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ART “4” “2”-DAY  19 April v.9.10
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DEATH: 1870 SCHELFHOUT
BIRTHS: 1854 ANGRAND — 1869 MEHOFFER — 1849 GONZALÈS
^ Born on 19 April (29 April?) 1854: Charles Théophile Angrand, French Normand Pointillist painter who died on 01 April 1926. — {Même les moindre sujets, Angrand en grand les représentait?}
— He was trained at the Académie de Peinture et de Dessin in Rouen, where he won prizes. Although he failed to gain entry to the École des Beaux-Arts in Paris, Angrand began to win a controversial local reputation for canvases in a loosely Impressionist manner. In 1882 he secured a post as a school teacher at the Collège Chaptal in Paris. With this security he was able to make contacts in progressive artistic circles, and in 1884 he became a founder-member of the Salon des Indépendants. His paintings of this period depict rural interiors and kitchen gardens, combining the broken brushwork of Monet and Camille Pissarro with the tonal structure of Bastien-Lepage (e.g. In the Garden, 1884).
— Son of a country school teacher, Angrand was born in Criquetot-sur-Ouville, Normandy. He finished the École Municipale des Beaux-Arts in Rouen and first earned a living by giving lessons; his early works were influenced by Jean-Baptiste-Camille Corot.
     In 1882 Angrand moved to Paris and established friendly contacts with Seurat, Signac, Luce and Cross. Like his friends, he devoted much time to studying optical effects, the division of tone, and analyzed color and light. He made many pleine-air studies, worked with Seurat on the Island of Grande Jatte, painted landscapes and views of Parisian suburbs, using the pointillist technique.
      In 1884 and 1886 Angrand participated in the Salon des Indépendants, and, in 1889, in the exhibition of Belgium avant-garde group Les Vingt in Brussels. The death of his friend Seurat in 1891 was a great blow for Angrand. He moved to Normandy and led a solitary life there, even stopped painting for some time.
      Up to 1900 his painting of form became increasingly pointillist; In 1900 he set for experimenting with big rectangular brush-strokes. Unlike points they did not create the optic unity, their main advantage of them was intensity of color. Later he returned to an almost traditional technique with simple forms. Angrand participated in the Salon des Indépendants in irregular periods until his death. In his political views Angrand supported Anarchism, took part in illustrating Anarchist publications and helped them financially. Angrand died in Rouen.

LINKS
Wheat
The Harvesters (1892)
Couple dans la rue = Couple dans la rue (1887, 38x33cm) _ detail (600x800pix, 222kb) showing the pointillist brushwork of a small section.
The Western Railway Train Leaving Paris (1886, 75x92cm)
Meules de Foin en Normandie (16x24cm)
^ Born on 19 April (March?) 1869: Józef Mehoffer, Polish painter, printmaker, and decorative artist, who died on 08 July 1946. — {It would have been of no use for him to try to join the Teamsters, because when they asked his name, they would have understood him to say “Me, Hoffa.” and they would have dismissed him as an imposta.}
— Mehoffer was a student of Matejko in 1887 at the Cracow Fine Arts Academy; in 1890 he attended the Vienna Fine Arts, and in 1891-1896 attended the Academy Colarossi and the Paris Beaux-Arts. Wyspiaski, who studied with him, influenced him in his decorative work. Mehoffer illustrated magazines such as Zycie and Chimera and won a reputation as a designer of stained-glass. The great work of his life was the preparation of the cartoons for the stained-glass windows of the Cathedral of Saint Nicolas in Fribourg, Switzerland.
— From 1887 he studied at the School of Fine Arts in Kraków under Wladyslaw Luszczkiewicz [1828–1900] and Jan Matejko [24 Jun 1838 – 01 Nov 1893]. In 1889 Mehoffer and Stanislaw Wyspianski, as the two most talented students of the School, were engaged to assist Matejko in his decorative wall paintings for the Gothic Church of St Mary in Kraków. This work aroused Mehoffer’s interest in both fresco and stained glass. In 1889–1890 he studied at the Kunstakademie, Vienna, and in 1891 he visited Salzburg, Innsbruck, and Basle (where the work of Arnold Böcklin caught his imagination), eventually going to Paris. There he studied at the Académie Colarossi, at the École Nationale des Arts Décoratifs and, from 1892, in the atelier of Léon Bonnat at the École Nationale des Beaux-Arts. During his stay in Paris (1891–1896) he devoted much time to studying works by the Old Masters in the Louvre; he also studied architecture, making a tour of medieval cathedrals in France in 1893. He took an interest in current history painting and exhibitions of contemporary art, especially the paintings of Pierre Puvis de Chavannes and James Abbott McNeill Whistler. Mehoffer’s early works, such as Maternity (1894), Objects on a Mantelpiece (1895; both Poznan, N. Mus.) and Dance Naïve (1898), inspired by a theme from Paul Verlaine’s poem Les Ingénues, reveal the extent to which he had absorbed the characteristics of the Nabi artists, to whom he was drawn for their tendencies towards decorative synthesis, refined stylization and tasteful tonality. Mehoffer employed an expressionistic variant of Symbolism to create an atmosphere suggestive of unease and impending disaster, as in the painting La Gorge de Reusse (1897), as well as in the several versions from this period of The Muse.
— The students of Mehoffer included Stanislaw Czajkowzki [1878-1954], Henryk Dietrich [1889-1948], Jan Cybis [1897-1972], Marian Szczyrbula [1899-1942], Stanislaw Ignacy Witkiewicz [1885-1939], Jerzy Karszniewicz [1878-1945], Jan Walach [1884-1979].

