search 8500 artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 11 Dec
ART 13 Dec >>>
ART “4” “2”-DAY  12 December v.9.20
^ Died on 12 December 1970: Natan Isayevich Altman (or Al'tman), Russian Constructivist painter, graphic artist, sculptor and designer born in the Ukraine on 22 December 1889.
— He studied painting at the School of Art in Odessa (1901–1907) under Kiriak Konstyantynovych Kostandi [03 Oct 1852 – 31 Oct 1921] {pero no se sabe cuanto le iba kostando}, at the same time attending classes in sculpture. In 1908–1909 he made a series of pointillist paintings. He visited Vienna and Munich in 1910 before going to Paris, where he worked at Vasil’yeva’s Free Russian Academy until 1912, producing paintings on Jewish themes and studying Cubism.
      In 1912 he went to Saint-Petersburg, where he painted a number of Cubist portraits, for example of The Poet Anna Akhmatova (1914). His Cubist work makes much use of faceting and transparent planes. From 1918 to 1921 he taught at the Department of Visual Arts (IZO) of Narkompros in Petrograd, but he was criticized for his attempts to identify Futurism with the art of the proletariat. Al’tman became well known as the designer of post-Revolutionary mass parades and monuments, for example the celebration of the first anniversary of the Revolution on 07 November 1918 on Uritskaya (now Dvortsovaya) Square, which employed abstract geometric forms on huge panels. He also published an album of sketches of Lenin in the Kremlin (1920).
— Altman was born in Vinnitsa, a provincial town in the Malorossiyan part of the Russian Empire, now Ukraine. He lost his father early and had to count only on himself in achieving his goal to became an artist. He studied at the Odessa Art School (1902-1907), but left it, unsatisfied with the level of teaching. On his return to Vinnitsa, he went on working alone. At the end of 1910, he went to Paris, where he lived for about a year. The trip played an important role in his future career. Altman's natural talent helped him to feel and understand the art ideas and trends of his time, and inborn professionalism helped to realize the ideas into artistic and elegant works of art. He was mostly influenced by Picasso and Braque.
      At the end of 1912, Altman moved to Saint-Petersburg, where he painted in Cubist manner, and soon became a popular artist. His famous Portrait of Anna Akhmatova (1914) established his fame. His works in sculpture, graphics and scene designs were also a success.
      After the Bolshevik Revolution (November 1917) Altman, as most artists of the ‘left’ wing started an active public life and made works of mass propaganda; sculpture works, stamps for the new Soviet state, decorations for the holidays of 07 November 1918 on the Palace Square in Petrograd and made a series of graphic portraits of Vladimir Lenin, which were published in a separate album and became very popular.
      He applied a close study and a skillful use of Suprematism he used in the series Petrocommune, Material Collection, Russia. Labor, and others (1919-1920). The following years he worked mostly in graphics, created a series of portraits of contemporary writers (1926-1927) and book illustrations. Especially successful was his work in the theater as scene designer.
      In 1928 Altman left Russia for France, where he returned to painting. He painted many landscapes and still lifes, in which he originally and daintily revived the tradition of Impressionism. He illustrated several children books, Old Testament, the Petersburg novels of Gogol, and also designed interiors. Altman returned to Russia in 1935 and found himself in a political atmosphere of ideological pressure and terror. His painting was so far away from the criteria of critical realism enforced by the Communist party, that he had to drop it altogether and was engaged only in book illustrations, which allowed him, to some extent, to remain not so prominent. The best works of that period were his scene and costume designs for the plays King Lear (1941), Othello (1944), Hamlet (1954) by Shakespeare. Altman died in Leningrad in 1970.

