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DEATHS: 1811 WERTMÜLLER — 1676 PATEL — 1757 PESNE
BIRTHS: 1858 OSTHAUS — 1858 MOWBRAY — 1844 REPIN 1819 TAIT 
2007 NICE THEFT !!!: poplars, cliffs, allegories
SECRET REVEALED:  1986 WYETH'S
^ Died on 05 August 1811: Adolf Ulrik Wertmüller, Swedish painter, born on 18 February 1751, active also in France, Spain, and the US.
— He was trained in sculpture and painting at the Stockholm Academy and was a student of Joseph-Marie Vien in Paris (1772–1775) and Rome (1775–1779). In 1781 he settled in Paris, painting Ariadne on the Shore of Naxos (1783), a meticulous Neo-classical work. He became a member of the French Academy in 1784 and First Painter to Gustavus III of Sweden. The latter commissioned him in 1784 to paint the massive Marie Antoinette and her two Children Walking in the Trianon Gardens. Wertmüller’s most interesting work, Danaë and the Shower of Gold (1787), a masterpiece of mythological portrayal, is the foremost example of Swedish Neo-classical painting.
— Adolf Ulrik W., son till Johan Ulrik W. (d. 1712; apotekare och pestläkare i Stockholm) d. y.. mĺlare, f. 18 febr. 1751 i Stockholm, d. 5 aug. 1811 i Delaware i Nord-Amerika, studerade till en början skulptur för Larchevesque frĺn 1765 till 1771, dĺ han öfver-gick till mĺlning och blef elev af L. Pasch d. y. Men redan 1772 for han till Paris, där han mottogs välvilligt aí sin syssling, A. Roslin, som intog en bemärkt ställning i den konstnärliga världen. W. studerade till en början ett ĺr i Yiens elevskola och därefter vid konstakademien, där han vann andra medaljen 1774. Ĺret därefter reste han till Rom, där Yien dĺ var direktör för den franska akademien. I Rom stannade han till hösten 1779, vistades därefter i Lyon och ĺterkom i maj 1780 till Paris. Bland hans där utförda arbeten märkas Ariadne öfvergifven pĺ Naxos (ett ex. i helfigur, ett i bröstbild, bĺda 1783). Gustaf III utnämnde honom nu till förste hofmĺlare; han blef samtidigt medlem af svenska konstakademien och 1784 aí den franska. Vid Gustaf III:s besök i Paris sistnämnda ĺr fick han genom konungens A. U. Wertmüller. Efter hans själfporträtt (1799)

LINKS
Marie-Antoinette d'Autriche [1755-1793], reine de France (1788, 65x53cm; 512x420pix, 43kb)
Marie-Antoinette d'Autriche, Reine de France, et ses enfants (512x352pix, 45kb)
Miss Susan Johnston [1775-1847] (1789, 65x54cm; pix, kb)
Miss Charlotte Eckerman (1784, 65x54cm; 704x569pix, 29kb)
A man (1786, 65x54cm; 695x577pix, 31kb)
 
^ Born on 05 August 1858: Edmund Henry Osthaus, US painter, specialized in dogs (especially setters), who died in 1928.
— Osthaus was born in Hildsheim, Germany and began his early studies at the Royal Academy in Dusseldorf (1874-1882). He emigrated to the United States in 1883 and in 1886 he became principal of the Toledo Academy of Fine Art. When the school closed in 1893, he began to devote himself full-time to painting, shooting, and following field trials. The primary areas of concentration were in hunting and fishing but most especially with the theme of hunting dogs, of a quality that never varied. As one of the few US sporting painters, he was greatly admired by wealthy families such as the Vanderbilts and the Morgans. Such families commissioned large scenes in order to decorate large and spacious walls in their grand homes.

LINKS
–- Three English setters, pointing (750x1100pix, 91kb) _ {They are not to be confused with a Pointer, Sitting that looks like it suspects but will not tolerate such a confusion.}
–- Ranging Hunters (1903, 61x76cm, 673x900pix, 42kb) 2 dogs
Commissioner, A Champion English Setter (56x81cm) 1 dog
–- S#*> Good Friends (76x91cm; ZOOM to 843x1000pix, 262kb) 2 dogs
Hunting Tigers, the Terriers (48x85cm) 5 dogs, 1 tiger skin
–- S#*> Setter and her Puppies (91x66cm; 800x562pix, 128kb) 7 dogs
–- S#*> Setters in the Field (43x67cm; 505x800pix, 78kb) 2 dogs
–- S#*> Setters on Point (43x67cm; 519x650pix, 73kb) 2 dogs
A Hunter and His Dogs (92x61cm) 2 dogs, 1 horse, 1 human {not necessarily humane}
Collie Dogs in Formal Garden (133x113cm) 4 dogs
The Trail of the Cougar (127x88cm; 974x672pix, 43kb) 6 dogs
Two Setters and a Pointer (1894, 51x81cm) 3 dogs
English Setter Pointing (400x642pix, 33kb) 1 dog
Untitled (Landscape With Hunting Dogs) (114x153cm; 228x300pix, 22kb) 3 dogs _ The hunting scene is significant among the artist's works. Rarely {?? half the links here} did Osthaus include more than one or two dogs {2.8 average here} in his composition. This work draws the viewer in such a way that we can almost hear the yelping and splashing through the muddy stream, smell the dew in the morning air and feel the intensity and excitement of the moment.
—(060803)
^ Died on 05 August 1676: Pierre Patel I “le bon Patel”, French Baroque era painter born in 1605, specialized in landscapes with classical ruins.
— He dedicated himself exclusively to the art of landscape painting, and it is presumed that he spent his entire career in Paris, as there is no evidence to support claims that he went to Italy. In 1633–1634 he was admitted to the guild of Saint-Germain-des-Prés and in 1635 was admitted to the Académie de Saint-Luc. In 1651 he took part in a vain attempt to merge the Académie Royale and the Académie de Saint-Luc, after which he remained loyal to the latter.
      He was a student of Vouet but worked in the manner of Claude, with whose paintings his own have sometimes been confused. In his day he was well known for his panels set into the decoration of rooms, notably in the Cabinet de l'Amour of the Hôtel Lambert in Paris (on which he collaborated with Le Sueur). His son and student, Pierre-Antoine Patel (aka Pierre Patel II) [22 Nov 1648 – 15 Mar 1707], painted in his father's manner. Both men often featured Classical ruins in their paintings, looking forward to the picturesque.
     Less than fifty paintings by Pierre Patel the Elder are recorded (of which only about a dozen are signed and dated). There is no documentary evidence to suggest that Patel went to Rome and he may well have worked in Paris throughout his career, where he was admitted to the guild of Saint Germain-des-Prés in 1633-1634 and the Académie de Saint-Luc in 1635. His paintings were strongly influenced by Claude, in particular in the treatment of light and the compositional formula, but in addition he responded to the work of the Dutch painter Herman van Swanevelt on the arrival of that artist in Paris.