LINKS
Autoportret (1894, 64x45cm; 800x644pix, 61kb)
Autoportret (1897; 35x27cm; 600x450pix, 42kb)
Autoportret (drawing; 434x600pix, 37kb)
Dziwny ogród (“The Strange Garden”) (1903, 217x208cm; 800x755pix, 154kb) _ In the midst of a dream garden where a toddler is taking his first steps watched fondly by his mother, the artist had introduced a giant Gallé-like dragonfly — a dramatic touch which serves to underscore the painting's message that happiness and indeed life itself are precarious things.
Place Pigalle, Paris (1894, 26x34cm; 616x800pix, 141kb)
Wisla pod Niepolomicami (1894; 405x800pix, 44kb)
Spiewaczka. Portret Wandy Janakowskiej (siostra zony Mehoffera) (1896, 192x132cm; 800x556pix, 78kb)
Rozmowa (1896, 99x175cm; 448x800pix, 52kb)
Wawóz - La Gorge d'Areuse (1897; 800x607pix, 74kb)
Rynek krakowski (1903; 55x69cm; 634x800pix, 107kb)
Portret zony artysty (1904, 147x80cm; 800x424pix, 65kb)
Portret zony, t.zw. ornatowy (1904; 800x367pix, 63kb)
Portret zony na tle laurów (182x164cm; 800x729pix, 96kb)
Portret zony artysty z pegazem (1913, 93x77cm; 800x661pix, 102kb)
Portret zony artysty (1913, 95x78cm; 800x652pix, 108kb)
Meduza I (1904, 49,5x35cm; 800x544pix, 51kb)
Meduza II (1904; 600x414pix, 56kb)
Dziewczynka góralska (1904, 50x35cm; 800x454pix, 57kb)
Europa jubilans (1905, 92x132cm; 542x800pix, 64kb)
Portret Izy z Gielgudów Teodorowej Axentowiczowej (1907, 95 x68cm; 800x558pix, 58kb)
Slonce majowe (1911, 95x78cm; 800x693pix, 140kb)
Kwiaty (“Flowers”) (1912, 82x55cm; 800x520pix, 119kb)
Mleczna droga (92x77cm; 800x668pix, 113kb)
Czerwona parasolka (1917, 68x51cm; 800x592pix, 124kb)
Ogród (“Garden”) (1920, 66x54cm; 800x641pix, 133kb)
Jezioro jesienia (68x51cm; 800x597pix, 148kb)
Powszechna Wystawa Sztuki Polskiej We Lwowie R:1910 (1910 Lwow expo poster; 909x587pix, 86kb)
The Artist's Wife (1904)
May Sun (1911)
// — Stained glass windows:
Marriage of the Virgin Mary and Saint Joseph (1891; 800x557pix, 103kb)
The Virgin Mary Visits Saint Elizabeth (1891; 800x557pix, 116kb)
“Take the Child and His Mother to Egypt” (1891; 800x550pix, 109kb)
“This Is Your Mother” (1891; 800x548pix, 106kb)
Narodziny Jezusa (800x603pix, 128kb)
Dzieje Krzyza Swietego (551x800pix, 106kb)
Vita - somnium breve (1904, 200x166cm; 800x773pix, 130kb)
History of the Holy Cross (1924)
^ Died on 19 April 1870: Andreas Schelfout, The Hague Dutch painter and watercolorist born on 16 February 1787.
