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ART “4” “2”-DAY  30 August v.10.40
BIRTHS: 1852 WEIR — 1748 DAVID  1883 KÜPPER 1727 TIEPOLO   1657 ROOS

^ >Born on 30 August 1852: Julian Alden Weir, US painter, etcher, lithographer, and teacher, who died on 08 December 1919. — {Was Weir weird?}
— Born in West Point NY, he died in New York City. He was one of the earliest US Impressionists. He was the son of Robert Walter Weir [18 Jun 1803 – 01 May 1889], professor of drawing at West Point, 1834-1876; and half-brother of the Director of the School of Fine Arts at Yale University, John Ferguson Weir [28 Aug 1841 – 08 Apr 1926]; and a founder of the Society of American Artists (1877).
     His art education began in the studio of his father. There he and John Ferguson Weir acquired an appreciation for the Old Masters, particularly of the Italian Renaissance and of the 17th-century Dutch schools. While Weir pursued in his art a course very different from that of his father and half-brother, his personality as well as his artistic attitudes were shaped by them. In the winters of 1870–1871 and 1871–1872, he continued his studies at the National Academy of Design in New York, where his instructor was Lemuel Wilmarth [1835–1918].
He also studied under Jean-Léon Gérôme.
— Weir's students included Philip Leslie Hale.

–- The Red Bridge (1890, 62x86cm; 1089x1518pix, 403kb _ .ZOOM to 1893x2639pix, 715kb)
–- Noonday Rest in New England (1897, 100x127cm; 514x667pix, 64kb _ .ZOOM to 772x1000pix, 147kb _ .ZOOM+ to 1158x1500pix, 170kb)
–- The Laundry, Branchville (2466x2026pix, 556kb)
–- The Truants (2193x2902pix, 784kb)
–- Ideal Head (43x35cm; 667x564pix, 34kb _ .ZOOM to 1000x847pix, 78kb _ .ZOOM+ to 1750x1482pix, 172kb)
–- Alex Webb Weir (1877, 36x31cm; 743x621pix, 26kb _ .ZOOM to 1115x946pix, 66kb) _ Al Gore [31 Mar 1948~] may or may not have invented the Web, but it is quite certain that Alex Webb Weir did not invent the Weird Web.
–- The Muse of Music (1883, 112x88cm; xpix, kb _ ZOOM to 2337x1152pix, 879kb)
–- Landscape (1899, 28x45cm; 864x1262pix, 280kb)
Lady with a Mandolin
Little Lizzie Lynch (1910, 76x63cm)
Face Reflected in a Mirror (1896, 62x35cm; 1106x604pix, 162kb) from which the pseudonymous Augustan Allcave Weird has derived his
        _ Face of a Short Woman Reflected in a Mirror, Reflected, Reflected, Reflected by a Computer aka 8 x Face (2005; 884x800pix, 99kb _ ZOOM to 1325x1200pix, 254kb). There is, not a Weir explanation, not a Weird explanation, but a weird explanation (too weird to Weird's taste), that this is not the picture of one woman, but of four identical unmarried quadruplet dwarf sisters (each one reflected in a mirror, into which she has been looking intently, searching in vain for some feature which might distinguish her from her sisters), who live in a small town in a two-story house (not counting this non-Weird weird story), whose rear wall is either transparent, or has been mysteriously but completely removed the previous night, either by leprauchauns, it is suspected, or by dwarfs, one of whom might well be the only eligible bachelor dwarf in town, with whom ... you have guessed it ... all four quadruplets are madly in love, and about whom they have just had a bitter argument, as a result of which they no longer speak to each other, which is most unfortunate because it is almost noon and someone ought to be preparing lunch, instead of just standing there nursing a grudge (the nursing is not shown in the picture, possibly out of consideration for potential viewers with delicate sensibilities, who consider this even worse than grudging a nurse, and whose suspicions might be aroused as they think of the eligible bachelor dwarf in connection with what could have made the unmarried quadruplet sisters capable of lactating enough to nurse any baby, let alone a grudge. But it is more likely that Weird has never seen a baby grudge, or even an adult one, and doesn't know how to picture one. Obviously he has not clicked on the following link, as you are free to do: grudge.jpg).
–- Landscape with Seated Woman (63x76cm; 1152x1400pix, 187kb)
The Oldest Inhabitant (1876, 166x81cm; 451x221pix, 44kb) _ J. Alden Weir is best remembered as a leading US Impressionist, but he did not always embrace this progressive style. "They do not observe drawing nor form but give you an impression of what they call nature," he wrote to his parents after viewing the French Impressionist exhibition in Paris. "It was worse than the Chamber of Horrors." Weir's reaction is a reflection of his training from 1873 to 1877 at the École des Beaux-Arts under Jean-Léon Gérôme, who emphasized the careful observation of detail, precise drawing, and high finish that was challenged by the Impressionists.
      The Oldest Inhabitant typifies the oeuvre of Weir's student years and reveals his involvement with the European artists working in France. Weir had spent the summer of 1874 in Brittany, where he met Robert Wylie, a painter of peasant life, whose dark, rich palette and love of local French costumes and customs is reflected in The Oldest Inhabitant. During 1874, Weir became friendly with students of Jules Bastien-Lepage, whose scenes of French peasant life are rendered with exacting detail. That summer, Weir decided to paint in Cernay-la-Ville, a village southwest of Paris, where he knew his companions would be French painters, stating, "I know I will learn more and be more serious if I remain with the Frenchmen."
      The Oldest Inhabitant
, the largest painting of his student years, resulted from this summer's work, although it took him another year to complete it. Weir began the painting by 10 September 1875, but was still working on it the following 05 July, when he wrote home from Cernay-la-Ville: "Yesterday was the glorious 'Fourth.' I celebrated in a quiet way by leaving Paris on the 8 A.M. train.... I have brought my large canvas with me, which I expect to finish for the ex [hibition] of the end of the year ... the old peasant is in good health ... I lost little time and all goes well . . . . "
      Weir's sojourn at Cernay-la-Ville ended dramatically when he was unexpectedly summoned back to Paris to take an examination at the Ecole. Riding the stage coach to the train station, he remembered he had left The Oldest Inhabitant behind. "I got out to run back, being assured that I would never catch the train ... [but] everything counted on my canvas."  When he reached the hotel he ordered the best horse in town and galloped off, canvas in hand. He rode on to the next stage stop, where it was market day, and, "the most dangerous part ... my horse balked at something, and walked all through the butter and egg pots. The peasants were bawling at me at the top of their lungs.” There Weir was able to join his fellow travelers, who applauded his great effort.
      In The Oldest Inhabitant the importance of the model's advanced age is underscored by the inscription Weir painted as though carved into the wood of the cabinet: “July 4th 1876 / La plus Vieille de Cernay / née le 4 Juin / 1794.” The date cannot refer simply to the painting's completion or of the model's death because she continued to pose for him. This eighty-two -year- old woman's life had spanned a tumultuous period of her nation's history, reaching back to the French Revolutionary War. Weir may have also been marking the passage of time in the US . Independence Day was a special holiday for the painter, who was raised at West Point, and who, a year earlier, had written warmly of the festivities that marked the holiday there. Of course, Weir's elderly subject, with a wrinkled visage reflecting character and implying wisdom, also draws on a strong artistic tradition that stretches back to seventeenth-century paintings by Rembrandt van Rijn, whom Weir greatly admired.
      Though Weir wished to remain in France, in the spring of 1877 he submitted The Oldest Inhabitant for exhibition at the National Academy of Design in anticipation of his return home that October. The work received favorable placement and was praised by one critic as an “admirable performance, coming near truly great.” Peasant subjects continued to appear in Weir's work, largely because of his frequent foreign travel, but in the late 1880s, he turned decisively to painting scenes of contemporary US life in a style that increasingly found its inspiration in Impressionism.

