search 8500 artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 27 Apr
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” APR 28 ||| ALTERNATE SITES
ART 29 Apr >>>
CAR
LICK
abspic1
4~2day
ART “4” “2”-DAY  28 April v.9.30
AM GO
NOW
abspic2
4~2day
DEATHS: 1754 PIAZZETTA — 1905 TAIT 1992 BACON 1927 WEGUELIN 1807 HACKERT
BIRTH: 1868 BERNARD 1928 KLEIN
^ >Born on 28 April 1868: Émile Bernard, French painter and writer who died on 16 April 1941.
— He was the son of a cloth merchant. Relations with his parents were never harmonious, and in 1884, against his father’s wishes, he enrolled as a student at the Atelier Cormon in Paris. There he became a close friend of Louis Anquetin and Toulouse-Lautrec. In suburban views of Asnières, where his parents lived, Bernard experimented with Impressionist and then Pointillist color theory, in direct opposition to his master’s academic teaching; an argument with Fernand Cormon led to his expulsion from the studio in 1886. He made a walking tour of Normandy and Brittany that year, drawn to Gothic architecture and the simplicity of the carved Breton calvaries. In Concarneau he struck up a friendship with Claude-Emile Schuffenecker and met Gauguin briefly in Pont-Aven. During the winter Bernard met van Gogh and frequented the shop of the color merchant Julien-François Tanguy, where he gained access to the little-known work of Cézanne.