— He was originally trained as a gilder and frame maker, and from 1811 to 1814 he was apprenticed to the decorative painter Joannes Henricus Albertus Antonius Breckenheijmer [1772–1856]. Schelfhout’s first mature painting, Landscape with Farm and Trees (1817) shows a thorough observation of nature and an interest in the detailed representation of foliage.
      Although Schelfhout was primarily a landscape painter, about 1820 he painted a narrative genre scene, The Courtyard, which was entirely in line with contemporary taste. Colorful staffage of busy fishermen also plays an important role in Beach View Near Scheveningen. The watercolor Royal Drive on the Beach at Scheveningen offers the same kind of lively image. In his later work Schelfhout often left the figure-painting to specialists, collaborating particularly with Joseph Jodocus Moerenhout [1801–1874] (The Falcon Hunt, 1841) and Pieter Gerardus van Os.
     Schelfhout was considered one the best landscape painters of his time. He trained several painters who later would become famous for their landscapes, such as Johan Bartold Jongkind, Jan Hendrik Weissenbruch, and Wijnand Nuyen. In his own work Schelfhout was inspired by the art of the Golden Century, especially by the landscapes of Jacob van Ruisdael [1628-1682] and Meindert Hobbema [1638-1709]. Schelfhout can be considered in a way as the last disciple of the 17th-century landscapists. However, toward the end of Schelfout's life, he began to lose the favor of the critics and of the public.
— Schelfhout’s reputation as the foremost painter of winter scenes was assured by 1848, as the critic for De Kunstkroyk enthused, ‘Schelfhout created this genre and no one equals him or will equal him; in this he waves the sceptre; to be able to throw open the door to his treasure chest of light and color is his magic alone, it is a gift neither inherited from nor able to be passed on to another.’
      Schelfhout’s winter scenes have a unique beauty, but they also build upon the grand tradition of the genre which had blossomed in the seventeenth century. Several Old Master painters had a huge influence upon his work. Hendrik van Avercamp [1555-1683] made the subject of skating a key theme in Dutch art; while Nicolaes Berchem [1620-1683] clearly inspired Schelfhout’s meticulous evocation of detail.
      Schelfhout’s engagement with the techniques of the panorama and the geometric theory of the golden section allowed him to develop perfectly balanced compositions. A frozen winter landscape employs a careful equilibration of contrasting perspectival vistas to create an extraordinary sense of harmony.

