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ART “4” “2”-DAY  15 August v.9.70
^ >Born on 15 August 1702: Francesco Zuccarelli, Florentine landscape painter who died on 30 December 1788.
— Zuccarelli worked principally in Venice and England. He met Richard Wilson in Venice in 1751 and they exchanged paintings; in 1752 he went to London and remained until 1762. He returned to London in 1765 and stayed until 1771, being elected a Founder-Member of the Royal Academy in 1768. His light and facile style of landscape painting, with picturesque peasantry, was very popular in England and was preferred to the graver style of Wilson. An example of Zuccarelli's work is his grand historical landscape, Cadmus Killing the Dragon (1765).
— Zuccarelli was one of the most highly acclaimed landscape painters of his day. He was considered in eighteenth-century Britain to be the most famous Italian painter then living. In addition to landscapes he also painted the occasional portrait and history picture. Born in Pitigliano, Italy, he received his early training in Florence, where he engraved the frescoes by Andrea del Sarto in SS Annunziata. He studied in Rome, under Paolo Anesi and Giovanni Maria Morandi. From about 1730 he was active in Venice, where he was extensively patronised by British travellers and became friendly with Richard Wilson in 1750-1751. He settled in London in October 1752, rapidly achieving great success with his Italianate landscapes. His work was frequently engraved. He designed a series of tapestries for Charles Wyndham, 2nd Earl of Egremont (1758). On 16 February 1762 he held a sale of his own work, which contained over seventy items. He announced his intention to return to Italy once all the works were sold, returning to Venice on 11 November 1762. He became a member of the Venetian Academy the following year, but in February 1765 returned to England, where he received at least one commission from George III, Finding of Moses (1768, Royal Collection). He became a founder member of the Royal Academy in 1768, exhibiting there 1769-1771 and 1773. He also exhibited at the Free Society of Artists in 1765-1766, and 1782, and at the Society of Artists in 1767-1768. He returned to Venice in late 1771, and was elected President of the Venice Academy the following year. Shortly thereafter he retired to Florence, where he died.

Bacchanal (1750, 142x210cm) _ The Tuscan painter Francesco Zuccarelli came to Venice in 1732. He was familiar with trends in European painting, having visited London and Paris. His ideal pastoral landscapes are characterized by an arcadian grace in the use of color, by a harmonious rhythm of gesture, a softness of tone and a hazy atmosphere filling the spacious vistas. In the idyllic countryside, pastoral or mythological scenes are set against a brilliant green or water-side background. The paintings are sentimental, sometimes achieving a refined lyricism in keeping with the light-hearted ideals of the time.
The Abduction of Europa (1750, 142x208cm) _ Much loved by collectors, Zuccarelli specialized in painting luminous Arcadian landscapes. His Tuscan origins are suggested by the clarity and rationality of his compositions. The figures, drawn from classical myths, enhance the refined aristocratic quality of his paintings. _ detail
–- The Return of the Holy Family From Egypt (etching 33x20cm, rounded top; 704x416pix, 71kb _ .ZOOM to 1408x832pix, 267kb)
A Landscape with the Story of Cadmus Killing the Dragon (1765, 126x157cm) _ Zuccarelli's work is mostly light and decorative but he also attempted more serious historical themes with subjects selected from literature or, as in this case, classical mythology. The story of Cadmus is taken from Book III of Ovid's 'Metamorphoses'. The hero, wearing a lion-skin and armed with a javelin, slays the dragon that had attacked his companions.Zuccarelli was a fashionble Italian painter who spent some sixteen years of his long and successful career in England. He had a great influence on British landscape painting and was responsible for persuading Richard Wilson to change from portraiture to landscape: his influence is to be seen in many of Wilson's compositions.

