Died on a 21 August:
>2003 “John” Coplans, born St. John Rivers Coplans on 24 June 1920, English US painter, critic, curator, museum director, notorious for his fixation on making grotesque black-and-white photographs of his own aging body, part by part. Author of Andy Warhol (1970). —(060818)
>1988 Ray-Bernice Alexandra Kaiser Eames, [15 Dec 1912–], US designer, artist and architect, second wife of Charles Ormond Eames, Jr (see below). Both worked in many fields of design including industrial design, furniture design, art, graphic design, film and architecture. —(080820)
>1978 Charles Ormond Eames, Jr [17 Jun 1907–], husband of Ray Eames (see above). —(080820)
1957 Mario Chiattone, Italian architect born on 11 November 1891.
_ L’architetto Mario Chiattone (1924, 103x103cm; 508x500pix, 41kb) portrait by Achille Funi [26 Feb 1890 – 26 Jul 1972] —(070815)
^ 1940 Carlos António Rodrigues dos Reis, Portuguese painter born on 21 February 1863. — Father and teacher of João Reis [15 Nov 1899 – 02 Mar 1982] and of Maria Luísa Reis [22 Nov 1902 – Dec 1965] — Nasceu em Torres Novas, e morreu em Coimbra. Seu pai, o Dr. José Rodrigues dos Reis, que foi médico-cirurgião naquela vila, não tendo surpreendido, logo de começo, a extraordinária aptidão artística de seu filho, pensou em dar-lhe rumo de vida que julgava prático, para o que depois da indispensável iniciação dos estudos primários. o colocou no colégio do padre Joaquim Correia da Silva, onde frequentou as disciplinas de Português, Francês, Latim; Matemática e Desenho. Mas, não era o caminho que o destino lhe traçara. Ainda longe da suspeita das tendências artísticas que, mais tarde, fariam dele um pintor notável, o pai iniciou-o na carreira comercial, colocando-o a praticar, na conhecida tabacaria Nunes, do Rossio, de que era proprietário um parente seu. Foi o seu próprio patrão que, com inteligência e acerto, promoveu o seu ingresso na Escola de Belas Artes, convencendo — não sem dificuldade — o pai do futuro paisagista a transigir com a proposta. Dessa diligência resultou a matrícula de Carlos Reis naquele estabelecimento de ensino, no ano de 1881, tendo, ali, como professores: Alberto Nunes e Simões de Almeida, em desenho preparatório; Miguel Lupi, em modelo vivo, e Silva Porto na cadeira de pintura. As invulgares qualidades reveladas por Carlos Reis na frequência da Escola chamaram a atenção de D. Carlos de Bragança, ao tempo ainda príncipe real, de maneira a tornar-se seu amigo e seu protector, estabelecendo-lhe uma pensão de cinco libras que lhe garantia a continuidade dos estudos, em risco de perder-se, por dificuldades materiais de então.
— Carlos Reis, frequentou a Escola de Belas Artes, graças ao apoio financeiro de El-Rei D. Carlos, onde foi aluno de Simões de Almeida, de Miguel Lúpi e de Silva Porto. Em 1889, partiu para Paris, como bolseiro do Estado sendo, um ano mais tarde, admitido na “L’école des Beaux-Arts” no atelier de J. Blanc de Dupain e de L. Bonnat. Foi fundador e chefe do «Grupo Ar Livre», depois do «Grupo Silva Porto». Académico de mérito, em 1896, ganhou o concurso para professor de Pintura de Paisagem da Escola de Belas Artes de Lisboa. Desempenhou as funções de director do Museu Nacional de Belas-Artes (Janelas Verdes) e depois do Museu Nacional de Arte Contemporânea. As suas obras podem ser contempladas em diversos museus nacionais, na Embaixada de Portugal no Vaticano, no Museu de Barcelona, em Buenos Aires e em várias colecções particulares.
— Self-Portrait (1931 pencil drawing; 1066x767pix, 546kb)
— (cornfield landscape) (301x456pix, 39kb)
— (landscape) (314x479pix, 27kb)
— (guitarist beggar?) (320x433pix, 37kb)
— Natureza morta - cebolas e vidros (76x105cm; 419x580pix, 46kb).
