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DEATH: 1563 SCHIAVONE

BIRTHS: 1884 SCHMIDT~ROTTLUFF — 1869 SOMOV

^ Born on 01 December 1884: Karl Schmidt~Rottluff, German Expressionist painter and print-maker, who died on 10 August 1976.
— He was a painter in oils and watercolor of figures, landscapes and still life, wood-engraver, lithographer, etcher, and sculptor. Born Karl Schmidt at Rottluff near Chemnitz, Saxonia. Friendship with Heckel from 1901, and began to paint. Studied architecture at Dresden Polytechnic 1905-1906, and through Heckel met Kirchner and Bleyl; the four artists founded in June 1905 the group Die Brücke. Early paintings with strong colors and a profusion of brushstrokes, followed from about 1910-1911 by a more arbitrary, strongly-constructed style with block-like simplifications. First one-man exhibition at the Galerie Commeter, Hamburg, 1911. From 1907-1912 spent part of each year in or near Dangast. 1915-1918 in the army. Lived mainly in Berlin from 1911, with regular visits during the summers up to 1943 to the North Sea or Baltic coast and the spring months 1932-1943 in the Taunus. Large graphic output up to about 1927 of over 600 woodcuts, lithographs and etchings. He was one of the artists most persecuted by the Nazis, who in 1941 forbade him to paint and placed him under the supervision of the SS. In 1947 appointed professor at the School of Fine Arts in Berlin. Died in Berlin.
— One of the main exponents of Expressionism, Schmidt~Rottluff was a founder of Die Brücke and one of its leading members. As a boy he got to know Erich Heckel at grammar school, following in his footsteps in 1905 when he enrolled as an architectural student at the Sächsische Technische Hochschule in Dresden; there Heckel introduced him to another student, Ernst Ludwig Kirchner, four years his senior, and to Kirchner’s friend, the painter Fritz Bleyl [1880–1966]. They all felt close in their artistic aspirations, perceiving their architectural studies as a front behind which they could train, largely by teaching themselves, as painters. Later that year, by which time Schmidt-Rottluff had annexed the name of his native town to his surname, they formed Die Brücke with the aim of creating an uncompromisingly vital art that renounced all traditions; the group’s name, derived from a quotation in Friedrich Nietzsche’s Also sprach Zarathustra (1883) was suggested by Schmidt-Rottluff, although as something of a loner he was less active in the group than Heckel or Kirchner. It was, however, at his invitation that Emil Nolde briefly became an active member of the group in 1906. Schmidt-Rottluff also introduced the group to lithography.

— LINKS

<<<— Selbstbildnis mit Einglass (1910; 952x640pix, 63kb: click image or .ZOOM to 1903x1280pix, 161kb)
— Selbstbildnis (1920; 572x475pix)
— Selbstbildnis (1950; 572x502pix)
— Head of Christ (1919 stained glass; 851x640pix, 51kb)
— Im Kiosk (1912; 483x529pix, 30kb) _ detail first head (951x640pix, 77kb)
— Devotion
— Dr. Rosa Schapire (1919, 101x87cm) _ Dr. Rosa Schapire was trained as an art historian at Zurich and Heidelberg Universities. She was one of the first supporters of Die Brücke group, of which Schmidt-Rottluff was a founder member. They were close friends from 1908 and in 1924 Schapire published a catalogue of the artist's graphic work. This portrait was painted during the summer of 1919 at Hohwacht on the Baltic coast and was given to Schapire as a Christmas present by the artist and his wife. The artist painted Schapire several times between 1911 and 1915, as well as making her the subject of woodcuts and a lithograph. Schapire lived in exile in England after 1919, bringing her collection, including this picture, with her.
— Frau mit Tasche (1915, 95x87cm) _ Schmidt-Rottluff used the forms of African masks to help him capture the reality around him. Here, the woman’s face is elongated with extended cheeks and nose in the manner of West African masks. This is set against her fashionable European accessories — the bag and pearls. The painting was completed shortly before Schmidt-Rottluff’s departure for the Russian Front during the First World War. Its first owner considered it to have captured a melancholic wartime mood.
— Zwei Frauen (1912, 77x85cm) _ Although this work was painted on the North Sea coast near Dangast in Germany, its vivid colors and the angular forms of the women’s bodies suggest an idealised vision of Africa or the South Pacific. For Schmidt-Rottluff and other artists of Die Brücke the appreciation of African carvings and the art of South East Asia was an integral part of their consciously bohemian lifestyle. They were inspired by artefacts in the Dresden Ethnographical Museum, which they saw as embodying an unspoilt, more authentic culture.
—(060630)