ANDREAS SCHELFHOUT 1787 – The Hague – 1870



— Andreas Schelfhout was one of the most important Dutch landscapists of the nineteenth century. He excelled in exquisitely detailed landscapes of the varied terrain of the Low Countries captured in every effect of light and weather. His particular gift for snow and ice scenes embellished with picturesque skaters means his winter paintings remain his most sought after subjects. He also painted summer landscapes, seascapes and beach scenes. Andreas Schelfhout’s style is characterised by bright naturalistic colours and loose, atmospheric brushwork.
      Schelfhout was born in The Hague and up until the age of twenty-four he worked for his father, Jean Baptiste Schelfhout, a gilder and framemaker from Ghent. His father recognised his artistic gifts and the young Andreas made his début at the 1811 Living Artists Exhibition in The Hague. For four years he became an apprentice of the stage designer Johannes Breckenheimer [1772-1856], who encouraged him to sketch both from the Old Masters and the picturesque surrounding countryside. In the early 1800’s he began to exhibit the winter landscapes that won him the greatest critical acclaim, marking the beginning of a long and successful career. His Gelderland landscape at sunset seen from a height in the vicinity of Oosterbeek was awarded a gold medal at the Antwerp Salon of 1819. He was married to Cornelia Gevers who bore him two daughters, Cornelia Maria and Maria Cornelia Margaritha.
      Andreas Schelfhout visited Paris in 1830 and was a member of the Pulchri Studio in The Hague. He also collaborated with other artists including Pieter Gerardus van Os [1776-1839], Joseph Moerenhout [1801-1874] and Jacobus Josephus Eeckhout [1793-1861], who added the staffage to his landscapes. Schelfhout also had an important impact as a teacher of the next generation of artists.
— The students of Schelfout included Charles Henri Joseph Leickert [1816-1907], Nicholaas Johannes Roosenboom [1805-1880], Willem Troost [1812-1893], Wijnand Nuyen, Raden Saleh. He also exerted an important influence on Johan Barthold Jongkind [1819-1891], one of the major forerunners of the Impressionists.

LINKS
The Country Road (38x49cm; 771x1000pix, 151kb _ ZOOM to 1156x1500pix, 175kb)
Figures in a winter landscape (53x71cm; 542x746pix, 53kb _ ZOOM to 813x1119pix, 55kb)
Winter Loggers (35x31cm; 905x809pix, 163kb)
A Summer Landscape With a Ferry (1857, 37x51cm)
Figures With a Horse Sledge on the Ice, a Town in the Distance (1849, 27x32cm)
Travelers in an Extensive Landscape (1846, 11x18cm)
A Panoramic River Landscape (48x66cm)
A Winter Landscape With Skaters on a Frozen Waterway (18x25cm; 731x1000pix, 117kb)
Skaters on a Frozen River (52x75cm; 685x1000pix, 121kb)
Skaters on a frozen river near Zaltbommel (59x72cm; 480x589pix, 54kb) _ The contrasting diagonals of the logs, shadows and boats in the foreground play off against the vertical solidity created by the masts of the foreground boat, the naval ships in the middle distance and the architectural elements of spire and tower slightly to the right of center.
Figures in a winter landscape (53x71cm)
Moored on the Beach (31x50cm)
Peasants in a Cornfield (22x30cm)
Two Figures in a Summer Landscape (34x40cm)
Winter: a huntsman passing woodmills on a snowy track, skaters on a frozen river beyond (45x58cm)
Winterlandschap (66x86cm) _ This painting is a typical example of the winter scenes which brought international fame to Schelfhout.
Zomerlandschap (1835, 66x89cm) _ In a landscape such as this one, the tiny human figures serve only to set off the vastness of the landscape. On the right there is a man with two donkeys loaded with the harvest from a field in the background. In the distance there are boats and a house. The sky gets most of the attention in this composition. Schelfhout has painted dark clouds which foretell the coming of a summer storm.
^ Born on 19 April 1849: Eva Gonzalès, Mme Henri Guérard, French Impressionist painter who died on 05 May 1883.
— Her first introduction to art was through her parents. Her father, Emmanuel Gonzalès (of Spanish origin but naturalized French), was a well-known writer; her mother, a Belgian, was an accomplished musician. The family salon was a meeting place for critics and writers including Théodore de Banville and Philippe Jourde, the director of the newspaper Siècle. At 16 she had art lessons with the society portraitist Charles Chaplin [1825-1891], who ran a studio for women. Gonzalès rented a studio in the Rue Bréda and under Chaplin’s guidance made figure compositions and landscapes, exhibiting at the Salon of 1870 as his student.
— Eva Gonzalès was born in Paris into the family of the writer Emmanuel Gonzalez. In 1865, she began her professional training and took lessons in drawing. In 1869, she met Édouard Manet [23 Jan 1832 – 30 Apr 1883] and became his student and model. She exhibited for the first time at the Salon in 1870. Thereafter she submitted work every year to the Salon. Until 1872, she was strongly influenced by Manet but later developed her own, more personal style. Her watercolors with their bright colors and soft forms achieved great success. During the Franco-Prussian War she stayed in Dieppe. In 1879, she married a brother of the graphic artist Henri Guérard. She died soon after the birth of a son, and five days after Manet.

