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DEATH: 1806 BEACH

BIRTH: 1875 ROUSSEAU

^ Born on 17 December 1875: Henri Émilien Rousseau, French Orientalist painter and illustrator who studied under Gérôme. H.E. Rousseau died on 28 March 1933. — Not to be confused with “le douanier” Henri-Julien-Félix Rousseau [21 May 1844 – 02 Sep 1910]
— BIOGRAPHY

— Porte au Maroc (Fez) (1920, 55x46cm)
— Un Homme Accroupi (après 1919, 45x33cm)
— Cavalier devant une fontaine de Marrakech (1933, 56x44cm).
— Fontaine de Marrakech (1933?, 47x39cm) sans cavalier.
— Le rendez-vous (1926, 59x90cm) de cavaliers arabes.
— Cavaliers et Hommes Arabes (91x71cm)
— Course en Camargue (1929, 19x25cm)
— Paysage désertique (24x33cm)
— Sous les murs de Rabat au crépuscule (1933, 49x64cm)
— Deux cavaliers africains en burnous bleu (1928, 37x48cm)
— La chasse au faucon (1933, 43x55cm)
— À l'abreuvoir (1926, 47x62cm)
— Cavalier de fantasia à la casaque verte (1919, 22x16cm)
— Fantasia marocaine (1933, 64x91 cm)
— Trois cavaliers avec étendards (1921, 26x23cm)
— Caïd El Ayadi (1928, 38x31cm)
— Sliman Tunis (63x53cm)
— Cavaliers devant une porte de Meknès (1925, 31x46cm)
— Fauconnier arabe (après 1919, 55x46 cm)
— Meknès – Bab et Khmis (1926, 20x30cm)
— S*>#The Hawking Party (x799pix, 81kb)
—(061216)

^ Died on 17 December 1806: Thomas Beach, English painter specialized in Portraits, born in 1738. — Not to be confused with St. Thomas Beach.
— The painter Thomas Beach Beach studied under Joshua Reynolds from 1760 until early in 1762, during which time he was also a student at the Saint Martin’s Lane Academy, London. He probably settled in Bath; his recorded portraits of the 1760s are all of sitters from Dorset or Somerset, and he sent two portraits from an address in Bath to the Society of Artists exhibition of 1772. He exhibited with the Society until 1783, becoming its vice-president (1782) and president (1783) he also exhibited at the Royal Academy (1785–1790, 1797). He probably divided his mature practice between London and Bath.
His early reliance on Reynolds’s ideas of propriety gave way to a more direct approach, seen at its best in such group portraits as The Stapleton Family (1789). In this work, the four children are shown in costume, as a fortune-teller and her customers. The theatrical element in Beach’s work, reflecting his interest in the stage, is seen most strikingly in Sarah Siddons and John Philip Kemble in ‘Macbeth’ Act 2, Scene ii (1786). Beach’s diary for 1798, the only one to have survived, chronicles what appears to have been an annual tour of the west country; that year he completed 31 portraits between June and December. Beach was able to capture a strong likeness and this, despite a certain naivety and awkwardness in composition, was enough to establish his reputation in moderately fashionable provincial circles. His last recorded work is a Self-portrait (1802), but he painted little after 1800 and retired to Dorchester.