^ Died on 01 December 1563: Andrea Medulich (or Meldolla, Medulla) “Schiavone”, Dalmatian painter, draftsman and etcher, active in Italy, born in 1522.
— Original name Andrija Meldulic. His nickname "Schiavone" means Slav, reflecting the fact that he came from Zara, Dalmatia (then under Venetian jurisdiction). He worked mainly in Venice, where he was on friendly terms with Titian who, along with Parmigianino, was one of the main influences on his style. His most characteristic works were small-scale religious or mythological scenes for private patrons in a vigorous, painterly style.
— Born in Zara (Zadar) on Dalmatian coast, then under Venetian rule. In 1556 won a painting commission in the Biblioteca Marciana in Venice. Worked mostly in intaglio and at the end of his life made designs for block prints. Died in Venice.
— Although the artist was born in Zadar, his ancestors came from the place called Meldola, Italy (Romagna). However, he expressed his deep and permanent association with the Croatian Adriatic coast by his nickname Schiavone (Slav).
— He belonged to a prominent family who had settled in Zara but were originally from Méldola in the Romagna. He may have been taught painting either in Zara or in Venice by Lorenzo Luzzo or Giovanni Pietro Luzzo, who were active in both cities. According to another theory, he was trained in the Venetian workshop of Bonifazio de’ Pitati, but this would not account for his later proficiency as a fresco painter. As an etcher, he seems to have been essentially self-taught, working initially from drawings by Parmigianino. By the late 1530s Schiavone seems to have been established in Venice. In 1540 Giorgio Vasari commissioned from him a large battle painting , ‘one of the best [works] that Andrea Schiavone ever did’ (Vasari, 1568). Schiavone’s first surviving paintings and etchings probably date from about 1538–1540; they show that he was strongly influenced by Parmigianino and central Italian Mannerists in figural and compositional modes, but was also a strikingly daring exponent of Venetian painterly techniques; he employed an equally free technique in etching. Several paintings, for example the large-scale Four Women in a Landscape and the small-scale Two Men, carry his ‘technique of spots, or sketches’ (Vasari) so far that the subjects have not been identified.

