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DEATHS: 1924 PRENDERGAST — 1905 ACHENBACH — 1944 MONDRIAN — 1638 BROUWER
BIRTHS: 1801 COLE 1849 LEBOURG
^ >Died on 01 February 1924: Maurice Brazil Prendergast, US Impressionist painter, printmaker, illustrator, and designer, born on 10 October 1858 in Newfoundland.
— He moved with his family to Boston in 1868 and was working as a commercial artist by 1886, lettering showcards, but his early attempts at watercolor foretold little of the talent that emerged after he went to Paris in January 1891. He studied for three years at the Atelier Colarossi under Gustave Courtois [1853–1923], and later at the Académie Julian under Benjamin Constant, Joseph Blanc, and Jean-Paul Laurens. Here the influence of the Nabis and of Whistler was particularly important to his development.
— Post-impressionist painter, monotypist, and watercolorist. Member of The Eight, but not a teacher as were Henri, Sloan and Luks. Most recognized for vivid, colorful, complex depictions of urban scenes of Venice, Boston with representation of subject on a flat plane. _ 1868 family moved to Boston; _ 1873 left school, initially clerk in dry goods firm, then commercial art apprentice; _ 1873-1877 classes at Free Evening Drawing School at Starr King School; _ 1879 designer of showcards for J.P. Marshall; _ 1886 with brother Charles (artist and framemaker) worked passage on cattle boat to travel to England and Wales; _ 1891 studied in Paris at Academy Colarossi; _ 1892 at Académie Julian; friends with Canadian artist James Wilson Morrice who introduced him to Sickert, Beardsley and Charles Conder; contact with other artists, summer painting trips and sketching in public places of much more importance than his formal study; influenced by Whistler, post-impressionists and Nabis; _ 1894-1895 returned to Boston; _ 1895 illustrated Sir James M. Barrie's My Lady Nicotine and Sir Thomas Hall's Shadow of a Crime for Joseph Knight Company (Boston Publisher); two watercolors at 52nd Annual Exhibit of Boston Arts Club; _ 1895-1898 produced majority of his 151 known monotypes; _ 1898 third trip to Europe, produced watercolors of Venice; _ 1899 returned to Boston; _ 1900 exhibited 30 watercolors and monotypes jointly with Herman Dudley Murphy at Art Institute of Chicago; 60 watercolors and monotypes at Macbeth Gallery, New York; met Luks and Glackens, increased friendship with Glackens and his family; _ 1901 met Henri through Glackens; _ 1901-1902 began to work more extensively in larger format with oils; exhibited watercolors and monotypes at Detroit Institute of Art and Cincinnati Museum Association; Bronze Medal for Watercolor at Pan American Exposition, Buffalo; _ 1902 marked hearing loss (became deaf by 1905); _ 1904 began frequent trips to New York.

LINKS
Holidays (86x119cm; 813x1175pix, 917kb _ ZOOM to 1683x2433pix, 3729kb)
— a different The Holiday (1907, 68x87cm;)
–- Rocky Coast Scene (1913, 35x50cm; 3/8 size, 77kb)
–- After the Review (1895 color monotype, 25x20cm;)
–- Boat Landing at Dinard aka Quay at Dinard aka Processional (1909, 31x45cm)
–- Promenade at Nantasket (1902, 31x49cm; 2/5 size, 71kb)
–- In the Park (1894, 27x21cm; 3/5 size, 61kb)
355 images at the Athenaeum
—(070131)
^ Died on 01 February 1905: Oswald Achenbach, German painter born on 02 February 1827. Brother of Andreas Achenbach. — {Many more people have an aching back than an Achenbach}
— He studied at the Kunstakademie in Düsseldorf, as did his elder brother, the painter Andreas Achenbach [1815–1910], who was the main influence on him other than his teacher, Johann Wilhelm Schirmer. At a very early stage he began to prepare studies for landscapes in the area around Düsseldorf, sketching boulders, rocks, bushes, trees and people. From 1843 he went on many study tours, visiting Bavaria in 1843 and northern Italy and Switzerland in 1845. The Bavarian and Italian Alps stimulated him to create a unified approach to landscape painting. In such early works as Landscape (1846) his receptiveness to atmospheric values can be seen, even if the precise detail and clear articulation into foreground, middle ground, and background still clearly show his debt to Schirmer.