LINKS
Self-Portrait with Portrait of Gauguin (1888, 46x55cm; 427x510cm, 49kb) _ In 1888 Bernard worked with Paul Gauguin in Pont-Aven, in Brittany. There he produced this self-portrait, which he inscribed with the text “à mon copaing Vincent” and sent to his friend Vincent in Arles. Van Gogh had actually requested a portrait of Gauguin, but Bernard replied that he did not feel confident enough to paint his older, better-known colleague. By way of a compromise he painted this self-portrait in blue and green tints, including Gauguin’s head on the wall in the background as a stylized drawing. Van Gogh was enthusiastic about the gift – “a couple of simple tones, a couple of dark lines, but it is as elegant as a real, genuine Manet”. Gauguin also sent to Van Gogh a self-portrait,
      _ Les Misérables (1888), which includes a portrait of Bernard in the background.
–- Jeune Fille sur la Colline (1904, 64x77cm; 826x1006pix, 92kb _ .ZOOM to 1652x2013pix, 712kb) _ This is strictly a landscape with a village The young lady occupies barely 1/200 of the picture area. This image is mirror-reversed, unless Bernard signed in reversed handwriting (inspired by Leonardo da Vinci?).
Arcadia (58x36cm; 1000x619pix)
Madeleine au Bois d'Amour (1888)
Moissoneurs de Sarrasin à Pont-Aven (1888; 562x700pix, 129kb)
Moisson au bord de la mer (1891, 70x92cm; 532x700pix, 246kb)
Musiciens Espagnols (1897)
Les Bretonnes aux ombrelles (1892, 81x105cm; 579x700pix, 286kb)
La Vierge aux Saintes, published by L'Ymagier in 1895 (hand-colored lithograph, 61x41cm; 759x503pix, 146kb)
—(070428)
^ Died on 28 April 1754: Giovanni Battista Piazzetta, Venitian painter and drafstman born on 13 February (12 December?) 1682, son of Giacomo Piazzeta.
— Most of G. B. Piazzetta's works are of religious subjects, yet he also painted genre scenes and occasional portraits; especially famous are his portrait heads in black-and-white chalk. His somber art, dependent on chiaroscuro and on a limited, almost monochromatic palette, is intense in feeling and deeply realistic, in contrast to the virtuoso performances and brilliant high-keyed palette of his Venetian contemporaries.
— Venetian painter, son of a woodcarver, who studied under Giuseppe Maria Crespi in Bologna and was probably influenced by him to take up genre subjects. After a period of study in Bologna in the "bottega" of Giuseppe Maria Crespi, Piazzetta settled in Venice permanently and developed his art and his career without leaving the city. At the beginning, his paintings were characterized by a harshly intense play of chiaroscuro and densely laid on paint, clearly the result of his contact with the robust brilliance of Crespi. Around half-way through the fourth decade of the eighteenth century, his paintings relaxes somewhat into a style which is characterized by the sensually sonorous timbre of colour which he achieved by means of a light which his contemporaries called "lume solivo".
     He settled in Venice by 1711, and after his death his family petitioned the State for a pension, claiming that his 'constant studies and his pursuit of glory rather than gain had reduced him to poverty and hastened his death'. His works are comparatively few, and though appearing to be executed with speed and facility were the product of careful deliberation and infinite pains. He made many drawings for collectors and as book-illustrations in order to support his family; his work was much influenced by Rembrandt's etchings and his paintings evolve from Baroque contrasts of chiaroscuro towards a freer and more fluid Rococo handling. Piazzetta's influence on the young Tiepolo was very great and it was Tiepolo who completed the transition to the Rococo. Most of his paintings are in Venice, including his only ceiling decoration,
      _ Glory of Saint Dominic, painted before 1727.
     Piazzetta was the son of a wood carver from whom he inherited his taste for sculpturally solid figures and a wonderful gift for engraving. Unusual for a Venetian painter, he studied in Bologna (1703 to 1705) under Giuseppe Maria Crespi, being inspired by Crespi's dramatic use of chiaroscuro. Piazzetta was also unfluenced by Guercino's altarpieces with their "big splashes" of color. The immediate effect of these influences was that he developed a dramatic pictorial style with tremendous emotional power. He tended to use strong chiaroscuro, contrasting brilliantly-lit areas and others plunged into shade. His palette contained a lot of muted browns, partly due to which his pictures convey a strong religious feeling. However, thanks to his contacts with Tiepolo (with whom he worked in the church of the Gesuati and who had been at first influenced by him) Piazzetta's work gradually became lighter and more luminous, although he never painted frescos. Even when decorating the ceiling of a chapel he painted on canvas. Piazzetta produced many fine secular compositions for collectors, including The Fortune Teller and Rebecca at the Well. He was also an excellent illustrator and engraver. Finally, Piazzetta played a key role in teaching and was one of the founders of the Venetian Academy of Fine Art.
— Painter, illustrator, and designer, Piazzetta was one of the outstanding Venetian artists of the 18th century. His art evolved from Italian Baroque traditions of the 17th century to a Rococo manner in his mature style. Piazzetta began his career in the studio of his father, Giacomo, a woodcarver. Soonafter assisting the latter to carve the still-surviving bookcases of the library of the Church of Santi Giovanni e Paolo at Venice, he abandoned the family profession and began to study painting under Antonio Molinari. In about 1703 he went to Bologna, where he worked in the studio of Giuseppi Maria Crespi. He was back in Venice by 1711 and continued to work there until his death. Little is known of the dating of Piazzetta's paintings, especially those of his youth. His “St. James Led to Martyrdom” (Venice) dates to 1717; at this period he was a powerful influence on the young Giovanni Battista Tiepolo, who was to become the most famous Venetian painter of the 18th century. In about 1725-27 he undertook his only ceiling painting, the Glorification of St. Dominic, for the Chapel of the Sacrament in Santi Giovanni e Paolo. The Ecstasy of St. Francis, perhaps his finest religious work, dates from about 1732, and some three years later he was commissioned to execute an Assumption for the elector of Cologne. The celebrated Fortune Teller is dated 1740. The Pastoral and the Idyll by the Seashore, both inthe same Rococo-pastoral vein, must have been painted about the same time or a little before. In his last years he carried out a number of large-scale decorations with subjects taken from classical history. In 1727 Piazzetta was elected a member of the Clementine Academy of Bologna, and, on the foundation of the Venetian Academy in 1750, he was made its first director and teacher of drawing from the nude. He was a very slow worker and in spite of his popularity was compelled to produce innumerable drawings for sale to support his large family.
— Domenico Maggiotto was an assitant of Piazzetta, whose students included Giovanni Battista Casanova, Giuseppe Angeli, Domenico Maggiotto, Georges Desmarées, Franz Anton Kraus, Giuseppe Nogari, Johann Heinrich Tischbein I, Paul Troger.