— LINKS
–- David's deathbed instructions to Solomon (1561; 640x986pix, 184kb _ .ZOOM to 1280x1972pix, 804kb) _ When the time of David's death drew near, he gave these instructions to his son Solomon: “I am going the way of all mankind. Take courage and be a man. Keep the mandate of I-AM, your God, following his ways and observing his statutes, commands, ordinances, and decrees as they are written in the law of Moses, that you may succeed in whatever you do, wherever you turn, and I-AM may fulfill the promise he made on my behalf when he said, ‘If your sons so conduct themselves that they remain faithful to me with their whole heart and with their whole soul, you shall always have someone of your line on the throne of Israel.’ You yourself know what Joab, son of Zeruiah, did to me when he slew the two generals of Israel's armies, Abner, son of Ner, and Amasa, son of Jether. He took revenge for the blood of war in a time of peace, and put bloodshed without provocation on the belt about my waist and the sandal on my foot. Act with the wisdom you possess; you must not allow him to go down to the grave in peaceful old age. But be kind to the sons of Barzillai the Gileadite, and have them eat at your table. For they received me kindly when I was fleeing your brother Absalom. You also have with you Shimei, son of Gera, the Benjaminite of Bahurim, who cursed me balefully when I was going to Mahanaim. Because he came down to meet me at the Jordan, I swore to him by I-AM that I would not put him to the sword. But you must not let him go unpunished. You are a prudent man and will know how to deal with him to send down his hoary head in blood to the grave.” (1 Kings 2:1-9) In the picture, the 18-year-old Solomon is seen accompanied by his mother Bathsheba, and the prophet Nathan is on the other side of the bed. Both Bathsheba and Nathan had successfully petitioned David [1035 BC – 965 BC] to have Solomon crowned as his successor, in preference to his older half-brothers.
— Landscape with Jupiter and Io (205x275cm; 696x950pix, 121kb) _ The subject of the picture was taken from the Metamorphoses by Ovid [43 BC - 18 BC] the jealous Juno catches Jupiter with Io. To save his lover Jupiter transforms her into a white cow and entrust her to Argus. The landscape is the main subject of the painting, the human figures are only staffages. In Greek mythology, Io was the daughter of Inachus, the river god of Argos. Under the name of Callithyia, Io was regarded as the first priestess of Hera, the wife of Zeus. Zeus fell in love with her and, to protect her from the wrath of Hera, changed her into a white heifer. Hera persuaded Zeus to give herthe heifer and sent Argus Panoptes (“the All-Seeing”) to watch her. Zeus thereupon sent the god Hermes, who lulled Argus to sleep and killed him. Hera then sent a gadfly to bother Io, who therefore wandered all over the earth, crossed the Ionian Sea, swam the strait that was thereafter knownas the Bosporus (meaning Ox-Ford), and at last reached Egypt, where she was restored to her original form and became the mother of Epaphus, who became king of Egypt according to the legend.
Interea medios Iuno despexit in Argos
et noctis faciem nebulas fecisse volucres
sub nitido mirata die, non fluminis illas
esse, nec umenti sensit tellure remitti;
atque suus coniunx ubi sit circumspicit, ut quae
deprensi totiens iam nosset furta mariti.
quem postquam caelo non repperit, 'aut ego fallor
aut ego laedor' ait delapsaque ab aethere summo
constitit in terris nebulasque recedere iussit.
coniugis adventum praesenserat inque nitentem
Inachidos vultus mutaverat ille iuvencam;
bos quoque formosa est. (Metamorphoses 1:601-612)
— La Conversione di San Paolo (205x265cm) _ Dopo una generica attribuzione alla scuola veneta l'opera è stata indicata come di Bonifacio de' Pitati (The Conversion of Saul, 1570) per poi essere riconosciuta come dello Schiavone. Grande, movimentata composizione in cui i cavalli, le bandiere e i soldati sembrano rapiti da un turbine, mentre sopra un cielo apocalittico, striato di verde, scoppia, fenomeno meteorico, la luce nella quale il Cristo tra gli angeli impone il suo volere. I colori squillano ovunque, e gli sbattimenti luministici si esaltano sulle profondità scure. Pare che lo Schiavone abbia tenuto presente nel volo del Cristo in iscorcio quello del San Marco dal Miracolo dello schiavo (1548) del Tintoretto e polemizzi nella sua mossa invenzione con l'immobilità del primo piano e la staticità della natura che sono in quello. Non mancano in quest'opera richiami a Raffaello e alla sua scuola filtrati anche attraverso i modi del Pordenone.
     Now Saul, still breathing murderous threats against the disciples of the Lord, went to the high priest and asked him for letters to the synagogues in Damascus, that, if he should find any men or women who belonged to the Way, he might bring them back to Jerusalem in chains. On his journey, as he was nearing Damascus, a light from the sky suddenly flashed around him. He fell to the ground and heard a voice saying to him, “Saul, Saul, why are you persecuting me?” He said, “Who are you, sir?” The reply came, “I am Jesus, whom you are persecuting. Now get up and go into the city and you will be told what you must do.” The men who were traveling with him stood speechless, for they heard the voice but could see no one. Saul got up from the ground, but when he opened his eyes he could see nothing; so they led him by the hand and brought him to Damascus. For three days he was unable to see, and he neither ate nor drank. There was a disciple in Damascus named Ananias, and the Lord said to him in a vision, “Ananias.” He answered, “Here I am, Lord.” The Lord said to him, “Get up and go to the street called Straight and ask at the house of Judas for a man from Tarsus named Saul. He is there praying, and (in a vision) he has seen a man named Ananias come in and lay (his) hands on him, that he may regain his sight.” But Ananias replied, “Lord, I have heard from many sources about this man, what evil things he has done to your holy ones in Jerusalem. And here he has authority from the chief priests to imprison all who call upon your name.” But the Lord said to him, “Go, for this man is a chosen instrument of mine to carry my name before Gentiles, kings, and Israelites, and I will show him what he will have to suffer for my name.” So Ananias went and entered the house; laying his hands on him, he said, "Saul, my brother, the Lord has sent me, Jesus who appeared to you on the way by which you came, that you may regain your sight and be filled with the holy Spirit.” Immediately things like scales fell from his eyes and he regained his sight. He got up and was baptized. (Acts 9:1-18)
— Lot and his Daughters (1555 round; 575pix diameter, 139kb) _ I-AM (God) had decided to destroy the city of Sodom, because of its sinfulness. Abraham had bargained with I-AM to relent if as few as ten innocent persons could be found in Sodom, where Abraham's nephew lived. So I-AM sent two angels, under the appearance of men, to investigate. Lot invited the strangers to stay at his home overnight, and he resisted the perverted insistance of the men of Sodom, who surrounded his house, wanting to assault the guests.
      Then the angels said to Lot: "Who else belongs to you here? Your sons sons-in-law and your daughters and all who belong to you in the city...take them away from it! We are about to destroy this place, for the outcry reaching I-AM against those in the city is so great that he has sent us to destroy it." So Lot went out and spoke to his sons-in-law ... . "Get up and leave this place," he told them; "I-AM is about to destroy the city." But his sons-in-law thought he was joking. As dawn was breaking, the angels urged Lot on, saying, "On your way! Take with you your wife and your two daughters who are here, or you will be swept away in the punishment of the city." When he hesitated, the angels, by I-AM's mercy, seized his hand and the hands of his wife and his two daughters and led them to safety outside the city. As soon as they had been brought outside, he was told: "Flee for your life! Don't look back or stop anywhere on the Plain. Get off to the hills at once, or you will be swept away." ... The sun was just rising over the earth as Lot arrived [to safety]; at the same time I-AM rained down sulphurous fire upon Sodom and Gomorrah ... But Lot's wife looked back, and she was turned into a pillar of salt. ... Lot ... and his two daughters ... settled in the hill country, where he lived with his two daughters in a cave. The older one said to the younger: “Our father is getting old, and there is not a man on earth to unite with us as was the custom everywhere. Come, let us ply our father with wine and then lie with him, that we may have offspring by our father." So that night they plied their father with wine, and the older one went in and lay with her father; but he was not aware of her lying down or her getting up. Next day the older one said to the younger: "Last night it was I who lay with my father. Let us ply him with wine again tonight, and then you go in and lie with him, that we may both have offspring by our father.” So that night, too, they plied their father with wine, and then the younger one went in and lay with him; but again he was not aware of her lying down or her getting up. Thus both of Lot's daughters became pregnant by their father. The older one gave birth to a son whom she named Moab, saying, "From my father." He is the ancestor of the Moabites of today. The younger one, too, gave birth to a son, and she named him Ammon, saying, "The son of my kin." He is the ancestor of the Ammonites of today. (Genesis 19:12-38)
     The subject has been depicted by other artists too. See for example:
by Cavallino: Lot and His Daughters
by Dürer: Lot and His Daughters (1499) and Lot Fleeing with his Daughters from Sodom (1498)
by van Leyden: Lot and his Daughters (1520)
by Massys: Lot and His Daughters (1565)
by Franceschini: Lot and his Daughters
by Furini: Lot and his Daughters
by Wtewael: Lot and his Daughters (1608) and Lot and his Daughters (1600)
by Goltzius: Lot and his Daughters (1616)
by Orazio Gentileschi: Lot and his Daughters (1621)
by Artemisia Gentileschi: Lot and his daughters (1645)
by Reni: Lot and his Daughters leaving Sodom

