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ART “4” “2”-DAY  14 August v.9.70
DEATHS:  1603 TOEPUT — 1784 HONE 2002 “RIVERS”  1905 SOLOMON 
BIRTHS: 1502 COECKE — 1714 VERNET#1 — 1758 VERNET#2 — 1840 RIVIÈRE
^ Born on 14 August 1502: Pieter I Coecke van Aelst (or Cock, Coecke, Koeck van Aelst, Aalst, Alsloot, Allost), Flemish painter who died in 1550.
      — Netherlandish painter, architect, sculptor, designer of tapestries and stained glass, writer, and publisher. A student of Bernard van Orley, he entered the Antwerp Guild in 1527. Some time before then he had been to Rome and in 1533 he visited Constantinople. His mission to gain business there for the Brussels tapestry works was unsuccessful, but the drawings he made on his journey were later published by his widow Mayken Verhulst as woodcut illustrations in Les Moeurs et Façons de Faire des Turcs (1553). He ran a large workshop and was regarded as one of the leading Antwerp painters of his day, but his work is fairly run-of-the-mill and he is generally more important for his publishing activities. Like his paintings, his books are saturated in Italian influence, and the translation of the architectural treatise of Sebastiano Serlio that he issued from 1539 played a large part in spreading Renaissance ideas in the Netherlands (it was from the Dutch edition, too, rather than from the Italian original, that the English translation of 1611 was made). Pieter Bruegel the Elder was his son-in-law, and, according to van Mander, his student, but there is no trace of Coecke's influence in his work.