LINKS
A Dos d'Âne (636x800pix, 121kb) _ This is one of the finest works of Gonzalès. It demonstrates the pervasive influence that her teacher, Edouard Manet, had upon her style. The brushwork is loose and often transparent and in some areas the beige ground of the canvas is left bare. In many of Manet's own paintings there is a similar, ambiguous relationship between the figures, with one person absorbed in gazing at another who is apparently oblivious to them. In 1879, Gonzalès had married one of Manet's closest friends, the engraver Henri Guérard, who is seen here leaning against the donkey. The artist's sister Jeanne, who was to become Guérard's second wife, gazes out of the picture with languid, heavy-lidded eyes. The cherries gleaming on her straw hat and the touches of red on the donkey's trappings provide the strongest color amongst the predominant dusty greens, grays and blues.
Le Thé aka Sur la Terrace (1875)
Jeanne Gonzalès (1/4 from back) sister of the artist.
Woman in White (1879)
Indolence (1872)
La Toilette
Secretly (1878) _ Reading a book instead of practicing the piano.
Roses in a Glass (1882)
La Dame à l'Éventail (1870, 43x28cm; 800x506pix, 238kb _ ZOOM to 1423x900pix, 791kb)
Enfant de troupe (1870)
Une Loge aux Italiens (1874, 98x130cm)
Le Petit Lever (1876)
La Modiste (1877)
Les Chaussons Blancs (1880, 23x32cm)
Michael gorillaMichael art 2Michael art 

Died on 19 April 2000: Michael, 27, lowland gorilla
born on 17 March 1973 in Cameroon, dies at the Gorilla Foundation's preserve 40 km south of San Francisco.
      Michael, who knew about 500 gestures in American Sign Language, was a talented and prolific painter and a lover of classical music.
     Michael was a silverback gorilla whose parents were killed by poachers while he was still a baby. At the age of three he was brought to Stanford University. Michael's favorite color was yellow, his favorite shows Sesame Street and Mister Rogers. He enjoyed the music of Luciano Pavarotti and looking at pictures. Michael also greatly enjoyed painting, and took it quite seriously. He died of heart failure.
      Michael was very passionate about painting. Using sign language, Michael provided the titles for his own artworks, such as: Apple Chase, a painting depicting Apple -- his pet dog -- with whom he enjoyed playing chase; Toy Dinosaur, a painting of a rubber dinosaur toy (which he pressed onto the ground to depict the scales); Stink Gorilla More (a painting of flowers -- "stink" was Michael's sign for 'flowers'); and "Me, Myself, Good" -- a self-portrait -- which includes his hand print and, in the corner, a colorful shape.
      When painting, Michael was always given a full palette and never restricted when it came to his use of colors or the way that he painted. To paint, Michael often used his fingers, and sometimes a brush. Michael's work was considered impressionist -- and he seemed to enjoy painting images of things and events from his personal life, in a style that has been referred to by others as emotional representation.
Myself (1983, 41x51cm; 396x514pix, 14kb) This rainbow of color is Michael's self portrait. Tyler is very similar. Gorilla uses the same palette.
Tyler (1983, 41x51cm; 372x500pix, 17kb) Michael's portrait of his teacher and close friend, Tyler.
First (1984, 30x30cm; 498x500pix, 18kb)
Dinosaur (1984, 35x28cm; 496x388pix, 24kb) _ Michael used his toy Tyrannosaurus Rex as a model and ingenuously flipped the painting over and simulated his toy's spikes by pressing his work to the floor and lifting it upwards.
Pepper (1984, 25x30cm; 400x494pix, 15kb) _ The model for this still life was a variegated bell pepper, at an intermediate stage of ripeness, red and green, with some yellow-orange. The pepper is depicted resting on the stem end.
Pumpkin (1983, 28x35cm; 388x494pix, 25kb) _ Still life of a pumpkin sitting on a white stool.
Stink Gorilla More (1983, 41x41cm; 416x400pix, 23kb) _ Michael's teacher Tyler brought a bouquet of flowers, picked from the grounds of the Foundation, as a still life for Michael to paint. Michael used the sign "stink" to mean flower as well as odor. Michael included the word "more" in the title, meaning that the bouquet was large.
Tree Lettuce (1983, 35x28cm; 500x384pix, 19kb) _ Still life of a bamboo shoot.
Anger (1984, 41x51cm) _ This was the result when Michael was asked to paint “anger”.
Love (1984, 41x51cm) _ This was the result when Michael was asked to paint “love”.
Earthquake (1989; ) _ Michael's reaction to the 1989 Loma Prieta earthquake. He began the painting by "banging" down the darker shades first and then softly applying the lighter strokes on top.
Handprint (1984, 30x25cm)
Untitled (1983, 35x28cm) The handprint is Michael's “signature”
Untitled II (1983, 28x35cm) monochrome gray
—(070418)