LINKS
The Virgin Appearing to Saint Philip Neri (1725, 367x200cm; 1262x650pix, 113kb) _ Starting from a triangular compositional layout which derives from Titian, Piazzetta packs the picture with vibrant emotion thanks to the creative tension between the characters and the still-life inserts.
Three Dominican Saints (1738, 345x172cm; 1350x671pix, 113kb) _ The saint represented with wide gesture in the center is Saint Vincent Ferrer. He is flanked by Saint Hyacinth and Saint Louis Bertrand.
The Ecstasy of Saint Francis (1729; 1238x610pix, 72kb) _ This altarpiece is composed along three parallel diagonals that cut across the composition from left to right. The most important section is in the center where Piazzetta contrasts the luminous and robust figure of the wonderful angel with the lifeless, dark, and heavy figure of the fainting saint. The descriptive detail (such as the scruffy wooden structure or the figure of Brother Leo with his back to us) accentuate the feeling of isolation and intense mysticism.
The Guardian Angel with Saints Anthony of Padua and Gaetano Thiene (1729, 250x112cm; 1288x601pix, 91kb)
Idyll at the Coast (1741, 197x146cm, 920x692pix, 81kb)
Rebecca at the Well (1740, 102x137cm; 808x1111pix, 126kb)
Shepherd Boy (700x860pix, 97kb)
The Fortune Teller (1740, 154x114cm; 940x672pix, 98kb) _ The main subject is the meeting of two young peasant girls with one of them trying to attract the attention of the little dog which her companion is rather nonchalantly holding in her left arm. This moment of everyday life is transformed into pastoral idyll by the extremely careful fitting together of the planes of the scene and the grouping of the figures who are dominated by the glowing beauty of the young country-girl on whom the "lumo solivo" concentrates and who thus becomes the highest note of the rich symphony of chromatic shadings.
Saint James Brought to Martyrdom (1723, 165x138cm; 1140x950pix, 170kb)
 
^ Died on 28 April 1905: Arthur Fitzwilliam Tait, English US painter born on 05 August 1819, specialized in Animals.
— Tait was born near Liverpool, England and was the son of a maritime merchant. At the age of eight, when his father faced financial destitution, Tait was sent to live with relatives in the country outside of Lancaster. There he discovered a love for animals, nature, hunting and fishing that inspired him throughout his life.
     Tait first became curious about the US upon seeing the traveling exhibition of Indian portraits and artifacts by George Catlin, in Paris in the late 1840’s. He was so intrigued by Catlin’s interpretation of the US West that he left for the United States in 1850. Although he settled in New York City, Tait spent much of his time in the Adirondack Mountains painting landscapes, wildlife and sportsmen. His romantic and dramatic depictions of life in the Adirondacks were enormously popular throughout the pre-Civil War era. Although he never traveled farther west than the Adirondacks, Tait is considered one of the principal painters of the American frontier along with artists George Catlin, William Ranney and Karl Bodmer.
     During his career, Tait illustrated approximately thirty-six prints for the renowned Currier and Ives Lithographers. His specialty, however, was medium-sized, moderately priced animal paintings, which he produced in great numbers. Despite changing trends in the art world, Tait enjoyed a steady clientele until his death.