Pane of glass with the Triumph of Faith (1550, round 28cm diameter) _ Christ rides over the clouds in a chariot, drawn by a lion and an ox. Beneath him, men and women fall prostrate, defeated. It is the Triumph of Faith. The picture is based on a series of poems by Petrarch, The Triumphs. He sings the praises of six victories in the poems: of Love, Chastity, Death, Fame, Time and Faith. Each figure triumphs over the previous one, Chastity wins over Love, Death wins over Chastity and so on. The last, Faith, triumphs over them all. Petrarch's Triumphs were depicted in glass paintings, furniture and tapestries. A large tapestry, made in Brussels around 1520, shows Fame's triumph over Death. The Triumphs were also a popular theme for prints. The Triumph of Faith is also a part of a series of six panes of glass.
     Faith is represented as a victorious Christ. He is carrying a sceptre and orb. These were symbols of the emperor's power in the Holy Roman Empire. Emperor Charles V commissioned a portrait with the same symbols. God beckons Christ from a radiant heaven. A procession of naked people are walking over the clouds. They are the chosen few who may enter. The wagon of Faith is pulled by a lion and an ox. These animals symbolize the apostles, Mark and Luke. Walking next to the lion is the eagle, the creature associated with Saint John. The angel on the chariot symbolizes Saint Matthew.
     Behind the wagon, Death, a skeleton with a scythe, stumbles into the abyss. The other Triumphs have also been slain. The winged old man Time, who was devouring a child in the previous scene, lies on the ground, next to Fame with her trumpets, Chastity with her palm branch and Love with her winged god of love, Cupid, at her side. Behind the defeated, a fiery abyss opens up. This is hell. A desperate figure, to the right, is still trying to climb out. A devil is grinning to the left. Deeper down, the damned are being consumed in a flaming pit of fire.
     The small pane of glass was made by a glass artist from Pieter Coecke van Aelst's studio. For this stained glass only brown, grey and orange-yellow shades were available. The artist has made good use of these shades. The flames in the abyss are bright orange, the bodies of the triumphs have been worked in a softer shade. For heaven and the triumph chariots, a golden yellow was used. The
   _ Triumph of Faith (monochrome 1517, round 28 cm diameter) can also be seen on a pane of glass by Dirk Vellert.
Stained glass with Triumph of Time (1550, round 28cm diameter) _ On a cart, an old, winged man is devouring a child. Several people are being crushed under the wheels of the cart. It is the Triumph of Time. Time is a winged old man with a stick who devours his own children. The 19th-century artist P.C. Wonder made a life-size painting of the winged old man
   _ Time (1810, 124x107cm). In Coecke's picture, his wagon is drawn by quick-footed deer. They are just about to trample on the biblical hero Samson. This famous muscleman can be recognised by the lion which he once slew with his bare hands and from the columns of the building which he demolished. Fame, who in the previous scene was singing his own praises, is lying on the ground defeated. The message is clear: as Time passes even a hero is banished to the realms of oblivion.
     The small pane of glass was made by a glass artist from Pieter Coecke van Aelst's studio. For this stained glass only brown, grey and orange-yellow shades were available. The few colours have been used here in a subtle way. The animals have an almost natural brown-orange coat and the people's bodies are depicted in lighter shades. Here and there the artist has introduced a bright yellow accent. Pieter Coecke van Aelst was a versatile artist: he was a painter and architect and, apart from panes of glass, he designed tapestries as well. He had a large studio with numerous assistants.
Design for a pane of glass depicting the Triumph of Fame (1550 drawing, round, 28cm diameter) _ On a triumphal car drawn by two lions stands a winged woman with two trumpets. She is Fame, celebrating her victory in a triumphal procession. Winged Fame proclaims the honor of heroes throughout history. She carries two trumpets, one for good and one for ill repute. On the lectern before her lie heavy books in which all great deeds of the past are inscribed. In the background to the side of the chariot are two historians. Numerous legendary figures walk in the procession, the most notable of whom is Samson pulling two enormous pillars. On the ground lie the Three Fates who had been standing in the chariot laughing after the triumph over Death.
–- Mary Magdalen and Joseph of Arimathaea (left and right wings of closed triptych) (673x470pix, 46kb _ .ZOOM to 1468x939pix, 178kb _ .ZOOM+ to 2936x1690pix, 536kb) _ .detail: Mary Magdalen (2698x889pix, 286kb)
Holy Trinity (98x84cm)
–- S#*> Saint Martin Dividing his Cloak (1535, 97x68cm; 900x621pix, 121kb) _ This painting is a fine example of Coecke van Aelst's mature style. The detailing on the bridle and reins of the horse recall those on the soldiers' armour and on the horses in Coecke van Aelst's painting of Calvary. It has been suggested that the composition may have been inspired by an Italian prototype, more specifically Giovanni Mansueti's painting of the same subject: other than the upright format and the placing of figures in an extensive landscape, the similarities between these two works are not so marked as to make such a connection likely. Saint Martin is shown on horseback, dividing his cloak with a beggar on the roadside. The subject was popular, particularly with Northern artists throughout the 16th and 17th centuries, the most celebrated examples being by Anthony van Dyck [22 Mar 1599 – 09 Dec 1641]:
   _ Saint Martin Dividing his Cloak (1621; 612x571pix, 26kb) and the very similar
   _ Saint Martin Dividing his Cloak (1618, 172x158cm; 820x765pix, 130kb) ; and its copy by Géricault
   _ Saint-Martin partageant son manteau (1812, 46x38cm; 343x281pix, 48kb), but there are many others of which here are a few examples:
   _ Saint Martin and the Beggar (1882, 74x105cm; 2247x3200pix, 756kb) by Hans von Marées [24 Dec 1837 – 05 Jun 1887]
   _ Saint Martin (1882) by Gustave Moreau [06 Apr 1826 – 18 Apr 1898]
   _ Saint Martin and the Beggar (1599, 191x98cm; _ ZOOM to 2961x1576pix, 479kb) by El Greco [1541 – 07 April 1614]
   _ Saint Martin and the Beggar (1490, 88x91cm; 700x714pix, 131 Kb) by an unknown Hungarian
   _ Saint Martin and the Beggar (1490, 102x90cm; 850x768pix, 118kb) by another unknown Hungarian
   _ Saint Martin (1460; 734x559pix, 39kb) by Jean Fouquet
   _ Saint Martin and the Beggar (1319; 636x552pix, 35kb) by Simone Martini
   _ (Coat of arms of Kunszentmárton) (2020x2000pix, 465kb) _ The town is in the county of Jász-Nagykun-Szolnok in Hungary. Saint Martin, its patron saint, riding a white horse, is wearing suit of armor and a red cloak, a color which, in heraldic terms, is symbolic of valor and bravery. A naked beggar sitting in a green meadow reaches toward Saint Martin, who is cutting off a peace of his own cloak with his sword (don't try this while riding a horse, or even while driving a car: it seems impossible, short of a miracle, and, besides, it is illegal in most states).
   _ (Coat of arms of Óbudavár) (2509x2000pix, 465kb) _ This other Humgarian town is in the county of Veszprém. Pointed base shield erect, in field vert Saint Martin, on a white horse passant, looking back, cutting with his sword his robe gules whose other end is held in the dexter hand of a naked beggar salient, squatting beside the horse. Saint Martin is wearing a high cap gules, trimmed argent, clothes vert, trousers gules and boots sable. The harness is gules, adorned or. Around the saint’s head a glory or. In the upper dexter corner of the shield a colter argent, in its upper sinister corner a bunch of grapes or is borne.
22 images at Ciudad de la Pintura
Died on 14 August 1603 (alternate date: 09 November 1605): Lodewyk (or Lodewijk) Toeput (or Pozzoserrato, da Treviso), Flemish painter and draftsman active in Italy, born in 1550.
— He was apparently a student of Marten de Vos and went to Italy probably after 1573. In Venice he presumably joined Tintoretto’s workshop. Toeput may have witnessed the event he commemorated in his Fire in the Doge’s Palace (1577). Either before or after this commission, he made six landscape frescoes (1575 or 1577–1579) for the abbey of Praglia, which reveal a strong adherence to Flemish conventions. Some years later he painted three frescoes in the church of Santa Giustina in Padua. He was in Florence in the late 1570s and visited Rome in 1581; by February 1582 he is documented in Treviso, near Venice, where he settled. He remained in close contact with Venetian masters, particularly through another Flemish artist active there, Pauwels Franck [1540–1596], whose influence is evident in Toeput’s representation of The Four Seasons (1584), of which two tondi versions exist, which are attributed to Toeput.
      About 1585 he painted a friezelike series: two canvases, each with two biblical scenes, for the chapel of the Rettori in the church of the Monte di Pietà in Treviso. These compositions were inspired by Netherlandish engravings and works by Tintoretto and Jacopo and Leandro Bassano. Probably dating from the same time is Susanna and the Elders. One of Toeput’s favorite motifs was a formal Mannerist garden containing trellises and sculptures, which he included in Dives and Lazarus. It also appears in his versions of the Banquet in the Open Air and in his Outdoor Concert.
      Only a few of Toeput’s church paintings mentioned in early literature survive in Treviso, in the churches of San Leonardo, Santa Maria Maggiore and San Agostino; similarly the surviving frescoes are scarce and in a poor state of preservation. About 1590 Toeput painted six landscapes representing The Months for the Villa Chiericati-Magna, Vicenza, and in 1593 he decorated the interior of the Scuola dei Battuti in nearby Conegliano with figures of sibyls and prophets and Old Testament scenes.
      — L'artista, sulla cui formazione, avvenuta probabilmente gia' in patria, siamo poco informati, rappresenta un importante tramite per la conoscenza della cultura nordica nel Veneto. A partire dal 1582 egli e' documentato a Treviso, e nell'entroterra veneto si esplichera' la sua attivita' di garbato frescante di villa nella tradizione instaurata da Paolo Veronese. Le decorazioni della Stanza dell'Abate a Praglia, della Villa Chiericati Mugna di Schiavon, della Sagrestia di Santa Giustina a Padova, della Villa Soranzo sul Brenta rivelano un piacevole gusto narrativo che declina la cultura veneziana di fine secolo entro la tradizione del paesaggio nordico.