Died on a 19 April:


^ 1966 Albert Servaes, Belgian painter born on 04 April 1883, who is considered as the first Flemish Expressionist and the link nbetween the First and the Second School of St. Martens Latem. He took evening classes at the Koninklijke Academie voor Schone Kunsten in Ghent (1901–1902), but he was mainly self-taught. In 1905 he settled in Laethem-Saint-Martin and painted landscapes, farmers, harvests and biblical scenes. During his formative years he was influenced by Gustave Van de Woestyne, Eugène Laermans and Jakob Smits. In The Potato Planters (1909) the characteristics of Flemish Expressionism can be seen for the first time in the boldness of his painting, the monumental schematized figures and dark colors. From 1916 Servaes started to work in series, for example The Life of the Peasant (1920), which was awarded a prize at the Venice Biennale in 1920, The Stations of the Cross and The Life of the Virgin. Servaes was responsible for a renewed interest in ecclesiastical art in Belgium. His Stations of the Cross of Luithagen (1919) consists of 14 charcoal drawings on white paper; the skeleton-like figures are boldly sketched and harrowing in their expressiveness. Yet this Expressionist style was misunderstood and was condemned by the Roman Catholic Church in 1921, and as a result most of Servaes’s religious works were removed from Belgian churches. Servaes was also an important landscape painter, notably of harvest and snow scenes, which were widely imitated in the first half of the 20th century. In 1944, because of his ardent Flemish sympathies, he moved to Switzerland, where he produced numerous mountain scenes, as well as portraits and religious subjects, executed primarily in pastel and in an Expressionist style. The illustrations from C. F. Ramuz’s Jean-Luc persécuté (1951) and Stations of the Cross for Afsnee are among his best works of this period.
Berechting (250x354pix, 81kb)
Wacker stamp
^ 1939 Rudolf Wacker, Austrian artist born on 25 February 1893. — {That's Wacker, NOT Wacko.} — Er war Schüler von Albin Egger-Lienz in Weimar, danach in Berlin und ab 1930 in Bregenz tätig. Er gilt als Mitbegründer des „Magischen Realismus“. Seine hintergründigen, präzise wiedergegebenen Stilleben mit Blumen, Puppen, Kakteen und ethnologischen Skulpturen sowie seine Stadtansichten und Portraits zeugen vom Einfluss der Neuen Sachlichkeit. Ab 1924 wählte der Künstler für seine Stilleben Blumen aus dem eigenen Garten, die er vor einheitlich gestaltetem Hintergrund hyperrealistisch und in kräftigen Farben darstellte. Er verbindet in seinen Blumenstücken wissenschaftliches Interesse mit ästhetischem Empfinden.
Sommerblumen (1938, 25x32cm; 346x450pix, 63kb)
Bodenseelandschaft (31 Mar 1931, 50x65cm; 343x450pix, 68kb)
Herbst Strauss
Studies for Shield ^ 1865 Charles Chatworthy Wood Taylor, British-born (25 April 1792) painter who emigrated to the US (1817) and then to Chile (1820).