Self-Portrait (1926 drawing, 45x36cm)
Poetess Anna Akhmatova (1914, 123x103cm; 674x550pix, 63kb) _ Anna Andreevna Akhmatova was the pen name of Anna Andreevna Gorenko [11 Jun 1889 – 1966]. There is a Portrait of Anna Akhmatova (1922, 55x44cm; 703x565pix, 26kb) by Kuzma Sergeyevich Petrov-Vodkin [25 Oct 1878 – 15 Feb 1939], a drawing of Anna Akhmatova (1928, 37x23cm; 749x479pix, 15kb) by Nikolay Andreyevich Tyrsa [10 May 1887 – 10 Feb 1942], a quick sketch of Anna Akhmatova (1911; 416x630pix, 10kb) by Modigliani [12 Jul 1884 – 24 Jan 1920].
Lady with a Dog (Esther Schwartzmann (1911, 68x48cm)
Jug and Tomatoes (1912, 70x50cm)
Still Life. Colored Bottles and Planes (1918, 60x44cm)
Material Painting. Still Life with a White Jug (1919, 84x62cm)
Composition with Material Objects (1920, 83x65cm oval)
Still Life (62x47cm)
Selection of Materials (oval; 448x354pix, 42kb)
–- S*>#Brittany (x800pix, 98kb) a village
^ Born on 12 December 1863: Edvard Munch, Norwegian Symbolist and Expressionist painter, printer, etcher, and printmaker, who died on 23 January 1944.
— His intense, evocative treatment of psychological and emotional subjects was a major influence on the development of German Expressionism during the early 20th century. His painting The Scream (1893; 750x569pix, 124kb) is regarded as an icon of existential anguish.
— Munch was born in Loten, Norway. He grew up in Christiania (now Oslo) and studied art under Christian Krohg, a Norwegian naturalistic painter. Munch's parents, a brother, and a sister died while he was still young, which probably explains the bleakness and pessimism of much of his work. Paintings such as The Sick Child (1886), Vampire (1894), and Ashes (1894) show his preoccupation with the darker aspects of life. Munch traveled to Paris in 1885, and his work began to show the influence of French painters, first, the impressionists, and then the postimpressionists, as well as Art Nouveau design. Like many young artists Munch reacted against conventional behavior, and in 1892 he took part in a controversial exhibit in Berlin.
      His circle of friends included several writers, one of whom was the Norwegian playwright Henrik Ibsen. Munch designed the sets for several of Ibsen's plays. Between 1892 and 1908, Munch spent much of his time in Paris and Berlin, where he became known for his prints — etchings, lithographs, and woodcuts. After 1910 Munch returned to Norway, where he lived and painted until his death. In his later paintings Munch showed more interest in nature, and his work became more colorful and less pessimistic. Munch died in Ekely, near Oslo. He left many of his works to the city of Oslo, which built a museum in his honor.
— Edvard Munch was an artist whose brooding and anguished paintings and graphic works, based on personal grief and obsessions, were instrumental in the development of expressionism. Born in Løten, Norway, Munch began painting at the age of 17 in Christiania (now Oslo). A state grant, awarded in 1885, enabled him to study briefly in Paris. For 20 years thereafter Munch worked chiefly in Paris and Berlin. At first influenced by impressionism and postimpressionism, he then turned to a highly personal style and content, increasingly concerned with images of illness and death. In 1892, in Berlin, an exhibition of his paintings so shocked the authorities that the show was closed. Undeterred, Munch and his sympathizers worked throughout the 1890s toward the development of German expressionist art. Perhaps the best known of all Munch's work is The Scream (1893; 750x569pix, 123kb). This, and the harrowing The Sick Child (1886), reflect Munch's childhood trauma, occasioned by the death of his mother and sister from tuberculosis. Melancholy suffuses paintings such as The Bridge -- in limp figures with featureless or hidden faces, over which loom the threatening shapes of heavy trees and brooding houses. Reflections of sexual anxieties are seen in his portrayals of women, alternately represented as frail, innocent sufferers or as lurid, life-devouring vampires.
      In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo. The relative tranquillity of the rest of his life is reflected in his murals for the University of Oslo (1910-16), and in his vigorous, brightly colored landscapes. Although his later paintings are not as tortured as his earlier work, a return to introspection marks his late self-portraits, notably Between Clock and Bed (1940). Munch's considerable body of etchings, lithographs, and woodcuts is now considered a significant force in modern graphic art; the work is simple, direct, and vigorous in style, and powerful in subject matter. Few of Munch's paintings are found outside Norway. His own collection is housed in the Munch Museet.
— Munch drew inspiration throughout his life from his tragic youth: he had grown up in a poor family, lost his mother and sister at a young age, suffered under his severely depressed father and endured poor health. Munch took lessons in sculpting and painting and settled in Oslo (then Kristiana) where he joined the artist and student group 'Kristiana Bohème'. From an originally Impressionistic style, he rapidly developed a more Expressionistic form. Along with his youthful experiences of sickness and death, sexuality was an important theme in his work.
     In the period 1889-1907 Munch worked extensively abroad: first in Paris, later in Berlin. In the 1890s he began making prints - dry-point, woodcuts and lithographs. His expressive woodcuts exercised an especially strong influence on young German artists in the beginning of the twentieth century. Once back in Norway, Munch established himself in a village on the coast. He remained active as a painter and engraver. Towards the end of his life, he led a secluded existence. In 1944 he succumbed to an illness.
— “Art,” wrote Edvard Munch, “is the antithesis of nature.” Munch's most famous paintings reflect his interior conflicts in intensely subjective images that are often morbid and disturbing. He spent most of his twenties in Paris and Berlin. Paul Gauguin's work particularly influenced him, demonstrating the possibilities of distilling intense emotions into universal experiences through simplified, sinuous forms and evocative blocks of pure color. By validating the concept of painting one's emotional response to a subject, Munch pointed the way for the development of German Expressionist painting. His most ambitious work, The Frieze of Life, begun in 1888, was never completed. He hoped to create a room for this series of paintings to deal with “the modern life of the soul,” but he ended up selling works individually and then making new versions of them.
      By 1900 Munch had created his most important works. In 1908 he suffered a nervous breakdown, after which his paintings changed. Instead of the revelation of private despair, he looked into the world for more optimistic and universal symbols. Munch's prints, which often shared subject matter with his paintings, may have been his most influential creations.

