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ART “4” “2”-DAY  22 August v.9.a0
International “Museums, Guard Your Paintings!!!” Day
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TUSK
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2004: Munch's The Scream and Madonna stolen !!!
1911: Mona Lisa disappeared !!!
DISPARITION DE LA JOCONDE !
1961: Goya's The Duke of Wellington stolen !!!
DEATHS: 1806 FRAGONARD — 1920 ZORN 1917 MARIS  1789 TISCHBEIN 
^ 2004: Munch's The Scream and Madonna stolen !!!
     Armed robbers steal from the Munch Museum in Oslo two paintings by Edvard Munch [12 Dec 1863 — 23 Jan 1944]: a version of The Scream (1894, 83x66cm; 513x400pix, 40kb), regarded by many as his most important work and an icon of existentialist angst, and Madonna (1894, 90x68cm; 467x350pix, 29kb), two parts of his “Frieze of Life” series. Two masked robbers threaten with a gun a female employee at the Munch Museum and take down the two paintings. They escape in a car driven by a third man. The pictures, worth millions of dollars, are cut from their frames which are found discarded and broken later in another part of the city. Munch produced four versions of The Scream. The stolen version consists of tempera and pastel on board.
      A perhaps better-known version of The Scream (1893, 91x73cm; 750x569pix, 124kb) was stolen from Norway's Nasjonal Galleriet in a break-in by a three Norwegians led by Paal Engers, on 12 February 1994, the opening day of the Winter Olympics in Lillehammer. The trio tried to ransom the painting, demanding $1 million from the government, which refused. The picture, which is on fragile paper, was retrieved undamaged in a hotel in Asgardstrand, about 60 km south of Oslo, on 07 May 1994 and remains in that gallery, which also has its own version of Madonna (1895; 90x70cm; 800x561pix, 103kb).
      Another version is in storage at the Munch Museum, a private collector owns the fourth version. Munch, who lived from 1863 to 1944 and who was a founder of modern expressionism, made several copies of his key works, including The Scream. In the foreground of the picture, on a road with railings, is a figure hands raised to his head, eyes staring, mouth agape. Further back are two men in top hats and behind them a landscape of fjord and hills in wavy lines against a deep red sunset. In 2003 academics said that the vivid skyscape was inspired by extraordinary twilights in Europe in late 1883 and early 1884 resulting from the great eruption of the Krakatoa volcano in Indonesia. A seminal expressionist picture, it symbolizes modern man seized by an attack of anguish. A 2-color lithograph of The Scream (1895, 35x25cm) became a best-seller worldwide.

     What's strange is that in this museum, there weren't any means of protection for the paintings, no alarm bell. The paintings were simply attached by wire to the walls. All you had to do is pull on the painting hard for the cord to break loose, which is what was done. Police arrived on the scene 15 minutes later.
      Munch, a Norwegian painter and graphic artist who worked in Germany as well as his home country, developed an emotionally charged style that was of great importance in the birth of the 20th century Expressionist movement. He painted The Scream and Madonna as parts of his "Frieze of Life" series, in which sickness, death, anxiety, and love are central themes. He died in 1944 at the age of 81. The National Art Museum owns 58 paintings by Munch.
click to ZOOM IN^ 22 August 1911:
Mona Lisa stolen !!!