View of Mainz (ZOOM)
View of an Italian town from on high (ZOOM)
The Tiber with Castel San Angelo and the San Angelo bridge (ZOOM)
Paesaggio con Figure
Concerto all'aperto
The Miraculous Fishing (479x800pix, 105kb) badly darkened and yellowed by age, in serious need of restauration.
^ >Born on 14 August 1714: Claude Joseph Vernet, French painter who died on 03 December 1789.
— Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan [1697–1792], the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. Adrien Manglard was another teacher of Vernet. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali (fl 1681– 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the hôtel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet’s earliest datable landscapes. These are early indications of his favored type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet, and Salvator Rosa, in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy. This was partly for Vernet to complete his artistic education but also to provide his sponsor with drawings of antiquities.
— Claude-Joseph Vernet, the son of a decorative painter in Avignon, was the father of Carle Vernet [14 August 1758 – 27 November 1836] and the grandfather of Horace Vernet. He studied under Philippe Sauvan, a history painter, and later under Jacques Vialy in Aix-en-Provence, where a local nobleman was impressed with his talent and in 1734 sent him to Italy. There he may have studied under Adrien Manglard, a marine and landscape specialist, but he was also influenced by the seventeenth-century masters of landscape, Claude Lorrain, Gaspard Dughet, and Salvator Rosa. During his stay in Rome, Vernet explored the Italian countryside, making studies after nature in Naples, Tivoli, and around the lakes of Nemi and Albano. He had an international clientele by 1740, was elected a member of the Academy of Saint Luke in 1743, and began to exhibit at the Paris Salons in 1746.
      He returned to Paris in 1753, was elected to membership in the Royal Academy of Painting and Sculpture, and through the efforts of the marquis de Marigny, the Superintendent of Royal Buildings and the brother of Madame de Pompadour, received a prestigious royal commission to paint a series of the ports of France. By 1765 he had completed fifteen canvases, remarkable for their topographical accuracy and indefatigable imagination, and all replete with numerous figures to integrate nature into the human sphere. Upon his return to Paris he was given lodgings at the Louvre and received wide critical acclaim, especially from Diderot who preferred his work to that of Claude. Vernet's repertory includes views of ports, imaginary seascapes at sunrise and sunset, storms, shipwrecks, and landscapes-all characterized by clarity of vision and mellow lighting.
— Vernet was one of the leading landscapists of the period. From 1733 to 1753 he worked in Rome, where he was influenced by the light and atmosphere of Claude and also by the more wild and dramatic art of Salvator Rosa. With Hubert Robert, he became a leading exponent of a type of idealized and somewhat sentimental landscape that had a great vogue at this time. Vernet was particularly celebrated for his paintings of the sea-shore and ports, and on returning to Paris in 1753 he was commissioned by Louis XV to paint a series of the sea-ports of France. The sixteen which he did are in the Louvre. Vernet belonged to a family of French painters of which two other members attained distinction: his son Antoine-Charles-Horace Vernet [14 Aug 1758 – 27 Nov 1836] known as 'Carle', and his grandson Émile-Jean-Horace Vernet [30 Jun 1789 – 17 Jan 1863]
— The students of Vernet included Cozens: Alexander Cozens, Jean-François Huë, Elias Martin, Thomas Patch, Pierre-Henri Valenciennes.

