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DEATHS: 1686 MAUPERCHÉ — 1909 REMINGTON
BIRTHS: 1734 ROMNEY 1911 GUTTUS0
^ Died on 26 December 1686: Henri Mauperché (or Montpercher), Parisian painter and printmaker born in 1602.
— Mauperché, along with Pierre Patel the Elder, was one of the few imitators of Claude Lorrain to work in France. In Rome from 1634 onwards, he came under the influence of the Bamboccianti. In 1648 he was one ot the fourteen founder-members of the French Academy in Paris.
— Mauperché may have studied under Daniel Rabel at some period before 1634, in which year he went to Rome with Louis Boullogne I. There, almost certainly, they became acquainted with Jean Blanchard, Sébastien Bourdon and Herman van Swanevelt. Mauperché was back in Paris in 1639, working with Blanchard for Armand-Jean du Plessis, Cardinal de Richelieu, at the Palais-Royal; the contract (12 March 1639) for the works to be undertaken mentions topographical views and landscapes with ruins, a contract in which Mauperché is described as Peintre Ordinaire du Roy. About 1646–1647 he painted a Paysage avec Voyageur and a Paysage au pont as part of the commission to decorate the interiors of the Cabinet de l’Amour at the Hôtel Lambert, Paris, where he worked alongside Swanevelt, Jan Asselijn and Pierre Patel I. He was married for the first time in 1647, with Blanchard as one of the witnesses. In 1648 he was among the group of artists accepted (agréé) by the Académie Royale de Peinture et de Sculpture. In 1654 he engraved his only dated work, the Plan de Liancourt, a bird’s-eye view of the château and gardens in Oise owned by the du Plessy family. The following year he became a professor at the Académie Royale.

Landscape with Jephthah and his Daughter (122x111cm; 957x869pix, 146kb) _ The painting was formerly attributed to Pierre Patel the Elder. The subject plays an insignificant role in this essentially decorative canvas. The perspective implies that it was meant to be placed relatively high up.
Classical Landscape with Figures (71x112cm; 313x500pix, 48kb)
Paysage au pont (1647, 74x47cm; oval 556x353pix, 80kb)
Paysage avec le Repos pendant la Fuite en Égypte (1671, 114x147cm; 580x440pix, 101kb)
 
^ >Born on 26 December (15 Dec Julian) 1734: George Romney, British painter who died on 15 November 1802.
— He is generally ranked third in the hierarchy of 18th-century society portrait painters, after Joshua Reynolds and Thomas Gainsborough. His art is often repetitive and monotonous, yet at its best is characterized by great refinement, sensitivity of feeling, elegance of design and beauty of color. As a society painter he typified late 18th-century English artists who, compelled by the conditions of patronage to spend their time in producing portraits, could only aspire to imaginative and ideal painting.
— Fashionable portrait painter of late 18th-century English society. In his portraits Romney avoided any suggestion of the character or sensibilities of the sitter. His great success with his society patrons depended largely on just this ability for dispassionate flattery. Line rather than color dominates; the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions.
      James Crank was a teacher of Romney. From 1755 to 1757 Romney was the student of Christopher Steele, an itinerant portrait and genre painter. Romney's career began when he toured the northern English counties painting portraits for a few guineas each. In 1762 he went to London. His history painting The Death of General Wolfe won him an award from the Society of Arts; nonetheless he turned almost immediately to portrait painting. In 1764 he paid his first visit to Paris, where he was befriended by Joseph Vernet. Romney especially admired the work of Nicolas Le Sueur, whose use of the antique strongly appealed to him. In 1773 he went to Italy for two years, where he studied Raphael's Stanze frescoes in Rome, Titian's paintings in Venice, and Correggio's at Parma. Travel abroad matured his art, and a new gracefulness appears in portraits such as Mrs. Carwardine and Son (1775) and the conscious elegance of the large full-length Sir Christopher and Lady Sykes (1786).
      Romney was by nature sensitive and introspective. He held himself aloof from the Royal Academy and his fellow artists, making his friends in philosophical and literary circles. About 1781-1782 he met Emma Hart (later Lady Hamilton), who exercised a morbid fascination over him. For Romney she became a means of escape into an imaginary, ideal world. His "divine Emma" appears in more than 50 paintings, in guises ranging from a bacchante to Joan of Arc. Almost all were painted from memory.
— Daniel Gardner was a student of Romney.