LINKS
Italianischer Park mit Zisterne (1850; 600x764pix _ ZOOM to 1400x1783pix)
Via Cassia bei Rom mit Blick auf den Vatikan (1874; 600x856pix _ ZOOM to 1400x1997pix)
Südliche Landschaft mit Don Quixote (1850; 600x909pix _ ZOOM to 1400x2122pix, 887kb)
Palazzo Ruspoli in Nemi (1850; 600x808pix _ ZOOM to 1400x1885pix)
Leichenbegängnis in Palestrina (1857; 600x516pix _ ZOOM to 1400x1204pix)
Vor dem Koloseum (1877; 600x960pix _ ZOOM to 1400x2240pix)
Küstenlandschaft bei Neapel (1880; 600x912pix _ ZOOM to 1400x2128pix)
Blick auf Basel (1889; 600x784pix _ ZOOM to 1400x1829pix)
Der Konstantinsbogen in Rom (1882; 600x740pix _ ZOOM to 1400x1727pix)
70 images at Bildindex
 
^ Died on 01 February 1944: Pieter Cornelis Mondriaan “Piet Mondrian”, Dutch Neo~Plasticist painter born on 07 March 1872.
     Mondrian carried abstraction to its furthest limits. Through radical simplification of composition and color, he sought to expose the basic principles that underlie all appearances. [click on image for full self-portrait >]
Mondrian self-portrait      Born in Amersfoort, the Netherlands, Mondrian embarked on an artistic career over his family's objections, studying at the Amsterdam Academy of Fine Arts. His early works, through 1907, were calm landscapes painted in delicate grays, mauves, and dark greens. In 1908, under the influence of the Dutch painter Jan Toorop, he began to experiment with brighter colors; this represented the beginning of his attempts to transcend nature. Moving to Paris in 1911, Mondrian adopted a cubist-influenced style, producing analytical series such as Trees (1912-1913) and Scaffoldings (1912-1914). He moved progressively from seminaturalism through increased abstraction, arriving finally at a style in which he limited himself to small vertical and horizontal brushstrokes.
      In 1917 Mondrian and the Dutch painter Theo van Doesburg founded De Stijl magazine, in which Mondrian developed his theories of a new art form he called neoplasticism. He maintained that art should not concern itself with reproducing images of real objects, but should express only the universal absolutes that underlie reality. He rejected all sensuous qualities of texture, surface, and color, reducing his palette to flat primary colors. His belief that a canvas—a plane surface—should contain only planar elements led to his abolition of all curved lines in favor of straight lines and right angles. His masterly application of these theories led to such works ZOOM IN on Mondrian's Compositionas Composition with Red, Yellow, and Blue (1942, 39x35cm), in which the painting, composed solely of a few black lines and well-balanced blocks of color, creates a monumental effect out of all proportion to its carefully limited means. [< image]
      When Mondrian moved to New York City in 1940, his style became freer and more rhythmic, and he abandoned severe black lines in favor of lively chain-link patterns of bright colors, particularly notable in his last complete masterwork, Broadway Boogie-Woogie (1943, 127x127cm). Mondrian was one of the most influential 20th-century artists. His theories of abstraction and simplification not only altered the course of painting but also exerted a profound influence on architecture, industrial design, and the graphic arts. Mondrian died in New York.
— [Nederlands biografie]