^ Born on 01 December (30 Nov? Julian?) 1869: Konstantin Andreyevitch Somov, Russian Symbolist painter and graphic artist who died on 06 May 1939.
— He was the son of a curator at the Hermitage Museum, and he attended the Saint-Petersburg Academy of Art from 1888 to 1897, studying under the Realist painter Il’ya Repin from 1894. In 1897 and again in 1898–1899 he went to Paris and attended the studios of Filippo Colarossi and of Whistler. Neither the Realism of his Russian teachers nor the evanescent quality of Whistler’s art was reflected for long in Somov’s work. He turned instead for inspiration to the Old Masters in the Hermitage and to works of contemporary English and German artists, which he knew from visits abroad and from the art journals.
— He was a painter in oils and watercolor, and illustrator. Born in Saint-Petersburg, son of Andrei Somov, Curator of the Hermitage. Studied at the Academy of Arts in Saint-Petersburg 1888-1897, from 1894 under Repin, then lived 1897-1899 in Paris in the circle of Bakst, Alexander Benois and other Russian friends. Member of the World of Art (Mir Iskusstva) 1899. His early work was mainly landscape, but from about 1900 he began to paint romantic scenes of marquisses, harlequins, etc. set in the Rococo and early 19th century periods. Also painted portraits and modeled figures for the Imperial Porcelain Factory. First one-man exhibition in Saint-Petersburg 1903. Member of the Saint-Petersburg Academy of Fine Art 1913; professor at the Academy of Arts from 1918. Left Russia in 1924 and spent his last years in Paris. His works include illustrations for Manon Lescaut, Daphnis and Chloé and the poems of Pushkin. Died in Paris.
—    Somov was born in Saint-Petersburg into the family of the senior curator at the Hermitage, artist and art historian, Andrei Ivanovich Somov and his wife, Nadezhda Constantinovna, an excellent musician. The family had a big collection of paintings, etchings, watercolors, big library; the artists were frequent guests in the house. Constantin started to learn to play piano, singing, and painting early.
      From 1888 till 1897, he studied at the Academy of Arts, where from 1894 he took a course at Ilya Repin’s studio. Later he wrote that the first five years in the Academy were a lost and fruitless time. Nevertheless he took the studies very seriously and got a number of awards in the academy. The work with Repin can be felt in some of his paintings of those years, e.g. portraits of N. Ober, wife of the sculptor Ober (1896), Portrait of Father (1897), Self-Portrait (1898).
      Since his childhood Somov was a friend of Alexander Benois; during their students’ years they often gathered together in the house of Benois, there Somov got acquainted with Sergei Dyagilev, future theater interprener, and Lev Bakst.
      In 1896, the new subjects appeared in his works: ladies and gentlemen in the 18th century garments, e.g. Rest after a Walk, Lady by the Pool, Promenade after Rain, etc. Such works, full of intimite poetry, elegant and refined, were far from the ideals of realistic art. The “gallant” 18th century was admired in Benois’ circle. Somov more than others was fond of French Rococo - Watteau, Fragonard, light chamber music by Rameau and Grétry, Gluck and Mozart. The artist preferred to work with watercolors, but sometimes used mixed techniques: combined watercolor with gouache, whitewash and bronze. Somov’s works of 1896-1897 are not those of a student, he found already his own theme and his individual style.
      In autumn of 1897 he left Academy and went to Paris, where his friends, Benois, Lanceray, Bakst, Ober, Ostroumova had already left for. In Paris they frequented various private studios and the Académie Colarossi. In 1898 after return to Saint-Petersburg, the friends founded the Mir Iskusstva society, with their own magazine. Sergei Diaghilev made much for founding of the society. The World of Art exhibitions attracted talented young artists of Saint-Petersburg and Moscow. The society played very important role in development of Russian art of the beginning of the 20th century.
      From 1897 to 1900, Somov worked on a beautiful portrait of his childhood friend, and a peer in the Academy of Arts, the artist Yelizaveta Martynova [1868-1904]. She was often sick and he left abroad several times, and the work on the portrait took so long time. The portrait became known as Lady in Blue (103x103cm; 663x648pix). Martynova’s colleague-painters remembered her as highly emotional, proud and easily wounded. She was sure that one day she would be a great artist. Unfortunately, she got ill with tuberculosis and died early.
      In 1901 Somov painted another woman-artist, Anna Ostroumova (1901). “My portrait has likeness with me and has not. The features are mine, and even the pose is mine. But at the same time there is a lot of from Somov, some characteristics do not belong to me. This dreaming melancholic figure… I, though sometimes was sad of course, on the whole was energetic, businesslike and liked to laugh too much…”
      Portraits and landscapes form the most realistic part of Somov’s work; his individual style reveals in original subject paintings, love scenes in interior and in the open air, retrospective views, such as Echo du temps passé, Enchantment, The Laughed Kiss, In the Bosquet, etc.
      Since 1910, Somov more and more often turns to the subject of Arlequine, e.g. Lady and Harlequin (1912), Italian Comedy (1914), etc., traditional masks of commedia dell’arte. From 1906 to 1910 the artists created a series of graphic portraits of Russian artists and poets for magazines and books: Alexander Blok (1907), Eugene Lanceray (1907), poet M.A. Kuzmin (1909), ballet-dancer N. Pozdnyakov (1910).
      In 1900-1910, Somov’s works shown at exhibitions of “World of Art” society, Union of Russian painters, Munich and Berlin Sessecions, autumn Salon of 1906 in Paris and others became widely known in Europe. The artist was especially popular in Germany, where, in 1907, the first monograph about him was published by Oscar Bic.
      In 1913 Somov became an Academician, and in 1918 a professor of the Art College.
      At the end of 1923 Somov immigrated to the US. He stayed in the US for 1 year. “…my art is absolutely alien to America,” he wrote in one of his letters. In summer of 1925, he moved to France, where, near Paris, the last 14 years of his work would pass. In this period he painted mainly portraits, including that of Rachmaninov.
      Somov died in Paris.