— LINKS
— Self-Portrait (1802, 76x63cm)
— The Hand That Was Not Called (1775, 147x189cm)
–- Samuel Rodbard (1795, 125x100cm; 1000x787pix, 109kb) with pet dog. _ Samuel Rodbard was a large landowner in the county of Somerset, England, and claimed to be lord of the manor of Pitcombe.
— Captain Sir George Montagu [1750-1829] (1788, 190x147cm; 935x700pix, 110kb) _ A full-length portrait (probably cut down top and bottom) wearing a captain's undress uniform (over three years, 1774-1787) of frock coat and breeches. Facing left, Montagu stands in front of a tree to his left with the sea beyond, to his right. While in command of the Pearl, 32 guns, he captured the Spanish frigate Santa Monica, 28 guns, in 1779 and in the following year the large French privateer, Espérance, 32 guns. As a rear-admiral, he commanded the secondary squadron watching Rochefort in the campaign of the First of June 1794 and was later commander-in-chief at Portsmouth, dying as Admiral of the Red.
— Miss Elizabeth Phelips, dressed as Diana (1770, 77x64cm; 579x488pix, 30kb) _ A half length portrait, her face facing to the left of the picture. She wears a low cut white dress with a green girdle, and a green cloak draped over her left shoulder. Her hair is pulled back from her face and is decorated with a string of pearls with crescent. She holds a bow in her left hand, with a quiver of arrows across her right shoulder. A woodland setting.
— A Gentleman in a Green Robe (1773, 76x64cm; 512x412pix, 16kb)

Died on a 17 December:

>2007 Caroline Kohn Keck [06 Oct 1908–], US art restaurer, as was her husband Sheldon Keck [1910 – 12 Jun 1993]. They pioneered the use of modern technology and their work was reversible. She wrote the books “How to Take Care of Your Pictures” (1954), “Handbook on the Care of Paintings” (1965), “A Primer on Museum Security” (1966; co-writer Huntington T. Block), and “Safeguarding Your Collection in Travel” (1970) .—(080115)

2004 date given by some as that of the death of Tom Wesselmann, which, on this site, is thought to be on 19 December 2004. —(081221)

2002 Giovanni Intra, born in New Zealand in 1968, co-founder in 1998 (with artist Steve Hanson) of China Art Objects Galleries (name from a discarded sign, no relation to content) in Los Angeles. Their shows often featured collaborations between younger and more established Los Angeles artists, including Jorge Pardo, Laura Owens, Steven Prina and Frances Stark. But they also gave first shows to young unknowns like David Korty, John Pylypchuk, Eric Wesley, J. P. Munro and Mason Cooley.

>2000 Luis Claramunt i Palou [19 Aug 1951–], Catalan painter. De formación autodidacta, desde sus comienzos pictóricos se interesó por los temas urbanos, con una perspectiva expresionista que presta gran atención a la estructuración de la imagen. A finales de los sesenta y durante los setenta su colorido fue más encendido y su empaste más denso. Pintaba enclaves de Barcelona, Madrid, Mallorca, Sevilla y Marrakech, ciudades en las que se instaló sucesivamente desde principios de los ochenta, además de otras obras con tema taurino. En estos cuadros las figuras humanas explican y dan sentido vital al espacio, rompiendo en ocasiones la escala.
— untitled (1985, 18x27cm; 834x1084pix, 224kb)
— untitled (1985, 25x33cm; 704x1016pix, 184kb)
— untitled (1985, 24x33cm; 806x1152pix, 184kb)
— Some 30 images of paintings, mostly small —(081216)

^ 1765 Ercole Graziani II, Bolognese painter born on 14 August 1688. He was the son of Ercole Graziani I [1651–1726]. He studied first under Lodovico Mattioli and later under Donato Creti in the house of Conte Alessandro di Fava, where he made copies after his master and after his illustrious Bolognese predecessors, the Carracci, Guido Reni, and Simone Cantarini. His earliest works, such as The Virgin and Child with Saint Irene (1720), show the influence of Creti, but the grace of pose and warmth of coloring are Graziani’s own. His first securely datable work is The Ascension, completed in 1728, for the oratory of the Purità, Bologna, in which the luminous colors show how far the Bolognese school had developed from the somber palette of the 17th century. Graziani acquired a considerable reputation in the late 1720s and enjoyed official success at the Accademia Clementina, becoming director in 1727 and serving as principal in 1730. He made a number of large altarpieces for churches in Bologna and the surrounding area, but in them his colors lose something of their charm and freshness and his approach is somewhat pedestrian. Such works as The Death of Saint Francis Regis (1732, 600x400cm) and especially The Martyrdom of Saints George and Catherine of Alexandria, commissioned by Cardinal Tommaso Ruffo for the cathedral at Ferrara and unveiled in 1735, are impressive mainly for their size. They were nonetheless held in high esteem by contemporaries, and in 1737 Pope Benedict XIV ordered a replica of the St Peter Consecrating Saint Apollinaris as Bishop to be placed in the church of S. Apollinaris in Rome.
— L'Immacolata con i Santi (2201x1505pix, 2008kb) by him or by his father?
— Abramo e Isacco (133x97cm; 363x264pix, 17kb) —(051216)