— Lagares D'El-Rei - Lisboa (44x29cm)
— Vista de rua com figuras (48x65cm).
— Retrato de Ancião (81x65cm). —(060818)
1935 Viktor Andreyevich Simov, Moscow Russian artist born on 14 April 1858. —(060819)
1930 Selwyn Image, born on 17 February 1849, English Anglican clergyman until 1882, then graphic designer and poet. The Image image is not that of an image-maker, unfortunately. —(060820)
1930 John Christopher Wood, English painter born on 07 April 1901, commits suicide. — Not to be confused with Scottish painter Christopher Wood [1961~]. — He studied architecture at Liverpool University; there he met Augustus John, who encouraged him to take up painting seriously. On moving to London in 1920, he met Alphonse Kahn, a wealthy Jewish art collector who took him to Paris in 1921, where he enrolled at the Académie Julian and later at the Grande Chaumière. In Paris he met the Chilean diplomat, Antonio de Gandarillas, who introduced him to a number of painters, among them Picasso. In this period Wood’s contacts with artists in Paris were soon unrivalled among British artists.
— Wood was born in Knowsley, near Liverpool, son of Mrs Clare and Dr Lucius Wood, a GP. At 14, Wood began to draw during recuperation from septicemia, and went on to study architecture briefly at Liverpool University (1919-1920). In London in 1920, the French collector Alphonse Kahn invited him to Paris, where Wood studied drawing at the Académie Julian in 1921. He entered effortlessly into fashionable artistic circles, meeting Augustus John and the Chilean diplomat Antonio de Gandarillas, with whom he began to live. As well as providing financial support, Gandarillas introduced Wood to Picasso, Georges Auric, and Jean Cocteau, and to the use of opium. Although his painting was regarded as charmingly untutored, he learnt from these acquaintances, especially adopting the elegant line of Cocteau's drawings.
By 1926 Wood was in a position to make designs for Romeo and Juliet for Diaghilev's Ballets Russes. When these designs were abandoned at the last moment, he concentrated on England, becoming a member of the London Group (1926) and the Seven and Five Society (1926-1930). He exhibited with Ben and Winifred Nicholson at the Beaux Arts Gallery (April-May 1927), becoming close to them personally and artistically. In particular, Winifred was supportive in the aftermath of his failed elopement with the painter and heiress Meraud Guinness (subsequently Meraud Guevara). He painted with the Nicholsons in Cumberland and Cornwall in 1928. On a trip to St Ives, he and Ben Nicholson encountered the fisherman painter Alfred Wallis, whose work answered a shared interest in 'primitive' expression and helped Wood to establish a personal style. A solo exhibition at Tooth's Gallery (April 1929) was followed by an exhibition with Nicholson at the Galerie Bernheim in Paris (May 1930), in which Wood showed paintings made in Brittany in 1929. The results of a second stay in Brittany (June-July 1930) were intended to open the Wertheim Gallery in London in October. Traveling with his paintings, Wood met his mother in Salisbury on 21 August 1930. Possibly believing himself pursued (an effect of withdrawal from opium), he threw himself under the London train. In deference to his mother, his death was often subsequently described as accidental. Posthumous exhibitions were held at the Wertheim Gallery (Feb. 1931) and the Lefèvre Galleries (1932). In 1938 Wood's paintings were included in the British pavilion at the Venice Biennale. In the same year a major exhibition was organized by the Redfern Gallery at the New Burlington Galleries, which attempted to re-unite Wood's complete works, and gave impetus to Neo-Romanticism. — LINKS
–- S#*> Street in Marseille (744x900pix, 189kb)
–- S#*> (2 scenes of the French Riviera) (2 pictures in 1 image, 1925, each 168x61cm; each 327x900pix, together 141kb) _ These two panels were almost certainly inspired by Wood's experiences in the South of France in April of 1925. Through Alphonse Kahn, Wood had, on his arrival in Paris in 1921, been introduced to the Chilean gentleman-diplomat Tony Gandarillas, and by this date their relationship had deepened to an inseparable bond. Despite his fluctuating levels of solvency, Gandarillas' cosmopolitan connections meant that Wood was soon mixing not only in the rarefied social world of the Parisian beau-monde, but holidaying in the most fashionable hang-outs with the leading exponents of the European avant-garde. Foremost amongst these were Picasso and Cocteau of whom Wood had recently proclaimed `Together they have created the modern art of this century'. Of major significance too was Serge Diaghilev, who as producer of the Ballets Russes in its 1920s heyday, commanded unprecedented influence as an arbiter of taste. His sell-out productions would see Nijinsky dancing to the music of Stravinsky against a back-drop designed by Picasso, and Cocteau lurking ever-present in the wings.