LINKS
Adam Walker and his family (1801, 135x166cm; 1960x2400pix, 810kb) _ Right-to-left: those sitting (looking at the diagram of a geometry theorem about the squares of the secants of an ellipse) are Romney's friend the inventor and writer Adam Walker [1731-1821], his wife Eleanor Walker [–1801], and their daughter Mrs. Eliza Gibson [–1856]; those standing are their sons, the Protestant minister Adam John Walker [1770-1839], and the astronomers William Walker [1766–1816] and Deane Franklin Walker [24 Mar 1778 – 10 May 1865].
James Clitherow IV [1766 – 1841] (1784; 1976x1812pix, 2222kb) _ He was the owner of Boston Manor House and the Boston Manor estate, a friend of William IV and Queen Adelaide.
–- David Scott, Esq., of Dunniald (1780, 256x153cm; 1177x808pix, 57kb _ .ZOOM to 2/7 size, 759kb)

–- George, First Marquis of Townshend (1792, 147x123cm; 1042x962pix, 82kb)

–- Frederick, 5th Earl Of Carlisle (74x62cm; 667x535pix, 25kb _ .ZOOM to 1000x802pix 57kb)
–- Harriet Gale, Mrs. John Blanshard[1745-1822] (75x62cm; 667x544pix, 28kb_ .ZOOM to 1000x816pix, 57kb) _ Right profile.
–- Sir Benjamin Truman (124x94cm; 667x533pix, 28kb _ .ZOOM to 1000x798pix, 53kb)
–- Emma Hamilton(43x36cm; 667x533pix, 40kb _ .ZOOM to 1000x800pix, 63kb)
–- Study of Emma Hamilton As Miranda(32x27cm; 667x530pix, 32kb _ .ZOOM to 1000x794pix, 68kb)
Miss Constable (1787, 76x64cm)
Lady in a Brown Robe (1785, 65x65cm)
The Leigh Family (1768)
Miss Willoughby (1783)
Lady Hamilton as 'Nature' (1782, 76x63cm) _ Amy Lyon [1761 – 15 Jan 1815], the daughter of a blacksmith, was calling herself Emily Hart when, in 1781, she began to mate with Charles Francis Greville, nephew of her future husband, Sir William Hamilton [13 Dec 1730 – 06 Apr 1803], British envoy to the Kingdom of Naples. Greville, who commissioned this portrait, educated her in music and literature. Then, in 1786, he sent her to Naples to be his uncle's mistress in return for Hamilton's payment of Greville's debts. On 06 September 1791, she and Hamilton were married. She entertained company with her “attitudes”, a kind of Romantic aesthetic posturing achieved with the aid of shawls and classical draperies. Emma attracted the attention of Lord Horatio Nelson [29 Sep 1758 – 21 Oct 1805], with whom she had a notorious romantic liaison until his death at the Battle of Trafalgar. Although she inherited money from both Hamilton and Nelson, her extravagance led her into debt, and she died in poverty. This portrait was the first of more than twenty that Romney painted of his “divine lady,” many in the guise of characters from history, mythology, and literature.
Lady Hamilton in a Straw Hat (1785)
Tom Hayley as Robin Goodfellow
Lady Sarah Curran (600x489pix, 92kb)
77 images at wikimedia

