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ART “4” “2”-DAY  06 February v.10.10
DEATHS: 1918 KLIMT 1941 LUCE  
^ Born on 06 February 1879: Émile Othon Achille Friesz, French Fauvist painter of landscapes, figures, and still lifes; teacher; and illustrator; who died on 10 January 1949. — {Did gallery owners say to purchasers of other artists' work: “Do you want Friesz with that?” — Or only when the other artists were from Hamburg?}
— After an apprenticeship at the École des Beaux-Arts in Le Havre where Friesz met Raoul Dufy, at the age of eighteen he entered the studio of the academic portrait painter Léon Bonnat. At this time, although his tastes pushed him to study the impressionist painters, he met his future fauvist companions. After participating in the Salon d'automne of 1905, his Fauvist period was followed by a much less colorful style with a more restless feeling.
— Born at Le Havre of a seafaring family. Studied 1896-1899 at the École des Beaux-Arts in Le Havre, where he met Raoul Dufy, then 1899-1904 at the École des Beaux-Arts in Paris under Bonnat. Began as an Impressionist and had his first one-man exhibition at the Galerie des Collectionneurs, Paris, in 1904. Then started to use stronger colors and participated 1905-1907 in the Fauve movement; painted with Braque at Antwerp in 1906 and at La Ciotat in 1907. In 1907 developed a less colorful, more strongly constructed style under the influence of Cézanne. His characteristic style, with looser, freer handling, dates from a visit to Portugal in 1911. Worked chiefly at Toulon and in Provence from 1918-1930, and in his last years painted much at Honfleur and elsewhere on the Normandy coast. Influential as a teacher, especially from 1929 at the Académie Scandinave. Died in Paris.
— He began his training in Le Havre in 1896 under the enlightened teaching of the French painter Charles Lhuillier [1824–1899] and continued in Paris under Léon Bonnat until 1904 at the École des Beaux-Arts. In 1903, however, he decided against an academic career and started showing his work at the Salon des Indépendants and, from 1904, at the Salon d'Automne. At this stage he was working in an Impressionist style. Following the emergence of Fauvism at the infamous Salon d’Automne of 1905 and a painting trip with Georges Braque to Antwerp in 1906, he adopted the bright, anti-naturalistic palette of the Fauves, for example in his Fernand Fleuret (1907). He became closely associated with Matisse, renting a studio in the same building as him in Paris from 1905 to 1908. In the summer of 1907, however, painting with Braque in La Ciotat, in the Midi, Friesz began to turn to the example of Cézanne, seeking to emphasize a strong sense of pictorial construction that he felt had been sacrificed to Fauvism’s coloristic excesses. The Arcadian subject-matter of much of his subsequent work up to 1914 was also indebted to Cézanne, especially to his Bather compositions, as in Spring (1908). Like Cézanne, Friesz was anxious to re-establish connections between contemporary, avant-garde painting and the classical tradition, a quest enhanced by a trip to Italy in 1909, where he was particularly struck by the work of Raphael and Giotto, and by his frequent studies in the Louvre. In 1911 Friesz went to paint in Portugal where, echoing Cézanne’s remarks, he said, ‘You can see Poussin remade according to nature’. As a result, despite close connections with the Cubist circle of artists and writers, Friesz never renounced a realistic figurative style.
— The students of Friesz included Lucia Dem Bäläcescu, Héctor Basaldúa, Antonio Berni, Georges Braque, Horacio Butler, Aaron Douglas, Russell Drysdale, Raquel Forner, Ricardo Grau, Francis Gruber, Alexis Preller, Júlio Resende (Martins da Silva Dias).

Travaux d'Automne (1907, 54x65cm)
Cathédrale et Toits à Rouen (1908, 119x96cm)
Tentation (Adam et Ève) (1910; 575x471pix, 161kb)
Le Château de Falaise (soir) (1904, 73x60cm; 512x413pix, 37kb)
^ Died on 06 February 1918: Gustav Klimt, Austrian Art Nouveau painter and draftsman born on 14 July 1862.
— Klimt was the son of an Austrian jeweler. From the age of fourteen to twenty he studied at the School of Plastic Art in Vienna. From the age of eighteen, he, his brother Ernst and Franz Matsch undertook commissions for decorative works. In 1897 he became the first President of the Vienna Sezession. Influenced first by Makart, he turned away from him after a trip to Vienna where he discovered Byzantine mosaics. In 1912, he withdrew from the Sezession and became President of the Austrian National Union of Artists. In 1917, he was granted an honorary professorship at the Viennese Academy.