[click on picture to enlarge >]
      Italian Vincenzo Peruggia, employed by the Louvre, in Paris, to install mirrors, has spent the night hiding in the closed museum. Some time after 07:00 he steals Leonardo Da Vinci's famous painting of the wife of Francesco del Gioconda, known as the Mona Lisa or La Gioconda. It had hung in the Louvre for already over 100 years. The thief hides the oil-on-wood, 77 x 53 cm painting beneath his clothes, and escapes. When painter Louis Béroud sets up his easel shortly after 09:00, he notices that the masterpiece by Leonardo da Vinci [15 April 145202 May 1519] is missing and notifies the guards. While the entire nation of France is stunned, theories abounded as to what could have happened to the invaluable artwork. Most believe that professional thieves could not have been involved because they would have realized that it would be too dangerous to try to sell the world's most famous painting. Peruggia remains in Paris and gets work as a waiter.
      A popular rumor in Paris was that the Germans had stolen it to humiliate the French. Investigators and detectives searched for the painting for more than two years without finding any decent leads. Then, in November 1913, Italian art dealer Alfredo Geri received a letter from from Paris from a Vincenzo Léonardi, offering to sell the Mona Lisa. When Peruggia, for it is him, goes to Florence to complete the transaction, he is captured on 12 December 1913, and the oil painting is recovered unharmed. Peruggia, a former employee of the Louvre, claimed that he had acted out of a patriotic duty to avenge the wrongs Italy had suffered from Napoléon. But prior robbery convictions and a diary with a list of art collectors led most to think that he had acted solely out of greed. Peruggia served seven months of a one-year sentence and later served in the Italian army during the First World War. The Mona Lisa is back in the Louvre since 20 December 1913, behind bulletproof glass.
La Joconde disparait!
     Le Louvre est le plus riche musée artistique du monde. Parmi tant de chefs-d’oeuvre exposés dans ses salles, une place de choix est réservée à la Joconde. Peinte par le grand maître italien Léonard de Vinci, vers l’an 1500, la célèbre Mona Lisa garde dans son sourire ambigu quelque chose du mystère de ses origines. Le 22 août 1911, à 7 heures du matin, deux balayeurs sont à l’ouvrage dans la salle où le chef-d’oeuvre est exposé, comme chaque jour, Mona leur sourit dans son cadre.
      Le même jour, alors que 9 heures sonnent à la grosse horloge du Louvre, le peintre Louis Béroud [1852-1930] pénètre dans le musée, un carton à dessin sous le bras : il vient se livrer à l’étude de certains tableaux de la Renaissance italienne. C’est un habitué. Il se dirige droit vers l’emplacement de la Joconde. Mais, stupeur : le tableau a disparu ! Contrarié, il pense que la toile a changé de place pour une raison ou pour une autre. Plus irrité qu’inquiet, Béroud s’adresse au gardien de service : «Excusez-moi, savez-vous où est la Joconde ?» -- «la Joconde ? Mais, à sa place !» -- «Non ! Elle n’y est plus !». Le gardien se précipite à son tour dans la salle. Entre la Sainte Catherine de Corrège et l’allégorie du Titien, la place est vide.
      Affolé, le gardien ferme donne l’alarme; on ferme les grilles du Louvre et l’on entreprend les recherches. L’enquête commence. La police multiplie les interrogatoires. La presse se déchaîne et réclame que l’on prenne d’urgence les mesures nécessaires pour que le précieux chef-d’oeuvre ne passe pas la frontière. Il n’a fallu que deux heures pour subtiliser la Joconde et plus de deux ans s’écouleront avant que ne soient retrouvés le voleur et le tableau. Toutes les pistes sur lesquelles se lancent les policiers s’effondrent les unes après les autres. L’enquête piétine tandis que les autorités craignent que, pris de panique, le voleur n’ait détruit le chef-d’oeuvre de Léonard de Vinci.
      Deux années s’écoulent ainsi, mais voici qu’à l’automne 1913, un antiquaire italien, Alfredo Geri, entreprend d’organiser à Florence une exposition d’oeuvres d’art. Il se déclare prêt à acquérir entre autres des tableaux anciens et donne une large publicité à son intention. Parmi les propositions qu’il reçoit, une lettre éveille ses soupçons : elle est signée par Vincenzo Léonardi et elle vient de Paris. L’auteur de cette lettre prétend qu’il est en mesure de lui céder ... la Joconde. D’accord avec monsieur Poggi, Directeur du Musée des Offices, l’antiquaire décide d’inviter Léonardi à Florence.
      Dès l’arrivée du mystérieur voyageur,le 12 decembre 1913, les deux italiens se précipitent à l’hôtel où il est descendu. Léonardi ne fait pas de difficultés à leur montrer sa toile. C’est bien la Joconde qu’ils ont sous les yeux. Une demi-heure plus tard, le voleur, qui s’appelle en réalité Vincenzo Perrugia, est arrêté. C’est un miroitier qui avait travaillé au Louvre ! A l’interrogatoire, il révélera qu’il s’était laissé volontairement enfermer dans le musée au soir du 21Aug 1911 pour voler la Joconde, et que ce faisant, il avait seulement cherché à réparer ce qui, à ses yeux était une injustice. la Joconde avait vu le jour en Italie et c’est à l’Italie qu’elle appartenait. Il avait donc voulu la lui rendre! Perrugia oubliait que Léonard de Vinci l’avait vendue à François Ier, roi de France, le plus normalement du monde... De plus il avait des antécédents comme voleur, et on trouve sur lui une liste de riches amateurs d'art. Cette fois-ci il sera condamné à un an de prison. Le 20 decembre 1913, Mona Lisa reprenait sa place au Louvre : sa mésaventure n’avait pas altéré la sérénité de son sourire.
^ 1961 Goya's The Duke of Wellington stolen !
     From the National Gallery in London, is stolen the recently acquired The Duke of Wellington, the most famous of his three portraits by Goya [30 March 174616 April 1828]. It would later be recovered.
      In the first big screen James Bond movie, Dr. No (1962), during a scene in the satanic Dr. No's dining room, Bond does a double-take at a painting — realizing that it is the stolen The Duke of Wellington.
^ Died on 22 August 1806: Jean-Honoré Fragonard, French painter specialized in Historical Subjects, born on 05 April 1732. — Husband of Marie Anne Gérard Fragonard [1745-1823]. Brother-in-law of Marguerite Gérard [1761-1837].
— Fragonard was described by his early biographers as a man of many love affairs as well as many talents, whose conviviality was legend. In reality, there is little of Fragonard's personal life that we know with certainty; he left nothing in writing. In lieu of fact, his biography seems to have been derived from the images he created, those of erotic scenarios, frivolous fête gallantes, and imaginative allegory. Much like his teacher, Boucher, Fragonard's art evokes the courtly fantasies of the eighteenth century. Also like Boucher, Fragonard has been underestimated as a serious painter because of his fanciful subject matter. Yet, he studied closely the works of Italian and Dutch masters without falling into simple imitation. His themes, while never serious or profound, were done with a sensitivity to color and texture that describe a sincere love for the pleasures of the senses.
— Rococo painter Fragonard's works are characterized by a delicate hedonism. He was the son of a haberdasher's assistant. His family moved to Paris about 1738, and in 1747 he was apprenticed to a lawyer, who, noticed his talent for drawing and suggested that he study painting. François Boucher accepted him as a student in 1748, and in 1752, recommended that he compete for the Prix de Rome scholarship to study under the court painter to Louis XV, Carle Van Loo, in Paris. In 1756, Fragonard went off with other scholarship winners to the French Academy at Rome. At the academy he copied paintings by Roman Baroque artists, and made numerous sketches of the Roman countryside. His scholarship ended in 1759 but he was allowed to remain in residence for several months. In 1760 a wealthy patron took him on a prolonged tour of Italy, where he studied Italian paintings and antiquities and made hundreds of sketches of the local scenery.
      After returning to Paris, Fragonard exhibited some landscape paintings at the Salon, one of which was purchased for King Louis XV. Subsequently, he was commissioned to paint a companion piece, granted a studio in the Louvre Palace, and accepted as an Academician. However, after 1767 he ceased to exhibit at the salons, and concentrated on landscapes (often in the manner of 17th-century Dutch painter Jacob van Ruisdael [1628-1692]), portraits and decorative, semierotic outdoor party scenes in the style of Boucher. His admiration for Rembrandt [1606-1669], Peter Paul Rubens [28 Jun 1577 – 30 May 1640], Frans Hals [1582 – 01 Sep 1666], and a Venetian contemporary, Giovanni Battista Tiepolo [05 Mar 1696 – 27 Mar 1770], are evident in a large series of heads of old men, between 1760 and 1767, and a series of portraits (1765-1772) in a similar style in which the sitters' fantastic costumes were emphasized rather than their facial expressions. In 1769 he married Marie-Anne Gérard from Grasse. In the last years before the Revolution, Fragonard turned from Rococo to Neoclassical subject matter and developed a less fluent style of painting.
— Fragonard was a painter of the rococo age who became a favorite in the courts of Louis XV and Louis XVI for his delicately colored scenes of romance, often in garden settings. Fragonard was born in Grasse. He began to study painting at the age of 18 in Paris with Jean Baptiste Siméon Chardin, but he formed his style principally on the work of his next master, François Boucher.
      Fragonard won the Prix de Rome in 1752. After studying for three years with the French painter Carle Vanloo, he studied and painted for six years in Italy, where he was influenced by the paintings of the Venetian master Giovanni Battista Tiepolo [1696-1770].
      Fragonard first painted in a style suitable to his religious and historical subjects. After 1765, however, he worked in the rococo style then fashionable in France. These later paintings, the works for which he is best known, reflect the gaiety, frivolity, and voluptuousness of the period. They are characterized by fluid lines, frothy flowers amid loose foliage, and gracefully posed figures, usually of ladies and their lovers or peasant mothers with children.
