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ART “4” “2”-DAY  07 August v.9.70
^ Born on 07 August 1862: Henri Eugène Augustin Le Sidaner, French painter who died in 1939. — {Il n'a jamais étudié à Rome. Avait-il peur de s'y damner, Sidaner?}
— Le Sidaner was a Symbolist, who later adapted Neo-Impressionism to his own purposes, beginning about 1898. He is, therefore, a Neo-Impressionist like Henri Martin and many others, and his work has substantial quality. He came to Paris in 1880 and studied with Cabanel for two years. He then moved to Etaples, near Boulogne, for the next twelve years. Upon his return to Paris in 1894, he absorbed the fin-de-siècle fondness for twilight scenes, which became his speciality. He was influenced by Eugène Carrière and Whistler. By about 1900 Le Sidaner was the French counterpart to the Italian 'Divisionisti', like Grubicy de Dragon and Pelizza, although there was probably no direct relationship. He was awarded a bronze medal at the Exposition Universelle in 1900; made an Officer of the Légion d'Honneur in 1930 and elected a Member of the Institute. He was also a Professor at the Académie des Beaux-Arts.
     Le Sidaner developed his distinctive idiom during the 1890s, under the influence of Symbolism. The poignant fin-de-siècle mood of Maeterlinck and Verhaeren, of Lévy-Dhurmer and Khnopff, set the tone of his œuvre. On a formal level, he found a suitably harmonious, all-over treatment for his compositions in Neo-Impressionism. Critics have frequently described Le Sidaner's work in terms of musicality and silence. Always in a ‘minor key’, its subtle harmonies are seen to evoke a wistful mood that is exacerbated by the absence of figures. His œuvre displays a taste for tender, soft and silent atmospheres. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence. Instead, the artist focused on the architectural and domestic environments as well as their accoutrements man creates for himself. He considered that the silent harmony of things is enough to evoke the presence of those who live among them. Indeed, such presences are felt throughout his works. Deserted they may be, but never empty.
     Le Sidaner's primary concern was to depict plays of light and their changing reflections as they impacted a moment. Effect was his overriding concern. As he would often point out to his students, no landscape was worth painting if it was not enhanced by some play of light. He would use all sources of light to create an effect: sunlight, moonlight, and artificial lighting, particularly about sunset, when it contrasts so pleasantly with the dying rays of daylight. Reflective surfaces played a leading role in his work. The most important of all these was water, in a variety of forms. The end result are works of a strikingly luminous quality, radiating an inner life. These scenes, with their harmonious use of color, light, and divided brushwork, convey a sense of intimacy that draws the viewer into the moment at hand.