In a letter to his mother dated 16th April 1925, Wood relays his enthusiasm for the Marseilles set: ‘All my friends the artists are here. Picasso is here and I see a lot of him which gives me more pleasure than anything... he is a great genius and the Leonardo of today. He bought me a drawing book yesterday... The Russian Ballet is here also... so with Diaghilev... and his artists... we are like one big happy family of Artists...’
Wood's great excitement at being a part of this world is apparent not only in his letters but also in his paintings at this date. The influence of Picasso's monumental neo-classical figure style is particularly clear in these panels. The firmness and continuity of line is also something that Wood had learnt from Picasso, as well as from Cocteau with whom he had recently been sharing his studio in Paris. By the summer of 1925, Wood had begun to understand the concept of tackling complexity with simplicity. It was Cocteau's lesson, and Picasso's too to some extent, and in a year or so it became the key instinct that he shared with one of his closest artistic allies, Ben Nicholson.
The glimpse of sea and the passing boat in the right hand panel clearly anticipate Wood's later work in St Ives and Brittany. The coast held an intrinsic fascination for Wood even at this early date. But as a setting, it was also a deeply fashionable choice. Diaghilev's ballets of 1924 (Le Train Bleu) and 1925 (Les Matelots) both had sea-side backdrops, the former designed by Picasso showing two amply-proportioned belles running along the beach hand-in-hand. Wood wished more than anything to be chosen himself to design for the ballet, and it must be no coincidence that 1925 was the year in which he first tried his hand at large scale, decorative pieces with a narrative theme. Once back in London, Wood painted his vast four-fold decorative screen (Beach Scene with Bathers, Pier and Ships) depicting bathers and sailors in a seascape: it was his most ambitious project to date and was met with great acclaim. Though less ambitious in scale, the two panels were undoubtedly done in the same vein. They are to be read as another example of the young artist's capabilities in the field of decorative design. Though they are experimental works influenced by the considerable example of his artistic mentors, Wood was never a mere pasticheur. The influences that he assimilated during the creation of these panels were to under-pin the progress of his entire remaining artistic career.
–- S#*> St. Ives (586x900pix, 120kb)
–- S#*> A Girl (900x574pix, 161kb)
–- S#*> Dahlias in a White Pot (735x900pix, 120kb)
–- S#*> Flowers in a White Pot (495x600pix, 63kb)
–- S#*> Girl With a Parrot (1115x900pix, 187kb)
–- S#*> Breton Peasant Family in a Pony Trap (900x1089pix, 157kb) In case you think that a pony trap must be somewhere in size between an elephant trap and a mouse trap, it is. But it was not designed to catch ponies, or even Breton peasant families: it was pulled by a pony and Breton peasant families, or even single bankers who were not from Britanny or even France, could ride in it:
_ trap (noun) ... 5 : a light usually one-horse carriage with springs
–- S#*> Drying Nets, Treboul Harbour (1930, 79x110cm; 632x900pix, 163kb) During a period of just over a month, between the middle of June and the middle of July 1930, Christopher Wood produced a remarkable body of work, comprising around forty paintings, that can be regarded as his final swan song. Drying Nets, Tréboul is the second-largest work that he produced at this time (and, in fact - decorative work aside - during his entire career). This is important not simply because of the resulting grandeur of the finished painting but because the artist never allowed himself to paint on this scale until he felt that he was capable of doing so. As such, the present work is one that has been singled out as a highlight of Christopher Wood's career, not only by critics but also, apparently, by the artist himself.
Christopher Wood had spent time in Brittany the previous summer as a means of removing himself from the overbearing opium-spoking environment that characterised his life in Paris. He returned in the middle of June 1930 to the tiny village of Tréboul in the company of Frosca Munster. There, in a burst of creative energy underpinned by a newly acquired vision, he produced a series of paintings that herald what was to be hisfinal stage of artistic maturity. After years of experimentation, Wood finally found in Brittany his own artistic identity.