–- Landscape with the Education of Bacchus (1774; 828x960pix, 109kb)
Rustic Scene (500x701pix, 118kb)
^ Died on 15 August 1967: René François Ghislain Magritte, Belgian Surrealist painter born on 21 November 1898
— René François-Ghislain Magritte was born in Lessines, Hainaut, Belgium. On 12 March 1912 his mother drowned herself and the family moved to Charleroi. The following year he met his future wife, Georgette Berger. In 1914 Rene enroled at the Academy of Fine Arts in Brussels, in 1918 the rest of his family join him. After his military service, Rene married Georgette on 28 June 1922. In 1923 he sold his first picture, a portrait of the singer Evelyne Brelia, but it wasn't until 1926 that he produced his first surrealist work, Le Jockey Perdu. René and Georgette travelled widely around Europe and meet other surrealists such as Dali, Eluard, André Breton, Marcel Duchamp, Max Ernst and Man Ray. By 1965 Magrittes's health was declining. He left a legacy of 1300 works for us to wonder at.
— Magritte was born in Lessines. He studied at the Académie Royale des Beaux-Arts, Brussels. His first one-man exhibition was in Brussels in 1927. At that time Magritte had already begun to paint in the style, closely akin to surrealism, that was predominant throughout his long career. A meticulous, skillful technician, he is noted for works that contain an extraordinary juxtaposition of ordinary objects or an unusual context that gives new meaning to familiar things. This juxtaposition is frequently termed magic realism, of which Magritte was the prime exponent. In addition to fantastic elements, he displayed a mordant wit, creating surrealist versions of famous paintings, as in Perspective I: Madame Récamier de David (1951), in which an elaborate coffin is substituted for the reclining woman in the famous portrait by Jacques Louis David. Magritte's work was first shown in the United States in New York City in 1936 and again in that city in two retrospectives, one at the Museum of Modern Art in 1965 (US tour, 1966), and the other at the Metropolitan Museum of Art in 1992.