      The French Revolution (1789-1799), which destroyed the nobility on which Fragonard depended for commissions, ruined him financially. Although befriended by Jacques Louis David [30 Aug 1748 – 29 Dec 1825], the leading painter of the new French classical school, Fragonard did not adjust to the new style and died poor in Paris.
      His chief work was decorative panels commissioned by Madame du Barry, mistress of Louis XV, for her chateau at Louveciennes. She rejected the panels as unsuitable. The series that he executed there, The Progress of Love, includes the paintings The Pursuit and The Lover Crowned (both 1773). Some other of Fragonard's works are The Bathers (1760) and The Study (1769), The Swing (1766) and The Love Letter (1770)
— Fragonard's scenes of frivolity and gallantry are among the most complete embodiments of the Rococo spirit. He was a student of Chardin for a short while and also of Boucher, before winning the Prix de Rome in 1752. From 1756 to 1761 he was in Italy, where he eschewed the work of the approved masters of the Renaissance, but formed a particular admiration for Tiepolo. He traveled and drew landscapes with Hubert Robert and responded with especial sensitivity to the gardens of the Villa d'Este at Tivoli, memories of which occur in paintings throughout his career.
      In 1765 he became a member of the Academy with his historical picture in the Grand Manner Coroesus Sacrificing himself to Save Callirhoe. He soon abandoned this style, however, for the erotic canvases by which he is chiefly known (The Swing, 1766). After his marriage in 1769 he also painted children and family scenes. He stopped exhibiting at the Salon in 1767 and almost all his work was done for private patrons. Among them was Mme du Barry, Louis XV's most beautiful mistress, for whom he painted the works that are often regarded as his masterpieces — the four canvases representing The Progress of Love. These, however, were returned by Mme du Barry and it seems that taste was already turning against Fragonard's lighthearted style. He tried unsuccessfully to adapt himself to the new Neoclassical vogue, but in spite of the admiration and support of David he was ruined by the Revolution and died in poverty. Fragonard was a prolific painter, but he rarely dated his works and it is not easy to chart his stylistic develop;ent. Alongside those of Boucher, his paintings seem to sum up an era. His delicate coloring, witty characterization, and spontaneous brushwork ensured that even his most erotic subjects are never vulgar, and his finest work has an irresistible verve and joyfulness.
—      Fragonard was born at Grasse in a merchant's family. When he was 6, his family moved to Paris. At the age of thirteen Fragonard was placed as a clerk with a notary. As he was obsessed with painting, though, his parents took him to see Boucher [29 Sep 1703 – 30 May 1770], a most fashionable painter. Lacking any training, Fragonard was not trained at first by Boucher, but was sent to Chardin [02 Nov 1699 – 06 Dec 1779]. Life as an apprentice was tedious, however, and Fragonard's lack of patience with copying eventually provoked Chardin's ire, and he was sent packing. Fragonard nailed his courage to the sticking place and approached Boucher again; this time with a number of sketches he had made based on pictures he had seen in Parisian churches.
      Impressed, Boucher finally accepted him as student (and eventually friend). He encouraged him to apply for the Grand Prix for painting, and his winning composition Jeroboam Sacrificing to the Idols earned him a permanent place at the Ecole des Beaux-Arts. Destined for Rome, Fragonard enrolled at the Ecole Royale des Elèves Protégés in 1753. Under the tutelage of Carl van Loo [15 Feb 1705 – 15 Jul 1765] he studied history, geography, mythology - enjoying it so much that when an opening was available in Rome, he petitioned the committee asking to stay until the end of term with van Loo.
      In 1756 Fragonard left for the French Academy in Rome. There he studied under Natoire. Although discouraged with the quality of Fragonard's work at first (and especially his lack of decisiveness) he was eventually won over. While in Rome, Fragonard became very close to Hugh Robert and Abbé de Saint-Non. The latter took him to Naples, Bologna and Venice where the young painter made a special study of Tiepolo. Returning to Paris, he created an uninspired and rote painting for the 1765 Salon entitled High Priest Coresus sacrificing himself for Callirrhoe, perfectly suited for the Salon, so that he won unanimous admission to the Academy. But the public was as unimpressed as Fragonard himself. He realized that he was not cut out for this kind of painting, turned his back on academic art, and began doing the discretely erotic pictures which soon brought him fame and success.
      Fragonard was probably the swiftest painter of all time. His success can be partly attributed to this dizzying velocity. Not constrained by his subjects, Fragonard captures the acceleration of time, the frivolity of the moment, the foibles and superficiality of his time. Never attempting to moralize or paint a distortion of reality, he does indeed paint a portrait of the 18th century. Peering closely, you can see it in every hurried daub and stroke - each abandoned in eagerness for the next. His paintings are so very like the society he painted, ever on the move for the next diversion, the next entertainment. Such a headlong rush into pleasure could only sustain itself for a short time.
      The end of the French monarchy brought the end of Fragonard's popularity, but did not dim his inimitable spirit. The revolution cut short his career and reduced him to poverty, but David (perhaps remembering Fragonard's influence) offered him a position on the Museum Commission. He no longer painted, but had a part in preserving the paintings of the past.
      Out of his element in a world changed out of recognition, Fragonard never lost the joy of the times that he lived through. He died in the summer of 1806 of a stroke while eating ice cream. Luxury made him, his joy in it and his skill at portraying it, and in the end, luxury killed him too.
      "He who has not lived before the Revolution does not know the sweetness of living." This remark by Talleyrand may serve to exculpate Fragonard's son - for the sin he committed when he burned a large collection of his father's prints saying, "I am offering a holocaust to good taste". Only those who lived it may truly comment on it, and Jean Honoré Fragonard remains the perfect spokesman for an age of momentary pleasures and quick delights, unthinking elegance and never-ending grace.
^
LINKS
–- La Résistance Inutile (1770)
–- La Bonne Maman (1762)
–- L'Éducation de la Vierge (1773)
–- Le Verrou (1778, 73x93cm; 876x1164pix, 90kb –- .ZOOM to 1963x2516pix, 682kb) _ It was sold in December 1999 at Christie's, for £5'281'500, world record auction price for any French Old Master. _ Le Verrou is one of the most passionate images of seduction produced in the 18th century. The man’s straining gesture to engage the door lock and prevent the woman from fleeing is the perfect analogy to his yearning sexual desire. The implied violence of the episode is somewhat undercut by the theatrical nature of the scene, exemplified in the balletic posture of the woman and the coyly placed apple on the bedstand, suggesting that temptation has been employed to reach this stage. The apple, with its connotation of original sin, is also significant in that this work was painted for the Marquis de Veri, supposedly as a pendant to another of his ten Fragonards, an Adoration by the Shepherds of exactly the same size. Both works date from 1778 and make use of a similar range of colors and a Rembrandtesque burst of light. In the case of Le Verrou, this dramatic chiaroscuro is particularly effective, leading the viewer’s eye along the diagonal from the intensely lit bolt down and across the woman’s body to her delicate foot hidden in the shadows but clearly pointed toward the large bed. From this we can conclude that her “fall” is inevitable. The possible juxtaposition of this most secular of subjects with the Adoration by the Shepherds suggests the contrast between sacred and profane love or sin and redemption.
–- Fantasy Portrait of l'Abbé de Saint-Non (1752; 1007x861pix, 59kb _ .ZOOM to 2482x1956pix, 762kb — or, for more excitement than watching grass grow, but not a better picture, B*>try this, 2482x1956pix, 8528kb)
–- Diderot (577x463pix, 28kb)
–- Le Guerrier (525x408pix, 18kb)
–- Education is Everything (583x700pix, 43kb)
–- The Stolen Kiss (1048x832pix, 46kb)
–- Le Rendez-Vous (800x597pix, 79kb _ .ZOOM to 1200x895pix, 100kb)
–- Petit Garçon à la Curiosité (700x636pix, 46kb _ .ZOOM to 1012x1083pix, 74kb)
–- Jeune Fille à la Marmotte (700x623pix, 40kb _ .ZOOM to 833x933pix, 47kb)
–- Jeroboam's Offering to the Golden Calf (1752; 870x1175pix, 106kb _ .ZOOM to 1908x2449pix, 700kb)
–- Divertissement Galant dans un Parc (1756; 1007x861pix, 59kb _ .ZOOM to 1764x2676pix, 762kb) _ Similar to:
–- L'Amant Couronné (800x617pix, 90kb –- .ZOOM to 1200x925pix, 148kb)
–- La Lectrice (1776, 82x65cm; 941x415pix, 91kb — .ZOOM to 2429x1968pix, 1381kb) _ Few artists can have enjoyed painting more than Fragonard. The way he applied his paint in broad sensuous strokes, which have a life of their own, communicates the artist's pleasure to the spectator. The plumped cushion, graceful fingers, curling bows, and the ruffle incised with the end of the brush, all reveal a masterly control of paint.
–- Psyche showing to her Sisters her Gifts from Cupid (1753, 168x192cm; 821x938pix, 84kb –- .ZOOM to 2052x2345pix, 652kb) _ A prize-winning student of François Boucher, Fragonard in this youthful picture, painted at the École des Élèves Protégés in Paris, seems a perfect exponent of the taste of Boucher's patrons King Louis XV and his mistress the Marquise de Pompadour. However, after an unsuccessful final bid for institutional recognition at the Paris Salon exhibition of 1767, Fragonard virtually disappeared from official artistic life under the monarchy, working almost entirely for private patrons, many of them his friends. He was thus able to give free rein to a more individualistic celebration of nature, instinct and impulse. Whether in oils, gouache, pastels, in engravings and etchings, or in his many drawings in chalk, pen or wash, he came to efface the distinctions between sketch and finished work, and even between the boundaries of the genres. We cannot always tell, for example, whether any one of his many pictures of single figures is a portrait in fancy dress, or imaginary.