Self-Portrait in the Grip of the Flu (600x521pix, 120kb _ ZOOM to 1400x1216pix)
Selvportrett ved vinflasken (1906, 110x120cm; 400x440pix, 53kb) _ Here Munch is as melancholic and passive, as he appears self-confident in Self-Portrait with Brushes. The entire position, the relaxed hands and the resigned expression, indicate that all power has deserted him. The atmosphere presses down on the artist, conveying an oppressive feeling of melancholy and loneliness.
Selvportrett. Nattevandreren (1924, 90x68cm) _ Here Munch reveals sides of his life which most other people wish to keep hidden: anxiety and restlessness as a result of loneliness. The uncurtained windows and the bare room emphasise the feeling of loneliness and isolation.
Selvportrett mellom klokken og sengen (1942, 150x121cm; _ ZOOM to 986x797pix, 236kb) _ With the stance of an old man, Munch places himself between two symbols of death, the clock and the bed. He stands there alone on the treshold between the sun-filled room behind him overflowing with works of art - what has been his life - and the bedroom where the shadow on the floor in front of him forms the shape of a cross. _ The pseudonymous Edward Drawde has made the picture that Munch really wanted to paint, but didn't dare: Much Munch, aka [Self-]Portrait between the clocks and the bed, in the clocks, on the other side of the clocks, behind the bed, on the wall, and in the copy lying on the floor beside the bed (657x929pix, 146kb _ ZOOM to 986x1394pix, 339kb)
Self-Portrait with Burning Cigarette (1895, 110x85cm; 386x523pix, 89kb)
Self Portrait in front of Blue Sky (1908, 60x80cm; pix, kb)
Two Women on the Beach (1898 color woodcut; 1441x1600pix, 566kb) _ A young woman stands on the beach looking out to sea. She wears a long, white dress. Next to her sits an old woman in black, her wrinkled face turned away from the water. The two figures are each other's opposite while, at the same time, they are fused to each other as a single form. The landscape seems to reflect the incongruity of the two figures. It is portrayed vaguely by a green and a blue surface which runs over into sky. Spaces in the green color of the beach are left open to indicate stones. A woodcut is based on the relief printing process, the design being carved on the wood block in relief, as on a stamp. The impression, or print, is also referred to as a woodcut. Tools required to make a woodcut include gouges (curved chisels) and woodcarving knives. Wherever white areas are required in the print, the artist cuts away the wood, leaving the lines and planes in the picture. The ink is applied with a dabber - a sturdy cushion - or a roller onto the block. The expressive wavy lines and the color panels holding little detail are characteristic of Munch's work.
     Munch used a single block of wood for this multicolored woodcut. He transferred a drawing to its surface and then sawed the block into separate shapes. He inked each piece, reassembled the pieces and then printed the puzzle in one go. The wood's grain can be seen clearly in a few places. Several different states of this print exist. Prints are generally produced in a series of states. The first impression of a print is known as the first state. If the illustration or text on the copperplate is changed the subsequent impression is referred to as the second state. Prints often exist in several different states. A print is a work of art in the form of an impression. A graphic artist transfers a design onto a support - a copperplate or a block of wood. The lines that make up the drawing are then colored with ink. The illustration is subsequently impressed onto paper in a press. The result is a print. This technique allows dozens, even hundreds of impressions of a single picture to be made. Various types of print exist. The principal varieties are engravings, etchings, lithographs, wood- or linocuts, dry-point prints and mezzotints. are known. Munch experimented with color and combinations of techniques. The print in this image is the 'standard' version, printed in green, blue, black and orange-red. Munch used green chalk to color the jutting piece of land where part of the wood block had broken off.
     Women play a central role in Munch's work. He was not interested in painting portraits. Rather, he represented 'Woman' in a variety of guises: as a young girl in a virginal white dress, as a lover or fatal seductress - often in fiery red - or as a frail widow dressed in black. The women in this print represent two stages - two extremes - in a woman's life. The girl is at the beginning of her life and looks out, full of anticipation, to the unknown - the future. The old woman has no more expectations; all that lies behind her. She is resigned to her old age.
     Munch made this print shortly after returning to Norway from a stay in Paris. In the late nineteenth and early twentieth centuries, Paris was the centre of innovation in the arts. There Munch saw color lithographs by Toulouse Lautrec and woodcuts by Gauguin. These artists made use of large panels, expressive, wavy lines and bright colors. Japanese prints were a powerful source of inspiration for them. Munch's simple, plain woodcuts tied in well with the Parisian innovators. Like Gauguin, Munch represented the Symbolist movement. His work also had great influence on the development of early twentieth-century Expressionism.
     Lithography is a flat-surface or planographic printing technique based on the principle that oil and water are mutually repellant. First the artist draws a design with an oily material onto a limestone plate or lithograph stone (lithos is Greek for stone). The plate is then treated in a special way: the crayon or ink with which the drawing has been made is washed away leaving the design as a vaguely visible grease stain on the stone. This is then wetted. Where it is oily, the water is repelled, the parts which have not been drawn on are now wet. Using a roller, ink is then applied to the stone, allowing the oily ink to adhere to the oily drawing while the rest of the stone, being wet, repels the ink. A print can now be made in a litho-press. With a sheet of paper on top, the inked stone is passed under a horizontal scraper or bar. Under the pressure of the press, the ink is transferred from the stone to the paper. Prints made with this process are known as lithographs. A color lithograph involves different stones being used for each color, passed through the press with the same sheet of paper in succession.
The Scream (1893, 91x74cm; 1052x813pix, 244kb _ ZOOM to 1425x1130pix, 615kb) _ imitated in:
     _ Mock of Munch's Scream (1893, 91x74cm; 1015x715pix, 487kb) by “Copycat”, looks like a copy rather than a satire;
     _ Scream (850x625pix, 402kb) Munch's picture with the screamer's head replaced by a realistic bald head (Erik's ?) looking skyward, and/or by Erik (?);
     _ Scream is not missing (800x653pix, 108kb) by ? (“George Bush art”), Munch's picture with the sky replaced by the US flag;