–- Le Pont (1904, 60x74cm; 607x760pix, 40kb _ .ZOOM to 859x1075pix, 193kb _ .ZOOM+ to 1718x2151pix, 737kb)
–- Table dans le Jardin (79x64cm; 707x567pix, 76 kb _ .ZOOM to 1061x850pix, 179kb _ .ZOOM+ to 2124x1700pix, 1326kb) which looks almost like a detail of  La Table du Thé (1919)
–- S#*> L'Église, Nemours (1919, 65x81cm; 900x1115pix, 268kb)
–- S#*> Les Barques (1923, 65x81cm; 713x900pix, 188kb) _ Like the Impressionists, Le Sidaner was interested in capturing a fleeting moment. In Les Barques, we are presented with the port of La Rochelle as night falls. A few lights have been illuminated in the buildings in the background. The water presents an ideal surface for Le Sidaner, its moving surface reflecting both the colors and forms of the moored boats and the various light sources. Le Sidaner was a pointillist, but not the kind who decomposes tones and applies them unmixed, thereby letting our eyes reconstitute the colors on our retina. His palette was extremely varied and subtle. The oils bind and melt together in highly delicate harmonies. Nor was he the kind to enclose forms within a heavy brushstroke, as was the practice among the younger school of painters. With him, contours seem to emerge from the interplay of light, and in this respect, he was similar to Claude Monet. _ Auctioned at Sotheby's on November 2002 for $262'500 (which the buyer paid in full), and, a greater fool not being found, again on 09 February 2005, for £131'000 (about $233'000) of which the seller got what was left after the auction house's fee.
–- S#*> Les Maisons du Port au Clair de Lune (1924, 81x100cm; 647x799pix, 117kb)
–- S#*> Le Déjeuner, Gerberoy (1921, 73x92cm; 510x644pix, 97kb) _ The home and gardens Le Sidaner created at Gerberoy from 1901 onwards provided his most enduring theme. His first major composition of Le déjeuner: a table setting for three in his shady courtyard, dates from the year of his arrival in the picturesque village (see: Y. Farinaux-Le Sidaner, op. cit., no. 115). The present work is perhaps the crowning achievement of the numerous variations executed during ensuing decades. The domestic intimacy and muted joy summoned up by his trellises, fruit and colourful ceramics bear out Maurice Hamburger's judgement that `Le Sidaner has sensed that beauty, like happiness, consists above all in inner harmony, calm and simplicity'
–- S#*> La Table Ronde (1925, 73x60cm; 549x440pix, 61kb) _ Much too small for the knights, whose Round Table (600x1067pix, 237kb) was more like this last one, by Marlo Steed. _ Le Sidaner was extremely fond of table-settings as a subject matter. He liked to paint heavily laden tables, skillfully arranging the glasses, drinks, china and material in order to obtain the desired effect. He made this and about ten other paintings of tables during his numerous sojourns at Villefranche-sur-Mer between 1920 and 1930.
Dimanche (1898, 113x192cm; 268x430pix, 21kb)
Petit Village: Gerberoy (1937, 125x150cm) _ In 1900 Le Sidaner visited Gerberoy, northwest of Paris, and later bought a house there. The village became the inspiration for many of his paintings, which are known for their evocative, atmospheric quality.
19 images at the Athenaeum
^ Died on 07 August 1899: Jacob Henricus (or Hendrikus) Maris, Dutch painter specialized in Landscapes, born on 25 August 1837. Brother of landscape painters Matthijs Maris [17 Aug 1839 – 22 Aug 1917] and Willem Maris [18 Feb 1844 – 10 Oct 1910]. Jacob Maris started as a figure painter but later turned to painting town- and landscapes. He was one of the leading painters of the Hague School, along with Jozef Israëls and Anton Mauve.
— Jacob Maris studied first at the Antwerp Academy and then in Paris (1865-1871). He is best known for his landscapes in oil, watercolor, and etching, with Dutch bridges, windmills, quays, towers, against misty or cloudy skies, where the atmosphere is more important than the subject.
      By the age of 12 he was apprenticed to Johannes Stroebel [1821–1905], and from 1850 he attended classes at the Academie in The Hague. In 1854 he accompanied his teacher, Huib van Hove [1814–1864], to Antwerp, where he attended evening classes at the Academie for two years and made contact with Louis Meijer, the marine painter. In 1855 he was joined in Antwerp by his brother Matthijs Maris, with whom he shared a workshop and house. For a short period their friend and fellow student Laurens Alma-Tadema came to live with them. They lived on Matthijs’s grant and made small paintings, based on 17th-century Dutch genre pictures, for the US market.
— The students of Jacob Maris included his brother Willem Maris, as well as Théophile de Bock and Willem de Zwart.