      On his two visits to Italy, the first to the French Academy in Rome (1756-61), and the second over a decade later as the guest of a patron, Fragonard was drawn to the landscape and to contemporary and near-contemporary Italian artists, notably Tiepolo and Giordano. He was unmoved either by ancient ruins or by Renaissance art. With the collapse of the art market during the French Revolution he retired to his native Grasse in Southern France, but was drawn into politics by his son's teacher, the painter David. His late paintings show him trying to conform, not always successfully, to the Neo-classical austerity of David's 'republican' style.
      The subject here is drawn from the allegorical tale of Cupid and Psyche by the Latin poet Apuleius, probably in a French version by La Fontaine. Psyche is showing off her 'storehouses of treasure' to her sisters in the magical castle in which she has been installed by Cupid, god of love. The sisters 'conceived great envy' - personified here by the serpent-haired figure of Eris, goddess of discord, hovering above — and try to wreck her happiness by destroying her faith in her invisible lover. In its handling of paint, and in such details as the chubby flying babies — the putti of ancient art, who here represent the castle's invisible servants — the picture, painted when the artist was barely 21, betrays the influence of Rubens's works at the Luxembourg Palace and also of Watteau.
      The composition is derived from a tapestry design for the same subject by Boucher. But the colors, with harmonies of gold and orange beginning to replace Boucher's accords of rose and blue, are already recognisably Fragonard's own. They appear in their purest and most concentrated form in the flowers at the foot of Psyche's throne, the area of the painting most clearly 'in focus'. Definition diminishes towards the edges of the picture, as it might in a convex mirror, and with it the colors tend to lose their identity, to mix and mingle, framing the main figures in shades of grey or darkened tones, presaging the disasters to come.
The Musical Contest (1754, 62x74cm) _ Additions made to this canvas, probably in the late 18th century, were turned over in 1987 to reveal this engaging composition by the young Fragonard working in Boucher's idiom.
Le petit parc (1765, 37x45cm) Fragonard used light and atmosphere to absorb people and objects until one is left with an airy, empty but still vibrating, surface; it is as if a conjuring trick had been played over some painting by Boucher, from which so much 'reality' has been abstracted. For both Fragonard and the Guardi, this is an escape from the discipline represented by Boucher and Tiepolo, but it is given an additional twist by Fragonard's knowledge and admiration of Tiepolo - the wilder genius anyway, but one become wilder and more romantic in Fragonard's interpretations of his compositions. Just as Veronese had provided Tiepolo with material out of which to build his own fantasy, so Tiepolo stimulated Fragonard.
      Fragonard is a romantic rococo painter, inspired more perhaps by the picturesque aspects of nature than by people, who are usually dwarfed into insignificance beside the foaming trees which shoot up like great jets in his landscapes. When this Francesco Guardi-like diminution does not take place, Fragonard seems to produce a version of Gian Antonio's style, in which figures become mere arabesques of paint, animated but often faceless, tight balls of energy that shoot about the canvas under the impulse of his brush. In both styles they remain the painter's puppets, and one is always conscious of manipulation. Although capable of doing so, he is really too eager to stop and record natural appearances, actual textures, or facial expressions. This charming parkscape is composed from drawings made in the gardens of the Villa d'Este in Tivoli in 1760.
Coresus Sacrificing himselt to Save Callirhoe (1765, 309x400cm) _ This picture is a tapestry cartoon for the Gobelin factory. The tapestry was never made. It was thanks to this painting that Fragonard was accepted by the Académie as a 'history painter'. He was soon to abandon this type of subject-matter and devote himself to the pleasant, often frivolous paintings for which he is famous. When Fragonard tackled the history picture — a rare occasion — it, like his other paintings, was animated by love. The large Corésus sacrificing himself to save Callirhoé, shown at the Salon of 1765, is Fragonard's effort to combine his own tendencies with academic requirements. It is not surprising that he exhibited there only once afterwards; this sort of machine was replaced by brilliant, witty decorations, positive riots of cupids and bathers, kissing lips and torn clothes, which always express love in action. The Corésus is negative love, sublime self-sacrifice, and in effect useless passion. Fragonard docs his best to excite the composition, sending waves of smoky clouds and excited winged figures to fill the space between the two pillars not occupied by the strangely feminine priest and the swooning heroine - herself almost as if ravished by love. Perhaps hints from Boucher and Tiepolo worked on Fragonard to emulate the high style for which he was not suited. His genius lay in aiming lower, from an academic standpoint, in being more rational and natural - that is, by being more witty, mischievous, and relaxed.
      But in 1765 this was not yet apparent, though perhaps suspected. The whole, high, rococo fabric was toppling. For a moment the painter of the Corésus seemed the man who might keep it still upright. The picture itself was thought by Diderot to have attracted attention less by its own merits than by the need in France to find a successor to the established Carle van Loo and the supposedly promising Deshays, both of whom died that year. Boucher's talent had patently declined. Great painters, Diderot wrote in the same context, 'sont aujourd'hui fort rares en Italie', and the only person he could think of comparing with Fragonard was Mengs. At Venice, Gian Antonio Guardi was dead; Tiepolo was self exiled in Spain; Pittoni, last of the generation of talented practitioners still in the city, was to die in 1768.
The Swing (1767, 81x64cm) _ This painting was originally commissioned from a serious history painter by an unknown French nobleman (he was not the Baron de St Julien as has been assumed in the past): 'I desire', he said, 'that you should paint Madame (pointing to his mistress) on a swing which is being set in motion by a Bishop. You must place me where I can have a good view of the legs of this pretty little thing....'. The serious history painter could think of nothing else to say except to recommend Fragonard as a more suitable painter.
Man Playing an Instrument (The Music) (1769, 80x65cm) _ The painting belongs to a series representing Music, Poetry, Song and Comedy.
Young Woman Playing with a Dog (1772, 70x87cm)
The Confession of Love (1771, 318x215cm) _ The painting belongs to a series of four entitled Progress of Love. The cycle, often regarded as the artist's masterpiece, was painted for Mme du Barry, Louis XV's most beautiful mistress. The paintings, however, were returned by Mme du Barry since that time the taste has been already turned against Fragonard's lighthearted style.
The Bathers (1775, 64x80cm)
Adoration by the Shepherds (1775, 73x93cm)
A Young Scholar (1778, 45x38cm) _ One of several sentimental heads by Fragonard, comparable to some extent with those by Greuze, though more plausible and individual.
The Souvenir (1778, 25x19cm) _ The girl carves in the tree the initials of her lover, whose letter lies on the ground.
A Boy as Pierrot (1780, 60x50cm) _ The fanciful composition imitates several miniatures which have been attributed to Fragonard, whose wife exhibited a number of miniatures of children between 1779 and 1782.
The Love Letter (1775, 83x67cm) _ This picture exemplifies Fragonard's feeling for color, his sensitive handling of effects of light, and his extraordinary technical facility. The elegant blue dress, lace cap, and coiffure of the woman seated at her writing table must have been the height of fashion at the time this painting was made. The inscription on the letter she holds has given rise to different interpretations. It may simply refer to her cavalier, but if it is read Cuvillier, then the sitter would be the daughter of François Boucher, Fragonard's teacher. Marie Émilie Boucher, born in 1740, was widowed in 1769 and married, in 1773, her father's friend, the architect Charles Étienne Gabriel Cuvillier.
The Fountain of Love (1785, 64x51cm) _ The melting chiaroscuro and classical figures contrast with Fragonard's earlier cheerful informality and anticipate the classicism which came to dominate French painting in the 1790s.
–- Condorcet Se Donnant La Mort Dans Sa Prison; le 28 Mars 1794 ou 8 Germinal An 2 de la République (etching; 670x866pix, 77kb _ .ZOOM to 1005x1099pix, 110kb) _ Marie Jean Antoine Nicolas de Caritat, marquis de Condorcet [17 Sep 1743–] was a French philosopher of the Enlightenment and advocate of educational reform. He was one of the major Revolutionary formulators of the ideas of progress, or the indefinite perfectibility of mankind. During the Terreur he was hunted down as a Girondin, was captured, and died in his cell the next day, but, contrary to the assumption underlying the picture, it is not known whether this was from exhaustion or poisoning, murder or suicide.
32 images at Wikimedia 24 of them ZOOMable.
30 images at ARC
—(060821)
^ Died on 22 August 1920: Anders Leonard Zorn, Swedish painter, etcher, and sculptor, born on 18 February 1860.
— He was internationally famed as one of the best genre and portrait painters in Europe at the end of the 19th century. He is the best-known Swedish painter. He is famous for his paintings of the people of Dalarna, the part of Sweden where he was born, and his nudes in the open space. He earned a world-wide reputation as a portraitist. He made seven journeys to the USA. He painted the portraits of three US presidents. He belonged to the group known as the Opponents, headed by his friend and fellow-painter Ernst Josephson. They rebelled against the academic autocracy and conservative thinking at the Academy of Fine Arts in Stockholm.