LINKS
Landscape with Ruins (59x86cm; 770x1128pix, 161kb) _ Under Louis XIV, the two main landscape painter of the time were Pierre Patel and Francisque Millet. They were largely derivative in their styles, but this was the secret of their success. Both of them are relatively little known today. Patel derived almost all his ideas and inspiration from Claude, specializing in idyllic classical landscapes, usually with a golden light. His best pictures, such as this example, are elegant interpretations of Claude, but lack Claude's poetry, being much more akin to the Dutch interpretation of the Italian landscape; and sometimes there is a more antiquarian approach where the ruins are prominent. It was precisely his lack of imagination which brought Patel success he conformed to the accepted standard of landscape format. Such art is particularly difficult to appreciate today, when so much significance is attached to originality.
— a different Landscape with Ruins (1647, oval 73x150cm; 609x1231pix, 102kb) _ Patel derived almost all his ideas and inspiration from Claude, specializing in idyllic classical landscapes, usually with a golden light. His best pictures are elegant interpretations of Claude, but lack Claude's poetry. He often featured classical ruins in his paintings, looking forward to the picturesque. and sometimes there is a more antiquarian approach where the ruins are prominent.
Landscape with a Goatherd (1652; 345x573pix, 30kb)
— very similar Landscape with Ruins and Shepherd (1652, 53x83cm) made for the Cabinet de l'Amour in the Hôtel Lambert, Paris.
–- S#*> Landscape with Ruins (1665, 62x81cm; 500x662pix, 78kb)
 
^ Born on 05 August 1858: Henry Siddons Mowbray, US painter who died in 1928. He studied under Léon Bonnat and Jean-Léon Gérôme.
— Mowbray was born in Alexandria, Egypt, son of John Henry Siddons and Eliza Fade. He was adopted by his uncle George Mowbray and his aunt Annie Fade Mowbray after the deaths of his parents. He attended the common schools of North Adams, Massachusetts, was appointed a cadet at the U.S. Military Academy in 1875, but left after one year and studied painting under Bonnat in Paris. He opened a studio in New York in 1885 and engaged in figure painting and decorating. He was elected a member of the Society of American Artists in 1886 and won the Clark prize at the National Academy of Design in 1888. He was elected a national academician in 1891. Among his paintings are: Aladdin; Evening Breeze; Last Favorite; Le Destin; Idle Hours; Iridescence; Persephone and Demeter; Lady in Black; mural decorations in Appellate Court House, Morgan Library, and University Club in New York; in the board room of the Prudential Life Insurance company at Newark NJ, and in private residences in New York City.

LINKS
–- The Calenders (1889, 24x46cm; 284x700pix, 66kb — .ZOOM to 426x1050pix, 45kb) _ The Calenders was inspired by the translation by Edward Lane of a collection of traditional Arabic stories, dating back to the medieval period, called The Thousand and One Nights. Three princes disguised as Calenders (a Sufic order of wandering mendicant dervishes), who each had but one eye, shaven chins, and thin, twisted mustaches, entertain a group of Baghdad ladies with tales of their recent misfortunes [The Story of the First Royal Mendicant _ The Story of the Second Royal Mendicant _ The Story of the Third Royal Mendicant]. Mowbray also worked interchangeably with Greek, Oriental, and Italian Renaissance themes. Regardless of time or place, Mowbray sought to create an aesthetic ambience for his exotic subjects.
–- Rose Harvest (1887, 38x51cm) _ Mowbray exemplifies the growing internationalism of US art during the waning years of the 19th century. This painting depicts a scene the book-length epic Lalla Rookh, an Oriental Romance by Irish poet Thomas Moore [1779 – 25 Feb 1852]. The image captures a scene after the marriage of an Indian princess when a group of young maidens has gathered to spray roses on the grounds in preparation for the princess's passage. Originally published in 1817, Moore's poem had been republished with illustrations by prominent artists (including John Tenniel [1820-1914] for an 1867 edition), then during the 1880s to much critical and popular acclaim. His work, along with Mowbray's, forms vital components in the 19th century obsession with the Orient, a term used in the period to define not Asia, but the region of North Africa, the Levant and even India. The style of the painting combines aspects of impressionism, tonalism and academic realism and further attests to the internationalism of the era.
Crystal Gazers      Mowbray's painting was featured at the 1893 Chicago's World Fair, officially known as the World's Columbian Exposition. The fair featured thousands of paintings, thus showcasing the native talents of the host country. One of the key themes to emerge from the art was the issue of race. While appearing to be far from concerned with race (at least in our current use of the term), Mowbray's work indeed presents a stereotypical view of foreigners. Languishing among nature, these maidens are to be regarded as stereotypes of idle members of a foreign culture. While Mowbray may place his scene within a foreign land, a distant past and a literary context, it is unmistakable that this work spoke to a myriad of contemporary concerns, such as immigration, foreign policy and domestic racial and gender issues.
— <<<Crystal Gazers (1895, 36x16cm) _ This haunting, evocative image reflects the influences of mural painting and the Symbolist movement. Mowbray's use of reflected light in the crystal ball and mirror and the lily motif in the wallpaper may symbolize the two young woman as virgins considering salvation within the mysteries of the Christian religion.
 