      From his early works, Klimt caused uproar. His works were frequently taken down; the Nazis burnt some of them. His technique is fairly classical, but his subjects were scandalous; naked girls mingle with skeletons, sexuality expressed in all its forms. Ornament is all-pervasive in his work; from this background the bodies struggle to the surface. He was witness to the decadence of an entire society and the fantastic world that his paintings occupy testify to this by their collection of sex and death, while the audacity and freedom of his graphic style foreshadow modern art.
— A leading exponent of Art Nouveau, Klimt is considered one of the greatest decorative painters of the 20th century. His depictions of the femme fatale and his drawings treating the theme of female sexuality have assured him a place in the history of erotic art. He is remembered for his role in the formation of the Vienna Secession, the radical group of Austrian artists of which he became the first president in 1897, and also for the frequent scandals and protests that marked his later career. These contrast strikingly with the public and official approval that marked him out as a young artist of promise, even before he graduated from the Vienna Kunstgewerbeschule in 1883.
— Gustav Klimt first made himself known by the decorations he executed (with his brother and their art school companion F. Matsch), for numerous theatres and above all (on his own this time) for the Kunsthistorisches Museum in Vienna, where he completed, in a coolly photographic style, the work begun by Makart. At the age of thirty he moved into his own studio and turned to easel painting. At thirty-five he was one of the founders of the Vienna Secession; he withdrew eight years later, dismayed by the increasingly strong trend towards naturalism.
      The coruscating sensuality of Klimt's work might seem in perfect accord with a society which recognized itself in those frivolous apotheoses of happiness and well-being, the operettas of Johann Strauss and Franz Léhar. Nothing could be further from the truth. Far from being acknowledged as the representative artist of his age, Klimt was the target of violent criticism; his work was sometimes displayed behind a screen to avoid corrupting the sensibilities of the young. His work is deceptive. Today we see in it the Byzantine luxuriance of form, the vivid juxtaposition of colors derived from the Austrian rococo - aspects so markedly different from the clinical abruptness of Egon Schiele. But we see it with expectations generated by epochs of which his own age was ignorant.
      For the sumptuous surface of Klimt's work is by no means carefree. Its decorative tracery expresses a constant tension between ecstasy and terror, life and death. Even the portraits, with their timeless aspect, may be perceived as defying fate. Sleep, Hope (a pregnant woman surrounded by baleful faces) and Death are subjects no less characteristic than the Kiss. Yet life's seductions are still more potent in the vicinity of death, and Klimt's works, although they do not explicitly speak of impending doom, constitute a sort of testament in which the desires and anxieties of an age, its aspiration to happiness and to eternity, receive definitive expression. For the striking two-dimensionality with which Klimt surrounds his figures evokes the gold ground of Byzantine art, a ground that, in negating space, may be regarded as negating time - and thus creating a figure of eternity. Yet in Klimt's painting, it is not the austere foursquare figures of Byzantine art that confront us, but ecstatically intertwined bodies whose flesh seems the more real for their iconical setting of gold.
— Ubaldo Oppi was a student of Klimt.
Photo of Klimt

The Three Ages of Women (1905, 178x198cm; 717x722pix, 129kb)
Emilie Flöge (1902, 181x84cm; 598x254pix, 44kb _ ZOOM to 2353x1000pix, 252kb)
Eugenia (Mäda) Primavesi (1912, 150x110cm; 599x433pix, 73kb _ ZOOM to 2800x2024pix, 452kb)
Judith (1901; 600x316pix _ ZOOM to 1400x737pix) _ Judith was an Old Testament Jewish heroine. In the deuterocanonical Book of Judith, she is portrayed as a widow who made her way into the tent of Holofernes, general of Nebuchadrezzar, cut off his head, and so saved her native town of Bethulia.
Bauerngarten mit Sonnenblumen (1905; 600x593pix _ ZOOM to 1400x1383pix, 312kb)
Adele Bloch-Bauer I (1907, 138x138cm; 600x590pix, 191kb _ ZOOM to 1830x1800pix, 1103kb) _ This portrait established a new record for price of a painting: on 19 June 2006 it became known that it has been bought privately for $135'000'000 from a niece of Adele Bloch-Bauer, to whom it had been restituted at long last in January 2006 together with the next four (they had been stolen by the Nazis soon after their March 1938 annexation of Austria).