LINKS
–- Self Portrait (1918)
Place de la Concorde (1943) _ This picture cries out for the contributions of other painters. So the pseudonymous Piété “Corne Lisse” Mondepleuran has secured the cooperation of the equally pseudonymous (but not necessarily distinct) Prangard Domage, Sam Lecram, and Avoine Noirtanck, to concoct:
    _ Le Monde Riant Autour des Dégas à la Place de la Concorde (846x936pix, 81kb _ ZOOM to 1269x1404pix, 176kb)
    _ Moan, Dry Ann, as You Circle Clockwise Concord Square in Paris (846x936pix, 81kb _ ZOOM to 1269x1404pix, 176kb)
    _ Moan , Dry Ann, as You Circle Counter-Clockwise Concord Square in Paris (735x833pix, 72kb _ ZOOM to 1103x1250pix, 160kb)
Painting No. 9 (1942; 1600x1460pix, 342kb) _ Mondepleuran is thinking up some ridiculous titles for future transformations of this picture; he already came up with
    _ Panting Numb Bernard (<2020?; ?x?pix, ?kb) and
    _ Paint Tin Number Known (<2020?; ?x?pix, ?kb).
Composition with Red, Blue, Yellow (1930; 503x500pix, 36kb) _ You may prefer the bandwith saving, but better rendition by Mondepleuran: Composition with Red, Blue, Yellow (600x600pix, 4kb) and, even more so, what Mondrian was capable of doing, but didn't:
      _ Red Farm, Blue, Yellow, and a Tiny Mondrian (600x600pix, 18kb).
— (white, black, blue, yellow, red) (1921; 1188x1197pix, 191kb)
–- Composition A en Rouge et Blanc (1936, 43x33cm; 603x465pix, 15kb) _ When there is a greater fool who will pay $5'289'500 (of 08 May 2002) for 5 black straight lines and 6 rectangles in 3 flat colors, it is not surprising that there is a cunning salesman who will write such drivel as the following: The precision and purity of Mondrian's linear compositions of the 1930s have come to define the sophisticated, streamlined aesthetic of 20th century Modernism. During the late 1920s and 1930s, Mondrian concerned himself with the essence of art, stripping his paintings of all secondary imagery and extraneous detail that he had employed at earlier points in his career, and concentrated instead on creating pictures that communicated universal notions of beauty through pure form. His paintings of this period stressed the importance of balance and the economy of line in order to demonstrate the inherent beauty of geometry. In his many published treatises on these paintings, Mondrian called his artistic objective “Neo-Plasticism”. Simplifying his compositions to the point of pure abstraction, he intended his paintings to “complement society not as propaganda or as applied art but by its plastic expression alone. To understand this it is necessary to know what this pure art involves, to know that it is a genuine and living expression of universal equilibrium”. Mondrian painted Composition A en rouge et blanc in 1936 in Paris, just when his egalitarian ideas about art and society were becoming more widely known in Europe and in the United States. This painting played a significant role in promulgating Mondrian's artistic ideas and solidifying his reputation abroad. Shortly after its completion, Mondrian sent this work to London to the painter Ben Nicholson, a leading member of the group of British artists who published Circle, International Survey of Constructivist Art in 1937. Through Nicholson, whom he had met in 1934, Mondrian was able to market his art in England, and subsequently show his work at two significant exhibitions in London in 1936. The present work was featured at one of these exhibitions, Modern Paintings for Modern Rooms, sponsored by the prominent furniture design firm, Duncan Miller Ltd. Following Mondrian's advice, Nicholson sold this painting to the architect Leslie Martin later that year. Both Nicholson and Martin were greatly impressed by the philosophical ideas behind Mondrian's paintings of 1936, and requested that he elaborate on these theories for a scholarly journal that would be published in 1937. In the resulting article, “Plastic Art and Pure Plastic Art”, Mondrian explained the philosophy governing his paintings of this era: “Gradually art is purifying its plastic means and thus bringing out the relationships between them. Thus, in our day two main tendencies appear: the one maintains the figuration, the other eliminates it. While the former employs more or less completed and partial forms, the latter uses simple and neutral forms, or, ultimately, the free line and the pure color. It is evident that the latter (non-figurative art) can more easily and thoroughly free itself from the domination of the subjective than can the figurative tendency; particular forms and colors (figurative art) are more easily exploited than neutral forms. It is, however, necessary to point out that the definitions ‘figurative’ and ‘non-figurative’ are only approximate and relative. For every form, even every line represents a figure, no form is absolutely neutral. Clearly, everything must be relative, but since we need words to make our concepts understandable, we must keep these terms”. Mondrian's distinctive style of painting, as represented in Composition A en rouge et blanc and Composition blanc et rouge, is the culmination of a stylistic development that commenced with his study of the Cubist works of Gris and Léger that he saw while living in Paris during the 1910s. But the strict linearity of his compositions of the 1930s, with their rectilinear grids and minimalist planes, is a distillation of the form of language that evolved while he was associating with the architect and painter Theo van Doesburg and the architect J.J.P. Oud with whom he collaborated from 1917-1924 on the Dutch art and architectural journal, De Stijl. In the present work, Mondrian's preoccupation with the compartmentalization and manipulation of space is a testament to the influence of the architectural and design concepts of his colleagues. The primacy of the line was the defining factor of Mondrian's paintings of this period, as is most evident in Composition A en rouge et blanc. Here, Mondrian has used double lines across the top third of the canvas, a structural device that he had first incorporated into his paintings in 1932. With these bands of black, Mondrian has divided into three sections the block of red in the upper left quadrant of the painting, adding to the spatial range and geometric complexity of the composition. The startlingly simplified palette of white, red and muted grey underscores Mondrian's strict adherence to the formal principles which he tirelessly promoted in his writings of the 1930s. Writing on Mondrian's use of color and line, Hans L. C. Jaffé has described the style which solidified Mondrian's reputation: “The years from 1933 to 1938, which Mondrian spent in Paris, are marked by a series of compositions in which the linear elements set the tone and the color is more or less reduced to an accompanying voice. The origin of these linear compositions is to be found in the series of paintings of 1930 and the following years in which the tension and nuances of the lines constitute the most important compositional elements; the consequences of these works are to be seen in the development of Mondrian's art”. This canvas once hung over the desk of Philip Sandblom, who considered it an object of meditation and contemplation. Writing in his famous essay “Disease and Genius”, Sandblom selected a passage by Mondrian that aptly describes this masterpiece: “It is the line, the color and their relations which must bring into play the whole sensual and intellectual register of the inner life”.