—(091223)
^ Died on 26 December 1909: Frederic Sackrider Remington, of appendicitis, in Canton, New York, Western painter and sculptor born on 04 October 1861.
      Frederic Remington, one of the preeminent artists of the US West, was born in New York. The son of a comfortable, if not wealthy, family, Remington was one of the first students to attend Yale University's new School of Fine Arts. At Yale he became a skilled painter, but he focused his efforts largely on the traditional subjects of high art, not the Wild West.
      When Frederic was 19, his father died, leaving him a small inheritance that gave him the freedom to indulge his interest in traveling in the West. As with other transplanted upper-class easterners like Theodore Roosevelt and Owen Wister, Remington quickly developed a deep love for the West and its fast disappearing world of cowboys, Indians, and wide-open spaces. Eventually buying a sheep ranch near Kansas City, Remington continued to travel around his adopted western home, endlessly drawing and painting what he saw.
      In 1884, Remington sold his first sketches based on his western travels, and two years later his first fully credited picture appeared on the cover of Harper's Weekly. After that, his popularity as an illustrator grew steadily, and he returned to New York in order to be closer to the largely eastern market for his work. Frequent assignments from publishers, though, ensured that Remington was never away long from the West, and gave him the opportunity to closely observe and sketch his favorite subjects: US Cavalry soldiers, cowboys, and Amerindians.
     An example of his work as an illustrator is online: Theodore Roosevelt's Ranch Life and the Hunting-Trail.
      Remington's output was enormous, and during the last 20 years of his life he created more than 2700 paintings and drawings and published illustrations in 142 books and 42 different magazines. Though most of his paintings were created in his studio in New York, Remington continued to base his work on his western travels and prided himself on accuracy and realism-particularly when it came to horses. He even suggested that he would like his epitaph to read: "He Knew the Horse."
      When he died on 26 December 1909 in Connecticut, from acute appendicitis, Remington left a body of work that was popular with the public but largely ignored by "serious" museums and art collectors. Since then, though, Remington's paintings, drawings, and illustrations have become prized by collectors and curators around the world.
     With his dynamic representations of cowboys and cavalrymen, bronco busters and braves, 19th-century artist Frederic Remington created a mythic image of the US West that continues to inspire America today. His technical ability to reproduce the physical beauty of the Western landscape made him a sought-after illustrator, but it was his insight into the heroic nature of US settlers that made him great.
      This painter, sculptor, author, and illustrator, who was so often identified with the US West, surprisingly spent most of his life in the East. More than anything, in fact, it was Remington’s connection with the eastern fantasy of the West, and not a true knowledge of its history and people, that his admirers responded to.
      Remington briefly attended the Yale School of Art and the Art Students League of New York before heeding the call to "go West." As a young man, he traveled widely throughout the country, spending most of his time sketching the people and places in the new US frontier. In 1886 he established himself as an illustrator of Western themes, and sold his work to many of the major magazines of the time.
      While most of his best known work was in illustration, he was also a fine painter, capturing on his canvases the sweeping vistas, heroic figures, and moments of danger and conflict that came to define the archetypal romance of the West. Whether portraying a Crow brave facing death at the hands of his enemies in Ridden Down or cowboys eluding Indian pursuers in A Dash for the Timber, Remington returned time and again to his signature theme: the life and death struggles of the individual against overwhelming forces.

LINKS
Self Portrait on a Horse (1890, 74x49cm; 1040x685pix, 126kb)
–- Missing (1899; 562x963pix, 64kb)
–- The Outlier (1909; 667x448pix, 46kb _ .ZOOM to 1000x671pix, 68kb)
Single Handed (1912, 75x81cm)
Bull Fight in Mexico (1889, 61X81cm, kb)
The Moose Hunt (1890, 60x53cm; 1031x925pix, 77kb)
An Assault on His Dignity (1906, 69x102cm)
Great Explorers (1905; 119kb)
Buffalo Runner (1907; 103kb)
Bringing Home the New Cook (1907; 101kb)
Hussar, Russian Guard Corps (49x53cm)
Uhlan (1893, 71x51cm)
Ugly [Oh The Wild Charge He Made] (24x32cm)
55 images at the Athenaeum
45 images at ARC
—051223)
Tiger
Died on a 26 December:

2007 Osvaldo Reyes, pintor chileno.

2005 Julian “Bud” Blake, US cartoonist born on 13 February 1918. He created the comic strip Tiger. —(051229)

^ 2004 Karel Joseph “Charles” Biederman, US Modernist painter, sculptor, and theorist, born on 23 August 1906 in Cleveland, the son of Czech immigrants. He dropped out of high school but took classes in drawing and watercolor at the Cleveland Art Institute and later attended the Art School of Chicago. In 1934 he moved to New York, where the Modernist art impresario A. E. Gallatin included him in a show called "Five American Concretionists," along with Alexander Calder, John Ferren, George L. K. Morris and Charles Shaw.
     In the 1930's, under the influence of Mondrian's grid paintings and Russian Constructivism, Biederman created reliefs consisting of richly colored vertical and horizontal elements. He continued to refine his easel-sized works over the ensuing decades, arriving in the 1950's at a kind of futuristic Cubism: compositions of centrally clustered, brightly colored geometric elements that projected from monochromatic panels.
     Biederman went to Paris in 1936 and met Picasso, Mondrian, Miró and other luminaries, but he returned to New York nine months later, convinced that there was little future for art in Paris.
      In 1941 he moved back to Chicago and married Mary Katherine Moore. The couple moved to Red Wing, Minnesota, shortly afterward, and in 1954 they bought the farmhouse where Biederman lived for the rest of his life. His wife died in 1975. Biederman continued to produce geometric assemblages of painted cast-metal parts with painstaking care until poor eyesight forced him to stop in the 1990's.
     A prolific writer, Biederman self-published volumes on the history of art and on his theories about the relationship between art and nature. In the 1960's his writings attracted a following among a younger generation of abstract artists in England and Canada. He was also a tireless correspondent, and a volume of letters between him and the physicist David Bohm, Bohm-Biederman Correspondence: Creativity and Science,was published in 1999.
LINKS
#9 New York (505x540pix, 29kb)
Painting, New York, January, 1936
Untitled Paris, April 1937