— Zorn is one of Sweden's' internationally best known artists. His fame abroad is founded mostly on his portraiture where he had the ability to capture the character and the personality of the depicted person. But also his graphic work, where he is among the most talented of all times, is well-known. In Sweden his nude studies are very famous, as are his genre pictures which mostly depict working people.
      Zorn was born in Mora, the son of Grudd Anna Andersdotter (“Mona” 1898, 108x82cm) and German brewer Leonhard Zorn, who never married her, whom Anders Zorn never met, and who died in Helsinki in 1872. Zorn was raised by his grandparents in Mora and at the age of 12 he was sent to a school in Enköping. At the age of 15 he entered the Royal Academy of Art in Stockholm. As a young boy he had shown an unusual artistic ability and attention was drawn to the horses and human figures he carved in wood. He planned to become a sculptor but soon painting prevailed. He choose watercolors, a technique which was rather uncommon at the time and this became his main technique until about 1887. At the Student exhibition in 1880, Zorn showed the watercolor In mourning, which propelled him into the art world. The painting shows a young girl in mourning and it was admired for its skilfulness; the way he painted the sad young face under the veil.
      Several members of Stockholm society now turned to Zorn with commissions. His portraits of children were much appreciated and it was in connection with such a commission that Zorn met his future wife, Emma Zorn, in the beginning of 1881. Her background was quite different from Zorn's. She came from a rich family in Stockholm, with an interest for art and culture. Her Jewish ancestors were among the first to settle in Sweden in the 1770's when Jews were allowed to live there. Emma Lamm's family liked the charming young man but he and Emma understood that without money of his own a marriage was out of the question.
      In August 1881, Zorn went abroad to study and to try to earn enough money to support a family. The next four years were spent mostly in England and Spain, but during the summers he was always at home, in Mora and in Dalarö where the Lamm family rented a summerhouse. During these years his style matured. His technique became more sure and his way of handling watercolors became bolder. He began to study the appearance of water, how its surface fluctuated and reflected.
      In the autumn of 1885, Anders Zorn and Emma Lamm married. The following eleven years were mostly spent abroad, first in England, later in Paris, but they always came back to Sweden during the summers. The first years of their marriage were highly stimulating for Zorn's painting. Emma Zorn's encouragement and critical analysis of his work played a decisive role in his artistic growth. It was during these years that his ability as an aquarellist reached its peak. Some of the most appealing paintings he made during this period are those with water motifs such as a series depicting the beautiful light over the harbor of Constantinople. Dating from this period are also some of his best-known watercolors, such as Törnsnåret (1886, 41x54cm) and Sommarnöje (1886, 76x56cm). Zorn's most famous watercolor, Vårt dagliga bröd (featuring Mona, 68x102cm), was made in Mora in 1886 as a commission from the Nationalmuseum in Stockholm.
      Emma and Anders Zorn spent the winter of 1887-88 in St Ives in Cornwall. This was an artistic turning point for Zorn. He began to paint in oils and the second oil painting he made, A Fisherman in St Ives, was a definite success. It was exhibited in the Paris Salon in 1888 and bought by the French state. In the spring of 1888, the Zorns settled in Paris, which became their home for eight years. This period coincided with some of the high points of his artistry. From 1889 to 1894 he produced a number of works which earned him a prominent position in the Parisian art world. This position was confirmed during the Paris World Fair in 1889. The 29-year-old Zorn was awarded the French Légion d'Honneur and was asked to paint his self portrait for the Uffizi Gallery in Florence.
      It was primarily his skill as a portrait painter that gained Zorn international acclaim. His incisive ability to depict the individual character of his model is, for example, apparent in portraits of prominent cultural personalities, Antonin Proust (1888) and Coquelin Cadet (1889). The sitter's surroundings were important; Zorn believed that a portrait should be painted in an environment that was natural for the model. An artificial studio environment was not to his taste.
      Zorn completed a number of genre paintings which focused on the depiction of light and shadow. The motifs were very different. In The Waltz (1891) the dark cabinet in the foreground is lit by the lights of the ballroom in the background. In Omnibus (1892) the lights flicker uneasily over the passengers of a Paris bus. The lights from a street lamp and the window of a café reflect on the red dress worn by a Parisian demi-mondaine in Natteffekt (1895, 161x106cm).
      During the summers in Mora, Zorn painted some extraordinary works where light plays a decisive role, foremost Midnatt (1891, 69x103cm) with a woman rowing in the shadowless summerlight and in Margit (1891, 78x64cm) a Dalarna girl braids her hair in the rays of light from a small window.
      At about the same time that Zorn moved to Paris he began working with the motif that he became renowned for, the nude depicted outdoors. The movement of water and the reflection of light on its surface had long fascinated him. Now he further complicated the situation by placing a model beside or in the water. The first works he completed in this genre are Ute (1889, 120x84cm), En premiär (1888, 76x56cm) and Les Baigneuses.
     In 1893, the Columbian World Fair was held in Chicago. Zorn was chosen as the superintendent of the Swedish art exhibition and travelled to the States. He stayed for almost a year. This trip to the USA, the first of seven, was very important for him. Zorn enjoyed the US lifestyle and felt at home there. This first trip to the States was also of great importance for his art. Subsequent visits to the USA were in 1896-1897, and 1898-1899, 1900-1901, 1903-1904, 1907, and 1911. He generally traveled during the fall, winter and spring. The 1907 trip was primarily for pleasure, but the others included a large number of paintings, mostly portraits. Naturally, the high points were the commissions to portray US presidents: Grover Cleveland (1899, 122x92cm) and his wife Mrs. Frances Cleveland (1899, 157x92cm) and William Taft (1911). He made an etching of Theodore Roosevelt in 1905. One of the benefits of the presidential portraits was the number of commissions that Zorn received in the USA.
      In 1896 the Zorns decided to move home to Sweden. Zorn had earlier bought land adjacent to Mora church. A cottage from his grandfather's farm was moved here and this is still the center of the Zorngården, which was enlarged on several occasions until 1910. The Zorns were intensely engaged in the welfare of the inhabitants of Mora. Emma Zorn established a reading society, a parish library, a childrens' home, and the Mora domestic handicraft organisation. The largest gift to Mora was, however, the folk high school they established where young people from the community were educated. Zorn's interest in traditional culture was expressed in different ways. From 1914 and onwards he bought old cottages and moved to what is now called Zorn's Gammelgård. In order to preserve the old folk music, Zorn established a music contest in 1906, which resulted in a renaissance of folk music and its ultimate survival in Sweden. Today, the Zorn Award is still the most prestigious prize a folk musician can receive.
      The move to Mora from Paris also resulted in a change of motif for Zorn. He did many paintings depicting Mora and its residents, such as his most famous work, Midsommardans (1897, 140x98cm) which was also the painting that Zorn himself valued most of all. His love for his native country is also depicted in paintings such as The Shepherdess (1908), The Horn Blower (1905) and Christmas Morning Service (1908). The portrait commissions took a lot of his artistic energy. He developed a concise treatment of detail and a more sweeping brushstroke than earlier. By now his reputation as a skilled portraitist had reached the upper classes. Various members of the Swedish royal family posed for Zorn and the most exquisite of these is Drottning Sophia (1909, 130x94cm), with its wonderful use of white. The painting is an outstanding example of Zorn's mastery of technique.
      Beginning in 1910, Zorn focused on developing his control of the technique and motif. He accomplished this with such certainty that the process of painting can assume the dominant role, sometimes to the detriment of the work's emotional expression. Two paintings are exceptions: Självporträtt i rött (1915, 120x90cm) and Självporträtt i vargskinnspäls (1915, 90x58cm). Also the nude studies changed: The rather sturdy peasant women are shown in their own environment in cottages or by the water, e.g. Mother and Daughter (1909).
      The international esteem Zorn received was not based solely on his paintings. He was an exquisite etcher as well. He had worked with this technique since 1882. He had developed his abilities and was now highly accomplished. Zorn produced 289 etchings, a number of which are very well known, among them the portrait of Ernest Renan (1892), Auguste Rodin (1906) and August Strindberg (1910). Zorn admired and collected the etched works of Rembrandt and considered him to be his artistic forefather in this particular medium. [167 Rembrandt etchings at FAMSF]
      Zorn's astounding skill with the etching needle can be partially traced to his ability with a carving knife. As mentioned earlier, he had first intended to become a sculptor. Throughout his life he returned to sculpture and the high point in this particular art is the statue of Gustav Vasa in Mora, inaugurated in 1903. Zorn also sculpted a number of portraits and small statues, among them Morning Bath (1909), a figure of a girl who holds a sponge in her hands from which a fountain spouts.
      Zorn's health deteriorated markedly during his last years. Emma Zorn died on 04 January 1942. To honor the memory of her husband, she had worked to create a museum, which opened in 1939. She completed the existing collection by re-purchasing a number of paintings that he had sold and at the same time she continued the philanthropic work that the Zorns had initiated together.