^ Died on 05 August 1757: Antoine Pesne, French painter born on 23 May 1683.
— Pesne studied under his father, the portrait painter Thomas Pesne [1653–1727], and his maternal great-uncle, Charles de La Fosse. In 1703, as a student at the Académie Royale, he would have won the Prix de Rome with his Moses and the Daughters of Jethro, had not Jules Hardouin Mansart, adviser to the Académie, deemed all entries that year unworthy. Nevertheless Pesne left for Italy, making the acquaintance of Jean Raoux in Venice and being allowed the use of a studio in Rome by Charles Poërson, Director of the Académie de France. While in Venice, Pesne painted the portrait of Friedrich Ernst von Knyphausen (destroyed in 1893), a lively work indebted to Veronese that is said to have decided King Frederick I of Prussia to invite Pesne to Berlin.
— Antoine Pesne was born in Paris into the family of the painter T. Pesne. Antoine received his first lessons in art from his father, later he studied in the Academy and from his gifted and resourceful uncle, Charles de la Fosse [1636-1716]. In 1710-1711 Antoine made an extensive tour of Italy. He came to Berlin in 1711 to teach art to Prince Frederick and his more artistically talented younger brother. Soon Pesne became a court painter of the Prussian king and remained a highly esteemed and highly paid figure at Berlin’s court for over 46 years. Pesne painted portraits, historical and religious subjects, executed monumental decorative works. In 1720, he became a member of the Paris Academy of Arts. In 1722-1724, Pesne went to England. He was also the director of the Berlin Academy. The artist died in Berlin.
— Pesne's students included Georg Wenceslaus Knobelsdorff, Philip von Mercier, Bernhard Rode, Anna Dorothea Therbusch.

LINKS
Self-portrait with Daughters (1754, 167x150cm; 1030x806pix, 105kb) _ Pesne was a painter of portraits and historical subjects at the court of Prussia, contributing to the French influences at the court of Frederick II. He also painted portraits at many other francophile German courts.
Fortune Teller (1710, 223x219cm)
Baron von Erlach with his Family (1711, 288x317cm _ detail _ Sigismund von Erlach [1661-1722] was a military specialist; since 1699 he was the ambassador of the Prussian Elector in Switzerland; later he was a Hofmarschall of the Prussian court. He wrote the book Grundlehren des Krieges und ihre Anwendung auf die Taktik und die Mannszucht der preussischen Truppen. In the portrait the baron wears the Prussian Order of the Black Eagle. This portrait was the first work by Pesne in Berlin.
Johann Melchior Dinglinger (1721, 149x110cm) _ Dinglinger [1664-1731] was a famous Dresden jeweler, born in Biberach and trained as goldsmith in Ulm. From 1698, he was a court jeweler of the Saxon Elector and King of Poland Augustus II the Strong [1670-1733]. Dinglinger was an outstanding master of decorative art of the Baroque. Today Dinglinger has a reputation as one of the world's most famous goldsmiths, on par with Benvenuto Cellini and Carl Fabergé. In this portrait Dinglinger is with a cup of his work known as Bath of Diana.
Portrait of Maria Susanna Dinglinger (1721, 148x113cm) _ Maria Susanna Dinglinger [1698-1726], née Guterman, the fourth wife of Johann M. Dinglinger. Their wedding took place in 1721, when the portrait was painted.
Frederick the Great as Crown Prince (1739, 78x63cm _ Frederick II the Great [1712-1786], king of Prussia since 1740, was born in Berlin, the son of Frederick William I and Sophia-Dorothea, daughter of George I of Great Britain. In the portrait prince Frederick is wearing the Order of the Black Eagle, which was founded by his grandfather Frederick I in 1701. The painter foreshortened the prince’s large nose. After Frederick became the king he never sat for the artists and made sure that no portrait of himself was ever in sight at any royal residence.
Frederick II (1743, 234x161cm) _ The second portrait of Frederick II by Pesne was made for Catherine II. In it Frederick II holds a field-marshall’s baton and wears the Russian Order of Saint-Andrew, which he received in 1740. This portrait was probably executed on the basis of the first portrait.
Birth of Christ (1745, 48x72cm)
The Dancer Barbara Campanini, Called Barbarina (1745, 221x40cm) _ She was an Italian dancer with European fame. In 1739, she successfully performed in Paris, and then went to London for a still more triumphant career. By 1744, she was a famous dancer in Venice, and Frederick II the Great invited her to dance at the Berlin Opera from 1744 to 1748. This portrait of Barbarina was commissioned by Frederick and was originally installed behind his desk in his oval white and gold study at the Berlin Palace. The dancer's marriage to the son of the Prussian High Chancellor incurred the king's rage. Upon her divorce, Barbarina was given the title of Countess of Campanini.
The Actress Babette Cochois (1750)
Marianne Cochois (1750, 78x107cm) _ Marianne Cochois, a French dancer, was the premičre danseuse at the Berlin Opera since 1742. Frederick II the Great, Prussian king since 1740, found her equal to Terpsichore, muse of the Dance. She was the younger sister of Babette Cochois, dramatic actress.
Nicolas Vleughels [1668-1737] (99x131cm; 700x545pix, 186kb) _ La date de ce portrait correspond ŕ celle de l'entrée en fonction du modčle au poste de directeur de l'Académie de France ŕ Rome.
A Man (66x56cm)
–- Luise Eleonore von Wreech, née von Schöning [1708-1784] (1737; 804x685pix, 37kb)
–- Albertine (?) von der Marwitz [1718–] (1738; 871x786pix, 38kb)
–- Frau von dem Bussche (1719; 828x698pix, 44kb)
–- Dorothea Luise von Wittenhorst-Sonsfeld [1681-1746] (1715; 609x532pix, 17kb)
–- Poetry surrounded by puti (462x1052pix, 55kb)
–- Iris on the Rainbow (797x1031pix, 94kb)
–- Puto (Hymen) carrying a torch (798x638pix, 30kb)
–- Venus and Cupid (1742; 520x772pix, 30kb)
–- Prometheus steals Fire from the Sun's Chariot (432x891pix, 30kb)
–- Flirting at a Masked Ball (874x1378pix, 171kb — .ZOOM to 875x1898pix, 142kb)
 