–- Paysage à Montmorency (08 Aug 1930, 47x55cm; 669x800pix, 46kb) badly yellowed by aging _ This has been cleaned up and greatly improved by Mondepleuran, who, by transforming the simplistic Composition A en Rouge et Blanc, has created
        _ Mont Pala au Tricolore (2006; 900x1086pix, 2kb), which he then used as the frame in
        _ Mont Ranci au Tricolore (2006; 900x1086pix, 92kb).
–- Geinrust Farm with Isolated Tree (1906, 47x64cm; 601x800pix, 57kb) plenty of trees (one much taller than the others), no farm. _ Here too, Mondepleuran has created a frame in Mondrian's later simplistic style,
        _ Green Rust with Isolated Three (2006; 880x1086pix, 2kb), and inserted the landscape, resulting in
        _ Green Rust with Isolated Farm (2006; 880x1086pix, 63kb).
River View with Boat (1908)
–- Little Girl (1901)
–- Still Life with Gingerpot II
–- Composition with Large Blue Plane, Red, Black, Yellow, and Gray (1921)
–- Composition blanc, rouge et jaune (1936)
River View with Boat (1908)
Molen (Mill); Mill in Sunlight
Avond (Evening); Red Tree (1908 )
Amaryllis (1910)
Gray Tree (1911)
Composition No. II; Composition in Line and Color (1913; 628x829pix, 100kb) dull colors to be precise. But that is exactly the kind of challenge which Mondepleuran takes up, and he has made of this, in bright colors and with symmetry, not one, but two pictures with palindromic names:
        _ Line Nil (2006; 1000x1414pix, 618kb) and
        _ Lune Nul (2006; 1000x1414pix, 637kb)
Ocean 5 (1915; 610x831pix, 93kb) dirty yellow, a jumble of vertical and horizontal line segments inside an oval; if that is an ocean, it is terribly polluted... That is intolerable to Mondepleuran, who has cleaned up the ocean (by making a negative) and offers you
        _ Monde Ocean Bleu (2006; screen filling, 173kb)
The Song of Color: Composition no.1 (1924 color lithograph 49x31cm; kb) _ Here Mondepleuran has taken a different approach. He has kept a Mondrian-like set of rectangles, but made it symmetrical, and, instead of Mondrian's few and flat colors, has filled the rectangles with a riot of colors and textures in
        _ The Symphony of Colors: Disposition Infinity aka Nose Son (2006; screen filling, 206kb _ ZOOM to 1864x2636pix, 1376kb) and even more extravagantly in
        _ Le Songe des Couleurs en Positions Definitives aka Musk Sum (2006; screen filling, 335kb _ ZOOM to 1864x2636pix, 2891kb)
Composition with Color Planes and Gray Lines 1 (1918; 572x700pix, 66kb)
Composition with Gray and Light Brown (1918)
Composition A: Composition with Black, Red, Gray, Yellow, and Blue (1920)
Lozenge Composition with Yellow, Black, Blue, Red, and Gray (1921)
Composition with Red, Yellow and Blue (1921; 814x772pix, 64kb) or in Mondepleuran's efficient rendition:
        _ Recomposition with Red, Yellow and Blue (600x600pix, 8kb)
Composition with Blue, Yellow, Black, and Red (1922; 655x668pix, 40kb)
Lozenge Composition with Red, Black, Blue, and Yellow (1925)
Fox Trot; Lozenge Composition with Three Black Lines (1929)
Composition with Yellow Patch (1930)
Composition with Yellow (1930)
Composition No. III Blanc-Jaune (1942; 1021x531pix, 64kb) _ It also has blue, red, and black. Mondepleuran's version loads instantly, has cleaner colors, and fits better in a computer screen:
        _ Composition No.111 Blanc-Jaune-Bleu-Rouge-Noir (2006; 600x800pix, 3kb). But much preferable is Mondepleuran's twin maximalist transformations of a combination of this and another (left to the curiosity of the viewer to identify) of Mondrian's simplistic pictures:
        _ Astoundingly Beautiful Colors (2007; 724x1024pix, 188kb _ ZOOM to 1024x1448pix, 427kb _ ZOOM+ to 1864x2636pix, 3724kb) and
        _ Beautifully Astounding Colors (2007; 724x1024pix, 188kb _ ZOOM to 1024x1448pix, 427kb _ ZOOM+ to 1864x2636pix, 3724kb)
Rhythm of Black Lines (1942; 924x904pix, 169kb)
Vertical Composition with Blue and White (1936)
Composition No. 8 (1942)
Composition No. 10 (1942, 80x73cm; 968x882pix, 83kb) _ For those who appreciate the power of negative thinking, Mondepleuran has created
        _ Composition Minus 10 (2005; full screen, 68kb)
New York City (1942)
Broadway Boogie Woogie (1943)
Solitary House (1898)
Composition with Oval in Color Planes II (1914)
Composition with Grid VII (Lozenge, 1919)
Composition with Grid IX (1919)
Composition A (1920)
Composition with Black, Red, Gray, Yellow, and Blue (1921)
Lozenge Composition with Red, Gray, Blue, Yellow, and Black (1925)
New York City I (1942)
Victory Boogie Woogie (1943)
DSC01173 (765x1171pix, 124kb) what Mondrian might have done if he had lost his ruler and his paints, hated white, but had plenty of crayons.
—(090201)
^ >Born on 01 February 1801: Thomas Cole, English US Hudson River School painter, specialized in Landscapes, who died on 11 February 1848.
—   Cole would be one of the founders of Romantic landscape painting in the New World. He is born into an Anglo-American family in England. The family would return to the United States in 1818. Until then young Thomas had received training in drawing and wood engraving. In the USA, he entered the Philadelphia Academy of Art in 1823. Later he settled in the Catskills on the Hudson and became a cofounder of the so-called Hudson River School, which established Romantic landscape painting in America. Direct, spontaneous landscapes painted in the wilderness of the Catskill Mountains brought rapid recognition and attracted New York buyers: The Clove, Catskills (1827).
      In 1829 and 1841-1842 Cole traveled to Europe, he visited England, Switzerland, and Italy, studying in particular the landscapes of European masters. On his return, having also absorbed philosophical and literary ideas, Cole introduced a new type of painting to America: the symbolic, moral landscape, as represented by the series on the themes of The Course of Empire (1832) and The Voyage of Life (1839-1840): The Course of Empire: The Savage State (1836), The Voyage of Life: Childhood (1842). These are fantastic, symbolic scenes full of unusual effects of grandiose space and theatrical contrasts of light. Not satisfied with great American nature any longer, Cole increases fantastic and mystical character by introducing Biblical and antique subjects. His late pictures do not attain the fine quality of his earlier atmospheric landscapes, they are rough and primitive, but are supposed to stun spectators with extremely pretentious surrealism.