Self Portrait (1778)
–- Les Baigneuses (1786, 57x83cm)
–- Ships in port (857x1207pix, 84kb — .ZOOM to 1286x1811pix, 187kb)
–- Roman Bridge Ruin (1745; 718x1418pix, 67kb — .ZOOM to 874x2127pix, 118kb)
–- Vue du Port de Rochefort (1762; 621x1191pix, 77kb — .ZOOM to 828x1588pix, 147kb — .ZOOM+ to 1573x3177pix, 804kb)
–- Roadbuilding (872x1496pix, 180kb — .ZOOM to 1669x2993pix, 868kb) by a stream in a mountain pass overlooked by a walled city on an abutment.
Imaginary Landscape, Italian Harbor (1746, 98x123cm; 1600x2016pix, 2096kb)
–- Harbor Scene (30x40cm; 798x1085pix, 182kb)
The Town and Harbor of Toulon
Shepherd in the Alps
View of Naples
Shipwreck (1759, 96x135cm) _ The French marine artist Claude-Joseph Vernet specialized in harbor views. This sublime and very effective scene is a good example of his works.
Storm with a Shipwreck (1754, 87x137cm) _ Vernet's considerable contemporary reputation was largely founded on such agreeably terrifying images as this, which were also particularly prized by English collectors.
Storm on the Coast, (1754, 97x129cm) _ All paintings of storms are imaginative reconstructions and here, painting in France, Vernet shows the famous lighthouse of the Bay of Naples buffeted by a raging sea. On the left a ship is driven onto the rocks while survivors escape in a lifeboat and are dragged to safety by those on shore. The dark sky is lit up by a bolt of lightning which Vernet paints as a familiar (but inaccurate) zig-zag. It was not until the 1880s that photography revealed lightning’s true form.
^ Died on 14 August 1784: Nathaniel Hone, Irish painter and printmaker born on 24 April 1718.
— Born in Dublin, he settled in London in the 1740s and soon made a name for himself as a painter in miniature on enamel. Between 1750 and 1752 he studied in Italy. He was a regular exhibitor at the Society of Artists and, in 1768, a founder-member of the Royal Academy, where he exhibited until his death. Although Hone was a relatively successful portrait painter in oils, he was burdened by an overpowering jealousy for Joshua Reynolds and had numerous rifts with the Academy. He was, in particular, opposed to the dominant classicism based on Italian Renaissance art, preferring a more Dutch-inspired domesticity for his figures and their settings. His portraits of children, particularly his own, are considered among the best of their kind in mid-18th-century painting. They include a Piping Boy (1769), which depicts his son John Camillus and which excited great admiration at the first Royal Academy exhibition in 1769; he made an etching of it in 1771. Although Hone was primarily a portrait painter, he is especially remembered for one large subject painting, the Pictorial Conjuror, Displaying the Whole Art of Optical Deception (1775), a work that caused considerable controversy as it was a clever and detailed attack on Reynolds, the first PRA. Not only does it lampoon Reynolds’s penchant for borrowings from the Old Masters but, when first displayed, it also carried the indecorous suggestion of an intimate relationship between Reynolds and the painter Angelica Kauffman. Hone was forced to paint over one section of the painting, but the picture was nevertheless rejected for exhibition at the Academy; his oil sketch records its original appearance. In order to display the rejected Conjuror, also in 1775 Hone arranged his own private show in London, exhibiting 70 works. This helped to initiate the trend for one-man exhibitions taken up increasingly by artists in the following century. — Nathaniel I trained his sons Horace Hone [1754 – 24 May 1825] and John Camillus Hone [1759 — 23 May 1836], both of whom became painters, the former also an engraver. Several members of later generations of the family pursued artistic careers, notably the great-grandson of Nathaniel I's brother Brindley, landscape painter Nathaniel Hone II [26 Oct 1831 – 14 Oct 1917]; and the descendant of Nathaniel I's brother John, painter and stained-glass artist Evie Hone [22 Apr 1894 – 13 Mar 1955].