^ Born on 05 August (24 July Julian) 1844: Ilya Yefimovich Repin, Ukrainian Realist painter who died on 29 September 1930.

— Il'ia Efimovich Repin was born in Chuguev, in the Ukraine, in the family of a soldier-settler. He received his first lessons in art in 1858, when he started working for I. M. Bunakov, a talented icon painter from Chuguev. Commissions for portraits and religious paintings allowed Repin to collect enough money to go to St. Petersburg with the goal of entering the Academy of Arts. He arrived in the capital in 1863 and enrolled in the School of Drawing attached to the Society for the Encouragement of the Arts. Working with Kramskoi, in a year the young artist developed his skills sufficiently to be accepted to the Academy. In May 1870 Repin went on a boat trip down the Volga during which he made sketches for his Barge-haulers on the Volga (The Volga Boatmen). A year later the artist finished his schooling at the Academy. His graduation work, The Resurrection of Jairus' Daughter, won the Gold Medal and a six-year scholarship (including three years of travel abroad). After traveling through Europe and staying in Paris (1872-1876), Repin returned to Russia. He spent a year in Chuguev, making sketches for his famous Religious Procession in the Kursk Province. The next six years (1876-1882) Repin lived in Moscow, trying to get along with the Academy, the Mamontov circle, and his old friends Stasov and Kramskoi. Tired of their constant squabbles, he moved to St. Petersburg. He made several more trips to Europe -- in 1883, 1889, 1894, and 1900. He taught at the St. Petersburg Academy (1894-1907) and was an influential member of the Wanderers. In 1900, during a trip to Paris, Repin met Natalia Nordman, the "love of his life" (Repin was separated from his wife), and moved to her home, Penaty (Penates), in Kuokkala (Finland), located about an hour's train ride from St. Petersburg. Together, they organized the famous Wednesdays at the Penaty which attracted the creative elite of Russia. When Nordman died in 1914, she left the estate to the Academy, but Repin occupied it for the next sixteen years. Handicapped by the atrophy of his right hand, Repin could not produce works of the same quality as those, which brought him fame. Although he trained himself to paint with his left hand, he lived his last years under a constant financial strain. Since the artist did not accept the Revolution of 1917, he did not want to go back to Russia, even though in 1926 a delegation sent by the Ministry of Education of the Soviet Union helped him financially and tried to entice him to return. To acknowledge and commemorate Repin's artistic achievement, in 1948 Kuokkala was renamed Repino. As Fan and Stephen Jan Parker note in their monograph on Repin, "Western art historians and critics have minimized Repin's achievements and contributions either because his very "national" identity has not been grasped, or because -- and this is most likely -- Repin was neither a technical innovator nor the creator of a school of painting. Moreover, he was a realist and not a modernist. Yet in the esteem of both prerevolutionary and Soviet Russia, Repin occupies a position alongside Dostoevsky and Tolstoy, Musorgsky and Rimsky-Korsakov. He was and is Russia's foremost national artist, whose oeuvre adheres to the requisities for national art as proposed by the noted painter and art historian Igor Grabar: it must reflect the spirit of the people, expressing their thoughts and aspirations; it must excite; and it must be understandable to the people" (Parker, 1). Among Repin's most famous canvasses are The Volga Boatmen (1872), The Archdeacon (1877), Portrait of the Composer Musorgskii (1881), Religious Procession in the Kursk Province (1878-83), Portrait of Pavel Tret'iakov (1883), They Did Not Expect Him (1884), Ivan the Terrible and His Son Ivan: November 16, 1581