View of Amsterdam (1880, 92x168cm; 599x459pix, 62 kb _ ZOOM to 2057x1576pix, 465kb)
–- Harbor of Amsterdam (1872, 45x93cm; 458x1000pix, 43kb _ ZOOM to 654x1426pix, 81kb)
Dutch Town on the Edge of the Sea (1883)
Close of Day
Harbor Town (1875, 36x60cm)
A View of a Harbor Town (67x126cm; 513x1000pix, 156kb)
Collecting Shellfish (128x94cm; 1000x736pix, 110kb)
The Bridge (1885, 113x138cm) _ Looking at the somber grays and blacks of this village scene, with its shimmering silver-surfaced canal, it is hard to believe that a contemporary of Maris had complained of the extreme vividness of the colors in the painting. This critic later learned from Maris that he expected his pigments to reach a mellow maturity only after ten or twelve years from the time of their application. The artist clearly understood his craft, for today the subdued tones of the picture greatly enhance this powerful portrait of an ordinary, even drab, Dutch town, blanketed under clouds stirred by damp, gusty winds. The site depicted is said to be near Rijswijk, on the outskirts of The Hague. A number of similar compositions by Maris, which include both oil sketches and a wash drawing, may be preparatory studies for the picture.
–- S#*> Shell Fishers on the Beach (596x841pix, 114kb)
–- S#*> Polder Landscape With Windmill (1082x841pix, 150kb)
–- S#*> On the Tow Path (616x961pix, 181kb) badly crackled _ A horse with rider (seen from the back) is pulling a cable; the tow is unseen, out-of-frame.
Boulders (27x43cm)
Motherly Love (61x46cm)
–- S#*> The Two Little Sisters (1081x841pix, 185kb)
Nolde ^ Born on 07 August 1867: Emil Hansen “Nolde”, German Expressionist painter, watercolorist, and printmaker known for his violent religious works and his foreboding landscapes. He died on 15 April 1956 in Seebull, West Germany.
["Düsterer Männerkopf" (Selbstbildnis), Lithographie 1907 >]
—    He was born Emil Hansen at Nolde near Tondern in northest Schleswig (now Tänder in southern Denmark) into a farming family, his father a Frisian-German, his mother Danish.  The youthful Emil made his living as a woodcarver. He was able to study art formally only when some of his early works were reproduced and sold as postcards. Emil Hansen changed his name to Emil Nolde about 1904.
      In Paris Nolde began to paint works that bear a superficial affinity to Impressionist painting. In 1906 he was invited to join Die Brücke, an association of Dresden-based Expressionist artists who admired his "storm of color." But Nolde, a solitary and intuitive painter, dissociated himself from that tightly knit group after a year and a half.
     Nolde married Ada Vilstrup, who collaborated with him, printing many of the woodcuts, keeping records, etc.
      Fervently religious and racked by a sense of sin, Nolde created such works as Dance Around the Golden Calf (1910) and In the Port of Alexandria from the series depicting The Legend of St. Maria Aegyptica (1912), in which the erotic frenzy of the figures and the demonic, masklike faces are rendered with deliberately crude draftsmanship and dissonant colors.
      In the Doubting Thomas from the nine-part polyptych The Life of Christ (1911-1912), the relief of Nolde's own religious doubts may be seen in the quiet awe of Saint Thomas as he is confronted with Jesus' wounds. During 1913 and 1914 Nolde was a member of an ethnological expedition that reached the East Indies. There he was impressed with the power of unsophisticated belief, as is evident in his lithograph Dancer (1913).
      Back in Europe, Nolde led an increasingly reclusive life on the Baltic coast of Germany. He lived at Seebüll¸close to the Danish border. His almost mystical affinity for the brooding terrain led to such works as his Marsh Landscape (1916), in which the low horizon, dominated by dark clouds, creates a majestic sense of space. Landscapes done after 1916 were generally of a cooler tonality than his early works. But his masterful realizations of flowers retain the brilliant colors. of his earlier works. He was a prolific graphic artist especially noted for the stark black and white effect that he employed in crudely incised woodcuts.