^ Died on 30 August 1908 (1905?): Giovanni Fattori, Italian Realist painter etcher born on 25 October (06 September?) 1825.
— Initially established as a painter of military subjects, he came to be one of the leading Italian plein-air painters of landscape with figures. Towards the end of his life he produced many excellent etchings, mainly of rural subjects.
— Nella fama che da morto lo avvolge e già lo solleva alla gloria, sembra che della vita di lui non si sappia altro che la sua onorata povertà. Ma di quanto nella biografia di questo artista può aiutarci a spiegare l’arte sua e le successive maniere, pochi si occupano. Sono stati, fra gli altri, dimenticati due fatti capitali. Il primo è che Giovanni Fattori non ha mai creduto d’essere un puro paesista, un pittore cioè di vuoti paesaggi, ma sì un pittore di figura il quale adoperava i mille studi e studietti di paese, adesso fortuna dei mercanti e invidia dei raccoglitori, soltanto per comporre gli sfondi convenienti ai suoi quadri di butteri, di bifolchi, di boscaiole, di buoi, di puledri, di soldati, d’accampamenti, di manovre, di battaglie. Il secondo fatto è che Giovanni Fattori fino ai trentacinque o trentasei anni ha dipinto poco e fiacco, e i più dei quadri, quadretti, bozzetti e appunti che oggi si espongono, si lodano, si comprano e si ricomprano, sono tutti dipinti verso i quarant’anni e dopo, dal 1861 o 1865. Il caso è più unico che raro nella storia dell’arte, ma ci aiuta a capire quel che di meditato, riposato e maturo è nelle sue opere migliori, anche nelle più antiche, ingenuamente credute giovanili e primaverili.
— Plinio Nomellini was a student of Fattori.