      _ Adele Bloch-Bauer [09 Aug 1881 – 24 Jan 1925] war eine Tochter von Moritz Bauer, dem Generaldirektor des Wiener Bankvereins. Sie heiratete 1899, im Alter von 18 Jahren, den sehr viel älteren Ferdinand Bloch [1864 – 13 Nov 1945], der die Zuckerfabrik seines Vaters zu einem europaweit agierenden Großunternehmen umgestaltet hatte. Adele und Ferdinand Bloch gehörten dem aufgeschlossenen, jüdischen Wiener Großbürgertum an und waren beide überzeugte Sozialdemokraten: In ihrem Salon verkehrten neben Schriftstellern und Künstlern auch Karl Renner und Julius Tandler. Die Kontakte zu Gustav Klimt reichten weit zurück bis in dessen unglückselige Zeit der sozialen Ächtung im Zuge des Streits um die Fakultätsbilder (um 1903), was aber das Ehepaar nicht davon abhielt, ihn zu unterstützen. Bereits 1903 erging der Porträtauftrag an den Maler, der über Jahre hinweg über 100 Skizzen anfertigte, bevor er 1907 das Bildnis ausfertigte. Das preziöse Werk gilt heute als Ikone der österreichischen Variante des Jugendstils und ist ein Kunstwerk von höchster Bedeutung für die soziohistorische und kulturelle Identität Österreichs. Kunsthistorisch gesehen ist das Gemälde auch deshalb so bedeutsam, weil es sich um eines - und zwar das eindeutig bedeutendere - von nur zwei Porträts einer bekannten Persönlichkeit aus Klimts goldener Periode handelt. In dieser Phase seines künstlerischen Schaffens experimentierte Klimt durch einen vollkommen neuen Zugang zur physischen Oberfläche des Kunstwerkes mit Vergoldung und Pastiglia. Beides setzte er gleichwertig und nicht untergeordnet zur eigentlichen Ölmalerei ein. Klimt erreichte so eine reflektierende und wahrlich dreidimensionale reliefartige Oberfläche. Typisch für Klimt und die „Flächenkunst“ ist das irritierende Spiel mit Räumlichkeit und Fläche, am deutlichsten wird dies im Kleid der Dargestellten spürbar: Wir sehen den weit nach rechts und links fließenden, goldenen Stoff und assoziieren – im Zusammenhang mit dem Lehnsessel hinter Adele – eine sitzende Figur. Doch das Muster verändert sich zur Mitte hin und lässt die zarte Silhouette eines stehenden Körpers erkennen. Für den Lehnsessel ist - auf den zweiten Blick erkennbar – gar kein perspektivischer Raum gelassen. Dieses verstörende Vor und Zurück in Raum und Fläche wird durch die überbordende, dekorative Fülle an Ornamenten noch verstärkt. Dagegen sind Gesicht, Schultern, Arme und Hände beruhigend naturalistisch dargestellt. Doch Klimt hatte sich von den akademischen Idealen der Porträtmalerei seiner Zeit weit entfernt: Die „goldene Adele“ ist nicht allein das hervorragend gemalte Bildnis einer Dame der Wiener Gesellschaft, sondern ein Werk, das die Verehrung der Frau an sich nicht zuletzt als Quelle der Inspiration und Erhebung zum Thema hat. Man kann sogar so weit gehen, zu sagen, dass Klimt nicht nur versucht hat, die Person selbst bildlich einzufangen, sondern auch ihre Aura abzubilden, indem er sich Bildelementen bediente, die sonst mit religiösen Bildern verbunden werden. Nicht zufällig entstanden Klimts goldene Bilder nach einer Reise nach Ravenna (1903), wo die goldenen Kirchenmosaike ihn zu zeitgemäßen „Heiligenbildern“ inspirierten. Er vereinte dekorative wie expressive und „symbolische“ Elemente durch eine Synthese verschiedenster künstlerischer Einflüsse nicht nur aus der byzantinischen Mosaikkunst, sondern auch aus der alt-ägyptischen, der minoischen und mykenischen Kunst, der mittelalterlichen italienischen religiösen Malerei, aus japanischen Lackarbeiten, der Ukiyo-e Tradition, von Edo Wandschirmen und aus dem französischen Impressionismus. Das Bildnis Adele Bloch-Bauer I stellt wie Der Kuss (1908) den Höhepunkt dieser stilistischen Entwicklung dar. Im Gegensatz zum Kuss gibt uns das Bildnis von Adele Bloch-Bauer aber einen einzigartigen und intimen Einblick in Klimts Bewunderung für eine herausragende Persönlichkeit seiner Zeit – das Gemälde ist die in höchster Vollkommenheit gemalte Huldigung einer bedeutenden und aufgeklärten Mäzenin der österreichischen Kultur. Heute ist es zwar weiterhin eine exquisite aber mittlerweile eine schwer fassbar gewordene Huldigung aus einer immer stärker vergangenen, ehemals goldenen Zeit, die international zum Synonym für Österreich geworden ist.