— LINKS
— Self-Portrait (1898; 741x516pix, 30kb) _ “The Artist as Couch Potato”
— 60 images at ABC Gallery

Died on a 01 December:

2006 Effie May Martin “Rosie Lee Tompkins”, US Black quilt artist born (main coverage) on 06 September 1936. —(061207)

>1984 Roelof Frankot [25 Nov 1911–] dies of cancer. He was a Dutch abstract painter and occasional poet influenced by the CoBrA avant-garde movement.
—Atonement (1983, 120x170cm) —(081130)

^ 1948 Francis Gruber, French painter born on 14 (15?) March 1912. — His father, Jacques Gruber [1870–1933], was a stained-glass artist of Alsatian origin. Francis moved with his family to Paris in 1916. Although ill-health during childhood led to the neglect of his formal education, he read widely and precociously and from the age of eight showed an eagerness to paint; even as a child he admired the work of Hieronymus Bosch, Matthias Grünewald and Albrecht Dürer, who were to prove important influences on his work of the 1930s and 1940s, and sought advice from Georges Braque and Roger Bissière, who were close neighbours. Between 1929 and 1932 he was taught at the Académie Scandinave by Charles Dufresne, Othon Friesz and Henry de Waroquier [1881–1970]. He worked essentially from the imagination during these years, although he also produced a few still-lifes. From 1930 he exhibited regularly at the Salon d’Automne and the Salon des Tuileries. — Fils du peintre-verrier Jacques Gruber, l'un des fondateurs de l'Ecole de Nancy, Francis Gruber, influencé par Bosch, Callot et son ami Giacometti, a élaboré durant sa courte vie une oeuvre pathétique. Ami de Tal-Coat (.Le Port de Doëlan, 1940), il l'accompagne à Doëlan.
–- Le Port de Doëlan (1939, 74x93cm)

^ 1823 François Louis Joseph Watteau “de Lille”, French painter born on 18 August 1758, son of Louis-Joseph Watteau “de Lille” [10 Apr 1731 – 27 Aug 1798], whose uncle was THE great Jean~Antoine Watteau [bapt. 10 Oct 1684– 18 Jul 1721], in whose manner both Louis-Joseph and especially François-Louis-Joseph worked, more-or-less. They are both known as 'Watteau de Lille' after their main place of work, and were influenced by Teniers . François Watteau was first his father’s student at the Lille school of drawing, where in 1774 he was awarded a medal for La Mort de Socrate. This success won him a municipal scholarship to study in Paris, first (1775–1777) under Louis-Jacques Durameau, and then at the Académie Royale. He won a prize for drawing in 1777 and a medal in 1782, and exhibited a drawing entitled The Garden Party at the Exposition de la Jeunesse in 1783. On his return to Lille, he became his father’s assistant in 1786, succeeding him in 1798 as principal teacher and director of the school of drawing. He also became a member of the Lille academy of art. During this period he exhibited regularly at the Lille Salon, and also at two Paris Salons, submitting two companion-pieces, Alexander Defeating Darius (1795) and Alexander Defeating Porus (1802), which won him a gold medal. In 1807 Watteau became assistant curator of the Lille museum that his father had helped to establish.
–- La Bataille des Pyramides, 21 juillet 1798 (1799; 94x120cm)