^ 1686 Liéve Pieterszoon Verschuur (or Verschuir, Verschuier), Dutch painter born in 1630. He is believed to have been a student of Jan Porcellis and Simon de Vlieger. He was a sculptor, marine painter, and portrait painter.
— Action Between the Dutch Fleet and Barbary Pirates (1670 145x215cm; 468x700pix, 68kb) _ A large fleet of Dutch merchantmen is shown in action with some of the Moslem corsairs who operated from the Barbary coast of North Africa. A Barbary galley is shown in port-broadside view in the foreground, with the motif of the crescent prominently featured in gold on the stern. Figures in the bow and stern, bearing quivers of arrows on their backs, aim their bows at the ship towering immediately behind. This flies the Dutch flag and pennant at her maintop and has her sails full of shot holes. Other men wearing turbans can be seen pulling on the galley's oars, above which its mainmast has partly fallen, draping the lower part of its lateen sail over the port apostis or rowing frame. Some corsairs on the far right can be seen leaping off the bow of a sinking vessel while others hold on to a rope and are being pulled towards the galley. A pair of white swans carved as a figurehead are still visible on the sinking ship as it lurches under the waves. The stern of the galley's main antagonist is ornately carved and shows a lion in the center flanked by two figures blowing trumpets. On either side of them are a pair of female figures draped in white, and the ensign staff bears a red flag with the motif of an outstretched arm holding a sword. This is the fighting ensign of Ostend. To the right is another Dutch ship which has been captured by the corsairs. They can be seen in the rigging with their bows and with flaming torches to set the ship alight. They have placed their flag on the stern, which is painted with an Old Testament scene showing a prophet praying in front of an altar with a golden sun on it. Another Barbary galley on the far right flies a white flag with a golden lion on it while, behind, the sails of a ship are already well ablaze. On the far left another two galleys can be seen attacking a Dutch ship. Despite the apparent superiority of the Dutch fleet in terms of size and number the painting indicates that the struggle is a fierce one. Several of the Dutch ships in the distance have also been captured by the attackers and set on fire. The struggle to protect merchantmen trading to the Levant was continued until the Barbary corsairs were finally crushed in the early 19th century.
— An Action of the Four Days' Battle, 1-4 June 1666 (57x82cm; ) _ The Four Days' Battle, during the Second Dutch War (1665-1667), was the longest fleet action in naval history and almost a major disaster for the English. It was fought in the southern North Sea between an English fleet of 56 ships under the command of the Duke of Albemarle and a larger Dutch fleet commanded by Lieutenant-Admiral Michiel de Ruyter. The outcome was fiercely contested but eventually the English gained the weather position and comparative safety, although a large number of casualties were incurred on both sides. The golden glow of the painting, with the sinking sun embedded behind the clouds, implies that the action shown was towards evening. On the left is a group of ships of which the nearest flies the red ensign and is engaged with the next ship to the right, also viewed from the stern and flying the Dutch flag. The smoke indicates the ferocity of the action. The right of the painting is occupied with the principal ships shown. In the center is an English ship, in stern and starboard view, flying the red ensign. Her sails are full of holes from shot to indicate a fierce battle. She has the royal coat of arms carved on the stern and is losing her fore-topmast. Figures are clearly visible on the deck, taking part in the action with the Dutch ship shown to the left of her. Another Dutch ship is visible in stern view on the right, flying the Dutch flag and pennant. She flies the Triple-Prince flag of the Amsterdam Admiralty, which was only used during the Second Dutch War, and is shown firing her guns at the English ship on the left. Beyond her a ship is shown sinking on the far right and figures can still be seen on the deck, with a small boat nearby picking up survivors. In the foreground a ship's boat is laden with men. One sailor stands up in the bow holding out a boat-hook towards a figure still clinging to the top of the mast of a sunken ship. Despite the evident ferocity of the action, the artist has aspired to create atmosphere with the golden glow of the setting sun.
–- S*>#River Estuary (x800pix, kb) men are casting their nets; a cottage and horses are on the high riverbank, ships in the background.
–- S*>#Evening Coastal Scene with sailors unloading their cargo (900x1180pix, 181kb) a man-of-war fires a salute in the distance.
–- Calm River Scene with small Dutch vessels at a jetty (684x900pix, 181kb)
— Het kielhalen (volgens overlevering) van de scheepschirurgijn van admiraal Jan van Nes (522x800pix, 164kb)
— De aankomst van koning Karel II van Engeland te Rotterdam, 24 mei 1660 (420x800pix, 133kb) —(061212)