Soldati francesi, Firenze, 1859 (600x1224pix, ZOOM to 1400x2856pix)
Soldati francesi del '59
Maria Stuarda a Crookstone
Soldati francesi del '59
Ritratto della cugina Argia
Carica di cavalleria a Montebello
Ritorno della cavalleria (1028x600pix, 127kb)
–- S#*> Il Castello di Lerici (1906, 18x32cm; 511x900pix, 117kb)
Le macchiaiole
Silvestro Lega che dipinge sugli scogli
Diego Martelli a Castiglioncello
In vedetta
Barrocci romani
Ritratto della figliastra
Giornata grigia [in English: Grade~A?]
^ Born on 30 August 1748: Jacques~Louis David, French Neoclassical painter, specialized in Historical Subjects, who died on 29 December 1825.
— David was the most prominent and influential painter of the Neo-classical movement in France. In the 1780s he created a style of austere and ethical painting that perfectly captured the moral climate of the last years of the ancien régime. Later, as an active revolutionary, he put his art at the service of the new French Republic and for a time was virtual dictator of the arts. He was imprisoned after the fall from power of Maximilien de Robespierre but on his release became captivated by the personality of Napoléon I and developed an Empire style in which warm Venetian color played a major role. Following the restoration of the Bourbon monarchy in 1816, David went into exile in Brussels, where he continued to paint but was regarded as something of an anachronism. He had a huge number of pupils, and his influence was felt (both positively and negatively) by the majority of French 19th-century painters. He was a revolutionary artist in both a technical and a political sense. His compositional innovations effected a complete rupture with Rococo fantasy; he is considered the greatest single figure in European painting between the late Rococo and the Romantic era.
— Born to a family of masons and building contractors David studied under Joseph-Marie Vien, to whom he had been recommended by François Boucher, a relative by marriage. After receiving the Prix de Rome in 1774 on his fourth attempt, he spent five years at the French Academy in Italy. Immersion in the art of the ancients and the old masters had a reformative impact on his style, and he abandoned the colorism of his early rococo manner for a more monumental and somber approach. With The Grief of Andromache of 1783, he was elected to the Royal Academy of Painting and Sculpture, and his Serment des Horaces of 1784 became a manifesto for the new classicism.
      David played a major role in the French Revolution, serving on the Committee for Public Instruction, organizing political pageants, and working on such revolutionary images as The Death of Marat . After the fall of Robespierre, he was arrested and imprisoned for a short time. David rose to power again, however, through his support of Napoléon, for whom he painted numerous portraits and grand commemorative pictures such as Le Sacre de Napoléon et Joséphine (1806). With the Bourbon Restoration, David was forced into exile in Brussels, where he maintained a studio and, in his late portraits and mythologies, attempted a reconciliation.
— David, innovator of the Neoclassical Movement, was born in Paris to a wealthy Third Estate family. When he was 9, his father died in a duel, and his mother put him in the hands of his uncles' to bring him up. David went to many schools throughout his early life, but never did real well because he was always busy drawing during class. At sixteen Louis David went to "painting school" at the Académie Royale. He had a certain interest in painting historical paintings and portraits. However, in his early career he produced many paintings of Greek and Roman mythology. He had his first training from Boucher, a distant relative, but Boucher realized that their temperaments were opposed and sent David to Vien. In 1776 he went to Italy with the latter, Vien having been appointed director of the French Academy at Rome, David having won the Prix de Rome in 1774.
     While in Italy, David became influenced by classical art, which soon evolved in his own neoclassical style and came into contact with the initiators of the new Classical revival, including Gavin Hamilton. In 1780 he returned to Paris, and in the 1780s his position was firmly established as the embodiment of the social and moral reaction from the frivolity of the Rococo. After many failures in the Academy's competition, David finally developed his own style and originality and his newly created neoclassical style was also used to represent contemporary political issues. He joined the Primitives, a group of other neoclassicists in Europe, and his work became the model for the next twenty years, received with acclamation by critics and public alike. His uncompromising subordination of color to drawing and his economy of statement were in keeping with the new severity of taste. His themes gave expression to the new cult of the civic virtues of stoical self-sacrifice, devotion to duty, honesty, and austerity. Seldom have paintings so completely typified the sentiment of an age as David's The Oath of the Horatii (1784), Brutus and his Dead Sons (1789), and The Death of Socrates (1787).