      Although Nolde was an early advocate of Germany's National Socialist Party, after the Nazis came to power, they included his work in the “Entartete Kunst” (Degenerate Art) exhibition they mounted in 1937 in Munich. That put Nolde in the company of Jankel Adler [26 Jul 1895 – 25 Apr 1949], Ernst Barlach [02 Jan 1870 – 24 Oct 1938], Rudolf Bauer, Philipp Bauknecht, Otto Baum, Willi Baumeister [22 Jan 1889 – 31 Aug 1955], Herbert Bayer [05 Apr 1900 – 30 Sep 1985], Max Beckmann [12 Feb 1884 – 27 Dec 1950], Rudolf Belling [26 Aug 1886 – 09 Jun 1972], Paul Bindel, Theo Brün, Max Burchartz, Fritz Burger-Mühlfeld, Paul Camenisch, Karl Caspar, Maria Caspar-Filser, Pol Cassel, Marc Chagall [07 Jul 1887 – 28 Mar 1985], Lovis Corinth [21 Jul 1858 – 17 Jul 1925], Heinrich Davringhausen, Walter Dexel, Johannes Diesner, Otto Dix [02 Dec 1891 – 25 Jul 1969], Johannes Dreisch, Hans Christoph Drexel, Heinrich Eberhard, Max Ernst [02 Apr 1891 – 01 Apr 1976], Hans Feibusch, Lyonel Feininger, Conrad Felixmüller [21 May 1897 – 24 Mar 1977], Otto Freundlich [10 Jul 1878 – 09 Mar 1943 in Maidanek concentration camp], Xavier Fuhr, Ludwig Gies [03 Sep 1887 – 27 Jan 1966], Walter Gilles, Otto Gleichmann [20 Aug 1887 – 02 Nov 1963], Rudolph Grossmann, George Grosz [26 Jul 1893 – 06 Jul 1959], Hans Grunding, Richard Haizmann, Raoul Hausmann [12 Jul 1886 – 01 Feb 1971], Guido Hebert, Erich Heckel [31 Jul 1883 – 27 Jan 1970], Wilhelm Heckrott, Jacoba van Heemskerck [01 Apr 1876 – 03 Aug 1923], Hans Seibert von Heister, Oswald Herzog, Werner Heuser, Heinrich Hoerle, Karl Höfer [11 Oct 1878 – 03 Apr 1955], Eugen Hoffman, Johannes Itten [11 Nov 1888 – 25 May 1967], Alexei von Jawlensky, Eric Johansen, Hans Jürgen Kallmann, Wassily Kandinsky, Hans Katz, Ernst Ludwig Kirchner, Paul Klee, Cesar Klein, Paul Kleinschmidt, Oskar Kokoschka, Otto Lange, Wilhelm Lehmbruck, El Lissitzky, Oskar Lüthy, Franz Marc, Gerhard Marcks, Ewald Matare, Ludwig Meidner, Jean Metzinger, Constantin von Mitschke-Collande, Laszlo Moholy-Nagy, Margarethe Moll, Oskar Moll, Johannes Molzahn, Piet Mondrian, George Muche, Otto Mueller, Erich Nagel, Heinrich Nauen, Ernst Wilhelm Nay, Karel Neistrath, Otto Pankok, Max Pechstein, Max Peiffer-Watenphul [1896-1976], Hans Purrmann, Max Rauh, Hans Richter, Emy Röder, Christian Rohlfs, Edwin Scharff, Oskar Schlemmer, Rudolph Schlichter, Karl Schmidt-Rottluff, Werner Scholz, Lothar Schreyer, Otto Schubert, Kurt Schwitters, Lasar Segal, Friedrich Skade, Friedrich “Fritz” Stukenberg, Paul Thalheimer, Johannes Tietz, Arnold Topp, Karl Völker, Christoph Voll, William Wauer, and Gert Wollheim.
      In 1941 the Nazi regime forbade Nolde to paint (but he secretly painted over 1300 small watercolors which he called “Ungemalten Bilder”). Most of his woodcuts, etchings, and lithographs were made between 1905 and 1937. After World War II he resumed painting but often merely reworked older themes. His last Self~Portrait (1947) retains his vigorous brushwork but reveals the disillusioned withdrawal of the artist in his 80th year.
      There is a great richness and the unusual diversity in Nolde's work, oil-paintings, water-colors, drawings, graphic works, and arts and crafts, of landscapes and seas, portraits, flower gardens, grotesques and fantasies, with pictures of big city nightlife in Berlin and others from his trip to the South Seas.
“Art is exalted above religions and races. Not a single solitary soul these days believes in the religions of the Assyrians, the Egyptians, and the Greeks. And their races are exhausted, crossbred and spoiled. Only their art, whenever it was beautiful, stands proud and exalted, rising above all time.” — Emil Nolde, 1911