LINKS
–- Prometheus Bound (1847, 163x244cm; 722x1097pix, 72kb _ .ZOOM to 1444x2204pix, 432kb) _ .detail (1726x1152pix, 210kb) Prometheus and the rock to which he is fastened.
–- Peace at Sunset (Evening in the White Mountains) (1827, 69x82cm; 905x1086pix, 70kb)
–- View near the Village of Catskill (1827, 62x89cm, 69x82cm; 847x1217pix, 84kb)
Landscape (1825, 92x111cm; 1/4 size, 840kb _ ZOOM to half-size, 3237kb) _ Here Cole portrays a community of frontier people living in a valley, probably in upstate New York, where they attempt to tame the wilderness.
The Voyage of Life: Childhood (1842)
The Voyage of Life: Youth (1842)
The Voyage of Life: Manhood (1842)
The Voyage of Life: Old Age (1842)
Expulsion from the Garden of Eden (1828)
Niagara Falls (1830)
The Consummation from the series: The Course of the Empire (1836)
The Connecticut River near Northampton (1846).
107 images at the Athenaeum
—(070131)
^ Died on 01 February 1638: Adriaen Brouwer (or Brauwer, Broeuer, Brower), Flemish genre painter and draftsman born in 1605.
— Brouwer influenced artists in both Flanders and Holland. He went to study under Frans Hals in Haarlem about 1621, gained a high reputation in Holland, and returned to the South Netherlands in 1631. There he was arrested and imprisoned by the Spaniards as a spy until September 1633. He then settled in Antwerp. Except for a handful of landscapes, apparently from his last years, all of Brouwer's pictures are of subjects drawn from common life — showing peasants smoking, drinking, or brawling in taverns; quack surgeons operating on grimacing patients; and so on. Most of the pictures are small and painted on panel. The coarseness of his subjects contrasts with the delicacy of his style, which in its mature stage shows an unusual mastery of tonal values.
— Brouwer is first documented in March 1625, when he was staying at an inn in Amsterdam run by the painter Barent van Someren [1572–1632]. Brouwer is also recorded on 23 July 1626 as a notary’s witness at a sale of pictures in Amsterdam. He must have been living in Haarlem then, as he is mentioned in 1626 in connection with the rhetoricians’ chamber De Wijngaertranken, an amateur literary society whose motto was ‘In Liefde Boven Al’ (Love above all). Brouwer was a student of Frans Hals in Haarlem, but there is no evidence of Hals’s direct influence in his work. Brouwer may also have been taught by his father [–1622], a designer of tapestry cartoons in Oudenaarde in Flanders. When exactly Adriaen Brouwer left Haarlem is not known, but in 1631–1632 he was enrolled in the Antwerp Guild of Saint Luke as an independent master and is regularly mentioned in documents in that city in subsequent years, mainly in connection with debts. He was imprisoned in 1633, possibly for tax debt though probably for political reasons. By April 1634 he had been released and was living in the house of the engraver Paulus Pontius. The same year he joined the Antwerp rhetoricians’ chamber known as De Violieren. His only officially recorded student was a Jan Dandoy in 1635, of whom nothing is now known. Students that must have come to him unofficially rather than through the Guild, include Joos van Craesbeeck, whose early work reveals Brouwer’s influence; and Adriaen van Ostade. Brouwer’s burial in the Carmelite church suggests that he died in poverty.