     David was in active sympathy with the Revolution, becoming a Deputy and voting for the execution of Louis XVI. During the course of his involvement in the French Revolution (1789-1799), he reverted to a realistic style. He was an extremist and was a member of the Montagnards, the same group Robespierre, Marat, and Danton are associated with. Through his involvement in the Revolution and the Montagnards, Jacques-Louis David is remembered for many things other than his paintings, and not all of them are positive. He was one of the founders of France's museums, including the Louvre. He also a deputy to the National Convention and on the Committee of General Security and put more than 300 people to death. But his position was unchallenged as the painter of the Revolution. His three paintings of 'martyrs of the Revolution', though conceived as portraits, raised portraiture into the domain of universal tragedy, the most famous being The Death of Marat (1793) After the fall of Robespierre (1794), however, he was imprisoned, but was released on demand of the public, his students and on the plea of his wife, who had previously divorced him because of his Revolutionary sympathies (she was a royalist). They were remarried in 1796, and David's Intervention of the Sabine Women (1799), begun while he was in prison, is said to have been painted to honor her, its theme being one of love prevailing over conflict. It was also interpreted at the time, however, as a plea for conciliation in the civil strife that France suffered after the Revolution and it was the work that re-established David's fortunes and brought him to the attention of Napoléon.
     In 1797 David met Napoléon Bonaparte. Napoléon asked David to dinner, and David accepted. David asked to paint him, and Napoléon agreed, but David was allowed only one sitting with Napoléon and only got his face sketched. David became an admirer of Napoléon. In 1800, David became Napoléon's official painter and remained at that position until 1815 when Napoléon's Empire collapsed. David became an ardent supporter of Napoléon and retained under him the dominant social and artistic position which he had previously held. Between 1802 and 1807 he painted a series of pictures glorifying the exploits of the Emperor, among them the enormous Sacre de Napoléon I (1807). These works show a change both in technique and in feeling from the earlier Republican works. The cold colors and severe compositions of the heroic paintings gave place to a new feeling for pageantry which had something in common with Romantic painting, although he always remained opposed to the Romantic school.
     After Napoléon’s downfall, David went into exile in Brussels, Belgium, and began painting mythological subjects again. His work weakened as the possibility of exerting a moral and social influence receded. (Until recently his late history paintings were generally scorned by critics, but their sensuous qualities are now winning them a more appreciative audience.) He continued to be an outstanding portraitist, but he never surpassed such earlier achievements as the great Napoléon Crossing the Alps (1800, four versions) or the cooly erotic Madame Récamier (1800). David's work had a resounding influence on the development of French - and indeed European - painting, in itself and through his many students.
— David was a supporter of the French Revolution and one of the leading figures of Neoclassicism. He was a distant relative of Boucher, who perhaps helped his early artistic progress as a student under Vien (1765). He won the Prix de Rome in 1774 and traveled with his master to Rome where he spent six years. It was during this period (1775-1781), that he abandoned the grand manner of his early work, with its Baroque use of lighting and composition for a stark, highly finished and morally didactic style. This was influenced by the ideas then current in Rome and by artists such as Hamilton who were already experimenting with a Neoclassical idiom. In 1784 the change of style was confirmed by the Oath of the Horatii, probably the most famous and certainly the most severe of a series of works which extolled the antique virtues of stoicism, masculinity and patriotism. During the French Revolution, David played an active role both artistically he reorganized the Académie and produced numerous and spectacular propaganda exercises - and politically, as an avid supporter of Robespierre, who voted for the execution of the king. He also attempted to catalogue the new heroes of the age, abortively in the Oath of the Tennis Court, and successfully in his pieta-like portrayal of the Death of Marat (1793). He eventually lost out in the confused politics of the 1790s, was imprisoned under the moderate Directory and saved by the intervention of his estranged wife, symbolized in his Intervention of the Sabine Women (1799), a work which strained his Classicism in the search for Greek purity. In 1799 Napoléon gained power, and David gained a new hero. He recorded the general and later the Emperor in numerous propaganda pieces (e.g. Napoléon at Mont St Bernard, 1800; The Crowning of Joséphine) in which his sobriety was loosened by Napoléon's demand for grandeur. In professional terms, he failed to survive the fall of his master, and in 1815 retired in exile to Brussels, where he continued to work in a highly finished Classical vein, but resorted to myth for his subject-matter (e.g. The Disarming of Mars). Throughout his career he produced portraiture which not only catalogued the changing political spectrum, but also his own artistic developments (e.g. Antoine Lavoisier and his Wife, 1788).
— David was born into a prosperous middle-class family in Paris. In 1757 his mother left him to be raised by his uncles after his father was killed. He was never a good student in school- in his own words, "I was always hiding behind the instructors chair, drawing for the duration of the class".