LINKS
–- Maternal Solicitude(1873, 50x61cm; 620x760pix, 36kb)
–- The Prairie Hunter: “One rubbed out!” (1852, 36x53cm; 558x825pix, 38kb _ .ZOOM to 1090x1512pix, 164kb _ .ZOOM+ to 1584x2160pix, 725kb)
The Surprise (1879, 56x65cm) almost monochrome
Grouse Family (1855, 69x112cm) almost monochrome
Early Morning in the Adirondacks (1883, 102x142cm) _ During the year 1882-1883, Tait and William Sonntag collaborated on five paintings including this one. Tait, an avid huntsman and established wildlife and sporting artist, was known for his depictions of stylistic deer near the water’s edge and ducks in flight against thin fog. Sonntag was a Hudson River School landscape painter who became famous for his images of idealized yet rugged Eastern American landscapes. In Early Morning in the Adirondacks, Tait painted his signature deer and ducks into Sonntag’s majestic mountain landscape. The joint efforts and specific talents of these two artists resulted in this meticulously rendered and powerful painting.
Barnyard (December 1860, 41x66cm) _ Arthur Fitzwilliam Tait arrived in New York City from Liverpool in 1850. In the early 1840s in Manchester, England, he had worked for Agnew's Repository of the Arts where he was exposed to the art of Edwin Landseer and John Frederick Herring and was encouraged to try his own hand at the lithographer's art. Barnyard demonstrates his strong familiarity with English sporting paintings and prints. Tait's kinship with Herring is apparent in the similarity of this painting to Herring's account of his own painting (1861) less than a year later: "It represents a stable, a white horse ... white ducks, brown ducks and a black cat," and Herring continues, noting his "colorman's compliment" on his "management of white, at all times a difficult color to treat without appearing dirty." Like Herring, Tait was above all a colorist, and the white horse dominates his scene, its whiteness enshrouded by a dark background and circumscribed by a blue-green wall with shuttered window at the right. The white horse is solitary in his stature and nurturing role.
     After 1862, Tait's production of horse paintings declined as he turned increasingly to deer hunting and Adirondack sites for his sporting subjects. However, his pride in this genre is evidenced by his having exhibited a painting of the same size and date as Barnyard in the National Academy of Design show in the spring of 1861. His choice of Feeding Time (1860) over Barnyard for the exhibition may have been determined by its inclusion of a figure raking hay, which suggested greater academic proficiency. Tait's specificity in signing "Morrisania" on this oil marks a moment of joy in his life. He and his wife Marian had purchased a farm in Westchester County just a year before, which provided him with the opportunity to paint animals out-of-doors, thereby capturing the effects of light and color in a manner that was not available to the prestigious Mr. Herring.
Good Hunting Ground (1801, 57x67cm)
William Dodge as Pistol (1853, 86x102cm; 856x1001pix, 58kb) _ in a play by Shakespeare, possibly in King Henry IV, Part 2  or more probably in King Henry V, the other two men in the picture being probably Gower and Fluellen. _ This is one of the few Tait non-animal paintings (except for the deer-head trophy on the wall).
October in the Forest (1877, 36x56cm)
44 images at the Athenaeum
—(060610)

Died on a 28 April:


^ >1995 (28 May?) Santiago Lagunas [14 Sep 1912–], Zaragoza Spanish painter and architect. Lagunas fue, junto con Fermín Aguayo y Eloy Laguardia, miembro del llamado "Grupo Pórtico" de Zaragoza, que de 1948 a 1952 realizó una obra renovadora, inmersa en la abstracción y pionera en el panorama español de posguerra. Lagunas había roto con la figuración en 1948, orientándose a una obra abstracta que tenía como punto de referencia inicial a Klee, Kandinsky, Picasso y Miró. En estas obras, el pintor construye unas formas geométricas: triángulos, óvalos, cuadrados, que surgen de la intersección de gruesas líneas negras. Las resonancias constructivistas de la composición se combinan con una materia pictórica densa y aplicada con pinceladas abiertas y expresivas. Los títulos de obra, Nocturno, Juego de niños y Melancolía, nos hablan de una abstracción evocadora del mundo del juego y la nostalgia de la infancia y traducen, como apuntara Cirici Pellicer, un "estado de ánimo".
–- Nocturno (1951, 89x116cm; 778x1015pix, 45kb)
–- Luz de Gas (1951, 29x38cm; 1200x935pix, 94kb)
–- Composición abstracta (1954, 61 x 50 cm; 1200x955pix, 67kb) —(080428)