In a letter to Lucy Wertheim dated 10th July 1930, Wood explained, `This year's work is in the same spirit as last year's but much further on, much more composed and reflective, not so poetic, but sounder and more subtle... Max Jacob said that I paint `des arbres plein d'oiseaux' which is a very beautiful way of expressing fullness and feeling. (quoted in Richard Ingleby, op.cit., p.243).
Wood's paintings of this period are distinguished by their calmness and simplicity of approach. Unlike so many of his paintings of the 1920s which openly divulge the influences that he had absorbed from the European avant-garde, these works are peculiarly English and independent in style and feeling. The subject matter certainly reminded Wood very strongly of the Cornish coast, where he had recently spent a good deal of time with Ben and Winifred Nicholson. But it is the cool, dark palette of this late period that accentuates the Englishness of the scenes: the watery blue of the skies, the earthy green of the fields and the glassy grey-green of these seas. Eric Newton described the change in palette as the sunshine of Fra Angelico giving way to the thunder of El Greco (op.cit., p.53).
In his 1938 monograph, Newton discusses at length Wood's skill in imbuing the Breton scenes with a sense of mysticism. Writing of the `tricks' that he employs, Newton comments on `Those little trees and houses that break the skyline and seem to gesticulate (the windmill for instance, in `Drying Nets, Tréboul Harbour'...) - what other painter has used such motives.' (op.cit., p.49-50). He also draws comparison between Wood's great compositional facility, so clearly stated in the present work, and that of Poussin. `The interior organisation of ``Drying Nets'' is of the same order (on less ambitious scale) as that which underlies one of Poussin's elaborately contrived inventions. The stresses and strains, the rhythms and counter-rhythms are all there' (op.cit., p.57).
Drying Nets, Tréboul Harbour summarizes all that has gone before and points to the direction along which his work would have developed had circumstances been different. As such, Drying Nets is one of the most important works upon which Christopher Wood's enduring reputation now rests. Augustus John summed up his impression of Wood's last works in a letter to the artist's mother in 1932. Having just visited the memorial exhibition at Reid and Lefevre, where he had seen Mrs Wood but not spoken to her, he wrote: `Words failed me yesterday to tell you how I loved Kit's last wonderful pictures. His last months seem to have been passed in a flame of creative energy and so he has burnt himself out gloriously.'
–- S#*> Still Life (696x900pix, 145kb) hastily painted teapots, cup, pipe, pouch (?), MATH (sic) box.
— The Fisherman's Farewell (1928, 28x70cm) _ Traditionally, this has been seen as a portrait of Wood’s friends Ben and Winifred Nicholson with their first child. They are shown against the backdrop of the harbor of St. Ives, then a fishing village and an established artists colony. It was painted the year in which Wood and Ben first met Alfred Wallis, the untutored painter whose instinctive style endorsed their own consciously ‘naïve’ mode of painting.
— Boat in Harbour, Brittany (1929, 794 x 1086 mm frame: 917 x 1215 x 91 mm painting Presented by Mrs Lucy Carrington Wertheim 1962 T00489 Though in Britanny, this scene is similar to many works painted by Wood in Cornwall. Towards the end of his short life, Wood spent periods working in both places in pursuit of a ‘naïve’ style of painting. In 1928 he visited Cornwall with his friends Ben and Winifred Nicholson. In St Ives the two men came across Alfred Wallis, whose ‘primitive’, child-like paintings made a deep impression on their subsequent work. For them, adopting Wallis’s instinctive style allowed them to reject the artificiality of established painting for a more authentic mode of expression.
— A Fishing Boat in Dieppe Harbour (1929, 65x81cm)
— Church at Tréboul (1930, 730 x 916 mm frame: 983 x 1170 x 115 mm painting Presented by Dr and Mrs Lucius Wood, the artist's parents, through the Contemporary Art Society 1930 N04552 Wood spent June and July 1930 painting in Brittany, basing himself in Tréboul, close to Douarnenez. This area was popular with both British and French painters and was close to Pont-Aven, which had been made famous by Gauguin whose work, together with that of Van Gogh, was important to Wood. In the space of forty days Wood painted some sixty canvases both from life and, at night, from postcards, mostly depicting scenes from the daily lives of the fishing community. Moving from the depiction of boats to architecture he claimed helped him to paint a 'quieter composition'.