      When David was 16 he began studying art at the Académie Royale under the rococo painter J. M. Vien. After many unsuccessful attempts, he finally won the Prix de Rome in 1774, and on the ensuing trip to Italy he was strongly influenced by classical art and by the classically inspired work of the 17th-century painter Nicolas Poussin. David quickly evolved his own individual neoclassical style, drawing subject matter from ancient sources and basing form and gesture on Roman sculpture. His famous Oath of the Horatii was consciously intended as a proclamation of the new neoclassical style in which dramatic lighting, ideal forms, and gestural clarity are emphasized. Presenting a lofty moralistic (and by implication patriotic) theme, the work became the principal model for noble and heroic historical painting of the next two decades. It also launched his popularity and awarded him the right to take on his own students.
      After 1789, David adopted a realistic rather than neoclassical painting style in order to record scenes of the French Revolution (1789-1799). David was very active in the Revolution, being elected a deputy to the National Convention on 17 September 1792. He took his place with the extremists known as the Montagnards — along with Marat, Danton, and Robespierre.
      During this time he had produced deeds both positive and negative: On the positive side he proposed the establishment of an inventory of all national treasures- making him one of the founders of France's museums. In fact, he played an active role in the organization of the future Louvre, Paris.
      On the negative side, his radicalism during the Revolution bred within him a certain madness. He was appointed to the Comité de Salut Public in 1793 — which gave him the power to assign nearly 300 arrested individuals to be guillotined. After the end of the Revolution, imprisoned because of his actions during the Reign of Terror, he wrote a letter to a friend stating, “I believed, in accepting the post of legislator — an honorable post, but one very difficult to fulfill — that an upright heart would suffice, but I was lacking in the second quality, by which I mean insight.” A delegation of his students demanded his release, and he was freed on 28 December 1794.
      Near the end of 1797 David met Napoléon Bonaparte. From 1799 to 1815 he was Napoléon's official painter, chronicling the reign of Napoléon I in huge works such as The Coronation of Napoléon and Joséphine. Following Napoléon's downfall in 1815, David was exiled to Brussels, where he returned to mythological subjects drawn from the Greek and Roman past. He stayed there until his death.
      Throughout David's career, he was also a prolific portraitist. Smaller in scale and more intimately human than his larger works, his portraits, such as the famous Madame Récamier, show great technical mastery and understanding of character. Many modern critics consider them his best work, especially because they are free from the moralizing messages and sometimes stilted technique of his neoclassical works.
— David was a great teacher, although few of his students actually followed the severity of his style. Among his students were Anne-Louis Girodet de Roussy-Trioson [1767-1824], Jean-Auguste-Dominique Ingres [29 Aug 1780 – 14 Jan 1867], Antoine-Jean Gros [1771-1835], Jean-Baptiste Isabey [1767-1855], Louis-Léopold Robert [1794-1835], Jean Victor Schnetz, François Gérard, Alexandre Abel de Pujol [1785-1861], Jacques-Laurent Agasse [1767-1849], José Aparicio Inglada, Augustin Aubert, Gustave Ricard, John James Laforest Audubon [1785-1851], Pauline Auzou, Marie-Guillemine Benoist [1768-1826], Pierre-Nolasque Bergeret, René Théodore Berthon [1776 – 1859], Jean Broc, Antoni Stanislaw Brodowski, Louis-Charles-Auguste Couder, Jules-Hippolyte Delaroche, Michel-Martin Drolling [1752-1817], Jean-Germain Drouais, Claude-Marie Dubufe, Jean-Louis Ducis, Pierre Duval Le Camus, Christoffer Wilhelm Eckersberg [1783-1853], François-Xavier baron Fabré [1766-1837], Charles-Antoine Flageoulot (who would be a teacher of Courbet [10 Jun 1819 – 31 Dec 1877]), Alexandre-Evariste Fragonard [1780-1850], Sophie Frémiet, Jean-François Garneray, Pierre Gautherot, François-Simon-Alphonse Giroux, François-Marius Granet, Fulchran-Jean Harriet [1778-1805], Philippe-Auguste Hennequin, Marie-Antoine Hervier, Philipp Friedrich von Hetsch, Jean-Nicolas Huyot, Jean-Jacques Karpff, Johann Peter Krafft, Jan Adam Kruseman, Jean-Louis Laneuville, Édouard Liénard, prince Louis-Philippe d'Orléans [06 Oct 1773 – 26 Aug 1848] (later King of the French 1830-1848), José de Madrazo y Agudo, Marie-Françoise-Constance Mayer, Achille Etna Michallon, François-Joseph Navez [1787-1869], Joseph-Denis Odevaere, Joseph Paelinck, Jacques-Nicolas Paillot de Montabert, Charles-François Phélippes, François-Édouard Picot [1786-1868], Édouard Henri Théophile Pingret, Johann Anton Ramboux, Juan Antonio Ribera y Fernández, Fleury-François Richard, Henri-François Riesener, Christian Friedrich Tieck, Johann Martin von Wagner [1777-1858], Johann Friedrich Maximilian graf von Waldeck, Jean-Baptiste-Joseph Wicar, Ludwig Wilhelm Wichmann, Constance Marie Charpentier [1767-1849], Louis Hersent [1777-1860], Sophie Rude [1797-1867], just to mention a few.:)
— The assistants of David included François Gérard, Lorenzo Bartolini, Jean-Germain Drouais, Jean-Pierre Franque, Pierre Révoil.