Adele Bloch-Bauer II (1911; 600x365pix, 60kb _ ZOOM to 2590x1576pix, 417kb) _ Klimt malte fünf Jahre nach Fertigstellung des ersten ein zweites Bildnis von Adele Bloch-Bauer. Ähnlich entkörpert, doch eindeutig aufrecht stehend erscheint die Dame diesmal vor einem buntfarbigen Hintergrund, der kaum gegensätzlicher zum „goldenen Schrein“ des ersten Porträts sein könnte. Sowohl Klimts direkte Begegnung mit Werken der französischen Avantgarde (durch die Secessions Ausstellungen und während seiner Parisreise 1909) wie auch seine Freundschaft mit dem jungen Egon Schiele haben nachhaltig sein Verhältnis zur Farbe verändert. Doch trotz aller Einflüsse fand Klimt zu einem ganz eigenständigen Umgang mit ihr, wie das Bildnis Adele Bloch-Bauer II eindrucksvoll beweist. In drei großen und zwei kleineren Farbfeldern gestaltete Klimt den Hintergrund als eine von der Figur unabhängige Oberfläche und Ebene. Gleichsam schwebend füllt Adele Bloch-Bauer ihren eigenen Bildgrund. Der schwebende Charakter wird durch die flächige Darstellung ihres Körpers und den bodenlangen Seidenschal verstärkt, der ihre Kontur hell schillernd umfängt. Die breite Hutkrempe um ihren Kopf wirkt wie die Reminiszenz an einen Heiligenschein. Assoziiert man bei der grünen und blauen Fläche unwillkürlich Landschaftselemente (etwa einen Ausblick in einen Garten), so zerbricht diese Illusion an der Darstellung chinesischer Reiter im oberen Bildviertel – diese „Chinoiserie“ verweist klar auf einen Innenraum. Die fast halluzinatorische Oszillation von Realem und Visionärem, die Klimt in dem Porträt meisterlich anzuwenden versteht, ist fundamental für Klimts künstlerische Vision. Doch scheint das Anliegen des Malers hier weniger als noch im ersten Porträt die Verwirrung der räumlichen Wahrnehmung als vielmehr die Eigengesetzlichkeit des Bildes gewesen zu sein: Es ist sowohl die Zusammenstellung der (ungewöhnlichen) Farben als auch die Harmonie der Verhältnisse der Farbfelder untereinander, die außergewöhnlich und vollkommen, eigenständig und Selbstzweck sind. Ein letztes Mal vor dem Zusammenbruch der Monarchie zeigt sich hier in der österreichischen Kunst die Möglichkeit einer bildimmanenten Schönheit. Egon Schiele, dessen Porträts ohne Klimts Bildnisse nicht denkbar wären, setzte seine körperlosen Modelle (wie etwa im Rainerbub, 1910) vor leere Hintergründe. In diesem zweiten Porträt von Adele Bloch-Bauer, ebnete Klimt nicht nur den Weg für andere österreichische Künstler, die Kontextualisierung der von ihnen Porträtierten neu zu überdenken, sondern er demonstrierte hier in erster Linie die Befreiung von der Visualisierung durch scheinbar müheloses In sich Aufnehmen einer ganzen Bandbreite von Einflüssen und ihre Umarbeitung zu einer vollkommen eigenständig inspirierten persönlichen Vision.
Beechwood Forest (1903; 379x380pix, 33kb) _ This is one of Klimt’s few woodland paintings. It shares in the ideas of French Impressionism and is dominated by the brown and gray tones of the dried leaves of the forest floor.