Clairvoyance (Self-Portrait) (1936)
–- Untitled Poster for Magritte Exhibition (1966, 29x40cm; 945x839pix, 93kb)
The Big Family (1963) [a sky-with-white-clouds-colored flying dove]
Le Thérapeute (1936) _ la photo semblable que Magritte a faite en 1937: Dieu le huitième jour _ a bird cage with cloak, hat, and legs sitting on a chair.
The Liberator (1024x790pix, 156kb) _ rather similar to Le Thérapeute.
La Durée Poignardée (1938; 147x99cm) In this painting, Magritte depicts a miniature train suspended and coming out of a fireplace. This was one of the rare occasions in which a sudden image, almost a hallucination, appeared to Magritte. Although Magritte’s paintings may seem a little psychedelic, Magritte disliked many artists’ dependency on visions from dreams and delusions. Instead, he preferred complete, thorough, and deliberate paintings. _ From the 1920s on, the Surrealists, following laws of chance and the inspiration of dreams, sought to weave inner and outer experience into a totally new expression of reality. In his witty paintings, the Belgian René Magritte created absurd juxtapositions and visual puns. His Time Transfixed features improbable elements, a locomotive emerging from a fireplace, clock, empty candlesticks, plain room, and mirror without reflections, all painted with a realistic technique that paradoxically heightens the mysterious quality of this vivid but dreamlike image.
L’Assassin Menacé (1926; 584x766pix, 46kb) Magritte painted this piece while in the Parisian Surrealism scene. In this painting, two men in bowler hats, one holding a human limb as a club and the other holding a net, wait outside a room. In the room, a man listens to a record while a bleeding, nude female lies on a bed. Three men observe the scene from the outside. Here, Magritte explores space and perspective by playing with the foreground and background. Some critics liken this painting to an episode of Louis Feuillade’s Fantômas, the evil genius of crime whom the Surrealists adopted as their corrupt hero. Fantômas was the sly criminal who never once, in a long lifetime of thirty-two volumes, got caught for any sort of wrongdoing. He turned human values and morality upside-down and always outsmarted the law.
The Human Condition II (1935). Same idea, but this time it is the view of the sea that is expanded to the right by the painting inside the room.
L’Empire des Lumières (1954) Magritte seemed to divide the world into bipolar halves — night and day, real and unreal, inside and outside. At the same time, he placed these halves together in a precariously balanced whole. In this painting, he depicts night and day simultaneously, disrupting commonsense conceptions of time. A house is found in complete darkness, except for a bright (perhaps artificial) light. Magritte uses the Surrealist device of the double image, and one cannot tell whether the house should be more lit or plunged into complete darkness. Magritte said of this and other related paintings, "A thought limited to similarities can only contemplate a starry sky with a nocturnal sky. An inspired thought which evoked the mystery of a visible thing can be described by painting: indeed, it consists uniquely of visible things: skies, trees, people, solids, inscriptions, etc."
Euclidean Promenades (1955, 163x130cm; main detail 755x1008pix, 109kb — ZOOM TO FULL PICTURE 2000x1573pix, 242kb) _ Surrealism was an art of fantasy, dream, and the unconscious, delving into the recesses of the human psyche to discover mysterious, bizarre, and often disturbing images. René Magritte, however, was a Surrealist painter more fascinated by puzz les and paradoxes than by the nature of the unconscious. Les Promenades d'Euclide presents the age-old problem of illusion versus reality. In this witty picture within a picture, the canvas in front of the window seems to exactly replicate the section of city it blocks from view. But does it? Could the twin forms of tower and street exist only in the artist's imagination? Or do we view the actual city through a transparent canvas?
Le 16 Septembre (1955, 36x27cm; 939x756pix, 74kb — ZOOM to 2000x1512pix, 273kb) _ Magritte ranks among the greatest Surrealist painters. Trees are a recurrent subject in his work. As Magritte stated: "Growing from the earth to the sun, a tree is an image of certain happiness. To perceive this image we must be immobile like the tree. When we are moving, it is the tree which becomes the spectator. It is witness, equally, in the shape of chairs, tables and doors, to the more or less agitated spectacle of our life. The tree, having become a coffin, disappears into the earth. And when it is transformed into fire, it vanishes into air." Here Magritte superimposes a crescent moon in front of the tree. The artist referred to his intentional juxtaposition of incongruous objects as "objective stimulus." In reference to this image, Magritte observed: "I have just painted the moon on a tree in the grey-blue colors of evening." Typically, the titles of Magritte's paintings were determined after they were completed. In this case, the title was the idea of Magritte's friend, Surrealist poet Louis Scutenaire [in honor of Mexico's Independence Day?].
Lola de Valence (46x38cm; 833x672pix, 87kb — ZOOM to 2000x1614pix, 343kb) _ Lola de Valence was one of a group of gouaches shown in Magritte's first one-man show in Paris in 1948. Disgruntled that it took the Parisian art world so long to appreciate his art, Magritte called these gouaches the "vache" (i.e. "mean") paintings, after their deliberately provocative style and content. The title of this work refers to Lola de Valence (1862) a (fully clothed) portrait painted by Manet, and then immortalized in a quatrain by Charles Baudelaire which first appeared in the 1868 edition of Les Fleurs du Mal: “Entre tant de beautés que partout on peut voir, / Je comprends bien amis, que le désir balance; / Mais on voit scintiller en Lola de Valence / Le charme inattendu d'un bijou rose et noir.”
     Lola de Valence was the scene name of Lola Melea, the première danseuse of the dance company of Camprubi. It performed at the Porte Dauphine during the summer of 1862. Manet persuaded Camprubi to bring his dancers to the studio of his friend the Belgian painter Alfred Stevens during their leisure hours, and they posed for him there.
      Magritte takes images from his own work of the 1930s, the naked woman leaning against a rock and a female torso, and arranges them in a cold and artificial way. Rather than being a painting about a woman, Lola de Valence is a parody on Magritte's own reputation as a painter of enigmatic nudes and the artificiality of the Surrealist encounter with the female body.