1988 Issam Sabah el-Said (or: 'Isam Sabah al-Sa'id), dies in London, Iraqi artist born on 07 September 1938. —(051223)

1980 Anthony Peter “Tony” Smith, US minimalist sculptor born on 23 September 1912. — LINKS —(051223)

1980 Stjepan Planic, Croat architect born on 27 December 1900. —(051226)

1979 Karl Hubbuch, Karlsruhe German artist born on 21 Nov 1891 — {Guess why they named him Karl}. —(051223)

1970 Emilio Centurion, Buenos Aires Argentinian artist born on 14 July 1894. —(051223)

1968 “Arthur” Fellig “Weegee”, US photographer born Usher Fellig in Austria on 12 June 1899. — LINKS —(051223)

1966 Friedrich Seidenstucker, German artist born on 26 September 1882. —(051223)

1962 Nikolay Dmitriyevich Milioti, dies in Paris, Russian artist born in Moscow on 29 January 1874 (Julian or Gregorian?). —(151223)

^ 1953 David Brown Milne, Ontario painter born on 08 January 1882. He was the last child of his Scottish parents and considerably younger than his nine brothers and one sister. While working as a country schoolteacher near Paisley, his childhood interest in art revived and, in 1904, he went to New York to study art at the Art Students League for two years. He mainly supported himself by doing various illustrations, since his painterly work proved to be virtually unsellable. The trend continued, although from 1910 on, he regularly exhibited in New York and Philadelphia. Five of his works were included in the Armories Exhibition of 1913. In June 1915, he left New York City because of poor health and economic pressure and settled at Boston Corners, near Millerton, New York, in the lower Berkshires. In 1918, while still in New York, he enlisted in the Canadian Army, subsequently returned to Canada in March, and went overseas in September. After the armistice, he was appointed an official war artist with the Canadian War Records. In 1919, he produced 107 watercolors of places connected with Canadian activities during the First World War in Britain, France, and Belgium; these are now in the Canadian War Memorials Collection in the National Gallery of Canada. He returned to Boston Corners in December of that year. Between 1920 and 1923, he painted watercolors in various locations in the Adirondacks. In 1924, more than 80 of those watercolors were exhibited at the Art Association of Montreal, but none were sold. In 1929, he left the United States for good and moved to a succession of towns in Ontario. In 1934, Milne wrote to Vincent Massey, the first Canadian to purchase his work, in appeal for sponsorship. This eventually resulted in the purchase by Vincent and Mrs. Massey of a large number of his paintings, essentially all of his output between 1929 and 1934. Douglas Duncan and Alan Jarvis sought out Milne at Six Mile Lake near Georgian Bay, profoundly impressed by the first of his one-man exhibitions at the Mellors Gallery. Duncan became Milne's close friend and agent. From 1939 on, Milne's works were exhibited annually at the Picture Loan Society in Toronto. Between 1940 and 1952, Milne lived in Uxbridge, Ontario, painting near Baptiste Lake, and making only short trips to Toronto. In 1952, he moved to Bankroft, Ontario, where he suffered a stroke and became incapacitated in November. In the same year, he was one of the four painters represented in the initial showing by Canada in the Venice Biennial. He is widely considered one of the most important 20th-century Canadian artists, the first to discover the universal qualities of the Canadian landscape. — LINKS
Entrance to a German Dug-out in Oppy Wood (31 May 1919, 41x35cm; 640x529pix, 146kb)
Woman Reading (23 April 1920, 38x56cm; 433x640pix, 81kb)
Some 300 images at Cybermuse mostly drawings and sketches, many multiple versions —(051225)

1952 Robert Atkinson, British artist born on 01 Aug 1883. —(051223)

1952 Wladyslaw Strzeminski, Belorussian artist born on 21 Nov 1893 (Julian or Gregorian?). —(051223)

1942 Friederic “Fritz” Storck, Bucharest Romanian artist born on 10 January 1872. —(051223)

1928 Charles Harrison Townsend, English artist born on 13 May 1851. —(051223)

1924 William Emerson, English artist born on 03 December 1843. — Relative? of Peter Henry Emerson [1856-1936]? — (051223)