      _ Buchenwald/Birkenwald: Das Waldinnere war seit dem Stimmungsimpressionismus ein beliebtes Motiv bei Wiener Malern. Schon die ersten Landschaftsbilder von Klimt weisen weich konturierte Motive und eine duftige Malweise auf (vgl. Tannenwald I und Tannenwald II, 1901). Weil aber der Wald allgemein ein zentrales Thema der bildenden Kunst war, sind Klimts Waldbilder als deutliche Auseinandersetzung mit der internationalen Avantgarde zu interpretieren. Das 1903 entstandene Bild eines Buchenwaldinneren zeigt bereits Klimts Konzentration auf kompositorische und formale Probleme. Die quadratische Fläche wird durch die Verteilung verschieden dicker und verschieden heller Baumstämme über dem braunen Laub rhythmisiert. Die in einzelnen, jedoch durchgängigen Flecken gemalte Laubfläche bedeckt drei Viertel der Leinwand, während den oberen Abschluss die undurchdringliche „Wand“ des dunklen Gehölzes bildet. Das Hauptaugenmerk liegt allerdings auf der raffinierten Gestaltung einzelner Baumstämme des Vordergrundes. Hierfür machte sich Klimt die Technik der Pointillisten zunutze, ohne tatsächlich pointillistisch zu malen: Seine kleinen Farbtupfer dienen im Gegenteil der Konkretisierung der Form in ihrem ganzen Farbenspektrum: Der Nuancenreichtum, mit dem Klimt die einzelnen Stämme wiedergab, ist nur im Blick aufs Detail erfassbar. Während an einigen Stellen die Struktur der Leinwand noch sichtbar bleibt, überarbeitete Klimt andere so oft, dass die Farbe als dickes Geflecht unzähliger Pinselstriche stehen blieb. Unser Auge wird gleichzeitig gefangen und frei gegeben, das gesamte Motiv zu durchwandern und darin einzutauchen, sich selbst in einem getüpfelten und gestrichelten Durcheinander zu verlieren, um dann wieder seinen Weg von Baum zu Baum zu finden. Die wahre Schönheit und Bedeutung dieses Bildes kann vielleicht am besten durch die Verkehrung des bekannten Sprichwortes „Man sieht den Wald vor lauter Bäumen nicht“ ausgedrückt werden – denn der Wechsel von Verwirrung zu Bewusstwerdung lässt uns hier vor lauter Bäumen geradezu erst den Wald selbst erkennen.
Houses in Unterach on Lake Atter (1916; 424x400pix, 30kb) _ Häuser in Unterach am Attersee: Seit 1897 verbrachten Klimt, Emilie Flöge [1874-1952] und ihre Familie die Sommer außerhalb Wiens – ab 1900 war das Ziel dieser Sommerfrischen der im oberösterreichischen Salzkammergut gelegene Attersee. Die während dieser Sommermonate entstandenen Landschaftsbilder belegen gleichermaßen Klimts großes und unablässiges Interesse an der Landschaftsmalerei wie auch seine stilistische und malerische Entwicklung. Zugleich wird Klimts Bestreben deutlich, das Bild aus farblichen Flächen aufzubauen, die Harmonie und Ruhe ausstrahlen und nur ihren bildimmanenten Gesetzen folgen. Ein anderer autonomer Aspekt seiner Landschaften waren die Mittel, die der Künstler einsetzte, um das einer Landschaft inhärente, kompositorische Potential motivisch zu selektieren. Auf der Suche nach einem „Bild“ benutzte Gustav Klimt seinen berühmten „Sucher“, den er bei Spaziergängen stets bei sich trug. Sein Motiv-Sucher war ein kleiner, rechteckiger Pappendeckel mit einem quadratisch eingeschnittenen Loch, den er in der Landschaft vor sich hin und her bewegte, bis sich ihm ein kompositorisch vorgegebenes Motiv präsentierte. Für Häuser in Unterach ging Klimt in seiner Motivsuche noch einen Schritt weiter, indem er das Bild nachweislich vom gegenüberliegenden Ufer aus mit Hilfe eines Fernrohrs malte, was zum Teil das auffällige Fehlen jeglicher Perspektive erklärt. Klimt trieb die verflachende Wirkung des Teleobjektivs aber noch auf die Spitze, indem er wichtige, raumgebende Details wegließ. Allein durch das Übereinanderstaffeln der einzelnen Bildelemente entsteht beim