LINKS
The Bitter Draught (1635) _ Between about 1625 and 1631 Brouwer stayed in Holland. The vivid brushwork which animates his little paintings and the portrait-like character of some of his genre pieces suggest that he had contact with Frans Hals. Returning to Antwerp he became one of the finest valeur painters of all times. His power of expression is also increased. The physiognomy and emotion in The Bitter Draught are not matched before Daumier.
The Card Players (25x39cm) _ Adriaen Brouwer was one of the most original talents in Flemish art. Brouwer's version of the popular theme, The Card Players, is a genre piece in a small format, with marvelous, velvety coloring.
Peasants Fighting (1634, 33x49cm) _ Dutch realism was a matter not merely of imitative techniques but also of everyday themes: people and objects, houses and streets that might be found in the Republic. Comic paintings seem especially deliberate in their concern with thematic as well as pictorial realism. Like comedies, comic images in theory should depict people as they are, or even worse as they are. Painters fulfilled this requirement in paintings of down-to-earth, lowly themes, of peasants and burghers guzzling, drinking, laughing, dancing, and groping. In theme, these paintings recall comic texts and plays that linger on similar scenes and motifs rather than presenting a tight narrative. A painting of boors fighting by Adriaen Brouwer may seem uncommonly lifelike, with its violent action, gruff faces, poorly dressed peasants or urban dissolutes, and disheveled tavern interior.
Seated Drinkers (25x21cm) _ Born in Oudenaerde in Belgium, Adriaen Brouwer studied painting in Amsterdam, then Haarlem, where he came into contact with members of local rhetorical chambers, before settling in Antwerp. Admitted as a free master to the painters' guild in 1632, he also became a member of the rhetorical chamber associated with it. He was popular with his Antwerp colleagues who repurchased his freedom - perhaps by acquiring certain of his paintings when he was imprisoned for debt. Adriaen Brouwer specialized in depicting characters on the edge of society spending their time in licentious activities such as card-playing or alcohol and tobacco abuse. This debauched behavior was looked down on by the members of bourgeois society who saw in it the confirmation of their own moral superiority. During his brief career Brouwer produced only a few dozen works, but revolutionized genre painting with his original synthesis between village scenes with a Bruegelian inspiration and Haarlem genre painting. His great pictorial mastery aroused the admiration of his peers, and painters and collectors like Rubens and Rembrandt owned several of his pictures. Under the influence of early biographers, who attempted to draw parallels between the author's work and his life, experts have sought to see in the background of the Seated Drinkers the wall of Antwerp citadel, then a jail, where the painter was imprisoned. This is, however, unlikely: the artist represented this type of rudimentary landscape several times over, with no link between the subject matter and his time behind bars. On the other hand, the finesse of this finely tempered little masterpiece has been rightly recognized from the outset. Here Brouwer has reached his full maturity. A few delicate red and yellow highlights are enough to enliven a composition largely dominated by subtly gradated browns and grays. If one needed to make a comparison between the painter's life and his work, it would be between the artist's untiring interest for theater life and the very convincing way in which he succeeds in translating the psychological interplay of the figures.
Peasants Feasting (1628; 600x910pix _ ZOOM to 1400x2123pix, 614kb)
The Pancake Baker (1626; 130kb)
The Smokers aka The Peasants of Moerdijk (1630; 114kb)
 