—      Nolde (sein ursprünglicher Name war Hansen) zählt zu den führenden Malern des Expressionismus und gilt als einer der großen Aquarellisten in der Kunst des 20. Jahrhunderts, sein eigentliches Ausdruckmittel war die Farbe.
     Noldes ehemaliger Wohnsitz Seebüll liegt an der Grenze zu Dänemark inmitten der weiten Marschlandschaft  nahe der Nordsee auf einer hohen Warft, nicht weit von Tondern und dem Dorf Nolde, wo der Maler 1867 als Sohn eines Bauern geboren wurde.
      Nolde ist weit und häufig gereist, die Winter verbrachte er zumeist in Berlin; doch empfand er zeitlebens eine tiefe Verbundenheit  zu seiner Heimatlandschaft.

–- E.N. (Selbstporträt) (1908 etching, 31x24cm; 718x548pix, 56kb _ .ZOOM to 1077x822pix, 112kb)
Excited People (1913, 102x76cm; 1056x772pix, 197kb _ ZOOM to 1600x1170pix, 213kb _ ZOOM+ to 2500x1828pix, 478kb)
Blumengarten (2353x2734pix, 3086kb)
Autumn Sea VII (1910)
Candle Dancers (1912)
Child and Large Bird (831x987pix, kb)
Dance Around the Golden Calf (1910)
Legend: Saint Mary of Egypt - Death in the Desert (1912)
Mask Still Life III (1911, 74x78cm)
Wildly Dancing Children (1909)
Women and a Pierrot (1000x851pix, 106kb _ ZOOM)
Crucifixion (1912, 220x193cm; 750x661pix, 101kb _ ZOOM)
–- Branch of Orchids (34x47cm; 472x655pix, 55kb _ .ZOOM to 959x1321pix, 213kb)
–- Frauenkopf (36x28cm; 697x550pix, 35kb _ .ZOOM to 1046x825pix, 76kb)
–- a different Frauenkopf (50x37cm; 707x516pix, 31kb _ .ZOOM to 1131x826pix, 78kb)
Sunset (434x613pix _ ZOOM to 1012x1430pix, 416kb)
Gustav Schiefler (1915; 600x524pix _ ZOOM to 1400x1227pix)
Papua-Jünglinge (1914; 570x851pix; 228kb)
Blue Sea and Red Clouds (592x779pix, 103kb) _ To the pseudonymous Emillion Handsom “Oldy” it seemed obvious what symmetrical abstraction he had to transform this into
      _ Red Sea and Blue Clouds aka Derm Red (2006; screen filling, 185kb _ ZOOM to 1864x2636pix, 1214kb). Then Oldy developed geographical concerns concerning colored maps, which invariably show that sea in the wrong color: blue. + ZOOM IN +So Oldy went about correcting that grievous error, and, being more than a mere mapmaker, he reflected that if one Red Sea the right color is good, two would be even better and so he made the very original picture
      _ Anyone Sees That To Seize Two Seas or Two Cs or One of Each, If You Have Read Red, Them Make Them Red, Because Two Reds Are Never Too Red aka 2 Red Ceas (2006; screen filling, 99kb _ ZOOM to 1864x2636pix, 524kb)
Pfingsten (1909; 566x754pix; 248kb)
141 images at Ciudad de la Pintura
^ Died on 07 August 1796: Franz Anton Maulbertsch (or Malberz, Maubertsch, Malpertsch), Austrian painter who was baptized as an infant on 07 June 1724 (born possibly on 04 June 1724).
— His work as a painter of both oil paintings and frescoes on religious, mythological and occasionally worldly themes spanned the second half of the 18th century, adapting a Late Baroque training to the onset of Neo-classicism but remaining strikingly individual throughout. His fresco work, mostly still in situ in widespread central European locations, came at the end of an artistic tradition and was for long neglected, being far from major cultural centers; but it is now seen to establish him as one of the leading painters of his century and a colorist comparable to Giambattista Tiepolo.
— Maulbertsch was the outstanding Austrian decorative painter of the 18th century. He was active and extremely productive over a wide area of central Europe and most of his works (altarpieces as well as frescoes) are still in the churches and secular buildings in Austria, the Czech republic, Hungary, and Slovakia for which they were painted. Maulbertsch's vivacious, colorful, and emotional style was almost completely resistant to Neoclassical influences, representing the last glorious flowering of the Baroque and Rococo tradition. His painterly dash is even more apparent in his oil sketches, which are well represented in the Barockmuseum, Vienna, and he was also an outstanding etcher. His oeuvre is well represented in Hungary. A major work of his early period was a series of frescoes for the parish church of Sümeg (1757-1759) followed by frescoes for the Erdõdy-castle and its chapel (1763), allegoric frescoes for the Féltorony-castle (1765), frescoes of the Gyõr cathedral (1772, 1781), the dome of the Vác cathedral (1774) , frescoes of St. Stephen for the parish church in Vác (1781-1782) and frescoes of the episcopal see in Szombathely (1783). The frescoes of the chapel of the girls' school in Eger show the calmness of his late period (1792-1793).
— Josef Winterhalder II was a student of Maubertsch.