Born on a 17 December:

^ 1919 Apolonio “Al” Romo, US painter. — Relative? of José Luis Romo [1953~]?
— Reclining woman (1995, 20x28cm; 513x720pix, 73kb)
— St. Anne's of Tubac (1980, 28x28cm; 728x720pix, 83kb)
— Sunday Morning (1975, 28x38cm; 519x720pix, 70kb)
— Green Chair (1980, 25x35cm; 526x720pix, 81kb)
— View of the Valley (1972, 38x57cm; 477x720pix, 65kb)
— Desert Sentinel (1950, 34x24cm; 1016x720pix, kb)
— Meyer Street Looking South From Simpson (1967, 28x38cm; 539x720pix, 94kb)
— La Misión (1970, 35x48cm; 533x720pix, 61kb)
— Boy with Rooster (1950, 59x40cm; 1179x720pix, 139kb)
— Arizona (1977, 38x58cm; 481x720pix, 95kb)
— At Home (1970, 18x25cm; 505x720pix, 82kb)
— Father Kino (1982, 28x38cm; 523x720pix,75 kb)
— California (1960, 28x38cm; 526x720pix, 93kb) —(061203)

^ 1881 Jan Carolus Bernardus Sluijters (or Sluyters), Dutch painter and draftsman who died on 08 May 1957. — Relative? of Georges de Feure [1868-1928] who is also known as Georges Joseph van Sluyters? of Anna Sluijters [1866-1931]? — His first artistic training was in ’s Hertogenbosch (1893–4), where his father Gijsbertus Antonius Sluijters (1847–1927) was a wood-engraver. In 1894 his family moved to Amsterdam, the city where Jan Sluijters was to spend the rest of his life. After taking his art teacher’s certificate (1900) he went to the Rijksacademie van Beeldende Kunsten. In 1904 he won the Prix de Rome. Visiting Paris in 1906, however, he became fascinated by modern art. Sluijters’s confrontation with the work of Neo-Impressionists, Fauvists and such painters as Henri de Toulouse-Lautrec and Kees van Dongen resulted in sensational and dynamically modern work and made him a pioneer of modernism in the Netherlands. He assimilated the French influences into a divisionist style, characterized by an expressive use of bright dots, lines and blocks of color corresponding to the artist’s personal view of the motif. The application of this technique, particularly in landscape paintings such as October Sun, Laren (1910), shows how strongly he admired the later work of Vincent van Gogh. It was this form of divisionism, of which the chief representatives were Sluijters, Piet Mondrian and Leo Gestel, that brought about the breakthrough for Amsterdam’s avant-garde painters in 1909 and that paved the way generally for the development of modern art in the Netherlands. The new French color was used in even more concentrated form in a number of figure paintings from 1911, made up of larger planes with clearly defined outlines, for example Woman Reading. — LINKS
–- S*>#De Weg Naar Cintra (841x1095pix, 188kb)
–- S*>#Gezicht op Leende (664x840pix, 96kb)
–- S*>#Landschap bij Laren (815x1984pix, 322kb)
–- S*>#Café Scene, Paris (1107x840pix, 222kb) —(061207)