1916 Janis Rozentals, Finnish artist born on 18 March 1866. —(051223)

1909 Walter Shirlaw, dies in Madrid, British artist born on 06 Aug 1838. —(051223)

1904 Franz Schonthaler, Austrian artist born on 21 January 1821. —(051223)

1896 Margaretha (Margi) Roosenboom Vogel, Dutch artist born on 24 October 1843.

1882 Henri Jean-Louis Le Secq des Tournelles, Parisian photographer born on 18 Aug 1818. — LINKS —(051225)

1880 John Cousen, English artist born on 19 February 1804. — {He was so friendly that people considered him as if he were a close relative, a favorite Cousen}. —{051223}

1830 Giovanni Battista Comolli, Italian artist born in 1775. —(051223)

^ 1823 Jean-François Huë, French painter born on 01 December 1751. — {Serait-ce parce qu'il était hué que je ne trouve rien de lui dans l'internet? Avait-il un rival du nom de Dia?} — He was a student of Joseph Vernet 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.

1715 Yun Tu-so [or Hyo On; Chong'ae Kongjae], Korean artist born on 20 May 1668. —(051223)

^ 1686 Henri Mauperche, Parisian painter and printmaker born in 1602. He may have studied under Daniel Rabel at some period before 1634, in which year he went to Rome with Louis Boullogne. There, almost certainly, they became acquainted with Jean Blanchard, Sébastien Bourdon, and Herman van Swanevelt. Mauperché was back in Paris in 1639, working with Blanchard for Armand-Jean du Plessis, Cardinal de Richelieu, at the Palais-Royal; the contract (12 March 1639) for the works to be undertaken mentions topographical views and landscapes with ruins, a contract in which Mauperché is described as Peintre Ordinaire du Roy. About 1646–1647 he painted a Landscape with Traveler as part of the commission to decorate the interiors of the Cabinet de l’Amour at the Hôtel Lambert, Paris, where he worked alongside Swanevelt, Jan Asselijn, and Pierre Patel. He was married for the first time in 1647, with Blanchard as one of the witnesses. In 1648 he was among the group of artists accepted (agréé) by the Académie Royale de Peinture et de Sculpture. In 1654 he engraved his only dated work, the Plan of Liancourt, a bird’s-eye view of the château and gardens in Oise owned by the du Plessy family. The following year he became a professor at the Académie Royale. — LINKS
Landscape with Jephthah and his Daughter (122x110cm, 957x869pix, 146kb) _ Until 1969 the painting was attributed to Pierre Patel the Elder. The subject plays an insignificant role in this essentially decorative picture of architecture. The perspective implies that it was meant to be placed relatively high up.
Paysage au pont (1647, oval 74x47cm; 80kb)
Paysage avec le repos pendant la fuite en Egypte (1671,114x147cm; 101kb)
Classical Landscape with People (71x113cm; 313x500pix, 46kb) —(051225)

1676 Dominicus “Wanto” van Tol, Dutch artist born in 1635. — {Did he earn his nickname as a child who kept saying: “I want to be an artist”, “I want to draw”, “I want to paint”, “I want to make a picture of this”, “I want to make a picture of that”, etc.?}

1658 Simon Guillain, Parisian sculptor baptized as an infant on 15 June 1589. — LINKS —(051225)


Born on a 26 December:

^ 1923 Richard Artschwager, US Pop sculptor and painter — {His surname is not Art-Swagger, but it might as well be) — . Born in Washington DC, he spent his childhood in New Mexico. From 1941 to 1948 he studied at Cornell University, Ithaca NY. His studies were interrupted by military service in Europe. He moved to New York and studied at Amédée Ozenfant Studio School. During the 1950s he designed and made furniture in New York, but after a fire that destroyed most of the contents of his shop in 1958 he turned again to art, initially painting abstract pictures derived from memories of the New Mexican landscape. Artschwager continued to produce furniture and, after a commission to make altars for ships in 1960, had the idea of producing sculptures that mimicked actual objects while simultaneously betraying their identity as artistic illusions. At first these included objets trouvés made of wood, overpainted with acrylic in an exaggerated wood-grain pattern (e.g. Table and Chair, 1963), but he soon developed more abstract or geometrical versions of such objects formed from a veneer of formica on wood (e.g. a different Table and Chair, 1964). His preference for synthetic materials considered to be in debased taste together with his references to everyday objects were central to his response to Pop art. Similarly his blocklike sculptures had much in common formally with Minimalism. From 1962 Artschwager also painted grey acrylic monochrome pictures, basing his images on black-and-white photographs, characteristically of modern buildings as shown in property advertisements, as in Apartment House (1964). Gradually his paintings became more complex and mysterious, the surface subsumed in a pattern of flickering light, for example in The Bush (1971, 122x179cm). His emphasis, however, remained on ambiguities of perception, on the interaction of observation and illusion, especially in sculptures conceived as hybrids of recognizable objects, such as Book III (1981), part lectern and part pew. — LINKS
Interior (1972 screenprint, 71x104cm)
Five Scratches (1969 pitiful less than 5x40cm repetitive monochrome drawing which covers less than 5% of the 64x48cm paper; 531x400pix, 18kb _ nothing gained by enlarging, but, if you want to see for yourself ZOOM to 1062x800pix, 82 kb, or, worse yet, ZOOM+ to 1648x1241pix, 171kb) _ This has provoked the pseudonymous Adrian Mond into transforming it into the frame-filling colorful
      _ Art's Wag (2005, 707x1000pix, 184kb _ ZOOM to 1414x2000pix, 1036kb) and, to demonstrate the power of negative thinking, the oppositely colorful and equally frame-filling
      _ Star Wag (2005, 707x1000pix, 181kb _ ZOOM to 1414x2000pix, 1025kb). —(051223)

1911 Renato Guttuso, Italian painter who died (full coverage) on 18 January 1987. Often 02 January 1912, the date his birth was registered, is incorrectly given as his birth date. —(060101)

1901 Istvan Janaky, Czech artist born in a place that, hard as it is to believe, is not smaller than its name: Hodmezovasarhely (but it is easy to see why it does not make the headlines). The town has some 50'000 inhabitants in 2005. Its best known native painter was János Tornyai [18 Jan 1869 – 20 Sep 1936]. Neither Toryai nor Janaky died of a budding pest, but they both died in Budapest, Janaky on 13 January 1966 {native Hodmezovasarhelians, please note that, pest or no pest, Budapest can be dangerous to your health, especially if you are an artist}. —(051223)

1892 Franz Schuster, Viennese artist who died on 26 Jan 1968 (probably). —(051223)

1890 Jozef Cantre, Ghent Belgian artist who died on 29 August 1957. —(051223)

1881 Michael Wagmuller, German artist born on 14 April 1839. —(051223)

1869 Moisey (Solomonovich) Nappel'baum, artist born in Minsk (perhaps on 07 January 1870 Gregorian, if this is the Julian date), who died in Moscow on 13 June 1958. —(051223)

1858 Istvan Sovanka, artist born in Liptoszentmiklos, Hungary (now Liptovsky Mikulas, Slovakia), who died in Sepsibukszad, Transylvania (now Romania) on 23 February 1944. —(051223)

1853 Jane Sutherland [–25 Jul 1928], Australian landscape painter born in New York.
Margaret Sutherland as a Young Girl (1905, 30x18cm; 799x480pix, 167kb) pastel portrait of Dr Margaret Sutherland [1897-1984], at about 8 years of age. Dr Sutherland, niece of Jane Sutherland, became an eminent Australian composer.
Obstruction. Box Hill (1887, 41x31cm; 645x480pix, 132kb) _ Many of Sutherland’s works feature children in the landscape, such as in this one.It was painted in the same small town on the eastern edge of Melbourne where Tom Roberts and Frederick McCubbin had established an artists’ camp in 1885. A small girl is gazing at a cow that stands facing her on the other side of a fence.
Harvest Field (721x472pix, 127 kb) —(091225)

1842 George John Pinwell, English artist who died on 08 September 1875. —(051223)

1784 (infant baptism) Antoni Stanislaw Brodowski, Warsaw Polish artist who died on 31 Mar 1832. —(051223)