     _ The Scream (849x600pix, 445kb) by ?, Munch adapted to student anguish;
     _ The Scream ASCII (14kb) by Allen Mullen _ best seen at the smallest possible character size which makes it about 1400x400pix (it is cropped laterally to just the screamer);
     _ The Scream (photo 600x800pix, 67kb) by Jenny Edwards, somewhat like Munch modernized;
     _ but not at all like:
     _ Scream #16 (2272x1704pix, 449kb) an abstraction by Larry Cohen;
     _ A Scream_looking_for_a_mouth (1237x1062pix, 277kb) an abstraction by ?
     _ The Scream (800x531pix, 63kb) by Richard Lindner [11 Nov 1901 – 16 Apr 1978]
     _ Scream (1220x1087pix, 445kb) by Aristeo Aemeliano;
     _ Scream (140kb) by Ruth Vilmi;
     _ The Scream (1000x724pix, 167kb) by W. Begny;
     _ Scream (938x718pix, 282kb) _ detail (768x1024pix, 375kb) _ by anonymous at Cornell;
     _ Scream (600x889pix, 776kb) by ?;
     _ Scream (1089x628pix, 517kb) by Sonya Cuellar;
     _ (Screaming Finnish Child) (photo, 800x600pix, 82kb) by ?;
     _ The Scream (photo 804x792pix, 342kb) by Michael Reichmann, a landscape of rocks;
     _ Scream (1006x789pix, 407kb) by Adam Neilson;
     _ Andy's Scream (768x1024pix, 50kb) by Danny Dulai;
     _ The Screams aka Crime's Creams (2006; screen filling, 255kb _ ZOOM to 932x1318pix, 521kb) by the pseudonymous Vayvard Crunch.
     _ The Screams Series 31 self portraits painted in 2000-2001 by Emilio Mogilner [1965~].
     _ i scream (1280x960pix, 185kb) card game (photo).
Despair (1894, 92x72cm) _ a version of The Scream with a different main character.
Angst (1894; 1363x1000pix, 256kb)
Thor Lütken (1892; 1600x1293pix, 425kb) Munch's lawyer.
Ashes (1894, 120x141cm)
Madonna (1422x1097pix, 523kb)
The Dance of Life (1900, 126x190cm; 120kb _ ZOOM to 909x1385pix, 782kb)
Evening on Karl Johan (1892, 85x121cm)
The Kiss (1892, 73x92cm; 406x510pix) _ This was painted in Nice in 1892, and the subject continued to absorb Munch throughout the 1890s. This version, which is one of the earliest, is a more bashful scene than later ones. The young, embracing couple - the figure of Munch is easily recognizable - has moved away from the window. They hide from the outside world as they abandon themselves to their love. It is dark in the room; outside it is evening, with illuminated shop windows, and people strolling in the street. In later versions, Munch shows the couple naked in front of the window, demonstrating their right to free love, regardless of how society might judge them. In our picture, however, it happens in secret. The bluish coloring, thinly applied paint, and light yet visible strokes are characteristic of the pictures Munch painted during his stay in Nice. Already we see that he integrates the two figures into one large shape, dominated by the man's outline. He was to take this concept further in his famous woodcut, where he draws the couple as an unbroken contour, omitting all detail, and merges this line with the annual rings of the wood. Thus lovemaking becomes part of nature's eternal cycle. In this picture, Munch has developed an idea from an etching by Max Klinger entitled In the Park, one of the series A Love (1887). There too, the artist, easily recognizable, appears in the role of seducer. Munch admired Klinger's art, and had encountered his series of prints in the early 1880s.
The Kiss (1897, 99x80cm; 700x561pix) _ Munch painted a number of variations of the motif Kiss, placing the couple in various positions but always expressing the tension between life rushing past outside and the timeless, frozen moment inside. In this version Munch explores the effect of back lighting, which contributes to the abstract, surface-like nature of the couple whose bodies glide across each other into a single shape.
Kiss IV (1902 woodcut, 47x47cm; 400x404pix) _ In the woodcut as in the paintings, the kissing pair are clothed, unlike the etching (563x450pix, 44kb) with a corresponding motif. In this version, abstraction has been taken to its extreme, and the man and the woman stand up together as a dark silhouette against the background formed only by the pattern in the wood.
Puberty (1895, 152x110cm; _ ZOOM) _ A young girl sits naked on the edge of a bed, her thighs pressed together and her hands hiding her nakedness. She stares straight ahead but without meeting an onlooker's eyes. She has experienced something, and her state is tense as a result, a fact underlined by the dark shadow unfurling behind her. Was it her first erotic dream? Her first menses? We do not know, nor is that crucial. What Munch depicts in this painting is sexual awakening, an awareness of something new, something frightening yet alluring and inescapable. Not surprisingly, a picture of such a subject was considered offensive at the time. Even nowadays when the topic is not taboo, the picture can shock the viewer with its frank portrayal of an intimate situation experienced by all young girls. For this work, too, Munch's inspiration came from Max Klinger's series of etchings A Love, from the plate entitled Awaken.
Death in the Sick-Room (1893, 153x170cm; ZOOM) _ Munch's childhood memories of the death of his sister Sofie materialized into several well-known motifs. In this painting, the family has assembled at Sofie's deathbed. To facilitate her breathing, the patient is sitting in a high-backed chair, turned away from us. The artist wants to depict not the sick girl but the reaction of the other members of the family as they come face to face with death. There is no communication among the persons, each is locked in his own world. The father, who was a doctor, is shown full-face, his hands clasped in prayer. The aunt, Karen Bjølstad, is tending the sick girl. The group in the foreground includes Munch's two other sisters. Laura is sitting with her hands in her lap; Inger is standing, exactly as in the full-length portrait painted in 1892. Edvard is turned towards the dying girl, whereas the brother Peter Andreas is leaving the room by the door on the left. "I paint not what I see but what I saw", Munch said of his art. This is the picture of a memory, not a faithfully rendered interior, and so all unnecessary details are omitted. He and his sisters have grown to adulthood since the event took place, his father and brother are dead. The arrangement of figures becomes a symbol of numbing grief. Munch repeated the composition in several versions and in a number of lithographs.
Melancholy (Evening) (1896, woodcut in color, printed from two blocks, each cut into two sections, 38x46cm) _ Munch’s first attempts at printmaking, of which this is an example, were made in Paris, a center of experimentation in printmaking methods. At first working in color lithography (which required extensive collaboration with a professional printer), Munch soon turned to woodcut, a technique that enabled him to prepare the block himself up to the moment of printing. In his woodcuts, the artist innovatively included the grain of the wood into his designs. He also developed a unique jigsaw-puzzle technique of sawing the wooden blocks into pieces, inking them individually, then reassembling and printing them as a single block. Composed of simplified shapes and curving, expressive line, this image, derived from his Frieze of Life paintings, universalizes human experience while depicting a specific subject — a friend, infatuated with an older woman, who mourns alone on a beach while his lover and her husband embark on a boat trip on a midsummer night.