— Douarnenez, Brittany (1930, 33x46cm)
— Zebra and Parachute (1930, 46x56cm) The zebra is in the foreground of an industrial landscape. The parachute, with a person hanging from it, is in the sky far background. —(060820)
>1930 Aston Webb, Londoner architect born on 22 May 1849. —(080820)
1856 Fernando Ferrant Llausás [1810–], Spanish painter. — Brother of the painter Luis Ferrant Llausás [1806 – 1868] and uncle of the painter Alejandro Ferrant y Fischermans [09 Sep 1843 – 20 Jan 1917], who was the father of the Madrid sculptor Angel Ferrant Vázquez [01 Dec 1891 – 25 Jul 1961].— {Rien ne permet de croire que l'un de leur parents était un officier qui est monté en grade jusqu'à devenir le Maréchal Ferrant}—(080820)
^ >1629 Camillo Procaccini, Italian painter born in 1550 approximately. He was first mentioned in 1571 as a student in the Bolognese painters’ guild when his father, Ercole Procaccini il vecchio [bapt. 23 Feb 1520 – 13 Jan 1595], was its head. This, and the stylistic maturity of his earliest surviving documented works, the frescoes (1585–1587) in San Prospero, Reggio Emilia, suggest his date of birth. Trained by his father, he went to Rome about 1580 with Conte Pirro Visconti, an important Milanese collector. Camillo's studies in Rome, particularly of the art of Taddeo Zuccaro and of the Carracci, clearly affected his work after his return to Bologna. He also visited Parma, where he had the chance to study Correggio and Parmigianino. In 1582 he decorated the side walls of the apse of San Clemente, Collegio di Spagna, Bologna, and these frescoes (partially photographed before their destruction in 1914) seem to have been an energetic reflection of the exaggerated forms and contrasts of scale typical of mid-16th-century central Italian painting. — He was the brother of Giulio Cesare Procaccini [30 May 1574 – 14 Nov 1625] and of Carlantonio Procaccini [13 Jan 1571 – 1630], whose son was Ercole Procaccini il giovane [bapt. 06 Aug 1605 – 02 Mar 1680].
–- The Sacrifice of Isaac (182x119cm; 892x568pix, 42kb) —(080820)
Born on a 21 August:
1936 Radish Tordia, Georgian painter of figurative art. —(080820)
1929 Marie Severin, US comic book artist and colorist. —(080820)
1930 Eva Hollo, born in Vienna, Austria, in a Hungarian family. She wanted to design hollow Hollo objects, as big as possible, so she became an architect. She was called Eva Vecsei after marrying, in 1952, architect André Vecsei [25 Apr 1926 – 17 May 2006]. They fled, ultimately to Canada, after being more than vexed by the more than hollow threat constituted by the 04 November 1956 Soviet invasion of Hungary. —(060819)
^ 1894 Aleksandr Nikolayevich Samokhvalov, Russian painter who died on 20 August 1971 (1974?). He studied in the architectural faculty at the Higher Art School of the Academy of Arts in St. Petersburg under V. Beliaev and G. Zaleman (1914-1917), in the painting faculty at the Petrograd Svomas under Kuzma Petrov-Vodkin, Dmitry Kardovsky and Arkady Rylov (1920-1923). In the 1920s he took part in the restoration of the Cathedral of St. George in Staraya Ladoga.
