuro woodcuts, and made portraits. He also designed decorations for Strasbourg Cathedral's astronomical clock and was considered an authority on architecture and geometry. He widely influenced Swiss artists of the 1570s and 1580s, including Daniel Lindtmayer.
Thomas Erastus (283x200pix, 9kb)
Woman Playing a Flute (1575 woodcut; 728x565pix, 105kb) from a series of ten Women Musicians.
Cain And Abel (1576 woodcut)
Sacrifice Of Isaac (1576 woodcut)
John Casimir as a warlord (woodcut; 612x400pix, 82kb)
Prodigus (946x610pix, 1437kb png)
Holzschnitt (1580; 582x404pix, 170kb png)
A Bearded Man (1576 drawing, 11 3/4 x 8 3/16 in.; 479x354pix, 53kb) _ This middle-aged, as-yet-unidentified sitter wears the relatively unadorned costume of a burgher. A doublet buttons up his front to a high, ruffled collar. As interiors were poorly heated at this time, it became the fashion to keep hats on indoors as well as out, so a low, soft bonnet covers his head. After lightly outlining the form in black chalk, Tobias Stimmer drew in the face and beard in pen and brown ink and finally worked over the entire figure in black ink. His bold, fractured hatching lends a powerful sculptural quality to the hands. In the face, his strong linework, working together with the luminosity of the white of the paper, produces a powerful, forthright expression. The eyes, with their large, arresting irises, are particularly striking. Scholars assume that the drawing was made as an independent work of art as they can identify no existing painting or prints.
Sebastianus Münsters Cosmographischreiber [13x10cm; 428x340pix, 120kb] _ Sebastian Münster [20 Jan 1488 – 23 May 1552] was a German apostate Franciscan friar, cartographer, cosmographer, and Hebrew scholar whose Cosmographia (1544) was the earliest German description of the world and a major work in the revival of geographic thought in 16th-century Europe. He taught Hebrew at the University of Heidelberg and then, from 1529, in Basel .Münster edited the Hebrew Bible (2 vol., 1534–1535), which was accompanied by a literal Latin translation and a number of annotations. In 1540 he published a Latin edition of Ptolemy's Geographia, illustrated with 27 woodcut maps after Ptolemy and 21 of Münster's own design. Of about 40 editions of the Cosmographia printed in Germany, the 1550 edition, containing portraits, city views, and costume illustrations, is the most valued. His other works include Dictionarium trilingue of Latin, Greek, and Hebrew (1530), and Mappa Europae (1536)
was born in 1488 at Ingelheim, (Germany) and died in 1552 in Basel, (Switzerland).
The verses below this portrait read:
Ingelheim mein Geburts Stadt ist /
Heidelberg und Basel Lehr mit frist /
Gestirn kunst und Hebraisch sprach /
Mein Cosmographi mich rhümpt hernach.
Starb in Jar. 1 5 5 2

— // Anti-Catholic caricature prints: Gorgoneum Caput (1577; 528x602pix, 277kb gif) — Malchopapo: Der Unterschied zwischen Hl. Petrus und dem Papst (1577; 515x428pix, 145kb gif) — Barfüßige Minoriten zerreißen den verstorbenen Hl. Franziskus (1577; 478x869pix, 370kb gif) — Die Mühle des römischen Papsttums (1577; 506x651pix, 277kb gif) — Die kirchliche Hierarchie: zwei Äbte und ein Eremit (512x449pix, 176kb gif) — Die kirchliche Hierarchie: drei Mönche (517x490pix, 184kb gif) — Die kirchliche Hierarchie: Pilger, Vikar und Geißler (528x512pix, 207kb gif)

Happened on a 17 April:

2007 and 2006 Deadline for filing the income tax declaration in the US. To relieve the boredom of the process, the pseudonymous Intrefnew Cervys turned one of the IRS forms (PDF) into the colorful symmetrical abstractions
Infernal Revenant Spectral aka Dawn Wad (2006; screen filling, 290kb _ ZOOM to 1318x1864pix, 1167kb),
Intransigeantly Rejecting Servitude (2007; 775x1096pix, 372kb _ ZOOM to 1096x1550pix, 742kb _ ZOOM+ to 1700x2404pix, 1676kb _ ZOOM++ to 2636x3728pix, 3440kb) and
Incomprehensible Repulsive Stupidity (2007; 775x1096pix, 372kb _ ZOOM to 1096x1550pix, 742kb _ ZOOM+ to 1700x2404pix, 1676kb _ ZOOM++ to 2636x3728pix, 3440kb).. He did not send the pictures to the IRS. —(070415)

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updated Thursday 17-Apr-2008 17:43 UT
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