Rebecca and Eliezer (1750, 72x92cm) _ This painting and its companion-piece, Joseph and his Brothers (1750, 73x91cm), are early works showing the influence of Troger and the Venetian painter Giovanni Battista Pittoni.
Annunciation (study) (1794, 81x52cm) _ This study was painted for the fresco on the nave ceiling in the Cathedral of Szombathely.
Adoration of the Shepherds _ detail (1758) _ The detail is a self-portrait.
Mary Magdalen (1754) _ This painting shows the influence of Piazzetta.
Saint Paul (1759, 200x113cm)
The Trinity (62x33cm) _ This sketch from the late period of the artist was a study for the altarpiece in the Parish Church in Wien-Reindorf.
Allegory of the Alba (1750, 67x53cm) _ The artist applied the same rococo style to all subjects whether religious, mythological, or allegorical subjects.
The Death of Saint Joseph (1767)
Apotheosis of a Hungarian Saint (1773)
52 images at Bildindex

Died on a 07 August:

1994 Liú Haisù (Liu Haisu) [16 Mar 1896–], Chinese painter, art educator, and author of biographies of Jean-François Millet and of of Paul Cézanne. He combined traditional Chinese painting methods with European techniques, especially those of van Gogh and Cézanne, and promoted this style as a model for revolutionizing art education in China. —(090806)

1877 Aleksander Kotsis, Polish painter born (main coverage) on 03 May 1836. —(090806)

1862 William Turner (of Oxford), English painter born on 12 November (December?) 1789. He probably received his earliest training from William Delamotte, in Oxford. In 1804 he went to London and became a student of John Varley, possibly being formally apprenticed. He first exhibited at the Royal Academy in 1807; in January 1808 he was elected an associate of the Society of Painters in Water-Colours, and in November of that year became its youngest full member. He exhibited there annually from 1808 until his death, sending 455 works in all. His passionate, technically complex youthful work was highly acclaimed, yet its promise remained unfulfilled; around 1811 he returned to Oxfordshire and soon established himself as a drawing-master in Oxford, where he lived for the rest of his life. — Relative? of Joseph Mallord William Turner [23 Apr 1775 – 19 Dec 1851]?