–- S#*> A Boy (64x53cm; 900x732pix, 116kb)
— Girl in a Football Jersey (1932; 864x525pix, 46kb)
— Kirov Receives Sports Parade (1935; 598x718pix, 55kb)
— In the Stadium (1931; 366x555pix, 92kb) —(060818)
1894 Christian Schad, German painter, collagist, printmaker, and photographer, who died on 25 Feb 1982. He studied briefly at the Akademie der Bildenden Künste in Munich (1913–1914) and in 1913 began to make Expressionist woodcuts, which were published in magazines such as Die Aktion (Berlin), Die Weissen Blätter (Leipzig) and Sirius (Zürich). From 1915 to 1920 he lived in Zürich and Geneva (thus avoiding to be drafted into the German WWI army), where he was associated with the DADA movement. He continued creating woodcuts but also made reliefs, paintings and collages from newspaper cuttings and other printed papers. At the same time he became interested in abstracting photography and using it in a more metaphoric way. In 1918, while living in Geneva, he created his first ‘schadographs’, such as Untitled (Fish) (1918), contact prints of collages and objects on photosensitive paper. Like Man Ray’s rayographs and Moholy-Nagy’s photograms, these cameraless photographs reproduced the negative image of the textures placed on them, creating a new form of representation.
Schad left Switzerland in 1920 for Italy, where he spent five years. He subsequently went to Vienna and later, in 1928, settled in Berlin. In 1921 he began to paint in a sober, realistic style later referred to as Neue sachlichkeit, reflecting the disillusionment he felt after the defeat of the November Revolution (1918) and the failure of the new German government to implement democratic reforms. Disappointed by all-encompassing theories, he and fellow painters such as Otto Dix, George Grosz and Rudolf Schlichter took a critical look at bourgeois society, developing a harsh and sceptical approach to the representation of human beings and objects, shown in a disjointed and fragmentary manner. Schad's paintings display his interest in the relationship of the individual to society, conveying a sense of isolation and alienation, as in Sonia (Max Herrmann-Neise in the Background) (1928) and Self-portrait (1927).
Unlike Dix or Grosz, Schad did not employ caricature. Instead he criticized the structures of society by coolly and uncompromisingly depicting every detail of his subjects and their surroundings, and by revealing the distance and emptiness between them. In Count St Genois d'Anneaucourt (1927) two prostitutes in transparent dresses vie for the count's attention, while he turns his back to them and stares rigidly out of the picture. Through the window of the almost airless space one can see the gray houses of a working-class district; the contrast between the group and the background hints at the class divisions and inequalities in society. The exposing, ugly portrait of Countess Triglion (1926) is another critical comment on the moral decay behind the bourgeois façade. Schad was also interested in the non-bourgeois milieu and painted music-hall and circus performers, such as Agosta the Pigeon-Chested Man and Rasha the Black Dove (1929). After the destruction of his studio in 1943 Schad moved to Aschaffenburg. The city commissioned him to copy Grünewald's Virgin, a project on which he worked until 1947. Schad continued to paint in the 1950s in Magic Realist style and returned in the 1960s to experiments with photograms. — LINKS
— Selbstbildnis (1927, 76x62cm) _ This is a study of thinly veiled display. The artist's transparent shirt reveals his chest. He is positioned in front of a woman, but only partially conceals her nakedness. A diaphanous curtain separates them from the city. Schad's precise realism is loaded with symbolism. A narcissus, indicating vanity, leans towards the artist. The woman's face is scarred with a freggio, inflicted on Neapolitan women by their lovers to make them unattractive to others. It is a startling emblem of the potential violence underlying male possession of the female body.
— Sonja (Max Hermann Neisse im Hintergrund) (1928; 600x400pix)
— Operation (1929; 418x313pix, 42kb)
— Agosta, der Flügelmensch, und Rasha, die schwarze Taube (1929, 120x80cm) _ Schad's models unerringly return our gaze. Their convincing presence reflects the artist's association with the New Objectivity, a German artistic movement that combined social criticism with near-photographic realism. The black woman and the pigeon-chested man were accustomed to scrutiny, earning their living as sideshow acts in Berlin funfairs through the display of their bodies. The work is an unsettling portrayal of the objectification of the body, of voyeurism and of social alienation through difference. Unusually for the time, these issues are concentrated in the unflinching depiction of the male as well as the female nude.