Self-Portrait (1765, 32x28mm)
Anne Gardiner with her Eldest Son Kirkman (1776)
Mary Hone, the Artist's Wife (1760, 29x22cm)
Sketch for The Conjuror (1775, 58x82cm) _ This is the preparatory oil sketch for The Conjuror, a satirical painting which caused one of the greatest art scandals in 18th-century Britain. The conjuror represents Sir Joshua Reynolds, the President of the Royal Academy. The young girl is Angelica Kauffman, a member of the Academy, and allegedly Reynolds’s former lover. Kauffman is also shown cavorting naked among a group of artists at the top left.
Sir John Fielding (1762, 124x100cm) _ Sir John Fielding [1721-1780], magistrate and social reformer, was the son of a general and the half brother of the magistrate and novelist Henry Fielding. The brothers worked together to raise the standards of honesty and competence amongst those engaged in the administration of justice. John is shown here with one hand holding a document, which is thought to represent one of several which he and his brother wrote suggesting improvements in the law, and the other resting on two volumes, a law book and a Bible. The black band on his forehead was there to let others know that he was blind; it is said that Fielding knew more than three thousand London thieves by their voices.
John Wesley (1766, 126x100cm) _ John Wesley [17 Jun 1703 – 02 Mar 1791] was the founder of the Methodist movement which grew from the 'Holy Club' of his Oxford friends into a great religious revival. An indefatigable traveller, preacher and writer, Wesley averaged 13'000 km a year on horseback and gave 15 sermons a week. The reluctance of the Anglican clergy to lend him their pulpits led him to give some of his sermons in the open air, a decision which enabled him to reach those among the poorer sections of society who were not accustomed to going to church. Here Wesley is depicted preaching in a rural setting.
^ Born on 14 August 1758: Antoine~Charles~Horace “Carle” Vernet, French painter and lithographer who died on 27 November 1836.
— “Carle” Vernet was the son of Claude Joseph Vernet [14 Aug 1714 – 03 Dec 1789] and the father and teacher of Horace Vernet, as well as the teacher of Théodore Géricault.
— At the age of 11 he entered the studio of Nicolas-Bernard Lépicié. His training culminated in the award of the Prix de Rome in 1782; however, his stay in Rome was terminated when he underwent a ‘mystical experience’ and was sent back to Paris. He was approved (agréé) by the Académie Royale in 1789 on presentation of The Triumph of Aemilius Paulus. Although his sister Émilie was guillotined, none of the tragic aspects of the Revolution is apparent in his subsequent work. His wittily malicious satires of Directoire types, Incroyables et merveilleuses, engraved in 1797, made his reputation and set the tone for most of his future aquatinted work, for example Costumes (1814–1818). An early practitioner of lithography, he excelled in the acute, unexaggerated observation of contemporary manners, e.g. L'Imprimerie Delpech (1818) and Les Cris de Paris (100 plates, after 1816).

–- Napoléon Donne des Ordres avant la Bataille d'Austerlitz (1808; 708x1193pix, 135kb — .ZOOM to 885x1491pix, 234kb — .ZOOM+ to 1180x1988pix, 602kb) — .main detail (886x1179pix, 309kb)
–- La Victoire d'Austerlitz, 2 décembre 1805 (1805; 635x1135pix, 89kb — .ZOOM to 1588x2838pix, 1355kb) _ .main detail (892x1190pix, 336kb)
–- Le fou qui vend la sagesse (lithograph 19x24cm; 768x979pix, 142kb)
–- Charleroi (1815) (1830 engraving, 24x30cm; 730x946pix, 76kb) _ Napoléon méditant près d'une carte militaire.
–- The Triumph of Aemilius Paulus (1789, 130x438cm; 363x1283pix, 73kb _ .ZOOM to 544x1925pix, 121kb) _ The painting illustrates the procession celebrating the victory of the Roman general, Aemilius Paulus, over King Perseus of Macedonia in 168 BC. Aemilius is shown on the gold chariot on the right followed by prisoners, among whom is Perseus with his family. The temple of Jupiter Capitolinus with its hundred steps dominates the background. The picture was begun in 1787 and was presented as Vernet's reception piece to the French Royal Academy in 1789. It was exhibited in the Salon in 1789 and 1791. A Funeral of Patrocles was planned as a pendant but was never finished.