^ >1859 Paul-César-François Helleu, French painter and printmaker who died on 23 March 1927. In 1870 he entered the École des Beaux-Arts in Paris, where he studied under Jean-Léon Gérôme [11 May 1824 – 10 Jan 1904], a student of Jean-Auguste-Dominique Ingres [29 Aug 1780 – 14 Jan 1867]. He proudly described himself as ‘the grandson of Ingres’ and advocated that artists should ‘always be classical’. He quickly formed a group of close friends including Sargent, Edgar Degas [19 Jul 1834 – 27 Sep 1917], James McNeill Whistler [11 Jul 1834 – 17 Jul 1903], Alfred Stevens [31 Dec 1817 – 01 May 1875], and Giovanni Boldini [31 Dec 1842 – 11 Jan 1931]. As a student Helleu was very poor and to earn a living spent 10 years decorating plates for the potter Théodore Deck [02 Jan 1823 – 15 May 1891]. In 1885 he visited London with Gérôme to paint a panorama. This was the start of a lifelong affection for England, where he returned almost every year. — LINKS
— Madame Ryan (1600x1200pix, 241kb) _ The pseudonymous Pierre-Auguste-Dominique Enferétwa has transformed this portrait into a series of colorful and elaborate abstractions, which can be reached by clicks of the mouse from any one of them, for example the asymmetrical:
_ Lady Laffing (2009; 928x1312pix, 683kb) or the symmetrical
_ Mad Am I, Madam (2009; 928x1312pix, 666kb)
–- A Woman (1895 color drypoint, 54x33cm; 1037x703pix, 265kb)
— 15 images at the Athenaeum —(090322)

^ 1859 Ettore Tito, Italian painter who died in 1941. — {Tito, not Broz, was his real name. He was Italian, not Croat. He had nothing to do with Josip Broz [07 May 1892 – 04 May 1980] and his death was probably precipitated if he learned that Broz had stolen his surname.}
–- Zingare in Riva al Mare (1881, 24x32cm; 580x800pix, 127kb)
–- Ninfa (1913, 52x34cm; 900x570pix, 166kb) _ Seppur con grande moderazione e mirabile accorgimento, ai primi anni del secondo decennio del Novecento Ettore Tito si giovava ancora di tutto ciò che l’arte straniera poteva suggerirgli fra acuta sottigliezza di visione e sapiente abilità di tecnica. Ed infatti la fiorente produzione di nudi femminili dipinti da Tito in questi anni (La perla, La sorgente, Le amazzoni del 1914 ne sono un esempio), travestiti da figure mitologiche che tradiscono vivacità di pose e di torsioni tratti da modelle in carne ed ossa, si allinea perfettamente agli elementi stilistici del diffuso impressionismo internazionale, presente e applaudito alle prime esposizioni biennali di Venezia, che costituirono un repertorio di stimoli, un banco di confronto e di conferme per l’artista. Questa ninfa che costituisce un antecedente ed una variante nella sua posa speculare alla più nota Ninfea del 1917, pubblicata da Francesco Sapori nel 1919, e un immediato seguito alle Ninfee che sembrano planare in pose rocambolesche sopra l’acqua lacustre del quadro conservato presso la Galleria Ricci-Oddi di Piacenza (1912), occupa la tela con fluidità sintetica propria della pittura di toni e di colori con cui, ad esempio, anche Anders Zorn traccia le corpulente svestite contadine della Dalecarnia. Tito si conferma “pittore del movimento” e “maestro del nudo”: profilo fuggente, torsione del corpo, tensioni muscolari, immagine riflessa, prendono vita dalle pennellate lunghe e frammentate che guidano le forme come solchi di energia avvalendosi degli effetti della tecnica mista. È questo forse il carattere più interessante di quest’opera, ed ancora aspetto di gusto internazionale. Come molti altri artisti, italiani e d’oltralpe, sulla scia dei risultati dei postimpressionisti, anche Tito sperimentava liberamente su supporti vari, ad esempio il cartone per le sue qualità assorbenti, la commistione di acquarello, pastello, biacca, olio, avvalendosi degli effetti materici sovrapposti con i quali egli gioca con grande disinvoltura e abilità. Il passaggio di questo quadro dalla Galleria d’Arte Moderna di Milano, farebbe supporre che si tratti di una di quelle opere transitate per la città in occasione della copiosa personale (sessantatre dipinti) presentata da Ugo Ojetti nel 1919 alla galleria di Lino Pesaro, anche se non vi sono riscontri effettivi fra i titoli degli elenchi pubblicati da catalogo, che comunque non contengono mai riferimenti così puntuali da potervi riconoscere un’opera specifica fra i soggetti ricorrenti nel repertorio di Tito.
— Le Ondine (1919; 559x712pix, 46kb)
— Les paroles s'envolent, les écrits restent (1927, 26x20cm 872x645pix, 213kb)
— (Girl Fixing her Hair) (65x53cm; 549x460pix, 21kb)
— Breezy Day in Venice (1899, 54x81cm; 364x542pix, 33kb) —(071216)