Betrachter der Eindruck eines ansteigenden Geländes. Der Einsatz der Farbe entspricht aber nicht nur formal Teil der Entwicklung von Klimts spätem Malstil, auch der Farbauftrag selbst ist verändert: An vielen Stellen, besonders im Laubwerk der Bäume, schimmern die unbemalt gebliebenen Stellen Leinwand durch. Klimt setzte die Pinselstriche, die in Breite und Länge variieren, locker, aber dicht nebeneinander, wobei sie sparsam die physische Oberfläche und Textur einfangen während die unbemalt gebliebenen Stellen paradoxerweise Volumen vermitteln. Die flache Häuserzeile, die Ziegeldächer, die offenen Wiesenflächen und das “Sockel” Motiv des darunter liegenden Sees, alle diese Elemente bilden Blöcke, in denen die breit und gestreckt aufgetragenen Pinselstriche ein ansprechendes Stückwerk aus jeweils folgenden und entgegen gesetzten Richtungen von Textur und Orientierung erzeugen. Einmal ist die Farbe flüssig und dick, dann wieder trocken und sparsam aufgetragen. Diese modellierte Gestaltung der Oberfläche ist eine logische Entwicklung in Klimts Behandlung der zweidimensionalen Oberfläche und seines mehrdeutigen Verhältnisses zur Illusion einer dritten Dimension. Dieses Loslösen der Form vom Raum und seine Transformation von einem eindeutig perspektivischen Element in eine vollkommen autonome, ästhetische Interpretation räumlicher Verhältnisse ist typisch für Klimts Spätwerk und ein Aspekt, den der Künstler auch auf die Figuren- und Porträtmalerei übertrug. Häuser in Unterach ist sicher das reinste Beispiel dieses Ringens am Rande zur Abstraktion und als solches ist es als Meilenstein in Klimts künstlerischer Entwicklung zu werten.
Apple Tree I (1911; 464x463pix, 101kb) _ This painting is suffused with nuanced color and is among Klimt's most meditative paintings.
      _ Apfelbaum I: Anders als im Waldbild, Buchenwald (Birkenwald), das rein aus der Farbe heraus durch „Flecken und Säulen“ geformt und gebaut erscheint, ist das Kompositionsgerüst von Apfelbaum I ein viel graphischeres, das durch den Stamm und die Äste des kleinen Baumes zentral vorgegeben und untermauert wird. Der Baum wird als einziges Motiv allerdings so monumental und bildfüllend dargestellt, dass man das Porträt e i n e s Baumes und nicht die Darstellung eines kleines Baumes innerhalb eines Obstgartens vor sich zu sehen glaubt. Das Bild wirkt wie eine lange, kontemplative Zwiesprache des Malers mit dem Motiv, bei der das Auge auf das Objekt fokussiert, der Geist aber auf dem Weg zur spirituellen Essenz ist. Das Durcheinander unzähliger kurzer Pinselstriche ordnete der Gustav Klimt durch Farbgebung und Richtung: Der Hintergrund mit dem winzigen Stück Himmelblau in der linken oberen Ecke ist dunkler gehalten als das Blattwerk des Baumes. Die einzelnen Blätter wiederum sind der schönen, halbrunden Krone folgend fast ornamental angelegt. Diese Form wiederholt sich in den roten Äpfeln, deren Konturen der Künstler deutlich erkennbar mit kreisrunden Pinselstrichen nachzog, und auch in den Blumen des Vordergrundes, die ein horizontales Band wie eine Standfläche bilden. Dieses Motiv eines „Sockels“ findet sich in vielen Werken von Klimt, aber hier, in den taumelnden und kreisenden Farbscheiben, wird das Verhältnis von ansteigender und innerer Bewegung am vollkommensten vermengt. Die außergewöhnlich brillante Farbpalette ist ein vollendetes Beispiel für Klimts verändertes Verhältnis zur Farbe, das der Künstler in seinen Landschaftsbildern unermüdlich zu ergründen und frei zu entfalten suchte. Vielleicht ist in Apfelbaum I die scheinbar mühelose Entwicklung vom primordialen Chaos zur kosmischen Ordnung, von der jede eingehende Auseinandersetzung mit dem Gemälde gekrönt wird, hier Klimts größte künstlerische Errungenschaft.