Perspective I: Madame Récamier by David (1951, 60x80cm) _ During the late 1940s and early 1950s, the Surrealist painter René Magritte made a series of "Perspective" paintings based on well-known works by the French artists François Gérard, Jacques Louis David, and Édouard Manet, in which he substituted coffins for the figures represented in the original paintings. The composition of this work is almost identical to that of David's famous portrait of Madame Récamier, except that the seductive young sitter has been replaced by a coffin, with a cascading gown left as the only trace of her previous existence. Executed in Magritte's carefully detailed style, this irreverent rendition of the Neoclassical masterpiece is suffused with mordant wit. _ see the original Madame Récamier (1800) by Jacques-Louis David.
Perspective II: Le Balcon de Manet (800x599pix, 124kb) _ See the original Le Balcon (1869, 169x125cm) by Édouard Manet.
–- S#*> La Belle Captive (1947, 53x66cm; 646x800pix, kb) _ This painting is the third version of La belle captive, differing from those of 1931 and 1935 in situating the easel in a landscape setting. It preceded by two years the series of works known by the title La condition humaine. In both series Magritte investigated the paradoxical relationship between a painted image and what it conceals, although in the former the observer and the picture on an easel are in a landscape and in the latter a window separates inside from outside. The theme might first have been suggested to Magritte by illustrations in A. Cassagne's Traité pratique de perspective (1873), a book used at the Académie Royale des Beaux Arts when Magritte was a student there. It was a rich field for investigation, as suggested by the number of variations on the idea. In the present work, the easel, flanked by a boulder and a flaming tuba, is moved to a beach. Since the flames of the burning tuba leave a reflection on the 'canvas', we are brought again to the notion of the canvas both as a pane of glass which allows the spectator to 'see through' reality, and as a metaphor for painting as a window on reality, as with Duchamp's Large Glass (1923).
–- S#*> Le Plagiat (1960, 32x26cm; 575x456pix, 44kb) _ This is one of a series of gouache compositions depicting a vase of flowers on a table in an interior setting. The spray of flowers is depicted as a cut-out silhouette, acting as a window onto a landscape of grassland, trees and shrubs. This superimposition of forms and the dialogue that Magritte establishes between revelation and concealment is a frequent tactic in his work. The incorporation of the bird's nest with its three white eggs into the domestic interior - the inclusion of nature into man's fabricated environment - is a further extension of this trope. The title of the present work was coined by Magritte's friend, the poet Marcel Marïen. Magritte responded: “The title Plagiary is very strong and very fine. I am appropriating it”. In 1942, Magritte and his Surrealist friends poetically re-defined the word “garden” as “a space set between a landscape and a bunch of flowers.” Le Plagiat encapsulates this notion, and the wonderful contrast between the sharply-defined “reality” of the foreground and the gentle color of nature in the background imbues the work with multi-layered meanings and poetic ambiguity.
Ceci n'est pas une pipe (1929; 708x992pix, 99kb) _ Compare the non-paradoxical Pas de pipe, pas de doute (2005; 920x1300pix, 126kb) by the pseudonymous Morné Tagrippe, who has also produced the ornithological Ceci n'est pas une pie (2005; 847x667pix, 55kb _ ZOOM to 1270x1000pix, 114kb _ ZOOM+ to 2541x2000pix, 403kb) and the palindromic abstractions Pipe Pip (2005; 920x1300pix, 140kb) and Pit Tip (2005; 920x1300pix, 139kb).
Découverte du feu (576x709pix, 43kb)
Pleasure (786x1049pix, 141kb)
194 images at Ciudad de la Pintura75 images at frankmas
^ Born on 15 August 1845: Walter Crane, English painter and illustrator who died on 15 March 1915. — {Est-ce que Crane crâne? Ou est-ce que Crane rit des crâneries?}— {There is no record of a Crane Crane nor of a Crane crane, though there are many by others}— {Is it really appropriate for a museum to hang a Crane so high, that, to see it, the viewer has to crane his neck?]
     Walter Crane was born in Liverpool, son of the portrait miniaturist, Thomas Crane. He was apprenticed (1859-1862) to the wood engraver William J. Linton and was taught to draw on wood by Linton's partner Orrin Smith. He also studied at the Zoological Gardens and attended drawing classes at Heatherly's School of Art. He worked for the engraver and printer Edmund Evans during the 1860s and 1870s, first designing covers for 'yellowbacks' and soon afterwards illustrating the inexpensive children's toy books that established his reputation. They represented the first successful attempt to mass-produce well-drawn, designed and printed books in color for young children. His creative approach to page design was evident throughout his work and he was one of the first illustrators to acknowledge the visual unity of the double page spread. Through trained as a draftsman for wood engraving, he transferred very successfully to working for photomechanical reproduction when this was introduced at the beginning of the 1890s. He was at the forefront of the Arts and Crafts movement and his own work has played a significant part in the development of the Aesthetic style of the late 1870s and 1880s.
     Walter Crane was primarily a designer and book illustrator, specializing in children's books. He moved to London with his family in 1857. After a period during which he worked on illustrations for a poem of Tennyson, he became apprenticed to the famous wood engraver William James Linton and studied drawing in his spare time. In 1862 he exhibited The Lady of Shalott at the Royal Academy [links to The Lady of Shalott by other artists]. His first illustrated book, The New Forest, was published the following year. He was a great admirer of Edward Burne-Jones, whose work he first saw at the Old Watercolor Society in 1865. Crane's later watercolors of slightly menacing wooded landscapes and vague but sinister mythical events represent a world which the artist has dreamt of rather than visited. In Diana the huntress seems to be leading her male followers through a primeval forest, perhaps to their destruction. He died in London.
—     Crane the Socialist.