LINKS
Självporträtt med modell (1896, 117x94cm)
Självporträtt i rött (1915, 120x90cm; 490x380pix, 58kb _ ZOOM to xpix, kb)
Självporträtt i vargskinnspäls (1915, 90x58cm _ ZOOM to xpix, kb)
Natteffekt (1895, 161x106cm) and the same as a sketchy etching:
–- Effet de Nuit III (1897 etching, 29x19cm; 703x467pix, 43kb _ .ZOOM to 1171x777pix, 116kb)
–- Lavards Anders, Dalecarlian Peasant (1919 etching, 16x12cm; 559x412pix, 36kb _ .ZOOM to 839x618pix, 43kb)
Grover Cleveland (1899, 122x92cm) _ Stephen Grover Cleveland [18 Mar 1837 – 24 Jun 1908] was the only US president ever to serve two discontinuous terms (1885–1889 and 1893–1897). He distinguished himself as one of the few truly honest and principled politicians of the Gilded Age. His view of the president's function as primarily that of blocking legislative excesses made him quite popular during his first term, but that view cost him public support during his second term when he steadfastly denied a positive role for government in dealing with the worst economic collapse the US had yet faced.
Oscar II (1898, 119x93cm) _ Oscar II [21 Jan 1829 – 08 Dec 1907] was king of Sweden and of Norway from 1872, but despite his efforts to maintain the union of the two countries, had to abdicate the Norwegian throne in 1905. An outstanding orator and a lover of music and literature, Oscar II published several books of verse and wrote on historical subjects. In home politics he proved a conservative; in foreign policy he favored Scandinavian cooperation and after 1866 supported Germany in the hope of strengthening Sweden against Russia, encouraging the Germanophile trend that characterized Swedish political and cultural life from the 1870s until the outbreak of World War I. By his marriage (1857) to Sophie of Nassau he had four sons; the eldest succeeded him as Gustav V [16 Jun 1858 – 29 Oct 1950].
Emma Zorn läsande (1887, 40x61cm)
Femme au Jupon Rouge (1894)
Coquelin Cadet (1889, 116x81cm)
Midsommardans (1897, 140x98cm; 529x380pix, 75kb _ ZOOM to 800x580pix, 109kb) has acquired classic status among Swedish paintings from the end of the 19th century. It shows an exterior, a courtyard, bounded by shimmering grey timber walls in the background and couples in folk costume whirling round in the dance on the lawn in the foreground. At a distance we see the bright red end wall of a house, a maypole and a patch of the summer night sky. The golden shades of the sunrise are reflected in the house windows, and the atmosphere there is full of the Nordic magic associated with nights of early summer.
Alfred Beurdeley (1906, 73x60cm; 700x543pix) _ {anciennement “Beurre de Lait”?} _ Alfred Beurdeley [1847-1919] was a cabinet maker, who ought not to be confused with his father and mentor in the same art, who had his portrait painted by Baudry [07 Nov 1828 – 17 Jan 1886]: Albert Beurdeley [1808-1882] (1862, 73x60cm; 700x566pix, 170kb)
Red Sand (1902; 800x620pix, 117kb)
Bathing Girls (600x344pix _ ZOOM to 1400x803pix)
Maja (1900; 600x340pix)
79 images at ARC + 1 repeat + 2 photos of sculptures
—(060821)