^ 1759 Johann Georg von Dillis, German draftsman, painter, engraver, museum director, and teacher, who died on 28 September 1841. He was the eldest son of the Elector’s head forester, Wolfgang Dillis, and godson of Maximilian III Joseph, Electoral Prince of Bavaria, who paid for him to attend the Gymnasium in Munich. In 1782, after studying theology in Ingolstadt, Dillis became a student of Ignaz Oefele [1721–1797] and Johann Jakob Dorner the Elder at the Munich Zeichnungsakademie, supporting himself by giving drawing lessons to the children of noble families. His earliest surviving drawings from the 1770s show villages around Munich. This evident gift for landscape was encouraged by Benjamin Thompson, Count Rumford [1753–1814] from the US, who worked for the Bavarian Elector and created the Englischer Garten in Munich. He commissioned Dillis to make drawings of the most interesting areas in the Bavarian mountains. Through Rumford, Dillis was able to accompany Henry Temple, 2nd Viscount Palmerston, and his family to Salzburg in 1794. Following this, Dillis made the first of many journeys to Italy (1794–1795). In addition to his contact with English culture through Rumford, Dillis widened his knowledge of art on journeys to Prague, Dresden and Vienna (1792), Rome (1805) and Paris (1806). — Joan Georg Dillis guided from 1789 the artistic career of his brother Ignaz Dillis [1772-1808] Pencil drawings made by the two while on a walking expedition to the Chiemsee in 1792 reveal the less practiced hand of the younger brother. Watercolors survive from their journey together to Lake Constance in 1794. Ignaz Dillis’s work is typified by strong colors and skilfully achieved contrasts juxtaposing storm clouds, falling rain and a rainbow or reddish sunset. For some time watercolors of this kind were usually attributed to Johann Georg von Dillis. In 1805 Ignaz abandoned his artistic career to succeed his father as head forester. Another brother and student of Johann Georg Dillis was Johannn Cantius Dillis [1779 – 12 Sep 1854] — LINKS
Waterfalls in a Mountain Forest (1797, 35x30cm) _ detail 1 _ detail 2
Die Wetzsteinmühle bei Ohlstadt in Oberbayern (600x676pix _ ZOOM to 1400x1578pix, 566kb)
Cantius Dillis und Simon Warberger im Wald (1794; 600x480pix _ ZOOM to 1400x1116pix, 523kb)
150 images at Bildindex (many are prints)

1759 Esteban de Agreda, Spanish artist who died in 1842. — {Agreda agrade}—(051223)

1755 Balthasar-Paul Ommeganck, Flemish painter who died (main coverage) on 18 January 1826.

1698 Filippo della Valle, Italian sculptor who died on 29 April 1768. — LINKS —(051226)

1664 Johann Melchior Dinglinger, German jeweller who died on 006 March 1731. — LINKS —(051226)

1660 (infant baptism) Pieter Schenck (or Schenk), Dutch artist who died in 1713. —(051223)

1647 Jan-Baptist Brueghel, Antwerp Flemish painter who died in 1719. Like his brothers Jan Pieter Breughel [bap. 29 Aug 1628 – >1682] and Abraham Breughel [1631-1680], he painted in the same style as his father Jan Brueghel II “the Younger” [13 Sep 1601 – 01 Sep 1678], his uncle Ambrosius Breughel [bap. 10 Aug 1617 – 09 Feb 1675], and his grandfather Jan “Velvet” Breughel I [1568 – 13 Jan 1625], who was the brother of Pieter “Hell” Brueghel II [1565-1638]. and the son of Pieter Bruegel I [1527-1569].