— Repin was born in a small Ukrainian town of Tchuguev in the family of a military settler. As a boy he was trained as an icon painter. At the age of 19 he entered the St. Petersburg Academy of Arts. His arrival to the capital coincided with an important event in artistic life of the 60s, the so-called ‘Riot of the Fourteen’, when 14 young artists left the Academy having refused to use mythological subjects for their diploma works. They stood on the point that art should be close to real life. Later Repin would be closely connected with some of them, the members of the Society of Peredvizhniky.
      For his diploma work Raising of Jairus' Daughter (1871) Repin was awarded The Major Gold Medal and received a scholarship for studies abroad. Barge Haulers on the Volga (1873) was the first considerable work painted by Repin after graduation. It immediately won recognition.
      In 1873, Repin went abroad. For some months he had been traveling in Italy and then settled and worked in Paris up to 1876. It was in Paris that he witnessed the first exhibition of the Impressionists, but, judging by the works created then and by his letters home, he didn't become the ardent follower of this new Paris school of painting, though he didn't share the opinion of some of his country-men who saw a dangerous departure from “the truth of life” in Impressionism.
      After returning to Russia Repin settled in Moscow. He was a frequent visitor in Abramtsevo – the country estate of Savva Mamontov, one of the most famous Russian patrons of art. It was a very fruitful period in his creative activity. During 10-12 years Repin created the majority of his famous paintings. In 1877, he started to paint religious processions (krestny khod): Krestny Khod (Religious Procession) in Kursk Gubernia (1880-1883). The composition was based on the dramatic effect of different attitude of the participants of the procession to the wonder-working icon carried at the head of the procession. There were two different versions of the picture. The second one, completed in 1883, became the most popular. At first glance, the spectator discovers an abundance of social types and human characters in the crowd .
      A series of paintings devoted to the revolution theme deserves special attention. The artist was no doubt interested in creating the character of a fighter for social justice. The range of social, spiritual and psychological problems, which attracted Repin, is revealed in his works: Unexpected Return (1884) and Refusal from the Confession (1885).
      Repin is the author of many portraits, which are an essential part of his artistic heritage. Repin never painted faces, he painted real people, managing to show his models in their natural state, to reveal their way of communicating with the world: Portrait of the Composer Modest Musorgsky (1881), Portrait of the Surgeon Nikolay Pirogov (1881), Portrait of the Author Alexey Pisemsky (1880), Portrait of the Poet Afanasy Fet (1882), Portrait of the Art Critic Vladimir Stasov (1883), and Portrait of Leo Tolstoy (1887) and many others are distinguished by the power of the visual characteristic and the economy and sharpness of execution.
      Repin rarely painted historical paintings. The most popular in this genre is Ivan the Terrible and his son Ivan (1895). The expressive, intense composition and psychological insight in rendering the characters produced an unforgettable impression on the spectators. Another popular work of the genre is The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV (1891). The faithfully rendered spirit of the Zaporoguus freemen, who, according to the artist, had a particularly strong sense of “liberty, equality and fraternity” undoubtedly gives the picture its significance. The contemporaries saw it as a symbol of the Russian people throwing off their chains.
      The last quarter of the 19th century is the best period in Repin’s work, though his creative activity continued in the 20th century, he did not paint any masterpieces then. After the bolsheviks’ revolution in 1917 he lived and worked in his estate Penates in Finland. There is a Repin museum. The museum visitors have the opportunity of gaining a detailed knowledge of the artist's life and work.

LINKS
Self-Portrait (1878)
Self-Portrait (1887)
Artist Vasily Polenov (1877)
Artist Arkhip Kuinji (1877)
Artist Pavel Tchistyakov (1878)
Artist Nikolay Gay (1880).
Artist Ivan Kramskoy (1882)
Artist Vasily Surikov
Artist Grigory Myasoedov (1886)
Maxim Gorky (1899)
Author Leonid Andreev (1905)
Author Vladimir Korolemko (1912)
Composer Modest Musorgsky (1881)
Composer Anton Rubinstein (1881)
Composer Anton Rubinstein (1887)
Composer Alexander Glazunov (1887) _ Aleksandr Konstantinovich Glazunov (1865-1936) was born in St. Petersburg on 10 August 1865. He studied under Rimsky-Korsakov, and was a professor (after 1899) and director of the St. Petersburg Conservatory (1905-1927). The Soviet government gave him the title of People’s Artist of the Republic, but he emigrated in 1928. Glazunov died in Paris on 21 March 1936. Among his compositions there are 8 symphonies, ballets Raimonda (1897), Seasons of the Year (1899) and works of every branch except opera. See also his portrait by Valentin Serov
Composer Mikhail Glinka (1887)
Composer Nikolay Rymsky-Korsakov
Dmitry Mendeleev (1885)
The Surgeon E. Pavlov in the Operating Theater (1888)
Nadya Repina, the Artist's Daughter (1881)
Nadezhda Repina, the Artist's Daughter (1900)
Girl with Flowers. Daughter of the Artist (1878)
Dragon-Fly. Portrait of Vera Repina, the Artist's Daughter (1884)
Vera Repina, the Artist's Daughter (1886)
Autumn Bouquet. Portrait of Vera Repina (1892)
Preparation for the Examination (1864)
Portrait of a Boy (1867)
Barge Haulers on the Volga (1870-1873)
A Newspaper Seller in Paris (1873)
A Fisher-Girl (1874)
—. Ukranian Girl (1875)
Ukranian Girl by a Fence (1876)
An Archdeacon (1877)
Refusal from the Confession (1882)
The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV (1886)
Putting a Propagandist Under Arrest (1891)
The Revolutionary Meeting (1883)
Ivan the Terrible and His Son Ivan on November 16, 1581 (1885) _ detail _ closer detail
Saint Nicholas Saves Three Innocents from Death (1888)
Sadko (1876) _ Sadko is a hero of a Russian fairy-tale, a merchant from Novgorod. During his business trips visited many magic lands, including the Sea Kingdom, where the daughter of the Sea King, Princess Volkhova, fell in love with him and helped him to escape to land. There is an opera on the subject by Rimsky-Korsakov (1896). Many Russian artists painted the stage set, and curtains, designed costumes for the play and opera. Among them are Repin, Vrubel.
Leo Tolstoy. (1887)
— Portrait of Leo Tolstoy as a Ploughman on a Field (1887)
Leo Tolstoy in His Study (1891)
[Other portraits of Tolstoy, by Nikolay Gay _ Ivan Kramskoy _ Mikhail Nesterov]
 

Died on a 05 August:


2007 Elvire Braunschweig-Kremis [1923–], pintora (in her old age), bailarina, y mecenas de la danza (together with her husband, the industrialist Philippe Braunschweig). Born in Byelorussia, she lived in France, the US, and Switzerland. —(080804)