Self Portrait (1794, 80x64cm; 600x463pix _ ZOOM to 1400x1081pix _ or, for more fun than watching your nails grow, ZOOM+ to 2086x1610pix, 4943kb, marred by pattern especially in dark areas) or, at another site, same Self Portrait (_ ZOOMable)
–- La Mort de Socrate (1787, 129x196cm; 712x1201pix, 84kb — .ZOOM to 1903x2907pix, 531kb — or, for more fun than watching hemlock grow, but not a better picture, try this 1903x2907pix, 5714kb)
–- Le sacre de Napoléon I et de l'impératrice Joséphine dans la cathédrale Notre~Dame à Paris le 2 décembre 1804 (1807; main detail 892x1191pix, 195kb — .ZOOM TO FULL PICTURE 1823x2953pix, 889kb — or, for more fun than watching paint dry, but not a better picture, try this 1823x2953pix, 2117kb)
–- Laure-Emilie-Felicité David, la Baronne Meunier (1812, 74x60cm; 1018x832pix, 130kb)
–- La Bonne Aventure (1824, 62x75cm; 3/8 size _ .ZOOM to 1836x2228pix, 689kb)
Napoléon in His Study
Émilie Pécoul, Madame Sériziat, avec son fils Émile né en 1793 (1795, 131x96cm; 600x844pix _ ZOOM to 1400x1014pix, 296kb) _ or, at another site, the same Madame Sériziat (_ ZOOMable)
La Mort de Marat (1793, 162x125cm, 600x552pix _ ZOOM to 1400x1287pix _ ZOOM+ not recommended to 1883x1731pix, 2703kb, marred by pattern in body shadow) _ or, at another site, the same La Mort de Marat
Le Serment du Jeu de Paume (1791; 600x919pix _ ZOOM to 1400x2145pix, 1007kb) _ or, at another site, the same Le Serment du Jeu de Paume
Monsieur et Madame Lavoisier (1788, 265x224cm; 600x464pix _ ZOOM to 1544x1194pix, 226kb) _ or, at another site, the same M. et Mme. Lavoisier
Le Serment des Horaces (1784, 330x425cm, 600x777pix _ ZOOM to 1400x1812pix _ or, for more fun than waiting for a politician to fulfil his campaign promises, ZOOM++ to grainy 1956x2533pix, 7451kb) _ or, at another site, the same Le Serment des Horaces
Alphonse Leroy (1783; 600x778pix _ ZOOM to 1400x1815pix _ ZOOM++ not recommended to grainy 2004x2598pix, 995kb) _ or, at another site, the same Alphonse Leroy
The Lictors Bring to Brutus the Bodies of His Sons (1789; 600x777pix _ ZOOM to 1197x1550pix, 245kb _ ZOOM++ to 1400x1813pix, 460kb)
Madame Récamier (1800; 600x844pix _ ZOOM to 1400x1968pix _ ZOOM++ to 1936x2722pix)
The Sabine Women Enforcing Peace by Running Between the Combatants (1799; 600x835pix _ ZOOM to 1188x1653pix, 333kb _ ZOOM++ to 1400x1948pix, 600kb)
The Courtship of Paris and Helen (1788, 147x180cm; _ ZOOMable) _ detail (_ ZOOMable) and another image of same detail (_ ZOOMable)
The Death of Seneca (; _ ZOOMable)
The Farewell of Telemachus and Eucharis (; _ ZOOMable)
Henriette de Verninac (1799, 145x112cm; _ ZOOMable)
Anne-Marie-Louise Thélusson, Comtesse de Sorcy (1790, 129x97cm; _ ZOOMable)
The Battle Between Mars and Minerva (1770)
Christ on the Cross (1782; 600x402pix _ ZOOM to 1400x938pix _ ZOOM++ to 1759x1179; 229kb)
Andromache Mourning Hector (1783)
Ingres (1800, 54x47cm)
277 images at Bildindex92 images at ARC