— The full text of The Cuckoo Clock, by Mrs. Molesworth (1877), with Crane's 9 illustrations.
The children of Queen Blondine and sister Brunette picked up by a Corsair after 7 days at sea (599x517pix, 100kb _ ZOOM to 1200x1035pix, 196kb). from the fairy tale Princess Belle-Etoile by Marie-Catherine d'Aulnoy [1650 – 04 Jan 1705].
Princess Belle-Etoile rescues Prince Chéri from Princess Belle-Etoile (600x526pix, 112kb _ ZOOM to 1200x1052pix, 198kb). Now grown up, they were two of the four children rescued by the pirate, whose wife raised them.
The Horses of Neptune (1893, 86x216cm, 318x800pix, 63kb _ ZOOM to 813x2048pix, 196kb)
–- Reverend Henry Parry, vicar of Llanasa and Canon of St. Asaph (730x820pix, 61kb _ ZOOM to 1095x997pix, 100kb)
–- The Marquis of Carabas' Picture Book the cover (1875, 25x19cm; 688x516pix, 72kb _ ZOOM to 1100x826pix, 199kb)
–- Don Quixote and the Windmills (1900; 331kb)
Mrs. Walter Crane (800x562pix, 88kb)
^ Died on 15 August 1935: Paul Signac, Parisian pointilliste painter, printmaker, etcher, lithographer, born on 11 November 1863.
— One of the principal neoimpressionist painters, Signac worked with Georges Seurat in creating pointillism (or divisionism). Signac published From Delacroix to Neo-Impressionism (1899), explaining their theories. Signac's prosperous shopkeeping family gave him financial independence. Unlike Seurat, he had virtually no formal training; he taught himself to paint by studying the works of Claude Monet and others. After he and Seurat met in 1884, they developed their technique of painting with dots of color, which led to the name pointillism [because they spoke French, a good thing too, because in English it might have been called “dotage”]. As Signac explained, they used the pure impressionist palette but applied it in dots that were to be blended by the viewer's eye. What Signac called "muddy mixtures" were to be banished from painting and replaced by luminous, intense colors. Many of Signac's works are landscapes, inspired by the bright sunlight of southern France. He also painted some figure compositions. The neoimpressionists influenced the next generation; Signac inspired Henri Matisse in particular. As president of the annual Salon des Indépendants (1908-1934), Signac encouraged younger artists by exhibiting the controversial works of the Fauves and the Cubists.