1815 Johannes Jacobus Linthorst, Dutch artist born in 1750, give or take 5 years.

^ 1752 (1759?) Jan Josef Horemans I “le Brun” or “le Sombre”, Antwerp Flemish artist born on 16 November 1682. He was a student of the sculptor Michiel van der Voort I and then of the Dutch painter Jan van Pee [<1640–1710], who was active in Antwerp. Horemans joined the Guild of Saint Luke in 1706–1707. He appears to have followed in the footsteps of the 17th-century Flemish genre painters, executing a few portraits and a large number of small anecdotal pictures that were highly prized on the market. In paintings such as The Village School and The Cobbler’s Shop (both 1712), The Musical Company (1715) and The Card-players he represented scenes from contemporary everyday life that combine observation with a certain degree of stiffness. Most of his paintings are signed. In 1746, together with his son Jan Josef Horemans II “le Clair” [bap. 15 Jan 1714 – >1790], he painted The Abbot of Saint Michel Visiting the Order of the Fencing Oath. — Peter Jacob Horemans [26 Oct 1700 – 1776] was the brother of Jan Josef Horemans I.
Garden with Figures on a Terrace (1735)

1691 Cornelis Mehus (or Meeus), Flemish artist born in 1630.

Born on a 07 August:

>1907 Albert Kotin [–06 Feb 1980], US Abstract Expressionist painter. — LINKS
Westerly (1957, 175x201cm; 606x700pix, 58kb _ .ZOOM to 7012x8100pix, 6706kb)
The Musicians (1938, 107x81cm; 700x560pix, 36kb)
Fiesta (1948, 86x61cm; 700x496pix, 49kb)
Struggle between Plant and Insects (1948, 91x76cm; 700x592pix, kb)
Spanish Dancers (1950, 91x122cm; xpix, kb)
Preditors (1951, 91x71cm; xpix, kb)
Untitled (1951, 79x91cm; xpix, kb)
Untitled (1950, 91x76cm; xpix, kb)
Calliope (1953, 91x76cm; xpix, kb)
Downbeat (1954, 91x71cm; xpix, kb)
Untitled (1954, 178x147cm; xpix, kb)
Phoenix (1957, 145x91m; xpix, kb)
Whispering Rain (1957, 102x127cm; 549x700pix, 51kb)
Untitled (1957, 91x76cm; 700x583pix, 64kb)
Untitled (1957, 102x91cm; xpix, kb)
Untitled (1958, 102x127cm; xpix, kb)
Untitled (1966, 102x127cm; 556x465pix, 57kb) —(080806)

^1890 Einar Jolin, Stockholm painter who died on 14 June 1976 (1990?). After studying in Stockholm, he worked under Henri Matisse in Paris from 1908 to 1911 and in 1913 exhibited there at the Salon d’Automne. The influence of Matisse is strongly evident in such early paintings as On the Beach (1917; Stockholm, Mod. Mus.), with its bright color and strong outlines. He visited in Italy (1920–1922), North Africa (1922–1923) and Spain (1924). These travels inspired a number of works, such as Outside the Town: Scene from Kairouan (1923), in which he flattened the space and reduced the figures and other elements to simple geometric forms. His later style was more naturalistic and restrained in color, as is demonstrated by Still-life with White Flowers (1938) and Woman in Black (1942)
— (grazing reindeer) (91x59cm; 500x706pix, 15kb)
Liggande modell med kuddar (1916, 60x92cm; 423x640pix, 39kb) _ The pseudonymous Fünfar Jolly has not only made this picture even more colorful but also completely sanitized it by transforming it into the intricate and nearly symmetrical abstraction League of Ganders and Model Medics of Qatar aka Duck Cod (2006; screen filling, 218kb _ ZOOM to 1864x2636pix, 1482kb) and for an added attraction he has introduced many minor departure from symmetry which should appeal to those who enjoy looking for them as a kind of visual puzzle. — (060806)