Sprecheder, 1919^ 1977 Max Kaus, Berliner painter and printmaker, born on 11 March 1891. After a practical training as a decorative artist, he attended the Kunstgewerbeschule in Charlottenburg, Berlin. In 1914 a stay in Paris aroused his interest in fine arts. Before he was able to develop in this field, World War I broke out; Kaus worked as an ambulance driver in Flanders. In 1917 Erich Heckel became his military superior in Ostend. The German painters Otto Herbig [1889–1971] and Anton Kerschbaumer [1885–1931] also belonged to his division. The influence of these artists, particularly Heckel, is clear in Kaus’s early work, for example Self-portrait I (1919). His paintings are marked by brooding doubt and existential loneliness. In 1920 he became a member of the Freie Sezession and met Karl Schmidt-Rottluff and Otto Mueller. In the early 1920s he traveled by boat through the Brandenburg Marshes, to Mecklenburg and the Baltic, producing paintings of landscapes and bathers, such as Bathers in the Bay at Hiddensee (1922). He became a teacher in 1926 at the Meisterschule für Kunsthandwerk in Berlin, and in 1933 he moved to the Vereinigte Staatsschulen. The Nazis disapproved of his work, and in 1938 he had to give up his teaching post. In 1943 his studio was destroyed in a bombing raid, as was his graphic work in 1945. In the latter year he became a teacher at the Staatliche Hochschule für Bildende Künste in Berlin, where he taught until 1968. His subjects were closely connected to his life and to nature, although in the years after 1945 his images were increasingly dominated by rhythmic patterns coming close to abstraction, such as Temple Ruins II, Rome (1957).
–- Freunde - Interieur mit vier Personen (1917; 809x990kb, 50kb)
–- Kanallandschaft II (1920 lithograph, 38x49cm; 809x1000pix, 86kb)
Badende im Bach (1925, 90x74cm; 914x750pix, 136kb)
Stillleben mit Tulipen (1922, 62x46cm; 545x400pix, 45kb)
–- Paar am Tisch (960x656pix, 52kb) _ The man and the woman are so ugly, so unhappy-looking, and so clumsily pictured, that the pseudonymous Just Kause was moved to transform them into the splendid abstraction The Parameter I Am Teaching aka Rapt Par (2006; screen filling, 307kb _ ZOOM to 1864x2636pix, 1961kb).
–- Im Vorstadtvarieté (960x828pix, 49kb)
Spaziergang (1934, 100x80cm; 480x377pix, 44kb) —(060803)


Born on a 05 August:

1929 Andreu Alfaro Hernández, Catalan minimalist painter, draftsman, and mostly sculptor. Self-taught, he started with paintings and drawings, but in the early 50s he started shifting to sculpture. — Hijo de comerciantes carniceros, muestra tempranas actitudes para las bellas artes, ganando un concurso de dibujo escolar en el ańo1938. Tras un periodo de dificultad durante la guerra civil debido al posicionamiento claramente republicano de su familia, termina sus estudios de bachillerato en 1947 y las circunstancias familiares hacen que deba trabajar como tratante de ganado. La visita de una exposición de dibujos de Rafael Álvarez Ortega en 1953, parece que despierta de nuevo su interés por la pintura y comienza a frecuentar los círculos artísticos. En 1957 realiza su primer exposición individual, momento a partir del cual no va a dejar de pintar. Otra exposición, la celebrada en Bruselas en 1958 con el título "Cincuenta Ańos de Arte Moderno" le hará dar un giro hacia la abstracción, realizando sus primeros guaches e integrándose en el Grupo Parpalló con quienes permanecerá unido hasta su disolución en 1961. En 1964, da un nuevo giro a su obra, con una etapa en la que la ordenación seriada de elementos mínimos, le van a convertir en uno de los precursores del Arte Minimal. También en este momento comienza a trabajar como creativo en una agencia de publicidad y sus obras comienzan a ser tomadas en cuenta, siendo incluso seleccionadas para representar a Espańa en la XXIII Bienal de Venecia. En los ańos setenta, aborda el arte óptico y experimenta con materiales industriales y cada vez mas se centra en la escultura, como disciplina artística en la que mejor consigue expresarse.
El Cuerpo Humano 1 (1992, 55x50cm)
El Cuerpo Humano 2 (1992, 55x50cm; 10kb)
El Cuerpo Humano 3 (1991, 55x55cm)
El Cuerpo Humano 4 (1992, 57x57cm)
El Cuerpo Humano 5 (1992, 57x57cm)
El Cuerpo Humano 6 (1992, 57x57cm)
Las Tres Gracias 1 (1990, 41x29cm)
Las Tres Gracias 2 (1990, 41x29cm)
Las Tres Gracias 3 (1990, 25x21cm)
untitled (800x562pix, 114kb)
automodelo (800x618pix, 53kb) one of many with that same title.
98 images at Ciudad de la Pintura —(090805)

1865 Robert Polhill Bevan, English painter who died on 08 July 1925. As sources conflict, this site has taken 05 April to be his birth date.