— Halbakt (1929, 55x53cm; 350x330pix, 12kb) _ Compare:
_ Half-Baked (movie poster, 1130x800pix, 233kb _ ZOOM to 2226x1800pix, 1210kb) —(060819)
1886 José Ortiz Echague, Spanish photographer who died on 07 September 1982. —(060818)
1884 Jean-Jules Eggericx, Brussels Belgian architect and urban planner who died on 21 April 1963. — Not to be confused (I would swear to it on a pile of golden goose eggs) with the pseudonymous Jean-Jure Eggrich, of which you can now admire the:
_ Pseudo-Self-Portrait aka Ergot Ogre (2006; screen filling, 141kb _ ZOOM to 1864x2636pix, 1622kb) —(060818)
^ 1884 Bohumil Kubišta, Czech (Bohemian) sometimes Cubist {of course!} painter, printmaker, and draftsman, who died of the Spanish Flu on 27 November 1918. . He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. In the same year, with Emil Filla, Antonin Procházka, Vaclav Spak, Rudolf Kremlicka, and the writer Otto Gutfreund, among others, he founded Osma (The Eight), a group of artists who felt the need of innovation in their art, as exemplified by Cubism and German Expressionism. In 1909 and 1910 he visited Paris. During the next two years he exhibited with the Neue Sezession in Berlin and in 1913 in Düsseldorf. His work evolved rapidly from Impressionism, Expressionism and a specific kind of Cubism to Italian Futurism.— LINKS
— Cement Works in Braník (1911, 68x83cm; 117kb)
— Istrian Landscape With Red-Roofed Houses (24x31cm; 464x496pix, 36kb) —(060818)
1873 Omar Ramsden, English silversmith who died on 09 Aug 1939. —(060818)
>1868 Jan Stuyt, Dutch architect who died on 10 July 1934. —(080820)
^ 1848 Egisto Lancerotto, Italian painter who died on 31 May 1916.
— Bearded Italian Gentleman (1886, 125x73cm) the father of the artist?
— Young Woman In A Vineyard (109x79cm)
— Ballo Mazurka (178x260cm)
— Picking Daisies (150x77cm) _ If you want to know what they did with the daisies, look at the next picture.
— She Loves Me...She Loves Me Not... (117x85cm)
–- S#*> The Hand of Cards (150x75cm; 510x254pix, 31kb)
^ 1839 Otto Bache, Danish painter who died in 1927.
— Crossing the Ford (1912, 146x227cm)
— A Spaniel and a Pug (1885, 67x95cm)
— Sondenvinden (60x60cm)
— The King is Coming (67x98cm)
— Le Billet-Doux (1862, 63x50cm; kb)
^ 1805 Nicolaas Johannes Roosenboom, Dutch painter who died in 1880, student and son-in-law of Andreas Schelfhout [16 Feb 1787 – 19 Apr 1870].
–- S#*> Skaters (32x42cm; _ /S#*>ZOOM to 998x1316pix; 212kb) They are skating on a frozen waterway, there are two ducks in the foreground, a windmill and an ice-sailboat in the distance. Most of the canvas is taken up by an uninteresting yellowish sky. It is improved in the pinkish version Skaters at Sunset (998x1316pix; 164kb) due to the pseudonymous Cola-Joe Tulipenbust.
–- S#*> Skaters Near a Bridge (37x47cm; 915x1200pix, 236kb)
–- S#*> Winter Landscape with Skaters (25x33cm; 893x1200pix, 163kb)
— Vessels before a Harbor Town by Moonlight (50x62cm) The town is possibly Rotterdam.
–- S#*> Winter Landscape with Skaters on a Frozen River (40x49cm; 481x608pix, 34kb) a “koek en zopie” (tent with a stand selling food and drink) beyond. _ Compare
_ Skaters on a Frozen Waterway, a “Koek en Zopie” in the Distance (oval 40x31cm; kb) by Carl Eduard Ahrendts [1822-1898] and
_ Skaters Near a Village with Windmill, a “Koek en Zopie” in the Distance (970x1152pix, 117kb) by ? [?-?] and also many paintings by Jan Jacob Spohler [07 Nov 1811 – 1879 or 1866]
–- S#*> Boats Including a Vessel Firing a Salute (16x25cm; 317x508pix, 21kb)
— (River Valley Landscape) (451x592pix, 123kb) —(051106)
1793 August-Karl-Friedrich von Kloeber, German artist who died on 31 December 1864.
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Thought for the day: “No really great man every thought himself so.” {but his mother did, even if he wasn't}
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http://www.geocities.com/jcanu/art/art4aug/art0821.html
updated Thursday 21-Aug-2008 3:25 UT
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