1992 Francis Bacon, British painter born (full coverage) on 28 October 1909. —(080428)

1927 John Reinhard Weguelin, British painter born (full coverage) on 23 June 1849. —(070428)

^ 1915 Salvador Viniegra y Lasso, Spanish artist born on 23 November 1862. — {That's Viniegra NOT Viagra and NOT Vinegar} — Começou por estudar para a advocacia, mas cedo se decidiu a ser pintor, tendo entrado para a Escola de Belas Artes de Cádis. Aí foi discípulo de Rámon Rodriguez e José Perez. Começou por pintar aguarelas, que deram origem a um álbum que, em 1877, teve bastante êxito. Nos anos seguintes ganhou vários prémios de pintura em exposições regionais, e conseguiu a aprovação dos pais para realizar uma viagem a Roma, tendo-se dedicou ao estudo do desenho ao vivo. Regressado a Espanha em 1882, concorreu nesse mesmo ano à Exposição de Hernandéz com o seu quadro Um pátio de Sevilha. Mais tarde, concorreu com outro quadro - A bênção dos campos em 1800 -, de grandes dimensões, que teve um grande sucesso quando exposto na Exposição Nacional de Madrid de 1887, e que lhe valeu a obtenção da medalha de primeira classe do certame. Em 1890 ganhou o concurso para um lugar de bolseiro de mérito da Academia Espanhola de Belas Artes de Roma. Aí residiu até Novembro de 1896, sendo o período italiano o mais rico da sua vasta obra. Expôs em Munique, em Roma, em Budapeste, sendo as suas obras, sobretudo a Bênção dos campos, reproduzidos incessantemente, o que o tornou um pintor muito popular em Espanha, e também na Europa. Em 1897 apresentou outro dos seus célebres quadros, A romaria do Rossio, que expôs em Roma, na Sala Dante, assim como na Exposição Nacional de Belas Artes de Madrid do mesmo ano, e nas Exposições Internacionais de Munique e Viena de 1898, onde foi premiado com várias Medalhas de Ouro. Este quadro continuou a sua carreira internacional ao ser contratado por um negociante polaco, que o expôs em várias cidades da Europa oriental. O pintor cedeu-o ao Museu de Arte Moderna de Madrid em 1905. Em 1898 foi nomeado subdirector e conservador do Museu Nacional de Pintura, de Espanha, com sede em Madrid, tendo mais tarde dirigido o Museu de Madrid. O governo português atribuiu-lhe o colar e placa da ordem de Santiago.
La promulgación de la Constitución de 1812 (332x612pix, 45kb) _ À la suite de l'invasion napoléonienne de la péninsule Ibérique, les Cortes espagnoles se réunissent de leur propre chef à Cadix entre 1811 et 1813. Majoritaires, les libéraux obtiennent le 19 March 1812 l'approbation puis la proclamation de la première Constitution de l'histoire de l'Espagne, “la Pepa”.

^ 1883 Jules-Adolphe Goupil, French portrait and genre painter born on 07 May 1839. His first art teacher was his father, the painter Frédéric Auguste Antoine Goupil. Then he was a student of Ary Scheffer [10 Feb 1795 – 15 Jun 1858] at the École des Beaux-Arts in Paris. — {Rusé comme un renard?} — LINKS
Lady Seated (800x563pix, 154kb)
L'Artiste dans l'Atelier (73x49cm; 1525x1000pix, 404kb) _ Not a self-portrait: this artist is a lady.
In Hushed Tones (1865, 81x64cm)
Elégante au chapeau (24x20cm; 450x360pix, 17kb)

1825 Gerrit Jan van Leeuwen, Dutch artist born on 29 June 1756.

1807 Jacob Philipp Hackert, German painter born (full coverage) on 15 September 1737.

1606 Heinrich Goedig (or Götting, Godiger, Göddeck), German artist. — {Go dig for Goedig on the internet, let me know if you find anything.}


Born on a 28 April:


^ 1929 Avigdor Arikha, Romanian-born Israeli French painter. — {Rival d'Avigveille?}— The drawings he made in deportation in Nazi labor camps at the ages of 13 and 14 saved his life by attracting attention to his precocious talent. In 1944 he emigrated to Israel, living in a kibbutz near Jerusalem and studying art at the Bezalel School in Jerusalem; after being severely wounded in 1948 in the Israeli War of Independence, he continued his studies in Paris (which he made his home in 1954) at the Ecole des Beaux-Arts (1949–1951). He first made his name as an illustrator, for example of an edition of Rainer Maria Rilke's The Way of Love and Death of Cornet Christopher Rilke (1953). From 1957 to 1965 he produced abstract paintings, such as Noir basse (1959), which had something in common with Art Informel but were characterized by his particular sensitivity of touch and sumptuousness of color. During this period he also designed stained-glass windows, including a series of 30 windows for the Bnei Israel Synagogue in Woonsocket, Rhode Island.
     Arikha stopped painting in 1965, feeling that it was impossible to continue in the same vein, and he restricted himself until 1973 first to drawing and then to etching in black and white; notable examples include a sustained series of portraits of the Irish playwright Samuel Beckett, one of his closest friends, such as Samuel Beckett with Cigar (brush and sumi ink on gessoed paper, 1970). He resumed painting in 1973, this time working exclusively from life, painting quickly in oil on canvas on an intimate scale well-suited to his generally domestic subjects. He often painted his wife, as in Going out (1981), the view from his flat in Paris, as in the Square in June (1983), still-lifes, interiors and landscapes. His rare commissioned portraits include H.M. Queen Elizabeth, the Queen Mother (1983).
     Wary of his own virtuosity and always receptive to the shocks of emotion and chance, Arikha practised a kind of dynamic realism motivated in part by the work of Edgar Degas and Alberto Giacometti, who were among the artists whose work he studied in depth; as a scholar he was also known for his publications on Nicolas Poussin and Jean-Auguste-Dominique Ingres, among others. Arikha's paintings from life after 1973, calm and endowed with a feeling of plenitude arising from his mastery of color and amplitude of gesture, also have a muted drama because of the vibration of the marks, tonal contrasts and spatial ambiguities, which together assure the modernity of his work within a long tradition. — LINKS
Haute Rouge I (1961, 146x89cm; 973x602pix, 72kb _ ZOOM to 1431x880pix, 131kb) _ The pseudonymous Abigdoor Eureka has metamorphosed this monochrome abstraction into the polychrome symmetrical superabstractions Ôte le Rouge aka Rêve Ver (2006; screen filling, kb _ to 1864x2636pix, kb) and Large Rouge ou Verte Ouverte aka Trève Vert.
Going Out (1981, 81x65cm) —(080428)

1928 Yves Klein, French Conceptual artist who died (full coverage) on 06 June 1962. —(090427)

^ 1896 Gérard Schneider, Swiss French artist who died in 1986. — {Disait-il: “J'n'ai d'air que juste assez”?}
–- Opus 531 (900x718pix, 57kb) smears and splashes of paint.
–- Untitled (900x711pix, 52kb) just smears
–- 38 G (900x715pix, 68kb) smears
–- 97 B (696x900pix, 77kb) smears
Sans titre (1984, 55x75cm; 395x400pix, 22kb) smears
Composition (1970, 75x105cm; 270x376pix, 22kb) smears
Ondulation marine (1955, 113x145cm; 349x450pix, 97kb) smears _ These three slapdash pictures have provided the starting point for the pseudonymous Jailart Dailleur to evolve the complex
      _ Adulation Marinée Composée Sans Tigre aka Diary Raid (2006; screen filling, 313kb _ ZOOM to 1864x2636pix, 2691kb).—(070427)

^ >1895 Ottone Rosai, Italian painter who died on 13 May 1957. — {Il manquait d'er pour être Roserai}— While an apprentice in his father’s carpentry shop, he studied at the Istituto di Arti Decorativi and the Accademia di Belle Arti in Florence. After seeing the Lacerba group exhibition in 1913 he adopted a Futurist idiom, and his friendship with the Futurists, especially Ardengo Soffici, extended throughout World War I. His experiences as a volunteer influenced his political outlook in the 1920s. In 1919 he was involved in the foundation of the first Florentine Fascio di Combattimento, a militant Fascist group. In the early 1920s his introduction to Cézanne by Soffici and his study of quattrocento Florentine painting led Rosai to abandon his fragmented imagery, seen for example in The Concert (1924). The human figure became central, demystified, seen in its simplest form and displaying its innermost conflicts. The plight of the omini, local workers, men in cafés, itinerant players and so on was emphasized by the use of subtle tones and a rigorous compositional structure. These characteristics partly account for his association with the Novecento Italiano with which he exhibited in 1929. After his father’s suicide (1922), Rosai took over the carpentry business and entered a period of great hardship and misery, during which he painted very little. Between 1926 and 1929 he was involved with the Strapaese group of militant Fascists, publishing drawings and writings in Il selvaggio, a political and artistic review. Rosai received exposure outside Florence when he exhibited at the Milione Gallery, Milan (1930). Despite economic difficulties he dedicated himself to painting from the early 1930s, participating in several group exhibitions including the Venice Biennale (1932–1938) and the Rome Quadriennale (1935). He retained his pictorial attachment to his native city, and his work of the 1930s and 1940s was looser and more expressionistic. However, by the last years of his life his painting had become increasingly schematized and almost aggressively stark. — LINKS
Uomo
–- Via delle Lame (900x712pix, 93kb)
–- Due Carabinieri (900x688pix, 67kb) seen from the back, on a Lilliputian street.
–- Strada con Alberi e Case (900x676pix, 60kb) a sharp curve in the street flanked by orchard walls.
–- Campagna (744x1575pix, 93kb) so indistinct as to be almost a blurry abstraction.
–- Cortona (900x647pix, 62kb) crowded windowless and doorless houses; the cupola of a church in the background.
–- Via San Leonardo 49 (596x900pix, 70kb)
–- different Via San Leonardo (900x712pix, 93kb) —(070428)