^ 1886 Wilhem Gimmi, Swiss painter, printmaker, and illustrator, who died on 29 August 1965 (1960?). — {Gimme a gummy Gimmi gimmick}— He studied at the Académie Julian in Paris (1908–1910), then taught at the Kunstgewerbeschule in Zurich. In 1910 he met Hans Arp, Walter Helbig (1878–1968), Hermann Huber (1888–1968), Paul Klee and Oskar Lüthy (1882–1945), with whom in 1911 he founded the Moderner Bund, characterized by its open attitude to modern European trends. He later traveled through Italy, Belgium, and the Netherlands before settling in Paris, where he lived until 1940. His earliest paintings were influenced by Post-Impressionism, followed (until 1914) by a colorful form of Cubism. He took part in the Salon d’Automne from 1919 and the Salon des Indépendants from 1921; his first individual exhibitions, at Berthe Weill’s gallery, were an undoubted success, confirmed in the mid-1920s by a double contract with the dealers Antoine Druet and Jacques Rodrigues-Henriques.
–- S#*> Église Saint-Gervais, Paris (1925; 800x638pix, 88kb)
–- S#*> Nature Morte aux Fruits (1925; 752x900pix, 182kb) —(060806)

^ 1875 Gerhard Arij Ludwig Morgensterjne Munthe, Dutch painter who died in 1927.
–- S#*> Bomschuiten in the Breakers (501x841pix, 68kb) —(060806)

1844 Hugo Wilhelm Kaufmann, German artist who died on 30 December 1915.

^ 1763 Johann-Jakob Biedermann, Swiss painter and engraver who died on 10 April 1830. — {Did retrospective psychoanalysis discover that when his id was suppressed, he became a beer mann?}— He studied under Johann Rudolf Schellenburg in Winterthur and then, in 1778, with Heinrich Rieter (1751–1818) in Berne, where he was also influenced by the topographical landscapes of Johann Ludwig Aberli. He was adept at executing such sharply detailed engravings of Swiss cities as View of Lucerne (1790), which he sold to tourists. In 1802 he published an important series of views of Switzerland, which were widely circulated. His skill as a painter of animals was sometimes combined with his rendering of the landscape, as in View of the Lake of Bienne (1800). In 1807 he taught drawing in Basle and in 1814 was active in the area around Lake Constance. His paintings are often characterized by warm colors and frequently capture the atmosphere of late afternoon, as in Murg on the Lake of Walen (1820). Many of his landscapes are straightforward depictions of the Swiss countryside, stressing the romantic nature of the scene, as in View of the Area of Bex (1821). He painted in Zurich in 1827 and was known to have travelled to Munich and Dresden. His works are important visual documents of an image of the pastoral countryside frequently propagated by Swiss artists in accordance with the philosophical ideals of Jean-Jacques Rousseau [1712 – 02 Jul 1778].
–- S#*> Blick auf Konstanz (Bodensee) (632x900pix, 126kb)
–- S#*> Falcherenbachfall (bei Meiringen) (471x623pix, 68kb) —(060806)

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updated Friday 07-Aug-2009 0:53 UT
Principal updates:
v.8.70 Wednesday 06-Aug-2008 23:49 UT
v.7.70 Tuesday 08-Jan-2008 16:55 UT
v.6.70 Monday 07-Aug-2006 18:42 UT
v.5.70 Sunday 07-Aug-2005 6:20 UT
Wednesday 14-Jul-2004 23:53 UT

safe site site safe for children safe site