–- Blessing of the Tuna Fleet at Groix (1923, 72x90cm; 873x1200pix, 231kb — .ZOOM to 1558x2000pix, 671kb)
–- Neige, Boulevard de Clichy, Paris (1886, 48x65cm; 826x1200pix, 167kb — .ZOOM to 1377x2000pix, 442kb)
–- /F#*>Sailboats in the Bay (38x55cm; 797x1161pix, 193kb _ /F#*>.ZOOM to 1595x2322pix, 773kb)
Fishing Boats in La Rochelle (1921 rough study, 27x40cm; 1349x2000pix; 2083kb)
Au Bord de la Rivière (rough study, 28x39cm; 1443x2000pix; 1595kb)
–- Le Soir (La Jetée de Flessingue) (1898 lithograph, 20x26cm; 220kb)
–- Application du Cercle chromatique (1888 color lithograph, 16x18cm; 821x972pix, 120kb)
–- Ë Flessingue (1896 color lithograph, 24x40cm; 727x1246pix, 177kb)
The Dining Room (1887)
The Dining Room
M. Félix Fénéon (1890)
Women at the Well (1892)
Red Buoy (1895)
The Large Pine, Saint-Tropez (1892, 19x27cm)
Port Saint-Tropez (1899)
27 images at Ciudad de la Pintura