^ 1819 Jean Baptiste van Moer, Belgian painter who died on 06 December 1884. He is best known for his urban and country landscapes. He studied at the Academie des Beaux Arts in Brussels where he had François Bossuet as a teacher. He lived and traveled extensively throughout Europe and the Middle East. He painted frescoes at the City Hall in Brussels and at the Royal Palace.
— The Flutist (710x585pix, 201kb) _ detail 1 (768x1024pix, 210kb) _ detail 2 (1024x768pix, 191kb) possibly by another Van Moer.
— The Grand Canal, Venice (120x97cm)
— City View with Belfry (36x56cm; 600x457pix, 331kb) —(051216)

^ 1667 Jean-Baptiste Bosschaert, Flemish still-life painter who died in 1746. He was a student of Jean Baptiste de Crépu in Antwerp where he became a master in the guild in 1685. He specialized in large scale flower compositions.
–- S*>#2 Still Lifes (together 578x900pix, 84kb) two similar still lifes of flowers in a bronze vase are grouped in one image.
One is in an exterior, the vase is elaborate, there are peaches and grapes in the foreground, and the flowers include peonies, morning glory and chrysanthemums. In the other the vase in on a stepped fountain, and there are shells in the foreground.
–- S*>#Still Life (1170x900pix, 196kb) flowers, including roses and chrysanthemums, in a stone urn.
–- S*>#Still Life (133x189cm; 352x500pix, 58kb _ S*>#ZOOM to 1407x2000pix, 540kb) flowers are in a sculpted vase resting on a stone ledge with fruit, a parrot, and a fountain with a sculpted putto and dolphin, in a landscape.
–- S*>#Still Life (1321x961pix, 192kb) there are cabbage roses, peonies, an opium poppy, tulips, snow balls, marigold, and other flowers, in a sculpted vase on a wooden table, together with a painted lady, a red admiral, and a butterfly.
–- Young Woman with a Still Life of Flowers (900x666pix, 185kb) roses, hyacinths, tulips, morning glories, and chrysanthemums adorn a stone urn and ledge.
–- S*>#Still Life of Flowers with a garland draped around an urn sculpted with putti and heads of Greek gods (900x635pix, 144kb) —(061212)

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