Died on a 01 February:


1946 René François Xavier Prinet, French artist born on 31 December 1861.

^ 1920 Andrew Carrick Gow, British artist born in 1848. — LINKS
A Musical Story by Chopin (1879, 70x90cm) —(070131)

1917 Gustav Schönleber, German artist born on 03 December 1851.

after 1708 Jacob Koninck (or Koningh) I, Amsterdam Dutch painter, draftsman, and printmaker, born in 1616 (1615?). — brother of Philips Koninck [05 Nov 1619 – 06 Oct 1688 bur.] and related to Salomon Koninck [1609 – 08 Aug 1656 bur.] — Two works by Jacob I appear in the inventory of his father, the goldsmith Aert de Coninck [–1639]: a Bacchus Drawn in Pen and a Head. In 1633 Jacob was living in Dordrecht. From 1637 to 1645 he was in Rotterdam, where his first wife, Maria Cotermans, died in 1637. By 1647 Jacob had moved to The Hague, where, in the following year, he married Susanna Dalbenij. Their son Jacob Koninck II {1648–1724] became a painter. Throughout his life, Jacob the elder struggled against financial difficulty. In 1651 he left his wife’s house and moved to Amsterdam, where his name appears twice, in 1652 and 1659, in connection with debts. He went to Copenhagen about 1676, having fallen out with fellow painters of the Amsterdam guild, who accused him of unfair competition. In his absence they confiscated his paintings; on 27 May 1676 he wrote to Christian V of Denmark asking for help to retrieve his work. On 03 September 1682 his nephew Daniël Koninck [1668–>1720] was apprenticed to him. On 03 August 1690 Daniël paid off his apprenticeship fee ‘to my Uncle Jacob de Koninck, Painter in Copenhagen’.

1598 Scipione “il Gaetano” Pulzone (or Polzone, Pultoni), Italian painter born in 1544. He is thought to have been a student of Jacopino del Conte in Rome. His talent was already evident in his early portraits, such as Cardinal Ricci (1569) and Cardinal Santorio (or Cardinal Granvella, 1576). He was influenced by Italian court portraiture, particularly that of Raphael, and also by Flemish stylistic traits, which he must have absorbed through seeing the works left in Rome by Antonis Mor. His brilliant palette was further enriched through contact with Venetian painting. The naturalism of the early portraits sets them apart from Mannerist portraiture; the careful rendering of details of physiognomy and dress was as important to Pulzone as expressing the personality of his sitter.


Born on a 01 February:


^ 1962 (1963?) Takashi Murakami, Japanese painter and sculptor. He studied at the Tokyo National University of Fine Arts and Music. He is the founder of the Superflat movement, a postmodern art style influenced by anime and manga which comments on otaku culture and lifestyles. His inspiration for starting the movement was in a variety of eccentric Ukiyo-e artists and Yoshinori Kanada's dragon sequence in the anime film Harmagedon (1983). His signature and most infamous works are Hiropon and My Lonesome Cowboy. Hiropon is a fiberglass sculpture of an anime-style female, taller than average, with gigantic breasts and wearing an undersized bikini top which fails to cover her adequately. A stream of milk, which she is squeezing from her left nipple, wraps behind her to her right hand, resembling a jump-rope. My Lonesome Cowboy is a similar of a nude male holding his penis as he ejaculates a stream of semen which he guides with his other hand to swirl upward, resembling a lasso. Hiropon prompted Gainax producer Toshio Okada to dub Murakami the "Ota-king" after the character in his own Otaku no Video. Both pieces of work are said to be a comment on the rate of overly-sexed anime. Murakami typically conscripts artisans whose backgrounds run closer to model and kit-based hobbyists rather than fine-arts craftsmen to design and make his works. Another "low-art" aspect of Murakami's oeuvre is the decidedly commercial spirit in which his works are presented to the public, as his pieces are sold as mass-produced consumer items. In 2004, Mr. Pointy, otherwise known as Tongari-kun, took the form of a 850cm sculpture installed at Rockefeller Center in New York. In 2003 he collaborated with Marc Jacobs at the luxury brand Louis Vuitton and masterminded Louis Vuitton's Monogram Multicolore canvas range of handbags and accessories. Which is the monograms of the standard Louis Vuitton Monogram Canvas, but in 33 different colors, on a white or a black background, instead of gold monograms on a brown background. As well as inspiring the "cherry blossom" logo; which can be found as smiling faces in pink and yellow flowers sporadically placed atop selected pieces, in Monogram Canvas by Louis Vuitton. In 2005 he inspired the creation of the cherry monogram "cerises monogram". Which are cherries with faces on them, logos placed over selected Monogram Canvas pieces by Louis Vuitton — LINKS
–- Anthology (386x244pix, 15kb, plenty big enough to appreciate the poster-like picture devoid of fine details, but, if you must, .ZOOM to 1159x732pix, 80kb) _ The pseudonymous Givemberi Portakenemi has filled in the large empty background of this picture and thoroughly transformed it into an amazing series of 16 abstractions (each one reflected or rotated four ways), which can be accessed by clics of the mouse from any of them, for example the asymmetrical
      _ Ant Homology (2008; 564x798pix, 206kb _ ZOOM 1 to 798x1128pix, 404kb _ ZOOM 2 to 1128x1596pix, 802kb _ ZOOM 3 to 1880x2658pix, 1936kb _ ZOOM 4 to 3760x5316pix, 7104kb) and the symmetrical
      _ Gold Log (2008; 564x798pix, 206kb _ ZOOM 1 to 798x1128pix, 399kb _ ZOOM 2 to 1128x1596pix, 784kb _ ZOOM 3 to 1880x2658pix, 1926kb _ ZOOM 4 to 3760x5316pix, 7003kb)
And Then, And Then And Then And Then And Then (RedBlue) (2006, 50x50cm) _ Portakenemi has surpassed himself by transforming this picture into a series of 64 related abstractions which can be accessed by clics of the mouse from any of them, for example the asymmetrical
      _ Et Puis et Pluie et Puit Épuisé (2008; 564x798pix, 188kb _ ZOOM 1 to 798x1128pix, 364kb _ ZOOM 2 to 1128x1596pix, 727kb _ ZOOM 3 to 1880x2658pix, 1996kb _ ZOOM 4 to 2658x3760pix, 3134kb _ ZOOM 5 to 3760x5316pix, 5123kb) and the symmetrical
      _ Raid Blew Ant Den (2008; 564x798pix, 189kb _ ZOOM 1 to 798x1128pix, 364kb _ ZOOM 2 to 1128x1596pix, 741kb _ ZOOM 3 to 1880x2658pix, 2067kb _ ZOOM 4 to 2658x3760pix, 3220kb _ ZOOM 5 to 3760x5316pix, 5371kb)
64 images at Artnet (includes photos of colored sculptures) —(080203)

^ >1861 (01 Jan?) Jacques-Émile Blanche, French painter and writer who died on 20 September 1942. His father, a fashionable nerve specialist, owned a clinic where many of Blanche’s sitters had been patients. As a painter he had both talent and charm, and he enjoyed a great vogue in his day. His work lacks originality and was much influenced by such contemporaries as James Tissot and John Singer Sargent. The loose brushwork and subdued coloring of his portraits are also reminiscent of Edouard Manet and English 18th-century artists, especially Thomas Gainsborough. Except for a few lessons from Henri Gervex [10 Sep 1852 – 07 Jun 1929] and Ferdinand Humbert [1842–1934], he had no formal training, and many of his paintings have deteriorated because of poor technique. He worked best on a small scale, and some of his less ambitious oils and small sketches (e.g. Head of a Young Girl, 1885) are among his most appealing works. The few pastels he made during the 1880s and 1890s are also of high quality, as exemplified by the dramatic portrait of the poet Georges de Porto-Riche (1895). — The students of Blanche included Aleksandr Golovin [01 Mar 1863 – 17 Apr 1930], Duncan Grant [21 Jan 1885 – 09 May 1978], Henry Lamb, Amédée Ozenfant [15 Apr 1886 – 04 May 1966], Alfred Reth.— LINKS
Antonin De Mun as a Young Boy (1909, oval 99x78cm)
Reflections (1908, 87x71cm)
Sur la Terrasse (1908, 40x32cm)
The Poet Francis Viele-Griffin and His Family (1902, 152 x 194cm)
A Woman (1896)
Señora Eugenia Huici de Errazuriz (1890 (164x98cm)
Lucie Dans l'Atelier (1889, 57x70cm)
Girl Seated in a Landscape (91x73cm)
Potamak (74x99cm) —(070131)

1849 Albert-Marie-Charles Lebourg, French painter who died (full coverage) on 07 January 1928. —(070131)

1845 José Echena, Spanish artist who died in 1909.

1838 Joseph Keppler, Austrian born US caricaturist and magazine founder who died on 19 February 1894.


Happened on a 01 February:

2003 Reproduction of Moon Landscape, by 14-year-old Holocaust victim Petr Ginz, carried by Israeli Astronaut Ilan Ramon, perishes with space shuttle and its crew of seven. — MORE


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