Died on a 15 August:

1999 Hugh Casson [23 May 1910–], British architect, interior designer, artist, and writer and broadcaster on 20th century design. —(080814)

1995 Narciso Enrique Cosín, pintor y escultor español. —(080814)

1990 Paulino Vicente “El Mozo” [27 Nov 1900–], pintor español. Abandonó los estudios de bachillerato para dedicarse al dibujo, materia en la que se inició junto a un dominico, en el Círculo Católico, que le enseñó a pintar del natural. Pintó su primer cuadro en 1913, que fue seguido por La puerta de los frailes, que se expuso en una colectiva junto a las obras de otros pintores asturianos, y que le mereció la felicitación personal de Alfonso XIII; éste y otros éxitos juveniles le empujaron a la pintura de forma profesional, así que, en 1919, se trasladó a Madrid y se matriculó en la Escuela de Bellas Artes de San Fernando.
Lavandera (1952, 65x60cm; 650x597pix, 378kb). —(080814)

1964 Gerardo Murillo “Dr. Atl” [03 Oct 1875–], pintor, escritor, y vulcanólogo mexicano, nacido en Guadalajara (Jalisco) el 3 de octubre de 1875 y fallecido en la ciudad de México en el año de 1964. Fue en su ciudad natal donde realizó sus primeros estudios de pintura con el académico Felipe Castro. Más tarde se trasladó a la ciudad de México para estudiar la preparatoria y Bellas Artes; estuvo becado por Porfirio Díaz como estudiante de pintura. Después viajó a Roma, donde realizó estudios universitarios de Filosofía y Derecho. Poco después, Leopoldo Lugones lo bautizaría con el seudónimo de Doctor Atl, tomando la palabra "Atl", del lenguaje nahuatl, cuyo significado es ´agua´. Al regresar a México en 1903, trajo consigo un gran entusiasmo por la pintura. — LINKS
El Paricutín (1946, 122x154cm, 620x800pix, 88kb). —(080814)