Died on a 22 August:

^ 1976 Andrei Mikhailovich “André” Lanskoy, Russian French painter and tapestry designer born on 31 March 1902. The son of a Russian count, he grew up in Saint-Petersburg, where he was educated in the Corps des Pages, and where he was impressed at the age of 15 by murals by the stage designer Sergey Sudeykin, with their use of folk patterning and traditional color. His first attempts at painting (in watercolor and gouache) were made while he was a refugee in Kiev in 1919 with his White Russian regiment. In the spring of 1921 he managed to reach Paris and immediately began painting in earnest. He found Sudeykin in Paris and studied for a short time with him and at the Académie de la Grande Chaumière, and he discovered the work of van Gogh and Matisse. He also met Chaïm Soutine and painted some Expressionist figures and still-lifes under his influence. In 1924 he was discovered by Wilhelm Uhde, who bought a number of paintings and recommended him to the Galerie Bing, where he had his first one-man show in 1925. Although the first paintings Lanskoy made in Paris were of imaginary subjects, he soon began working from nature, and his work developed through a succession of phases. These included paintings with many small brushstrokes and thick pigment, followed in 1928–1929 by pictures that became much brighter under the influence of the Impressionists and of a stay in the south of France. In the 1930s he painted mainly single figures and people in interiors with semi-naive drawing and thinly painted areas of luminous color, with a tendency towards monochrome. The colors were usually somewhat muted through the inclusion of gray. — LINKS
–- Papier à Musique (1115x1350pix, 248kb) very colorful abstraction, but no perceptible relation to the title; at least it has a title, instead of the many paintings unimaginatively titled Untitled, Abstraction, or Composition.
–- Untitled (1266x900pix, 258kb)
–- Untitled (1209x1000pix, 243kb)
–- Composition (678x900pix, 103kb) _ The pseudonymous Méandre Lancessa has metamorphosed this into three richly detailed and colorful abstractions
      _ Compote d'Onions (2007; 550x778pix, 164kb _ ZOOM 1 to 778x1100pix, 333kb _ ZOOM 2 to 1100x1556pix, 682kb _ ZOOM 3 to 1710x2418pix, 1666kb _ ZOOM 4 to 2658x3760pix, 3592kb) and
      _ City On Compost (2007; 550x778pix, 164kb _ ZOOM 1 to 778x1100pix, 333kb _ ZOOM 2 to 1100x1556pix, 682kb _ ZOOM 3 to 1710x2418pix, 1666kb _ ZOOM 4 to 2658x3760pix, 3592kb) and
      _ Ceux Qu'On Poste Y Sont (2007; 550x778pix, 164kb _ ZOOM 1 to 778x1100pix, 334kb _ ZOOM 2 to 1100x1556pix, 682kb _ ZOOM 3 to 1710x2418pix, 1666kb _ ZOOM 4 to 2658x3760pix, 3602kb).
–- Composition Fond Turquoise (1185x1575pix, 195kb)
–- Le Refuge Pour les Abeilles Bleues (1124x1575pix, 244kb) _ Lancessa has combined this with three other Lanskoy pictures and thoroughly transformed them into:
      _ Le Quartier Général des Guêpes Rouges aka Rue Peur (2006; 659x932pix, 245kb _ ZOOM to 1864x2636pix, 1916kb) and:
      _ Unentitled Decomposition of Abdominal Traction aka Rate Tar (2006; 659x932pix, 245kb _ ZOOM to 1864x2636pix, 1916kb)
Composition (1965, 72x92cm; 1258x1605pix, 1008kb)
— (Musicians?) (400x304pix, 20kb)
Composition Abstraite I (76x57cm; 400x309pix, 26kb)
Composition Abstraite III (66x50cm)
Composition Abstraite IV (65x50cm)
Love and Tyranny (1966, 53x80cm)
Outils coupants (420x274pix, 71kb)
Composition {clowns?} (1960, 63x48cm; 400x308pix, 29kb)
Papiers Collés (1959, 50x32cm; 400x258pix, 10kb) —(070821)