Died on a 30 August:

^ 1991 Jean Tinguely, Swiss sculptor and experimental artist, born on 22 May 1925, noted for his machinelike kinetic sculptures that destroyed themselves in the course of their operation. — LINKS
Metamatic 17 (1982; 2575x2014pix,850kb) _ on an off-white background about 2/3 of the area has multicolored dabs and small circles, and 1/3 of the area has irregularly scribbled writing most of which is legible as:
Hey Hey MAt s ERNA MU Musa yes: and wat Are you DoiNG ? Real workinG » MetAmatic 17 « (with cuttinG & MotoR ? tRavellinG ?) ? ? Truly YouRS (please let me now) 11 _ 11 . 82 Jean TinG —(100522)

^ 1967 Adolph Dietrich Friedrich Reinhardt, US Abstract Expressionist / Minimalist painter, born on 24 December 1913, who sought to remove all self~expression, content, and meaning from his work by restricting it to monochrome. He greatly influenced the Minimalists of the 1960s. — Reinhardt was born in Buffalo, New York. He studied art history under Meyer Schapiro at Columbia University, New York, from 1931 to 1935 and studied painting with Carl Holty and Francis Criss at the American Artists School from 1936 to 1937. He also studied at the National Academy of Design with Karl Anderson in 1936. Between 1936 and 1939, Reinhardt worked for the WPA Federal Art Project. From 1937 to 1947, he was a member of the American Abstract Artists group. Reinhardt continued his studies from 1946 to 1951 at the New York University Institute of Fine Arts. Reinhardt’s influence as a teacher and writer was as significant as his art. Reinhardt was a pioneer of Hard-edge painting at this time. In the 1950s, he began to limit his palette to a single color, moving from red to blue and then to his final stage of black paintings. Reinhardt died in New York. — LINKS
Reinhardt "painting"Abstract Painting (1966, 152x152 cm) _ The painting is an absolutely uniform black square. It does not matter how much you enlarge it or reduce it, it has no features whatever. Now the blah blah blah: Ad Reinhardt’s writings on art read as a litany of negative aphorisms. Describing his signature black paintings, which he focused on exclusively from 1953 until his death in 1967, he wrote: “A free, unmanipulated, unmanipulatable, useless, unmarketable, irreducible, unphotographable, unreproducible, inexplicable icon.” These canvases—muted black squares containing barely discernable cruciform shapes—challenge the limits of visibility. Reinhardt’s strategy of denial echoed his conviction that Modernism itself was a “negative progression,” that abstraction evolved as a series of subtractions, and he was creating the last or “ultimate paintings.” Rather than forecasting the death of painting as a viable art form, however, Reinhardt was instead affirming painting’s potential to transcend the contradictory rhetoric that surrounded it in contemporary criticism and the increasing commercial influences of the market. What Reinhardt hoped to realize recalls the aspirations of Negation Theology, a method of thought — evident in Platonism, Neo-Platonism, and early Christianity — employed to comprehend the Divine by indicating everything it was not. The artist’s attraction to the mystical side of negation arose from his appreciation of Eastern art and religion, namely the abstract, all-over patterning of Islamic design, the poetically reductive space of Chinese and Japanese landscape painting, and the meditative, ascetic quality of Zen Buddhism. The last he encountered through his friendship with the poet Thomas Merton, who was also a Trappist monk and authority on Zen. Reinhardt saw his own dark canvases, with their classic, geometric compositions, monastic repudiation of anything extraneous, and contemplative depth as a fusion of Eastern and Western traditions. However hermetic Reinhardt’s black paintings may seem, they were not created in a vacuum. The kind of profound, self-reflexive abstraction he advocated was partially a product of, and reaction to, the climate of Cold War America. Despite the iconoclasm of his aesthetic discourse, Reinhardt was actively engaged in political and social issues throughout his life. During the early 1940s, his editorial cartoons appeared in the leftist newspapers The New Masses and PM. Later, he participated in the antiwar movement, protesting against the US’s involvement in Vietnam, and donated his work to benefits for civil rights activities. An aesthetic moralist, Reinhardt sought to create an art form that — in its monochromatic purity — could overcome the tyrannies of oppositional thinking.
Abstract Painting No. 9 (158x158cm; 720x710pix, 137kb _ to 2023x1994pix, 1106kb) this one is very similar to the preceding, a square, but it is only 99% uniformly black, as there are some areas that are a dark gray barely short of black. However the pseudonymous Boyldpoor Snosoftd has managed, by extreme lightening and intensification, to uncover some sort of an image there (a cross and a smudge), still almost monochrome, into which he has injected rich colors and which he has further thoroughly transformed into
      _ Absurd Pain Tint No.9 (2006; screen filling, 340kb _ ZOOM to 1864x2636pix, 2531kb). _ One year later Snonoftd surpassed himself with the pair
      _ Abominable Tract Panting (2007; 550x778pix, 180kb _ ZOOM 1 to 778x1100pix, 408kb _ ZOOM 2 to 1100x1556pix, 917kb _ ZOOM 3 to 1710x2418pix, 2405kb _ ZOOM 4 to 2658x3760pix, 5900kb) and
      _ Panting on the Abominable Track (2007; 550x778pix, 180kb _ ZOOM 1 to 778x1100pix, 408kb _ ZOOM 2 to 1100x1556pix, 917kb _ ZOOM 3 to 1710x2418pix, 2405kb _ ZOOM 4 to 2658x3760pix, 5900kb)
Abstract Painting (1000x508pix, 22kb)
Black Painting Nº 34 (599x600pix, 10kb) another uniformly black square (except when given the Snosoftd treatment)..
No. 15, 1952 (1200x430pix, 61kb)
Red Painting (1953; 798x657pix, 38kb) a red and orange cross on a slightly lighter background.
Abstract Painting, Red (1160x429pix, 20kb)
Composition 1940 (900x556pix, 77kb)
Red and Blue Composition (647x800pix, 44kb)
Untitled (800x644pix, 77kb) monochrome gold, but not worth its weight in it, regardless of what greater and greater fools may have paid. —(070830)

1936 Lorado Taft, born on 29 April 1860, US sculptor of portrait busts and monumental allegorical works. He was also an influential teacher and writer.

1928 Franz von Stuck, German painter born (full coverage) on 23 February 1863. —(050829)

Born on a 30 August:

1908 (1918?) Léonor Fini, Italian artist who died on 18 January 1996. French painter, stage designer and illustrator of Argentine birth. She grew up in Trieste, Italy. Her first contact with art was through visits to European museums and in her uncle’s large library, where she gleaned her earliest knowledge of artists such as the Pre-Raphaelites, Aubrey Beardsley and Gustav Klimt. She had no formal training as an artist. Her first one-woman exhibition took place in Paris in 1935 and resulted in friendships with Paul Eluard, Max Ernst, René Magritte and Victor Brauner, bringing her into close contact with the Surrealists; her sense of independence and her dislike of the Surrealists’ authoritarian attitudes kept her, however, from officially joining the movement. Nevertheless her works of the late 1930s and 1940s reflect her interest in Surrealist ideas. She also participated in the major international exhibitions organized by the group.