^ 1631 Jan Symonszoon Pynas (died on or before this date), Dutch painter born in 1583 or 1584. He came from an aristocratic Catholic family in Alkmaar; his father, Symon Janszoon Brouwer, became a citizen of Amsterdam in 1590. His sister Meynsge married the artist Jan Tengnagel in 1611. By 1618, in a poem eulogizing the city of Amsterdam, Theodore Rodenburgh mentioned an artist Pynas as being celebrated in the city; however, it is not possible to be certain whether he was referring to Jan or to his brother Jacob Symonszoon Pynas [1585-1656]. Until the 1930s the oeuvres of the two brothers were often confused and also generally subsumed in the category of works by followers of Adam Elsheimer.
— Jan Pynas and his brother Jacob were in Rome (1605) and they returned to Holland with a new kind of history painting, much influenced by Italian ideas and also by Elsheimer. The principal importance of the brothers is that they passed these ideas on to Rembrandt, who may have been Jacob's student for a few months.
— About 1605 Jacob, his elder brother Jan Pynas, and Pieter Lastman went to Rome, where they stayed for three years. All three were influenced by Adam Elsheimer, and the Pynas brothers, in particular, by the Venetian painter Carlo Saraceni, who had himself fallen under the Elsheimer spell a year or two earlier. Jan Pynas' precocious Raising of Lazarus (1605), with its theatrical crepuscular lighting, shows how quickly the brothers were able to translate their Roman experience into pictorial experiments. Saraceni's style later developed in a different direction and so, eventually, did that of Jan Pynas, but Jacob continued to paint small pictures on copper, such as Joseph Placed Into the Well, that remain remarkably similar to those of Saraceni, until well into the 1630s. Similar small figures, painted with a loaded brush derived directly from Elsheimer, Italianate architecture, and a somewhat ethereal lighting that could be strong moonlight or muted sunlight, are to be found in other such small pictures on copper by Jacob Pynas, including both treatments of his Moses Meeting Aaron on Mount Horeb (1825), a painting of Hagar in the Wilderness (1626), and another version of Joseph Placed Into the Well (1631).
— In 1605 Pynas went to Italy, returning two years later to Amsterdam, where he made a reputation for himself with history paintings, particularly representations from biblical and ancient history. The painting of Jacob Being Shown Joseph’s Bloodstained Robe (1618) was the inspiration for the play Joseph in Dothan by the poet Joost van den Vondel. In Jan’s early work (e.g. The Raising of Lazarus, 1605; and Moses Turning Water into Blood, 1610) there are signs of the influence of the artists with whose work he had obviously become familiar in Italy, especially Adam Elsheimer and Jacopo Tintoretto. Within a few years he came under the influence of Pieter Lastman and the group of Amsterdam artists known as the Pre-Rembrandtists. In The Dismissal of Hagar (1613) the size and the construction of Pynas’s figures are reminiscent of Lastman’s work. However, Pynas reduced the eloquent gesticulation used by Lastman to restrained gestures, which he then emphasized by depicting his protagonists in profile. In this he represented the opposite pole within the circle of Amsterdam Pre-Rembrandtists to his brother-in-law Tengnagel, who exaggerated the movement of his figures to such an extent that they seem to be dancing. Pynas’s history pictures are generally simple and lacking in ornament, a tendency also cultivated at times by Claes Corneliszoon Moeyaert. A comparison between Pynas’s painting of Joseph Selling Corn in Egypt (1618) and Lastman’s version of the same theme (1612) shows Pynas’s inclination towards simplicity and the reduction of narrative devices. — LINKS
Historical Allegory (1610, 32x52cm;_ ZOOM to 1233x2048pix, 296kb) _ One of the characteristics of the artist is the placing of sketchy, pale figures in the background.The allegory probably symbolizes the 1585 peace treaty with the Ottoman Empire of Murad III [04 Jul 1546 – 16 Jan 1595] by which the Spain of Philip II [21 May 1526 – 13 Sep 1598] prevented Queen Elizabeth I [7 September 1533 – 24 March 1603] of England from getting Ottoman help against the Spanish Armada.
–- Joseph Placed Into the Well by his Brothers (1625, 26x28cm; _ .ZOOM to 1650x1313pix, 270kb) the title refers to a detail in the landscape.
The Raising of Lazarus (1615) —(061225)

1630 Gabriel Blanchard, Parisian artist who died on 30 April 1704. — Relative? of Jacques Blanchard [1600-1638]? — (051223)

^ 1615 (26 Oct?) Jean Nocret (or Naquerez, Nocroit), French painter who died on 12 November 1672. He probably was trained, in his native Nancy, by Jean Leclerc before going to Rome, where among other works he made copies of Old Master paintings, commissioned by Paul Fréart de Chantelou. From 1644 he was back in Paris and in 1649 was appointed Peintre du Roi et du Duc d’Orléans. In 1657 Nocret accompanied the French Ambassador to Portugal, where he painted portraits of the royal family. Returning to France in 1660, he took part in the decoration of the royal château of Saint-Cloud (destroyed in 1870), painting some important pictures of mythological scenes; the sole survivor of these is the allegorical portrait of Louis XIV and his Family as Olympian Gods (1670). In 1663 Nocret was received (reçu) as a member of the Académie Royale de Peinture et de Sculpture, with a painting of the Repentance of Saint Peter. He occupied several important posts at the Académie Royale and gave some lectures there that were very well received. From 1667 to 1670 Nocret painted mythological and allegorical works (since destroyed) for the apartments in the Tuileries of Maria-Theresa, Queen of Louis XIV. Among his surviving works are the portraits of Philippe d’Orléans and of Anne of Austria, Queen of France, Queen Maria-Theresa and Louise de La Vallière. Jean Nocret’s son Jean-Charles Nocret [1648–1719] was also a painter.
Louis XIV and his Family as Olympian Gods (1670, 305x420cm, 770x1089pix, 150kb)
Philippe d'Orleans [1640-1701] (1746, 106x68cm; 685x428pix, 46kb) looks like a young girl. —(051225)


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