The Sick Child, (1886, 120x118cm). _ Edvard Munch derived the subject-matter for many of his works from events in his own life. Love and death are central themes. The Sick Child evokes memories of his sister Sofie, who died of tuberculosis when Edvard was fourteen. The girl in the picture is a hired model. Propped up by a pillow, she is sitting in a chair, a pale hand on the blanket over her lap. To the right we see the aunt, her head bowed in grief. All attention is focused on the head of the young girl, seen in profile against the pillow. She gazes across the room, perhaps into eternity. Depictions of the ill and dying were not unusual in the art of his day, but Munch adds a new dimension to a current theme. In order to give expression to atmosphere and space, he applies thick layers of paint, and scores the surface with his palette knife. Naturalist that he is, he wants to convey the impression of his own eyelashes as he squints towards his sitters. This is the first of five versions of this painting; the latest dates from 1925. Several prints, too, varying in technique and composition, treat the same subject. _ Compare the same subject by Metsu [Jan 1629 – 24 Oct 1667 bur.], Hooch, Francisco]
Spring (1889; 511x800pix)
The Dead Mother (1900, 100x90cm; _ ZOOM)
Stjernenatt (1924, 139x119cm) _ In the group of starry night motifs seen from Munch's veranda at Ekely, where the blue winter night conveys a fateful sense of melancholy, we see how Munch makes use of rounded shapes in constructing the painting. The shadow in the foreground - in all likelihood Munch's own shadow - expresses loneliness in the face of death. _ Compare:
    _ The Starry Night (1889; 834x1013pix, 213kb) and Starry Night over the Rhône (1888, 72x92cm; 869x1064pix, 160kb) by van Gogh
    _ A Starry Night (65x81cm) by François Charles Cachoud [23 Oct 1866 – 29 Jan 1943]
    _ Starry Night with Astronauts (1972, 152x137cm; 513x540pix, 112kb) by Alma Thomas [22 Sep 1891 – 1978]
    _ The Starry Night astronomical photograph (can you tell which section of the sky?).
Under the chestnut tree (1937, 117x119cm)
The Girl and the Four Male Heads (1899; 300x400pix, 11 kb)_ In 2005, this previously unknown painting by Munch was discovered under another one in the same frame.
Angskrik (960x1280pix, 101kb) _ This might be thought to be an early painting which Munch decided to suppress so as to make two paintings out of it. But it is the opposite: a combination of elements from two Munch paintings made by the pseudonymous and symmetry-loving Munch-chum Edward Drawde [1891 –1981, the dates he would have picked if he had had a choice].
–- S*>#Two Human Beings, the Lonely Ones (1899 woodcut; 563x785pix, 91kb) trial proof, monochrome blue; except for color almost identical to the following:
–- S*>#Two Human Beings, the Lonely Ones (1899 woodcut, 39x55cm; 211kb) printed in dirty pale green, black, orange and yellow from three blocks, Munch's Jigsaw technique. The sea, the shore and the woman form three parts and each part has been inked separately. The blocks have then been assembled like a jigsaw puzzle and then printed. The two persons stand isolated from one another; their compositional distance is given an emotional charge by their actual separation, as two distinct pieces of a single block. They stand in a fragmented landscape where land is cut off from sea. The line of the division includes the the man, indicating his place in the earthly domain. The woman is isolated from both her lover and her environment.
–- S*>#Woman's Head Against the Shore (860x739pix, 108kb) dull grayish aqua, yellow, and gray.
–- S*>#Two Women on the Shore (900x1002pix, 114kb)
–- S*>#Andreas Leser (1063x900pix, 164kb) he seem to be sitting on a legless chair floating above the floor.
–- S*>#Rolf Stenersen (1071x900pix, 159kb) head and shoulders, strong unnatural colors.
–- S*>#Towards the Forest (x800pix, 129kb) monochrome dull blue, not much of a picture.
–- S*>#Self~Portrait (900x555pix, 97kb) against half-aqua half-yellow background.
–- S*>#Ingeborg by the Fjord (900x1065pix, 219kb)
–- S*>#Summer Day (900x1995pix, 299kb) at the beach
–- S*>#The Wave (900x1058pix, 214kb) 5 curved waves against a curved grassy shore.
–- S*>#Self-Portrait With Spanish Flu (900x1382pix, 226kb) sketchy
–- S*>#Generations (900x1117pix, 171kb) two mustacheless bearded men, one middle-aged, one old; a dog and what are probably children sitting on the grass in the background before the edge of a fir-tree forest.
–- S*>#Horses (900x1166pix, 240kb) a yellow one and a blue one, pulling a cart.
–- S*>#Men Bathing (900x1242pix, 246kb) lacking details: they could be short-haired women.
–- S*>#Der Ziegenwagen (900x1348pix, 365kb) sketchy
–- S*>#Sommernatt, Øsgørstrand (799xpix, 99kb)
Rouge et noir (1898, 25x19cm; 748x553pix, 125kb) actually grayish blue, off-white, and a little grayish orange; two faint mottled images on a similarly mottled background. The image is on a web page with a background that outshines it: bright red, with screaming mouths outlined in yellow. _ Taking his cue from this fact, Vayvard Crunch has transformed the Munch image into a truly red and black (and white) background, and the web page background image into four versions of a glorious foreground picture:
      _ Red and Black to the Back of the Red Scream of Five Mouths With Golden Teeth, version 1 (2006; 1024x1024pix, 137kb)
      _ RBBRScreamFMWT, version 2 (2006; 1024x1024pix, 148kb)
      _ RBBRScreamFMWT, version 3 (2006; 1024x1024pix, 187kb)
      _ RBBRScreamFMWT, version 4 (2006; 1024x1024pix, 391kb)
      _ Black and Red (1896, 120x90cm) by John White Alexander.
      _ Black Square and Red Square (1896, 120x90cm) by Malevich.
      _ Red and Black Vase (600x800pix) by Léger _ the vase, a minor part of the picture, is surrounded by objects and shapes in a variety of colors.
      _ Red and Black: the Fan (1067x479pix, 64kb) by Whistler _ orange and dark greenish gray, on a vomit-yellow background.
      _ Paesaggio rosso e nero con tre lune (1999, 50x60cm; 510x616pix, 26kb) by Trento Longaretti [1916~]; with only 1-1/2 moon.
      _ Roja y Negro (1993; 512x408pix, 54kb) by Carmen Herrera..
      _ Roja y Negro (13 Sep 2005; 580x420pix, 50kb) by Borja Delgado.
      _ Untitled (Red-and-Black2) (122kb) by Reid Priedhorsky, which is pink, dark blue, off-white, and gray.
      _ Red and black melt timidly (1200x1600pix, 357kb) photo by ?, which is really red and black, with some white and a little yellow.
      _ Red and black (03 Feb 2006; 864x1017pix, 144kb) by the pseudonymous AureL2, which is mostly off-white and very light bluish gray.
Munch site