^ 1770 (Giovanni Battista) Giambettino Cignaroli, Veronese artist born on 04 July 1706. He was taught by Antonio Balestra. Cignaroli was the leading painter in 18th-century Verona. His works have mainly religious themes and he is especially known for his paintings of the Virgin and Child. The works are overwhelmingly spiritual, but frequently include lively incidents, such as playing cherubs, and they possess a tranquil quality, perhaps a reflection of the artist’s personality. Giambettino was the only child of Leonardo Cignaroli and Rosa Lugiati, but through his father’s second marriage, to Maddelena Vicentini, he had six half-siblings, among whom were the painters Gian Domenico Cignaroli [1724–1793] and Giuseppe (Fra Felice) Cignaroli [1727–1796] and the sculptor Diomiro Cignaroli [1717–1803], whose oldest son, Gaetano Cignaroli [1747–1826], was also a sculptor. A Piedmontese branch of the family produced several landscape painters. Giambettino’s early education was in the humanities; he was particularly adept at rhetoric and developed a lifelong interest in Latin literature and in Greek and Roman antiquity. — Paolo Caliari and Christoph Unterberger were students of Giambettino Cignaroli.
–- S*>#Madonna col Bambino e Angeli (51x38cm; 851x632pix, 104kb) badly scratched, in need of restauration —(051130)

^ 1666 Jan Wouwerman, Dutch painter born on 30 October 1629, son of the painter Pauwels Joostens Wouwerman of Alkmaar [–28 Sep 1642], whose two other sons, Philips Wouwerman [bap. 24 May 1619 – 19 May 1668] and Pieter Wouwerman [1623–1682] also became painters.
–- S*>#People and Horses on a Frozen Stream (147kb)
–- Dune Landscape (33x45cm; 896x1195pix, 171kb) with a traveler and two donkeys on a path, a shepherd and his herd, together with other people, a city in the distance._ That must be one of the highest “mountains” in the flat Netherlands, at least 10 meters high! Just kidding. Actually the highest point is on the Vaalserberg in the southeast corner of the Netherlands at the border with Germany and Belgium: 321 meters above sea level on a gentle slope (photo). The highest “mountain” entirely within the Netherlands is the Sint Pietersberg (photo), with its “peak” at 171 meters above sea level. A large part of the Netherlands is below the level of the sea from which it has been reclaimed and from which it is protected by dikes, and into which many of the windmills for which Holland is famous were used to pump the seepage water. The dikes have failed on rare occasions, most notably in recent times during the North Sea flood of 01 February 1953 which killed 1835 persons in the Netherlands. However the Netherlands is very mountainous compared with the Maldives, whose highest natural point is at 2.4 meters above sea level on Wilingili island in the Addu Atoll, and which fears being washed off the map by the rising sea level resulting from global warming. Though distant from the epicenter, the Maldives were devastated by the 26 December 2004 tsunami and suffered some 100 deaths. —(051130)

Born on a 01 December:

1959 Steven John Hamper “Billy Childish”(aka William Charlie Hamper, Bill Hamper, Bill Hamper-Childish, Guy Hamper, Jack Ketch, Gus Claudius, Danger Bill Henderson), English painter, author, poet, photographer, film maker, singer and guitarist.
— Robert Walser Dead in the Snow (2008; 4363x3019pix, 7508kb) —(081129)

1922 Geraldine McCullough, US artist best known as a sculptor of welded metal. She started out as a painter who graduated from the Art Institute in 1948 and received her Master’s in Art Education from the Institute in 1955. After teaching for fourteen years at Wendell Phillips High School, she became a professor at Rosary College in River Forest, Illinois. Influenced by sculptors Richard Hunt and Rudolph Seno, and by her husband, Lester McCullough, she turned to sculpture in the early 1960s.