^ 1860 Henri-Jean-Guillaume Martin, French Post-Impressionist painter who died in November 1943. After winning the Grand Prix at the Ecole des Beaux-Arts in Toulouse, he moved to Paris (1879) to study at the Ecole des Beaux-Arts there under Jean-Paul Laurens, who encouraged his interest in Veronese and other Venetian painters. The literary inspiration of his early work was reflected in such paintings as Paolo de Malatesta and Francesca da Rimini in Hell (1883) based on Dante, for which he won a medal at the Salon of 1883. During his subsequent study in Rome, however, on a fellowship awarded to him at the Salon, he was attracted both by the brilliant Italian light and by the paintings of Giotto and his contemporaries.
     Henri Martin was a master with paint and brush, his canvasses are joyous expressions of light, color and texture. His depictions of landscapes and architecture allow viewers of his paintings to open a window to turn-of-the-century France. He was without contest an Impressionist and one who had the deepest sensitiveness, certainly equal to that Monet, whom he most admired. Their interpretation of nature is certainly, owing to their utmost sensitiveness and not through research of a technical process, a poetical evocation hued by a thousand colors which can undoubtedly be called a work of art. If you look at a fragment of Henri Martin's canvas, especially one with soft hues, you see a great number of dots of different colors, as precious and rare as precious stones. His palette is an enchantment. Many different interminglings of colors make a rare and rich harmony. The real colorist does not not use vivid colors as many laymen might think. And it is much more difficult to find a good harmony of colors when representing nature than to assemble some nice colors, representing nothing. In here lies the gift of Impressionists and that is why there are so few.— LINKS
Self-Portrait (1912)
Serenity (P. Vergilius Maro, Aeneid IV) (1899)
Woman with Flowers (1900)
–- S#*> Gondoles à Venise (1909, 70x99cm; 900x1284pix, 262kb) _ Henri Martin, whose mother was Italian, discovered Italy in 1886. His first visit to Venice affected him greatly and had a profound impact on his artistic development. Like contemporaries such as Boudin, Pissarro, Renoir, and Monet, Martin was fascinated by Venice. Just before his return to France he wrote: “de toutes les villes que j'ai vues dans mon voyage, Venise est bien celle qui m'enchante le plus...que de coins ŕ peindre ! Je ne m'attendais pas ŕ ce travail, sans quoi j'aurais quitté Rome et Florence plus tôt. L'Italie offre tout ce que l'on peut désirer, dčs que je le pourrai j'y retournerai.” In 1908 Martin went back to Venice and stayed there for several months, into 1909. Venise rassemble tous les éléments auxquels l'artiste est sensible: une architecture superbe, les reflets et le scintillement de l'eau dans les canaux, et une luminosité exceptionnelle.
     Martin's Venetian paintings are among his most evocative, capturing the poetic majesty of the city. Rather than depicting the city’s architectural splendor and impressive façades, Martin was interested in recording its sublime and romantic qualities. In Gondoles ŕ Venise, Martin concentrates on the water and sky and the constantly changing interplay of light and color. Il regarde Venise ŕ travers son Quercy. Il a vu des ciels et des eaux méridionales et il fait tout de męme de trčs beaux tableaux sur des motifs vénitiens, parce que ses motifs éveillent en lui le męme lyrisme instinctif que ceux de sa région.
–- S#*> Gondoles sur le Grand Canal à Venise (1908, 60x73cm; 510x612pix, 67kb)
–- S#*> Labastide du Vert en contrebas de Marquayrol (71x98cm)
–- S#*> Maison paysanne prčs de Labastide du Vert (1920, 66x82cm)
–- S#*> Église au bord de la rivière (85x62cm)
–- S#*> Terrasse de Marquayrol sous la pluie (1920, 71x94cm)
–- S#*> Paysage avec maison (84x105cm)
–- S#*> Le pont de Labastide-du-Vert (68x91cm; 600x799pix, 133kb)
–- S#*> Mme. Henri Martin assise sur la margelle d'un des bassins de Marquayrol (1900, 72x93cm; 620x800pix, 195kb) _ After searching for the ideal house for almost ten years, Henri Martin finally acquired Marquayrol in 1900, a beautiful mansion overlooking La Bastide du Vert, near Cahors. The house and the region became his main sources of inspiration and deeply influenced his style. It was here that the artist found the important southern light denied to him in Paris which stimulated and fulfilled his artistic needs. Cette installation ŕ 40 dans le Lot marque un tournant décisif dans sa production artistique. Muses et Lyres s’évanouissent de ses toiles et il ose affronter quotidiennement la luminosité méridionale. The present work encapsulates Martin’s signature style of broken brushwork suspended within a rigorously structured composition. It is one of the earliest works painted by the artist at Marquayrol. Martin planted the small tree on the left of the composition in 1900 as a tribute to the Florentine landscapes he discovered during several trips to Italy. The artist very rarely included people in his landscapes. The present work is exceptional in that it places his wife within a scene in which both she and her surroundings are treated with equal affection and attention to detail.

^ 1855 Louis-Charles Moeller, US painter who died in 1930. — LINKS
–- The Violin Shop (1885, 41x31cm; xpix, 50kb _ .ZOOM to xpix, 180kb) _ .detail 1 (xpix, 200kb) _ .detail 2 (xpix, 174kb)
An Old Volume (46x62cm)
The Gossips (46x61cm)
–- S#*> Reading the Will (1888, 46x61cm; 589x800pix, 93kb)
The Dollmaker (41x31cm; 1121x822pix, 169kb)
–- S#*> Tea Party (1905, 46x62cm; 607x800pix, 101kb)
Sign Here (1895, 76x102cm; 482x648pix, 82kb)
Three Men Conversing (1879, 20x25cm; 510x648pix, 87kb)
–- Old Man (18x13cm; full size 584x420pix, 29kb _ ridiculously overenlarged ZOOM to 2504x1800pix, 461kb, not recommended except to those who enjoy looking at pictures through a microscope) _ The pseudonymous Louis-Dore Moelleux has put to good use the overenlarged image by transforming part of it, without any distortion of shapes, but with the creative use of colors, textures, and symmetry, into the stunning abstraction Whole Mane aka Home View aka Vieil Art aka Name Man (2006; screen filling, 292kb _ ZOOM to 1864x2636pix, 2090kb). — (060803)