1917 Matthis “Thijs” Maris, Dutch painter born (full coverage) on 17 August 1839.

^ 1914 James Dickson Innes, Welsh painter born on 27 February 1887. — LINKS
–- S#*> Girl Reading in a Landscape (; 586x900pix, 103kb)
10 paintings at the Tate.

^ 1898 Félicien Joseph Victor Rops, Belgian artist born on 07 July 1833, only son of the industrialist Nicolas Rops and Sophie Maubile. In 1843 he began his secondary education in Collège Notre-Dame de la Paix in his native Namur. There he received several excellent school reports for the quality of his work. He rapidly began to excel in Latin. It is not known what caused Félicien Rops to adopt an anti-clerical and anti-conformist attitude, which led to his expulsion from this school. He then continued his studies at the Athénée in Namur. His father died in 1849. 1849-1861 Rops registered at the Academy of Art in Namur. At 18 he entered the Université Libre de Bruxelles where he moved in the intellectual, lampoonist and artistic circles of the time. He showed a talent as a fierce caricaturist, especially at the Charivari Belge and the Uylenspiegel, which he founded with Charles de Coster in 1856, and where his lithographs were particularly appreciated. Rops’ first works (La peine de mort, L’Ordre règne à Varsovie, La médaille de Waterloo) express his revulsion and protestation at the disasters of his era. Later he illustrated Flemish Legends by Charles de Coster. In 1857, he married Charlotte Polet de Faveaux, daughter of a Namur lawyer. They had two children, a son Paul and a daughter, Juliette, who died at a young age. — LINKS
Dimanche à Bougival (387x590pix, 52kb)
Paysage de Scandinavie (307x580pix, 39kb)
Plage de Heyst (400x590pix, 49kb)
L'Amour Mouché (1878, 22x15cm; 584x492pix, 40kb)
— (Woman Conversing With a Mask?) (480x320pix, 30kb)

^ 1875 Karel Ferdinand Venneman (or Charles), Flemish~Belgian artist born on 07 January 1802.
–- S#*> The Singing Exercise (1839, 61x74 cm; 985x1200pix, 204kb)
–- S#*> Feeding Time (1850, 21x19cm; 810x720pix, 113kb) An old lady holds up a dish to the cat perched on her shoulder.
Diplomatic Intervention (1840, 40x47cm)
–- S#*> Tickling the Dreamer (1840, 53x67cm; 510x663pix, 77kb)

1789 Johann Heinrich Tischbein “Kassel Tischbein”, German painter born (full coverage) on 14 October 1722. —(060821)


Born on a 22 August:


1977 Keren Cytter, Israeli video artist and author. —(080821)

^ 1879 Valentin de Zubiaurre y Aguirrezabal, Basque painter who died in 1963. Brother of Ramón Z. y A.; both were deaf.
Boys Fishing (1902, 56x79cm)
Concerto Campestre (33x54cm)
–- S#*> Mantillas de Sepúlveda (90x88cm; 513x502pix, 32kb)
Pipe Smoker (60x45cm; 472x350pix, 18kb)
Mountain Landscape (31x45cm; 1003x1472pix, 165kb)
Village Dance (33x43cm; 472x613pix, 52kb)
Mari-Tere (90x91cm) with two jugs.
Woman with Jugs (25x36cm; 472x722pix, 52kb) looks like Mari-Tere again, with one more jug.
Piper and Wife (34x49cm; xpix, kb)
At the Cross in a Fishing Village (36x46cm; 472x610pix, 39kb)
Peasants Before a Church (29x39cm; 472x630pix, 39kb)
At the Shore (30x35cm; 472x554pix, 38kb)
Conversation (33x31cm; 472x757pix, 37kb)
Amona (61x50cm, 455x375pix, 51kb) Woman with Distaff


^ 1845 Julius von Blaas, Austrian painter who died in 1922. Son of Carl von Blaas [28 Apr 1815 – 19 Mar 1894] and brother of Eugen von Blaas [1843~1931].
–- Cows in the Forest (60×80cm; 918x1227pix, 130kb)
–- Count Osternbrandt Stuppack (69×56cm; 1179x963pix, 82kb) it is not clear whether it is the name of the rider, of the horse, or both names.
–- S#*> Turul (1898, 60x73cm; 900x1123pix, 184kb) a horse.
Pig thief mounted on a horse (70x55cm; 550x450pix, 39kb)

1836 Archibald MacNeal Willard [–11 Oct 1918], US painter. —(080821)

^ 1798 (or 1800?) (uncertain date) François-Antoine Bossuet, Belgian artist who died on 30 September 1889.
–- S#*> Le Grand Canal, Venise (1878, 50x71cm; 510x749pix, 74kb)
–- Spanish Town (598x750pix, 30kb)

1648 Gerard Hoet I, Dutch painter, draftsman, and writer, who died (main coverage) on 02 December 1733. —(051201)


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