^ 1884 Willy Moralt, German painter who died in 1947.
–- A Family Outing in the Countryside (30x44cm; 627x961pix, 73kb)
— The Wayside Inn (40x53cm; 337x496pix, 24kb) —(061129)

^ 1879 Robert Spencer, US painter who died on 10 July 1931. — Related? to Niles Spencer [16 May 1893 – 15 May 1952]? to Frederick R. Spencer [1806-1875]? — He was a student of Daniel Garber [1880-1958]. Spencer was considered one of the three major figures of the second generation of Pennsylvania Impressionist painters. Although categorized as a landscape painter, Spencer quite often included people and buildings in his landscapes. To him, a landscape without a person or a building was very lonely. Spencer became known for his mill series. Spencer associated with members of the working class. He sympathized with their plight and his depictions of their life are heart rending. When confronted with the question of Socialism, however, he rejected the labeling. Spencer’s later paintings included the typical US landscape, European scenes, genre works, and toward the end of his life, a group of paintings depicting mob scenes. It has been suggested that these last works anticipated the work of the Social Realists of the 1930s. This new direction in his work was never fully realized; he committed suicide — (051130)
— The White Tenement (1913, 76x92cm; 474x558pix, 241kb)
— Canal at New Hope (35x25cm; 640x436pix, 78kb)
— (Riverside Town?) (500x589pix, 96kb)
— Boats at Dry Dock (30x40cm; 152kb)_ Two large sailboats supported by wood braces with tall building beside with stairs leading to entryway, impressionistic —(051130)

^ 1846 William Henry Holmes, US artist who died on 20 April 1933. He became interested in geology while serving as artist on a survey of the Rocky Mountains in 1872. That interest led to archaeology when in 1875 he was working on a geologic exploration of ancient cliff dwellings in southeastern Utah. In 1883 Holmes published Art in Shell of the Ancient Americans. As curator of anthropology at the Field Museum of Natural History, Chicago (1894–1897), he went to the Yucatán Peninsula and produced his superbly illustrated Archaeological Studies Among the Ancient Cities of Mexico (1895–1897). Heserved as curator of anthropology at the Smithsonian Institution in Washington DC (1897–1902 and 1910–1920), and was also chief of the institution's Bureau of American Ethnology (1902–1909) and director of the National Gallery of Art (1920–1932)
— Born near Cadiz, Ohio, he was a survey-field artist, primarily self taught, who earned a reputation as a skilled panoramic landscape painter of the Grand Canyon. He also did delicate watercolors in traditional style. He was educated in the public schools of Georgetown, Ohio, and was a teacher until 1872. He then moved to Washington DC where he studied art with Theodore Kaufmann and did sketching of specimens for the Smithsonian Institution. In 1872, succeeding Thomas Moran, he became field artist for the United States Geological Survey, called the Hayden Expedition, of what became Yellowstone Park. The leader was Ferdinand Hayden and from him, Holmes learned about much about geology. Holmes was with Hayden in 1874 on a Colorado survey, and in 1875, led the survey party in Arizona and New Mexico. By 1876, he was a full-fledged geologist. In 1879, he went to Europe, and the next year he accompanied Clarence Dutton on a Grand Canyon geological exploration, doing "double page" panoramas, nine of them, that led viewers breathlessly to the Canyon edge. It was said that these views were the highest point ever reached in topographical illustration. In 1884 to 1886, he did a study of Pueblo Indians in Mexico, and from that time, held positions as Head Curator of Chicago's Field Museum and Chief of the Bureau of American Ethnology from 1902 to 1920, when he became director of the National Gallery of Art. He was a member of the Washington Watercolor Club and the Society of Washington Artists and has a watercolor in the collection of the National Portrait Gallery in Washington D.C. .
— California Coast Through Wisteria (39x52cm; 571x778pix, 202kb)
— Harbor at Sundown (24x48cm; 384x600pix, 36kb)
— Harbor Scene (48x61cm; 349x500pix, 39kb) —(060630)

^ 1840 Marie-Louise-Victoria Dubourg (future Fantin-Latour), French still-life painter who died on 30 September 1926. She studied under the portrait painter Fanny Chéron [1830–] and probably met her future husband Henri Fantin-Latour [14 Jan 1836 – 25 Aug 1904] at the Louvre,