Died on a 12 December:

>2007 Josep Guinovart i Bertran [20 Mar 1927–], Barcelona Catalan painter, draftsman, and engraver. Su obra experimentó todas las posibilidades de la pintura contemporánea, y se enmarcó dentro de una generación asociada con el grupo y la revista Dau al Set. Su arte está considerado como un verdadero compendio no sólo de las artes visuales catalanas, tal y como se desarrollaron durante la segunda mitad del siglo XX, sino también de las artes visuales españolas en su conjunto. A los catorce años de edad comenzó a trabajar como pintor de paredes, ingresando después en Llotja.
Venuda (lithograph and collage, 56x38cm; 2797x1865pix, 972kb)
Pintura 21 (1340x1817pix, 1458kb) —(081211)

^ 2004 Bernarda Bryson Shahn, born on 07 March 1903, US writer, printmaker, illustrator, and best known, late in life, as a painter with a style both realistic and mysterious. She was the widow of the social realist painter Ben Shahn [12 Sep 1898 – 14 Mar 1969]; the mother of Jonathan Shahn, a sculptor, and of Abby Shahn, a painter; and the stepmother of Judith Shahn Dugan, a painter. Bernarda Bryson was born in Athens, Ohio. From her family, she inherited both an interest in writing (her father owned The Athens Morning Journal) and the progressive social conscience that informed much of her work (her maternal grandfather's home had been a stop on the underground railroad). She studied printmaking at several schools, including Ohio University, Ohio State and the Cleveland School of Art. After an early marriage that ended in divorce, she went to work as a newspaper journalist. In 1933, she went to New York to interview the muralist Diego Rivera. There, she met Rivera's assistant, Ben Shahn, who became her mate (they married shortly before Shahn's death). In the mid-1930's, the couple drove across the country, documenting rural life for the Resettlement Administration. Bernarda Shahn's series of lithographs from that trip was published in 1995 as The Vanishing American Frontier. She collaborated with her husband on two of his New Deal-era murals, one in what is now the Roosevelt Public School in Roosevelt, N.J., and the other in the Bronx General Post Office. Both still exist. In midcareer, Bernarda Shahn turned primarily to illustration. She wrote and illustrated several children's books, including The Zoo of Zeus (1964) and Gilgamesh (1967). She also wrote a 1972 monograph on Ben Shahn's work. — Portrait of Bernarda Bryson Shahn, at 99, in her studio (2001; 621x761pix, 767kb) by Mel Leipzig. //
Reflection (1977; 380x380pix, 68kb)
The Twenty Miracles of Saint Nicholas (450x336pix, 74kb) _ cover of book by Bryson.