1925 Konrad Mägi [01 Nov 1878–], Estonian landscape painter. —(080814)

1909 Laura Theresa Epps Alma-Tadema, British painter born (full coverage) on 17 April 1852.

1874 Henry Bryan Ziegler, British painter born on 13 February 1793.

1873 Fritz (Friedrich) Bamberger, German painter born on 17 October 1814.

1643 Cornelis-Jacobszoon Delff (or Delft), Dutch painter born in 1571.

Born on a 15 August:

^ >1913 Heinz Trökes, German Expressionist painter who died on 22 April 1997. — {Si Trökes troquait, troquait-il trop? et quels trucs troquait-il pour ses tableaux?}— Er Heinz Trökes war ein Maler und Grafiker, gestaltete aber auch textile Flächen. Trökes war ein Schüler von Johannes Itten [11 Nov 1888 – 25 May 1967] , der in der Frühphase des Bauhauses dort lehrte. 1952 wanderte er nach Ibiza aus. Eindrücke von seinen ausgedehnten Reisen bestimmten die starke Farbigkeit vieler Werke. Zwischenzeitlich lehrte er in Hamburg, Stuttgart und Berlin. — Biografie — Some of his best known paintings are
      _ Die Mondkanone (1946; 211x250pix, 12kb), Die blinde Stadt (1949),
      _ Insektenarbeit (1955, 120x101 cm; 500x419pix, 120kb), Tage Nacht Buch (1963), Großer Gaukler (1954), Traumbild (1968), Wind und Stille (1986). — Father of photographer Jan Manuel Trökes [17 Aug 1954~].
–- Balancement (11 Oct 1950, 56x65cm; 778x900pix, 102kb) _ The pseudonymous Quechap Cámbiez has transformed this into the pair of very nearly symmetrical abstractions (the minute departures from symmetry are there for visual puzzle lovers to discover):
      _ Balance Fausse (2007; 550x778pix, 114kb _ ZOOM 1 to 778x1100pix, 219kb _ ZOOM 2 to 1100x1556pix, 922kb _ ZOOM 3 to 1710x2418pix, 1096kb _ ZOOM 4 to 2658x3760pix, 2770kb) and
      _ Balle en Ciment (2007; 550x778pix, 114kb _ ZOOM 1 to 778x1100pix, 219kb _ ZOOM 2 to 1100x1556pix, 922kb _ ZOOM 3 to 1710x2418pix, 1096kb _ ZOOM 4 to 2658x3760pix, 2770kb) _ not to be confused with the realistic
      _ Ballon en Pierre (528x692pix, 68kb) (not by Trökes) which Cámbiez has also glorified into the twin abstractions
      _ A bas le Long Pierre! (2007; 550x778pix, 217kb _ ZOOM 1 to 778x1100pix, 429kb _ ZOOM 2 to 1100x1556pix, 677kb _ ZOOM 3 to 1710x2418pix, 1634kb _ ZOOM 4 to 2658x3760pix, 4366kb) and
      _ Alone on the Pier (2007; 550x778pix, 217kb _ ZOOM 1 to 778x1100pix, 429kb _ ZOOM 2 to 1100x1556pix, 677kb _ ZOOM 3 to 1710x2418pix, 1634kb _ ZOOM 4 to 2658x3760pix, 4366kb)
–- Giessen (1966; 2533x1972pix, 384kb)
Karneval in Amsterdam (1958, 89x116cm; 385x500pix, 127kb)
Requisiten für Artisten (1959, 35x39cm; 441x500pix, 97kb)
Ballspiel (1956, 100x125cm; 417x500pix, 80kb)
Leben am Berg (1955, 72x102cm; 353x500pix, 73kb)
Garten Geländer Bewässert (1957, 58x70cm; 415x500pix, 113kb)
Haus am Grünen (1957, 42x48cm; 439x500pix, 129kb)
Insektenarbeit (1955, 120x101cm; 500x419pix, 121kb)
Blaue Insel (1957,57 82xcm; 367x500pix, 97kb)
In Drei Jahreszeiten (1955, 72x102cm; 357x500pix, 104kb)
Nach dem Karneval (1954, 66x74cm; 443x500pix, 131kb)
Kreidevorkommen (1954, 72x100cm; 411x500pix, 131kb)
Landschaft im Wasser (1950, 50x60cm; 423x500pix, 88kb)
Luftspuren (1954, 68x89cm; 381x500pix, 89kb)
Lustgarten Frümorgens (1954, 102x123cm; 411x500pix, 122kb)
Ranken (1955, 67x87cm; 387x500pix, 112kb)
Kleiner Sommerregen (1957, 57x82cm; 366x500pix, 112kb)
Spielstrasse (1954, 76x102cm; 372x500pix, 136kb)
Bewegtes Staccato (1957, 57x82cm; 360x500pix, 77kb)
Vogel (1956, 48x36cm; 500x372pix, 126kb)
Composition 1 (1957, 54x76cm; 402x500pix, 92kb)
Composition 2 (1957, 54x76cm; 415x500pix, 117kb)
Composition 3 (1957, 54x76cm; 409x500pix, 103kb)
Composition 5 (1957, 54x76cm; 406x500pix, 87kb)
Composition 6 (1957, 54x76cm; 408x500pix, 145kb)
Composition 7 (1957, 54x76cm; 391x500pix, 107kb)
Composition 9 (1957, 54x76cm; 403x500pix, 115kb)
Composition 10 (1957, 54x76cm; 398x500pix, 85kb)
Composition 11 (1957, 54x76cm; 403x500pix, 101kb)
Composition 12 (1957, 54x76cm; 398x500pix, 121kb)
Composition 13 (1957, 54x76cm; 411x500pix, 103kb)
Composition 14 (1957, 54x76cm; 398x500pix, 118kb)
Composition 15 (1957, 54x76cm; 397x500pix, 98kb)
Composition 16 (1957, 54x76cm; 404x500pix, 109kb)
Composition 17 (1957, 54x76cm; 398x500pix, 94kb)
Composition 18 (1957, 54x76cm; 393x500pix, 105kb)
Composition 20 (1957, 54x76cm; 409x500pix, 85kb)
Composition 21 (1957, 54x76cm; 397x500pix, 89kb)
Composition 22 (1957, 76x54cm; 500x382pix, 106kb)
Composition 23 (1957, 76x54cm; 500x376pix, 118kb)
Composition 24 (1957, 76x54cm; 500x373pix, 94kb)
Composition 25 (1957, 54x76cm; 389x500pix, 112kb)
Composition 26 (1957, 54x76cm; 377x500pix, 71kb))
Composition 30 (1957, 54x76cm; 405x500pix, 101kb)
— Cámbiez and many of his associates are working feverishly to combine and thoroughly transform some of the above into greater pictures. Links to the results will be posted here ... unless Cámbiez and his crew succumb to the fever first. —(090814)

1889 Jan Mankes, Dutch artist who died in 1920. — {Est-ce qu'il ment qu'à Mankes manquait quelque chose, celui qui dit que c'est pour cela qu'on ne trouve rien de lui dans l'internet?}

1862 Adam Emory Albright, US painter who died in 1957.

^ 1854 Laurits Andensen Ring, Danish painter who died on 10 September 1933.
Sommerdag ved Roskilde Fjord.(1900)

1838 Franz Richard Unterberger, German artist who died on 25 May 1902.

^ 1828 Frank Buchser, Swiss painter who died on 22 November 1890.
Village Street in Woodstock, Virginia (1867)
Landscape near Scarborough (1874).

1803 Eugène-Napoléon Flandin, French painter who died in 1876.

1666 Jean-Pierre Abesch (Joan Petrus von Esch), Swiss painter who died in 1740, 1741, or 1742.

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