^ Died on 20 April 1920: Briton Rivière, British {hey, what did you think? that his name ought to be Rivers?} painter, etcher, and sculptor, specialized in animal paintings {not rivers, unfortunately}, born on 14 August 1840.
—  He was born into a family of Huguenot artists, the youngest child of William Rivière (1806–76), with whom he studied. As a child he made sketches at the London Zoological Gardens, and his most popular pictures depict animals, especially lions and dogs. He began to exhibit regularly at the Royal Academy in 1858, but between 1860 and 1863 such paintings as Elaine on the Barge (untraced), influenced by the Pre-Raphaelites, were rejected. The first of his pictures to be engraved (by Frederick Stacpoole) was Charity (exh. RA 1870), but his first popular success came in 1871 with Circe and the Friends of Ulysses, using for models the pigs he kept at his home in Bromley, Kent. Around 1865 he met and was influenced by a group of Scottish painters in London, including John Pettie and William Orchardson. He adopted their broken-color technique, evident in his work of the 1870s, for example The Last of the Garrison (1875).
— The animal painter Rivière was widely regarded as the successor of Landseer. He was also one of the few painters with an Oxford University Degree. He was the son of a well known artist. Rivière lived near to London Zoo, where he spent much time studying the physiology of animals. He painted glorified, romanticised pictures of wild animals. Another speciality was sentimental, rather humanised paintings of dogs, which found a considerable market. Rather surprisingly he only was narrowly beaten to the Presidency of the Royal Academy by Edward Poynter in 1896. Briton Rivière’s son Hugh Rivière [1869-1956] was a successful painter of portraits.

–- Sympathy (1877, 122x102cm; 750x612pix, 44kb) _ A little girl, who has been sent to bed early as a punishment, is sitting on the stairs being comforted by a dog. The artist recorded that he painted the child from his daughter Millicent, and the dog “with slight alterations (as my animals are never portraits) was done from a bull terrier belonging to a man who has supplied me with dogs for some considerable time.”
Requiescat (1889) _ A bloodhound sitting faithfully by his dead master.
The Long Sleep (1868, 71x91cm; 1224x1600pix, 398kb) _ Two dogs anxiously try to awaken their very old master, who is slumped in an armchair by a fireplace. One of the dogs is about to lick the old man's face.
All that was left of the homeward bound (1873, 50x70cm)
The King Drinks (1881, 61x91cm) {the king of beasts}
Daniel's Answer to the King (394x600pix, 49kb) {this one is a beastly king, not in the picture}
Sandel Lagerol
Died on a 14 August:

2002 Yitzroch Loiza Grossberg “Larry Rivers”, US painter born (full coverage) on 17 August 1923. — (060816)

1972 Manolo Millares Sall, Spanish painter born (main coverage) on 17 February 1926. —(060808)
ZOOM IN sandels.gif
.^ 1919 Adrian Gösta Fabian Sandels, Swedish painter born on 25 April 1887. — {If he'd had a twin, they would've been a pair of Sandels, but the humor might have worn out their souls.}— {not related to SANDELS LAGERÖL 3.0p Olvi, Finland Flaska 330 ml/ 4.7 vol% Gyllen. Maltig & fruktig. Torr. Liten beska & lite tunn. Lättdrucken}
— He attended the painting school of the Konstnärsförbund in Stockholm in 1905 and the following year moved to Paris, accompanied by Birger Simonsson [1883–1938]. There he became influenced by the varied styles of Cézanne, van Gogh and Edvard Munch. In 1908 he went to Spain and in 1909, 1910 and 1911 he contributed works to the series of exhibitions of De Unga (“The Young Ones”), held in Stockholm.. His work of this period, such as The Woman Who Cleans Windows (1911), was firmly structured and painted using diagonal brushstrokes. In 1913 he visited St Chamas in Provence in France with Simonsson and Sigfrid Ullman [1886–1960] and the following year he went with Simonsson to Kungälv near Göteborg where he worked until 1916. During this period he painted a number of Expressionist works of figures on the seashore executed in loose brushstrokes, including Found on the Shore (1914), which depicted the discovery of a body by the sea. Highlighting the polarities of style within his late works, there are also such paintings as Cardplayers (1918) that are smoothly worked with a formal composition. He spent the summers of 1917 and 1918 in Bohuslän and in 1919 went to Spain and Mallorca where he painted such works as Street in Palma de Mallorca (1919). Despite his early death, Sandels was an important figure in the development of modernism in Swedish art. In 1925 his widow, Elaine Luella Hallberg, married the divorced writer Pär Lagerkvist [1891-1974] (they divorced in 1967).
— Gösta Sandels föddes i Göteborg som son till fotografen Carl Sandels. Redan när Gösta var fyra år gammal flyttade familjen till Norge och ett antal år senare till Stockholm. Skälet till dessa flyttningar är mig obekant, men man kan väl gissa att det hänger samman med faderns yrke. Det var i Stockholm Gösta Sandels fick sin konstnärliga skolning, först hos Althin och därefter i Konstnärsförbundets skola. Där var han kollega med bland andra Birger Simonsson och Sigfrid Ullman. Speciellt den förstnämnda tycks ha blivit Göstas vän. Från 1907 och fram till första världskrigets utbrott reste Sandels i stort sett årligen till Frankrike, ibland även till Spanien (enligt "Göteborgskoloristerna"). Gösta Sandels kan vid denna tid knappast ha varit färdig som konstnär, än mindre känd. Frågan är hur han finansierade resorna? Var det välbärgade släktingar eller andra mecenater som bidrog? Jag är tacksam för upplysningar på denna punkt! 1914 har han dock på allvar återvänt till västkusten. Göteborg och Kungälv på vintrarna, utefter Bohuskusten på somrarna. Sandels har vi denna tid kommit in kretsen runt Birger Simonsson och ingick i "de 4 S-n": Birger Simonsson, Gösta Sandels, Sigfrid Ullman och norrmannen Henrik Sörensen. Gruppens "beskyddarinna", kanske mer moraliskt än ekonomiskt, var välkända Charlotte Mannheimer och hennes make. Pålitlig och entusiastisk stöttare, inte minst av Sandels, var också Conrad Pineus, konstsamlare av rang. Sandels hade nu mognat som konstnär, hans identitet och "signatur" var uppenbar. Påverkad av Matisse-strömningarna var han helt visst, det förbigick få konstnärer vid denna tid. Van Goghs teknik och temperament passade honom och han lärde också av Edward Munch. Gösta Sandels kallas ofta kolorist eller Göteborgskolorist. För att vara Göteborgskolorist var han då före sin tid, begreppet var inte uppfunnet vid denna tid. Benämningar är på det hela taget ointressanta, låt oss nöja oss med att konstatera att färg var ett viktigt och mäktigt inslag i hans måleri. Paletten innehöll framför allt vinrött, smaragdgrönt, havsblått, svart, ockragult och gråviolett. Kolorister, Matisse-anhängare, m.m. fanns det gott om vid denna tid. Stockholmsfalangen, inte minst Grünewald, målade tekniskt och artistiskt på ett sätt som tilltalade en bred Stockholmsk publik. Göteborgarna var mer orienterade mot ett lyriskt måleri, gärna naturlyriskt. Sandels följde vid d enna tid snarast den senare gruppen, säkert påverkad av Birger Simonsson m.fl. Men Sandels tavlor adderade ett moment: dramatiken! Få tavlor lämnar mig oberörd. 1917 flyttade Sandels till Stockholm. Detta ändrade också hans konst. Från korta, snabba penseldrag, i van Gogh-anda, till långa svepande drag. Första världskriget hade förhindrat allt resande. 1919 gavs möjligheten igen. Den relativt nygifte Gösta gav sig i väg, tillsammans med hustrun, på en resa som gick över England, Frankrike till Spanien (Mallorca, Valencia, Malaga, Granada). I Granada fick han feber. I feberyrsel drabbades han av en olycka och dog i augusti 1919, endast 32 år gammal.
Flickporträtt (315x250pix, 27kb)
Landskap från Bohuslän (1919, 66x78cm; 1635x1936pix, 362kb)

1905 Simeon Solomon, British painter born (full coverage) on 09 October 1840. —(050908)

^ 1625 Hans Rottenhammer, German painter born in 1564.— LINKS
Feast of the Gods (The Marriage of Peleus and Thetis) (1600, 34x45cm, 582x800pix, 80kb _ ZOOM to 1845x2536pix, 316kb))
Diana und Aktaion
The Judgment of Paris (575x752pix _ ZOOM to 1340x1752pix, kb)
Ruhe auf der Flucht (1479x1256pix, 193kb)
–- S#*> The Immaculate Conception (31x23cm; 510x380pix, 83kb) —(070808)

Born on a 14 August:

^ 1870 Georges d'Espagnat, French painter who died in 1950. — {It would be nice if there were a Spanish artist named Jorge de Francet.}— Born in Melun, Georges d’Espagnat shunned the traditional art establishments of his day claiming to have spent only four hours at the Ecole de Beaux-Arts and a mere half an hour at the Ecole des Art Decoratifs, preferring instead to study works in the Louvre and attending classes at the free Academy. He studied part-time at the Académie Colarossi in Paris but was mostly self-taught. Proud of his reputation as an Indépendant, he was fiercely concerned with affirming his originality. He was influenced primarily by the French Impressionists and became close friends with Renoir, Signac, Cross, Valtat and later with Denis, Bonnard and Vuillard. D’Espagnat exhibited at the Salon des Refusés in 1891, the Salon des Indépendants in 1892, and in the Impressionist and Symbolist exhibitions held at Le Barc de Bonteville in 1894 and 1895. D'Espagnat's subject matter comprised mostly studies from nature, women, children and flowers.
— Painter, illustrator and scenographer, Georges d’Espagnat moved to Paris in 1888 soon after finishing his secondary studies. The artist briefly attended both the Académie des Beaux Arts and the Académie Colarossi but his impatient character led him to complete his training autonomously although occasionally encouraged by the painters Gustave-Claude–Etienne Courtois and Jean-André Rixens. In 1891, d’Espagnat first exhibited at the Salon des Refusés (Palais des Arts Décoratifs) and from 1892 his works participated on a regular base in the Salon des Indépendants. In 1905 the painter also contributed to the foundation of the Salon d’Automne for which he later served as the vice-president (1935). Stylistically d’Espagnat was greatly indebted to Sisley and Renoir. The close friendship with the latter is documented by d’Espagnat’s recurrent visits to Renoir in the Côte d’Azur between 1899 and 1904. Together with Bonnard, Vuillard, Maufra and Albert André, to cite a few, Georges d’Espagnat is today considered one of the most significant exponents of post-Impressionism. The artist also maintained close relationships with a number of writers and musicians, including Valéry, Gide and Roussel. As an illustrator d’Espagnat was involved in various projects, such as the Almanach de L’Ymagier (1897), a publication edited by the French writer Rémy de Gourmont, and the 1930 edition of l’Immortel by Daudet. Noteworthy among his public commissions are the decorations of the Mairie in Vincennes (1936) and of the Salon Victor Hugo in the Palais du Luxembourg in Paris (1939). The subject-matter privileged by d’Espagnat principally comprised pictures of nature and women depicted within lyric atmospheres that denote the painter’s great luministic sensibility.
–- S#*> Le Jardin de Beaulieu (98x131cm; 664x900pix, 163kb) _ The Impressionist and Symbolist beginnings are manifested in the present work in its harmonious deployment of color and subtle application of paint. Stimulated by the beauty of his surroundings, this work is a charming example of a theme integral of D’Espagnat’s œuvre, one which came to fruition after the First World War in the landscape surrounding his house at Quercy.
–- S#*> Jeune Fille au Puit (72x76cm; 837x900pix, 145kb)
Le Génie des Arts veillant sur le peuple de France (1937) —(070808)

^ 1860 Ernest Thompson Seton, in England, naturalist, painter, author, who died on 23 October 1946. When he was 6, his family emigrated to Canada. He founded a scouting organization which merged into the Boy Scouts of America.
— SETON ONLINE (books): — Animal HeroesThe Arctic Prairies: A Canoe-Journey of 2000 Miles in Search of the Caribou; Being the Account of a Voyage to the Region North of Aylmer LakeThe Biography of a Grizzly and 75 Drawings (1900) page images _ text (no drawings)Johnny Bear and Other Stories From Lives of the Hunted Lobo, Rag, and Vixen (text and illustrations) — Monarch, the Big Bear of Tallac (1919, text and illustrations) — Rolf in the WoodsTwo Little Savages: Being the Adventures of Two Boys Who Lived as Indians and What They Learned (1917) (1917, text and illustrations) — Wild Animals I Have Known, and 200 Drawings (1898)
   _ (artwork) — American Goldfinch (Carduelis tristis), North America (382x288pix, 25kb)

^ 1856 Pietro Fragiacomo, Italian painter. He died in 1922.
Ansa del Sile (16x25cm; 578x940pix, 513kb)
Venezia, il Gamallo (65x103cm) yellowed almost to a monochrome. —(070808)

1838 Willem Johannes Martens, Dutch painter who died on 02 February 1895.|

1817 Lodewijk-Johannes Kleyn (or Kleijn), Dutch painter who died on 11 March 1897.

1814 Adolphe Tidemand, Dutch painter. He died on 25 August 1876.

1739 Josef van Bredael (or Breda), Flemish artist who died in 1739.
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