— Nació el 25 de abril de 1792, hijo del irlandés John Chatworthy Wood y de Susan Taylor. Desde niño demostró sus aptitudes hacia el arte, trabajando en una fábrica de cerámicas en la localidad de Burslem en Stafordshire. Emigró a Estados Unidos en 1817 y en Boston inició su actividad de pintor paisajista. En 1820 el gobierno de los EE.UU. lo contrató como dibujante de la expedición científica de la fragata Macedonian, que lo llevó a las costas de México, Ecuador, Perú y Chile. Al llegar a Chile (1820), se enroló en la Expedición Libertadora del Perú, y como teniente de artillería se incorporó al batallón de ingenieros, contribuyendo a elaborar diversos planos. Debió convertirse a la religión católica para poder casarse con Dolores Ramírez de Arellano y Chacón el 06 junio de 1825 en San Fernando, estableciéndose después en Santiago.
    Diseñó el primer Escudo Nacional de Chile, adoptado en 1832 con la firma del entonces Presidente de la República, José Joaquín Prieto. El diseño recoge los mismos colores de la bandera. Sobre el fondo se ilustra un penacho o plumaje tricolor: azul, blanco y rojo, a la a la derecha lleva un Cóndor y un Huemul (una especie de venado de los Andes) a la izquierda, cada uno con una corona naval dorada. El lema "Por la razón o la fuerza" fue incorporado en 1920.
     Su obra artística se compone de dibujos, retratos, planos y pinturas caracterizadas por el detalle descriptivo. Junto a Mauricio Rugendas, fue el pintor que mostró a Chile en sus albores republicanos.
     En 1824 el gobierno chileno lo contrató para un estudio de la región conocida como La Frontera, viajando a Concepción. Participó activamente en los enfrentamientos del año 1829 por los liberales, llegando a ser edecán del general Francisco de la Lastra en la Batalla de Ochagavía. Sus dotes de dibujante y su participación en el equipo de ingenieros, lo mantuvieron en las filas castrenses, donde fue ascendido a sargento mayor. Con este rango conoció al español Antonio Arcos, que realizó el dibujo de la actual bandera nacional de Chile.
     En 1830 fue nombrado profesor de dibujo del Instituto Nacional de Chile. Luego se trasladó a Valparaíso, donde en 1833 realizó los planos de la intendencia de este puerto, diseñó la torre del reloj de la Aduana y un trazado del ferrocarril al Cerro Alegre, y en 1837 el plano topográfico de la ciudad. Fue designado inspector de Obras Públicas de esa ciudad, planificando la Casa Huth y el puerto de San Antonio. En 1842 levantó el plano de edificios aduaneros en Talcahuano, y luego de los puertos de Coquimbo, Copiapó y Caldera. En 1845 trazó el recorrido del ferrocarril de Caldera a Copiapó que construía William Wheelwright. Por sus vínculos con Inglaterra fue designado inspector naval inglés en Valparaíso.
     En 1865 viaja a Europa por una enfermedad cardíaca, visitando a amigos chilenos residentes en Francia, Bélgica y Londres, Inglaterra. Estando en este último país en casa de su hija Dolores, se agrava su salud y fallece el 19 de abril de 1865.
Valparaiso, Chile (1840, 61x79cm)

^ 1790 Nicolas-Jacques Juliard (or Juliart), French artist born in 1715. — {Did Juliart specialize in July art? or did he paint all year round?}
People Resting on The Banks of a River, a Bridge in the Distance (1752, 83x102cm)
People Resting on The Banks of a River, a Waterfall in the Foreground (1752, 83x102cm)


Born on a 19 April:


^ 1932 Fernando Botero, Colombian painter, draftsman, and sculptor, with a preference for grossly overweight women, clothed or not. — LINKS
–- Los Músicos (709x797pix, 42kb) all four men and one short woman are grossly overweight (or are they inflatable models overinflated?). The three stringed instruments are without strings.
–- Monseñor (1996; 799x600pix, 39kb) overweight or mongoloid dwarf
–- La Familia (drawing; 799x648pix, 16kb) _ The drawing is so faint as to be almost invisible, and yet a greater fool paid $30'000 for it on 25 May 2005 at Sotheby's. This attracted the attention of the pseudonymous Ferocito Sandaliero who intensified the image (799x648pix, 101kb) to such an extreme that it had some color, applied a few small touches of added color (at the top), and manipulated the image into the symmetrical abstraction
      _ Ail I'm a Fall aka Navy Van (2006, screen filling, 201kb _ ZOOM to 1864x2636pix, 1117kb) and, to demonstrate the worthlessness of Botero's drawing, subjected it to the same process, minus the intensification and the color touches, resulting in the faint symmetrical abstraction
      _ Donde los Fantasmas de la Familia Tal Vez Estuvieron aka Nada Dan (2006; screen filling, 20kb _ ZOOM to 1864x2636pix, 157kb). See the thumbnail images below:
+ ZOOM IN + + ZOOM IN +
tranformation of La Familia
transformation of La Familia intensified
Naturaleza muerta con guitarra [con paisaje por la ventana]
Mujer delante de un espejo —(070418)

^ 1896 Niklaus Stöcklin, Basle Swiss artist who died in 1982.
–- Stillleben mit Fliederzweig (1944; 900x744pix, 48kb)
–- Segelfalter (Iphiclides Podalirius) (1973; 1156x1276pix, 165kb) shown flying _ Compare
      _ Iphiclides Podalirius on a Lilac Branch (08 May 2005 photo; 1161x1213pix, 247kb) and
      _ Iphiclides Podalirius (27 Mar 2005 photo; 1564x1564pix, 777kb)
–- Chiogga (1950; 1086x1350pix, 198kb)
–- Blick von Sils Baselgia gegen das Fextal (1947; 750x982pix, 59kb) under snow
— (Self-centered house?) (304x300pix, 14kb) —(080418)

1887 John Taylor Arms, US printmaker who died in 1953.
–- John Taylor Arms as a Boy (77x64cm; 1200x999pix, 112kb) age about 12, by Mora [27 Jul 1874 – 1940] — LINKS —(080418)

^ 1854 Arturo Ricci, Italian painter who died in 1919. He studied under Tito Conti.
–- La Courtière (1013x1400pix, 123kb)
–- Le Critique (1171x889pix, 107kb) standing behind a lady who is painting.
–- L'Attesa (69x92cm; 770x1054pix, 101kb)
The Letter (42x32cm) —(080418)

^ 1795 Jean Charles Joseph Rémond, French painter who died on 15 July 1875. A painter of romantic, atmospheric landscapes, Jean-Charles Remond studied in France under Henri Regnault and Nicolas Bertin and was one of the earliest teachers of the Barbizon painter Théodore Rousseau. He won many prizes for his grandiose landscapes including the Prix de Rome in 1921 for The Abduction of Proserpine by Pluto. Following paintings of mythology subjects in classical style, he developed a more naturalistic style, often painting pleinair in the French and Italian countrysides. He painted in the US including Niagara Falls. — Eugène Fromentin [24 Oct 1820 – 27 Aug 1876] was sent by his father to study under Rémond, but did not much like his style.
View from the Palatine, Rome (1825, 32x27cm; 361x300pix, 28kb) _ Rémond won the prix de Rome in the category of historical landscape in 1821, which enabled him to spend the next four years as a "pensionnaire" at the French Academy. This oil study, one of two depicting the subject, dates from this period. The monument in the foreground is a single vault of the Basilica of Constantine; the church of Santa Maria Maggiore and the Sabine Hills lie beyond.
Niagara Falls at Sunset (294x400pix, 9kb)
View of Lago di Averne, the Castello di Baia, and the Bay of Naples (1825, 83x122cm; 271x398pix, 22kb)
Tivoli Waterfall (270x405pix, 19kb)

1753 Johann Caspar Schneider, German artist who died on 24 February 1839.


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