Paris, where they were both copying in the mid-1860s. About 1867–1868 she was associated with the circle of Édouard Manet, Berthe Morisot, Fantin-Latour and Edgar Degas; [19 Jul 1834 – 27 Sep 1917] it was at this time that Degas painted a very frank and unflattering portrait of her. While it may be impossible to prove that she was actually a student of Fantin-Latour, the early works she exhibited at the Salon are in a style close to his, in particular the portrait of her sister Charlotte Dubourg. In this intimate indoor portrait the neutral background recalls the austerity of Fantin-Latour’s early portraits. The position of the model is a little stiff, and her expression is like that of a spectator. After exhibiting two portraits at the Salons of 1869 and 1870, she showed only still-lifes of fruit and flowers, often signed V. Dubourg or monogrammed V. D. From Fantin-Latour she derived a simplicity of composition, an absence of detail and neutral but vibrant backgrounds; her flowers, grouped in generous bouquets, stand out from backgrounds of sustained greyish scumbling or red-brown tones. Her brushstrokes, in long flecks of color or in tight scumbling, emphasize the play of light and shade.
— Victoria Dubourg, like her husband Henri Fantin-Latour, specialized in still lifes. The two artists met while copying Old Masters at the Louvre in 1866. They were engaged in 1869, the year Victoria Dubourg exhibited her first painting at the Paris Salon but were not married until 1876. Fantin-Latour's engagement present to Victoria was a still life with a vase of flowers, a bowl of strawberries and a glass of wine, now hanging in the Musée Grenoble together with a still life by Victoria. Dubourg was an intimate part of the Impressionists' circle from its outset. Edgar Degas' portrait of her dating from the late 1860s is in the Toledo Museum of Art. She was also closely associated with Edouard Manet and Berthe Morisot. Victoria Dubourg exhibited regularly at the Paris Salon, winning an honorable mention in 1894 and a medal in 1895. All her exhibits were still lifes apart from her first two entries which were portraits reminiscent of the early portraits of Fantin-Latour. — Portrait of Victoria Dubourg (1866; 1105x880pix, 103kb) by Degas. — Portrait of Victoria Dubourg (492x393pix, 89kb) by someone else.
–- S*>#Bouquet de Roses (x800pix, 85kb)
–- S*>#Vase de Zanias (1871, 48x44cm; 900x789pix, 135kb) _ To save you the trouble of two links, the pseudonymous Victus Pantin-Lefour has combined this picture with the next to yield
_ Vase de Narcisses et Bouquet de Zanias (845x526pix, 41kb _ ZOOM to 1267x789pix, 101kb) which, for those who prefer side-by-side symmetrical compositions with a symbolic meaning, he further transformed into
_ Abondance et Disette (845x1054pix, 81kb _ ZOOM to 1267x1579pix, 201kb), which he deformed into
_ Merci Six (920x1300pix, 340kb) and then abstracted into
_ Bond Nod (920x1300pix,733kb), Node Don (920x1300pix, 420kb), and
_ Dine Nid (920x1300pix, 605kb)
— Bouquet de Narcisses (18x25cm; 716x1000pix, 417kb)
— Bouquet de Fleurs (34x37cm)
— Vase de Fleurs (47x40cm; 1000x841pix, 1258kb _ ZOOM to 2000x1682pix, 309kb)
— different Vase de Fleurs (1913, 46x38cm; 650x526pix, 63kb)
— Fleurs (607x700pix, 138kb) —(051130)

^ 1751 Jean-François Huë, French painter who died on 26 December 1823. — {Serait-ce parce qu'il était hué, Huë, que je ne trouve rien de lui dans l'internet? Avait-il un rival du nom de Dia? En tout cas, il n'est pas vrai que Huet huait Huë, qu'il s'agisse de Jean-Baptiste-Marie Huet I [15 Oct 1745 – 27 Jan 1811] ou de Paul Huet [03 Oct 1803 – 09 Jan 1869]}— Relative? of Charles-Désiré Huë [1825-1883]? — He was a student of Joseph Vernet [1714-1789] and was admitted to the Académie Royale in 1780, his first exhibit, two years later, being An Entrance to the Forest of Fontainebleau. He spent some time (1785–1786) in Italy, where he painted historical landscapes in the manner of Claude Lorrain, as well as views of Tivoli and of Naples, such as Cascade and Tivoli. Huë’s greatest claim to fame, however, was the continuation of the series of the Ports of France, started by Vernet; in 1791 he went to Brittany, where he painted Le Port of Brest (three versions), Le Port of Saint-Malo and Le Port of Lorient, which he was to paint again when he returned there in 1801. He also produced historical paintings, such as the Conquest of the Island of Grenada in 1779 and especially depictions of Napoleonic victories on both land and sea, including The French Army Crossing the Danube; The French Army Entering Genoa; and Napoleon Visiting the Camp at Boulogne. Huë was strongly influenced by Vernet, showing in his paintings the pre-Romanticism that was already apparent in his master’s works; but he made even greater play with the effects of light reflected in water and the picturesque aspect of his scenes.
— Dancing the Tarantella with the Tiburtine Chapel in the Distance (1787, 114x148cm; 488x650pix, 112kb).
— Fête de mariage dans un parc (80x100cm; 312x400pix, 58kb) _ detail (800x600pix, 188kb) —(051130)

>1634 Jan-Erasmus Quellinus (or Quellien) [–11 Mar 1715], Flemish Baroque painter of large altarpieces and histories. — Son of Erasmus Quellin II [19 Nov 1607 – 07 .Nov 1678]. —(081130)

Happened on a 01 December:
2004 Gordon's Gin publishes the results of its survey on which is the most influential work of modern art. That most of those surveyed were drunk is suggested by the fact that the winner is Fountain (1917) by Marcel Duchamp [28 Jul 1887 – 02 Oct 1968], ahead of Les Demoiselles d'Avignon (1907) by Picasso [25 Oct 1881 – 08 Apr 1973], the screen prints Marilyn Monroe by Andy Warhol [06 Aug 1928 – 22 Feb 1987], and Guernica (1937) by Picasso. {Did anyone mention any picture such as Gordon's Gin (1968) by a probably-anonymous ad illustrator}

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