^ 1891 Jacques Lipchitz, Lithuanian~French cubist sculptor who died on 27 May 1973. — LINKS

1883 Christiaan Emil Maria Küpper “Theo Van Doesburg”, Dutch painter who died (full coverage) on 07 March 1931. —(0710109)

1879 Llewellyn Lloyd, Italian [?!] artist who died in 1950.

Émile-Antoine Bourdelle, French sculptor whose works, exhibiting exaggerated, rippling surfaces mingled with the flat,decorative simplifications of Archaic Greek and Romanesque art, introduced a new vigor and strength into the sculpture of the early 20th century. He died on 01 October 1929. — LINKS

1828 (or 1831) Pierre Henri Théodore Tetart (or Tetar) van Elven, Dutch artist who died on 05 January 1908. — {Quand il a atteint l'age adulte, a-t-il pensé changer son nom de Tetart à Grenouil?}

1797 Julien-Léopold “Jules” Boilly, French artist who died on 14 June 1874.

1735 Thomas-Germain-Joseph Duvivier, French artist who died on 04 April 1814.

^ 1734 Gaetano Gandolfi, Italian painter and printmaker who died on 30 June 1802. — Born in San Matteo Della Decima, died in Bologna. Member of a family of Bolognese painters, studied with brother Ubaldo. — LINKS
Alexander Presenting Campaspe to Apelles (1797)
The Holy Family (1776, 87x69cm, 380x299pix, 18kb) _ A work of Gandolfi's later years, the Holy Family was exhibited in the religious festival at the church of San Procolo in Bologna in 1776. The painting's balanced composition, along with the suggestion of emotional connections among the figures, expresses the religious honesty of Gandolfi's art. Here St. Joseph holds the scriptures for the Christ child, who sits on his mother's lap; the elderly Joseph also holds the flowering rod, a sign from heaven that he was chosen to be Mary's husband. Joseph looks with concern toward Mary, who in turn looks up toward the cherubim hovering in a cloud at the upper left. Viewers of the private devotional painting were meant to understand that the young Christ reads of his future in the gospels, and that the suffering he will endure is reflected in Mary's sad gaze. Gandolfi was the most popular member of a prominent artistic family in Bologna. As both draftsman and painter he distinguished himself in religious, mythological, and genre subjects and was admired by his Italian and English patrons. He is known for his down-to-earth naturalism, typical of Bolognese art.
–- Heads of a Turk and Several Women (etching 11x15cm; 642x440pix, 79kb)

1727 Giovanni-Domenico Tiepolo, Italian painter who died (full coverage) on 03 March 1804. —(050829)

1657 Philipp Peter Roos, German painter who died (full coverage) on 17 January 1706. —(071009)

^ 1657 Philipp Peter Roos, German painter who moved to Italy where he died on 17 Jan 1706. Son of Johan Heinrich Roos [27 Oct 1631– 03 Oct 1685]. Philipp Peter Roos went to Italy in 1677 on a scholarship from the Landgrave of Hesse. In Rome he studied with Giacinto Brandi, whose daughter Maria Isabella he married in 1681, after adopting the Catholic faith. In 1684–1685 he bought a house near Tivoli, which gave rise to his nickname ‘Rosa da Tivoli’. From 1691 he seems to have lived mainly in Rome. Roos was a member of the Schildersbent, which gave him the nickname ‘Mercurius’ because of the speed with which he painted. Apart from a Self-portrait (1695), he painted exclusively domestic animals with their herdsmen in the Roman Campagna. The animals dominate the foreground, leaving only small glimpses through to landscapes set beneath threatening skies. Roos applied his paint in impastos, rendering the coats, the stance, and the movements of each species in a virtuoso manner. The light bodies of the animals seem to grow fascinatingly out of the darkness. In the 1680s Roos tended to depict small groups of animals — sheep, goats, often headed by a billy goat with twisted horns. The herders lie at the side dressed in coarse clothing, closely bound up with the animals. Far off, wildly precipitous valleys alternate with high cliff-faces lit by a yellow-brown light; the distant mountains are conveyed in tones of light blue. Altogether the pictures are characterized by a spectral, somber, wild, and daring boldness. — LINKS
Landschaft mit Grotte (97×81cm; _ ZOOM to 3011x2536pix, 349kb)
Landschaft mit Herde (97×81cm; _ ZOOM to 1776x2560pix, 278kb)
–- Shepherd Boy with Sheep and Goats (122x173cm; 959x1385pix, 212 kb _ ZOOM to 1918x2771pix, 867kb) also two dogs, with romantic ruins and stormy sky in the background. —(060829)

^ 1589 Abraham Govaerts (or Godevaerts), Flemish artist who died on 09 September 1626. — LINKS
–- S#*> Wooded River Landscape (33x44cm; 695x900pix, 175kb) _ Although entirely characteristic of Govaerts' wooded landscapes, in which the arrangement of broken trunks and tree groupings are often repeated, the river and bridge motif to the right of the composition do not appear in any other known works by the artist and would therefore appear to be unique.
Le Repos de Diane
Paysage à la chasse de Méléagre et Atalante (54x86cm)
The Five Senses _ Landscape by Govaerts, persons by Frans Francken Jr.

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