1819 Arthur Fitzwilliam Tait, English painter who died (full coverage) on 28 April 1905. (060703)

^ Happened on a 05 August:
2007 NICE THEFT !!!
      From the Musée des Beaux-Arts de Nice (aka Musée Jules Cheret, after the painter Cheret []) are stolen the paintings
      _ .Falaises près de Dieppe (1897, 65x87cm; 677x1050pix, 77kb), one of many different paintings by Claude Monet [1840 – 1926], with similar titles.
      _ .Allée des peupliers près de Moret (1890, 64x81cm; 523x700pix, 74kb) one of several by Alfred Sisley [30 Oct 1839 – 29 Jan 1899], with similar titles. Cette toile, qui se situe chronologiquement tard, témoigne des acquisitions fondamentales de l’Impressionnisme : plein air, division de la touche, grande liberté de facture, ombres lumineuses ; mais elle garde une perspective traditionnelle. Dans ce tableau, Sisley a choisi un des paysages qu’il connaît le mieux, celui du village de Moret-sur-Loing oů il s’installe en 1879 et ce jusqu’ŕ sa mort vingt ans plus tard. Son art, tout de modestie et de franchise a été masqué par le génie de Monet. Cependant aucun peintre n’a su mieux traduire que lui les paysages de l’Ile-de-France. Sisley est un des plus purs impressionnistes.
      _ .Allegory of Water (53x94cm; 604x1048pix, 55kb) by Jan Brueghel I [1568-1625] and Hendrick van Balen [1575-1632].
      _ .Allegory of Earth (53x94cm; 605x1048pix, 67kb) by Jan Brueghel I and Hendrick van Balen. _ not to be confused with
      _ .Allegory of Earth (1636, 53x81cm; 1028x1589pix, 189kb) by Jan Brueghel II [13 Sep 1601 – 01 Sep 1678]. Jan Brueghel the Younger devoted his career to carrying on his father's painting style. Demand was high for big, decorative landscapes and works by fijnschilders, painters of meticulous detail, who worked in the vein of Jan Brueghel the Elder. To satisfy the market, Jan the Younger sometimes copied his father's works and sold them under his father's signature. In consequence, it is often difficult to distinguish their styles, though Jan the Younger's few dated pictures show lighter colors and less precise drawing. After training under his father, Jan the Younger went to Italy in 1624, traveling with his childhood friend Anthony van Dyck. When Jan the Elder died suddenly in a cholera epidemic, Jan the Younger took over his father's busy Antwerp studio. He became dean of Antwerp's guild in 1630. His clients included the Austrian and French courts, and he may have visited France in the 1650s. While Jan the Younger painted many subjects, he is best known for landscapes whose subjects ranged from villages, to mythological scenes, to allegories and, to a new category, animals in landscapes. His allegories depicted the senses, the elements, the seasons, and abundance. Like his father, he created landscape backgrounds for many painters, including Peter Paul Rubens and Hendrick van Balen.

      A gang of five knows exactly which paintings they want as they enter the museum at 13:00 (UT), at lunchtime, when the staff is reduced to four, on one Sunday each month on which entry is free. There are only some six visitors.
      Two of the robbers wear motorcycle helmets with visors, two wear surgical masks and one wears heavy dark glasses. Two of the men wear white chemical hazard suits. One stays in the lobby, aiming a gun at staff, while the others hold up the two guards on the first floor, where the paintings are hanging.
      At gunpoint, they order the staff members to lie on the floor while they remove the paintings from their frames and put them in black bags. They try to carry off a second Sisley, but they drop it and break the frame after finding that it is too heavy or too cumbersome. The theft is over in no more than five minutes.
      The robbers were probably working to order, as the stolen paintings are too well known to sell. They might have planned to ransom the paintings from the insurers.
      The Monet and the Sisley, both on permanent loan from the Paris Musée d’Orsay, had survived a 21 September 1998 theft. Jean Forneris, at that time curator of the Nice museum, had them stolen by two accomplices. They were recovered a week later on a boat under repair in the nearby port of Saint-Laurent-du-Var (Alpes-Maritimes). Forneris was sentenced to 18 months in prison in June 2002. The Sisley was also stolen in 1978 when on loan to a Marseille museum and found a few days later in a sewer.
      The paintings stolen today would be recovered in June 2008.

—(080807)
click for one Helga portrait1986 News: Wyeth made 240 Helga pictures!
      It's revealed that Contemporary Realist painter Andrew Wyeth has secretly made 240 drawings and paintings of his neighbor Helga Testorf. [click on image to see Braids, a 1979 Helga picture >]
      Andrew Wyeth, born on 12 July 1917, is an enormously popular and critically acclaimed US realist painter whose artistic career has spanned over 50 years. Wyeth's subjects are largely the human figure, often set in the landscapes of Pennsylvania's Brandywine Valley and the coastal farmland of Cushing, Maine.
     Andrew Wyeth's images in egg tempera and watercolor are often thought to be exact representations of scenes or people. But, in fact, Wyeth restructures elements of visible reality, arranging people and objects as he pleases in order to create his private visions of places and people in Pennsylvania and Maine.
      The Helga Pictures represent a unique body of work for Wyeth. The subject of virtually the entire group is Helga Testorf, a neighbor of Wyeth's in Chadds Ford, Pennsylvania. The collection was executed over a 15 year period, from 1971 to 1985, completed in total secrecy, known only to the artist and model.
       A 1996 (12 Jan – 24 Mar) exhibition of 83 of those pictures at the Norton Museum of Art in Florida would be the first time that Wyeth permits into public view a large suite of sequential drawings related to a single work. Such close attention by a painter to one model over such a long period of time affords the viewer aunique opportunity to see intertwined images of physiological change and artistic growth. Wyeth presents his subject nude and clothed, indoors and out, in different seasons and times of day. The resulting images go beyond documentary working studies, possessing a compelling strength and beauty.
MORE ON WYETH AT ART “4” JULY 12
LINKS
Christina's World (1948) {with link to an exclusive showing what happened to it, moments after the scene painted by Wyeth :-}— Albert's Son (1959) — Page BoyDistant Thunder
Chill Wind (1982) — Autumn (1984) — Memorial Day (1946) — Winter, 1946
Wind from the Sea (1948) — Anna Christina (1967) — Alvaro & ChristinaThe Wood Stove (detail)
The Coot Hunter (1941) — Sheepskin (1973)
Eisenhower (527x400pix, 208kb) 07 Sep 1959 Time cover.

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updated Thursday 06-Aug-2009 3:10 UT
Principal updates:
v.8.70 Tuesday 05-Aug-2008 2:38 UT
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