^ 1982 Günter Fruhtrunk, Munich German painter born in May 1923.
Unbedingtes und Blau-Violetter Widerhall (36kb) _ This almost monochrome picture in flat black and white has been transformed by the pseudonymous Bomquad Fruitroot into the colorful and minutely detail symmetrical abstractions
        _ Unbending He Blew a Vile Letter Into the Wider Auditorium (2006; 724x1024pix, 214kb _ ZOOM to 1024x1448pix, 415kb _ ZOOM+ to 2636x3728pix, 2599kb) and
        _ Blue Violator With the Haul (2006; 724x1024pix, 214kb _ ZOOM to 1024x1448pix, 415kb _ ZOOM+ to 2636x3728pix, 2599kb) and
Strahling, Exempl.II —(061229)

1860 Hendrik Bakhuyzen (or Backhuyzen) van de Sande, Dutch artist born on 02 January 1795.

1793 Michel-Bruno Bellengé (or Bellangé), French artist born in 1726. — Relative? of Hippolyte Bellangé [1800-1866]?

^ 1694 Filippo Lauri, Roman painter and draftsman born on 25 August 1623. He painted both large decorative works and small cabinet pictures, and Francesco Saverio Baldinucci [1663–1738], whose biography of Lauri is the most complete, tells us that he ‘worked with great originality in every kind of painting ... rendering landscapes, fruits, flowers, animals and architecture’. He studied first under his father, Balthasar Lauwers [1578–1645], a Flemish landscape painter whose name was Italianized as Lauri, and then under his elder brother, Francesco Lauri [1612–1637], and under his brother-in-law, Angelo Caroselli [–1652]. At least until the death of Caroselli he worked as a copyist. Francesco had been a student of Andrea Sacchi, and Filippo, who was thus trained in a classical tradition, developed an elegant style, indebted to 17th-century Bolognese painters, particularly Domenichino and Francesco Albani. His art was admired by princely Roman families, and among his earliest works were two frescoed ceilings (1651–1653) for the casino built by Girolamo Farnese [1599–1668] at Porta San Pancrazio (Baldinucci). In 1654 Lauri became a member of the Accademia di S Luca, Rome, of which he later became Principe (1684–1685), and in the same year painted a Flight into Egypt for the church of Rocca Sinibaldi, near Rieti. There followed three pictures (1656) for the cathedral at Sorrento, and Lauri collaborated with Filippo Gagliardi [–1659] on a large canvas, Nocturnal Festivity for Queen Christina of Sweden (1656), adding over 200 small figures to Gagliardi’s architectural setting.

Born on a 12 December:

1923 Frank Wesley [–2002], Catholic painter from India, who emigrated to Australia in 1973. He is best krnown for his religious art. — biography —(081231)

^ 1919 John Henry Wilde, in Milwaukee, US surrealist painter who died of cancer on 09 March 2006, in Cooksville, Wisconsin. He was associated with the Magic Realist school of painting, whose fantastic, darkly humorous images brought him fame. Wilde painted, with an exacting touch, narratives involving grotesque, doll-like people in otherworldly situations. He was inspired partly by Salvador Dalí and partly by Northern Renaissance masters like Bosch and Grünewald. Wilde often painted himself into his pictures, giving himself a weirdly oversized and misshapen head. He also created intensely detailed, colorful and mysteriously glowing still lifes. Although he lived his whole life in Wisconsin (except for a wartime service in the Army) Wilde rejected the regionalism of artists such as Grant Wood and John Steuart Curry. Instead he became part of a loose community of like-minded Midwesterners, including Marshall Glasier, his teacher at the University of Wisconsin, and the Chicago-based fantasy painter Gertrude Abercrombie. They advocated idiosyncratic and freely imaginative forms of expression. His paintings also relate to those of New York-based Magic Realists such as Paul Cadmus and George Tooker. He studied art at the University of Wisconsin, Madison, and served as an artist in the Army from 1942 to 1946, producing drawings for its venereal disease prevention program and maps and terrain models for intelligence. After the war, Wilde returned to the University of Wisconsin, where he earned a master's degree in art history with a thesis on Max Ernst. He began teaching studio art at the University of Wisconsin in 1948 and continued to do so until his retirement in 1982.
Myself in 1944 contemplating the Following 60 Years (2004; 62x101cm; 391x648pix, 78kb)
Pooh's Pitchers (2002, 31x51cm; 659x932pix, 61kb _ ZOOM to 1768x2300pix, 633kb)
Studio Still Life - Red (2001, 41x51cm; 373x640pix, 36kb _ ZOOM to 1580x2656pix, 548kb) monochrome
Studio Still Life - Yellow (2001, 30x50cm; 377x640pix, 28kb) monochrome _ If you're going monochrome, why not make a whole series in all the colors of the rainbow? That's what thought the pseudonymous Irene Taime and so she made
        _ Studious No Longer Life - Blue aka Blue Bulb (2006; 659x932pix, 119kb _ ZOOM to 932x1318pix, 238kb); bored with strict monochrome, she allowed herself one small touch of yellow in
        _ Studious No Longer Life - Red aka Red Dear (2006; 659x932pix, 119kb _ ZOOM to 932x1318pix, 238kb) and in
        _ Studious No Longer Life - Green aka Green Erg (2006; 659x932pix, 119kb _ ZOOM to 932x1318pix, 238kb). No longer able to tame her abstration instincts, she exploded that into the colorful symmetrical
        _ Luxuriant Outdoor Life aka Tile Lit (2006; screen filling, 348kb _ ZOOM to 1318x1864pix, 1530kb).
The Wilde House (1952; 29x40cm; 455x900pix, 96kb) _ It's wild, all right: there are 18 naked women (some seen only in part), including 2 on the roof.
February 2 thru 23 1985 (1985, 21x21cm; 481x492pix, 76kb)
Eventide at Duchess's (2005, 69x105cm; 421x648pix, 83kb) —(060320)