^ 1879 Edgard Tytgat, painter, printmaker, and writer, who sprouted in Brussels, and died there on 10 Jan 1957. — {Try saying his name. I bet you said Tytcat, or perhaps Tydgat.}— He learned to draw in his father’s lithography studio. In 1900 Tytgat entered the Académie Royale des Beaux-Arts in Brussels and studied under Constant Montald. His first paintings were influenced by Symbolism and in particular the work of Pierre Puvis de Chavannes, whom he admired. He met Rik Wouters in 1907, and the two became friends. World War I drove him into exile, and he lived as a refugee in England until 1920. There, he not only painted but also made prints, including woodcuts and linocuts with the help of his wife, Maria. She was also his model for the numerous canvases painted in London, for example The Pose (1918). His early work was full of sensitivity, using bright tones that accentuated delicate greys in an impressionistic manner. Towards 1925 Tytgat became aware of Expressionism. His plasticity grew stronger, and his colors darker, and his desire for simplification came to dominate the forms (e.g. Violinist, 1929). Tytgat was a member of the Art Contemporain group in Antwerp, and of Groupe des IX, Le Centaure and Sélection in Brussels. He played an active role in Belgian Expressionism. At the end of his career, Tytgat abandoned the subjects of his youth—merry-go-rounds, childhood, window views, couples—and turned towards more fantastic subjects, drawing inspiration from mythology, history and pure imagination in such works as Iphigenia Embarking for the Sacrificial Island (1950). His literary output was also quite abundant and he also wrote and illustrated accounts of his childhood memories. Only a selection of his writings has been published.
The Parade (1951 lithograph, 25x33 cm) _ detail 1 (750x937pix, 59kb) _ detail 1 (750x937pix, 59kb) _ detail 2 (750x937pix, 59kb) top middle _ detail 3 (750x937pix, 59kb) top right _ detail 4 (750x937pix, 59kb) middle top _ detail 5 (750x937pix, 59kb) bottom right

^ >1697 Maximilian Josef Schinnagl, German artist who died on 22 March 1762. — {There was an artist named Schinagl / Who at the deli would always finagle / how to get an extra free bagel, / That devious Maximilian Schinagl.}
Der Morgen (Waldlandschaft) (54x70 cm)
Der Abend (Waldlandschaft) (53x70cm)
Ideale Berglandschaft mit Gehöft (52x70cm)
Waldlandschaft mit Gewässer rechts (45x60cm)
Alpine Landschaft mit Figurenstaffage (13x16cm)
— different Alpine Landschaft mit Figurenstaffage (13x16cm) —(080427)


click click
TO THE TOP
PLEASE CLICK HERE TO WRITE TO ART “4” “2”DAY
http://www.safran-arts.com/42day/art/art4apr/art0428.html
http://www.intergate.com/~canu/art/art4apr/art0428.html
http://www.ifrance.com/7aujourdhui/art/art4apr/art0428.html
updated Tuesday 28-Apr-2009 1:53 UT
Principal updates:
v.8.31 Monday 28-Apr-2008 20:31 UT
v.7.31 Saturday 28-Apr-2007 17:49 UT
v. 6.30 Friday 28-Apr-2006 6:28 UT
Wednesday 27-Apr-2005 3:11 UT
Wednesday 28-Apr-2004 4:38 UT

safe site site safe for children safe site