^ 1905 Pierre Louis Corentin Jacob “Tal-Coat”, French painter, printmaker, and sculptor, who died on 11 June 1985. — {His pseudonym is NOT Tailcoat, regardless of what my spelling checker program suggests.} — Fils de marin-pêcheur, il commençe comme peintre céramiste chez Henriot à Quimper. Il change son nom véritable (Pierre Jacob) par le pseudonyme de Tal Coat, "front de bois" en breton. En 1932, il rejoint le groupe "Forces Nouvelles" et revient avec ses amis en Bretagne. — He was self-taught as an artist, devoting himself from 1923 to painting, drawing and sculpture. In 1924 he worked as a porcelain painter in the faience factory at Quimper, but in 1925 he went to Paris to do his military service. There he was drawn into artistic circles. Taking as his pseudonym a Breton term meaning ‘wooden forehead’, he worked first as a realist painter, joining the group Forces Nouvelles and taking part in their first exhibition in 1935 at the Galerie Billiet-Vorms in Paris. His portrait of Gertrude Stein (1935) won him the Prix Paul Guillaume in 1935. He assimilated the influence of Picasso in a series of paintings concerning the Spanish Civil War entitled Massacres (1936–1937, e.g. Massacre, 1936), and of Matisse in the broad brushwork and fluid outline drawing of such paintings as Sur la Table (1944). For a brief period, for example in Rooster and Hen in the Studio (1946), he adopted a more rigorously geometric framework for his compositions, strengthened perhaps by his consciousness of the heritage of Cézanne during his regular extended visits to Aix-en-Provence between 1940 and 1956. — LINKS
–- Femme Allongée (1930, 28x41cm; 510x786pix, 34kb) minimalist
Le Port de Doëlan (1940, 81x105cm; 402x500pix, 46kb) _ De 1926 à 1940, Tal-Coat séjourna irrégulièrement à Doëlan. Il y attira d'autres artistes: Poiret, Bénézit, Gruber, Compard.
Aquarium (28kb)
7 lithographs
5 etchings
2 aquatints and 1 etching

^ 1874 Leonard Campbell Taylor, British painter of subject pictures, portraits, and interiors with people, who died in 1969.
–- S*>#Looking Into the Pantry (800xpix, 55kb)
–- S*>#The Blue Dress (900x1160pix, kb)
–- The Rain It Raineth Every Day (1906, 37x27cm; 838x600pix, 44kb _ .ZOOM to 1256x900pix, 145kb)
–- Mother Love (1916, 46x61cm; 661x900pix, 53kb) looks like a version of The First Born (1914).
–- Japanese Prints aka The Portfolio (29x18cm; 765x464pix, 27kb)
Persuasion (1914, 37x29cm; 1000x805pix, 310kb)
–- Needlework (46x36cm; 765x585pix, 34kb) —(061202)

^ 1872 Johann Heinrich Vogeler, German painter, printmaker, and architect, who died on 14 June 1942. He studied from 1890 to 1893 in Düsseldorf. In 1895 he bought the Barkenhoff in Worpswede, near Bremen. Soon afterwards, with colleagues from the Worpswede Colony, including Fritz Mackensen, Fritz Overbeck [1869–1909], Hans am Ende [1864–1918] and Otto Modersohn [1865–1943], he exhibited successfully at the Glaspalast in Munich. He provided illustrations for the periodical Die Insel, and undertook the interior decoration of the Güldenkammer in Bremen. In 1906 he visited Ceylon (now Sri Lanka) for convalescence and in 1909 he went to England to study the principles of the garden city movement. He served in the German army in World War I, his writing of a pacifist letter to the Emperor in January 1918 prompting an official inquiry into his state of mental health. In 1919 he founded the Arbeitsgemeinschaft Barkenhoff in Worpswede, in an unsuccessful attempt to create an Arbeitsschule and a utopian community. From 1920 to 1926 he painted the Barkenhoff-Diele, the hall at Barkenhoff, with scenes from the revolutionary political struggle. Now a committed Marxist he settled in Moscow in 1931. In 1941 he fled the advancing German Nazi army, all the way to the vicinity of Karaganda, Kazakh SSSR (now Kazakhstan), where he died.
Frühling (1898; 400x326pix, 27kb)
Tavasz Rezkarc (1896) in a print on the November 2001 cover of Múzeumi Hírlevél

1856 Henry Moret, French painter who died (full coverage) on 05 May 1913. —(051208)

1789 date sometimes given for the birth of William Turner (of Oxford), instead of 12 November 1789, the date preferred by this site.

1753 William Beechey, British painter who died (full coverage) on 28 January 1839. —(061202)

1753 Jean-Claude Naigeon, French artist who died on 11 January 1832.

1682 date sometimes given for the birth of Giovanni Battista Piazzeta, instead of 13 February 1682, the date preferred by this site.
ZOOM on full picture

Happened on a 12 December:

1531 Last apparition of the Virgin of Guadalupe to Saint Juan Diego Cuauhtlatoatzin [1474 30 May 1548].

click click
<<< ART 11 Dec
ART 13 Dec >>>
updated Friday 20-Mar-2009 16:00 UT
principal updates:
v,9.01 Tuesday 10-Feb-2009 1:06 UT
v.7.b0 Wednesday 12-Dec-2007 0:47 UT
v.6.b1 Friday 29-Dec-2006 22:29 UT
v.5.b0 Monday 12-Dec-2005 6:37 UT
Sunday 12-Dec-2004 1:20 UT

safe site site safe for children safe site