Der Apfelbaum (1916, 80x80cm; 600x588pix, 92kb _ ZOOM to 2065x2024pix, 441kb)
Kirche in Unterach am Attersee (1916; 600x581pix, 94kb _ ZOOM to 2090x2024pix, 446 kb)
Hope I (1903, 189x67cm; 1160x417pix; 82kb) _ 9-months pregnant nude with a Death's head skull behind her. Klimt's bold portrayal of pregnancy contravened standards of propriety in turn-of-the-century Vienna, forcing the withdrawal of the painting from his first Secession retrospective. In this richly symbolic painting, Klimt juxtaposes the promise of new life with the destructive forces of death. Despite the monstrosities around her, the pregnant woman remains calm and unperturbed, confident of the renewal within her. In preliminary sketches for this painting the tone is more positive: the sketches show a couple within a landscape reflecting upon their happiness. Klimt’s decision to change the composition may have stemmed from his reaction to the death of his second son during infancy in 1902.
–- Vision aka Hope II (1908, 110x110cm; 825x816pix, 87kb) _ 9-months pregnant in colorful dress, bare-breasted, the woman bows her head and closes her eyes, as if praying for the safety of her child. Peeping out from behind her stomach is a death's head, sign of the danger she faces. At her feet, three women with bowed heads raise their hands, presumably also in prayer — although their solemnity might also imply mourning, as if they foresaw the child's fate. Why, then, the painting's title? Although Klimt himself called this work Vision, by association with Hope I, it has become known as Hope II. There is a richness here to balance the woman's gravity. Klimt was among the many artists of his time who were inspired by sources not only within Europe but far beyond it. He lived in Vienna, a crossroads of East and West, and he drew on such sources as Byzantine art, Mycenean metalwork, Persian rugs and miniatures, the mosaics of the Ravenna churches, and Japanese screens. In this painting the woman's gold-patterned robe (drawn flat, as clothes are in Russian icons, although her skin is rounded and dimensional) has an extraordinary decorative beauty. Here, birth, death, and the sensuality of the living exist side by side suspended in equilibrium.
–- Mädchenbildnis (1902; 700x474pix, 39kb _ .ZOOM to 997x947pix, 139kb)
The Pianist and Piano Teacher Joseph Pembauer (1890, 69x55cm)
Pallas Athene (1898, 75x75cm)
Sonja Knips (1898, 145x145cm)
Fable (1883, 85x117cm)
Auditorium in the Old Burgtheater, Vienna (1888, 82x92cm)
Idyll (1884, 50x74cm)
A Lady (1894, 39x23cm)
69 ZOOMable images at Wikimedia
86 images at Bildindex

Died on a 06 February:

>1995 Ana María Gómez González “Maruja Mallo” [05 Jan 1902–], Spanish surrealist painter.
Naturaleza Viva (1943; 2100x1820pix, 314kb) —(100115)

1982 Ben Nicholson, English abstract painter born (main coverage) on 10 April 1894. —(060129)
Merda d'artista
^ 1963 Piero Manzoni, Italian painter and conceptual “artist” (if you can call his excentric concepts “art”) born on 13 July 1933. — He was self-taught as an artist. Shortly after he began painting he started to question the traditional aims and methods of the artist, expressing the nature of his searching in both writings and the objects that he produced. With Ettore Sordini [1934~], Camillo Corvi-Morra, and Giuseppe Zecca, he co-edited the manifesto Per la scoperta di una zona di immagini (1956). A manifesto with the same title written by Manzoni alone appeared almost immediately afterwards (1957). In his text he stressed the relationship between artistic expression and the collective unconscious, arguing that through extreme self-awareness the artist is able to tap mythological sources and to realize authentic and universal values; the canvas should remain an area of freedom in which the artist may go in search of primal images. — Manzoni is known chiefly for his white monochrome paintings and as a precursor of Conceptual art. Born at Soncino (Cremona), he began by painting landscapes in a traditional style 1951-1955, then turned to making works with impressions left by keys, scissors, etc., which had been dipped in tar. Partly under the influence of Yves Klein and Burri started in 1957 to make textured white paintings which he called 'Achromes'. First one-man exhibition in the foyer of the Teatro delle Maschere, Milan, 1957. Close contact with the Gruppo Nucleare, particularly Baj, 1957-1959, then with Castellani and Agnetti; founded with Castellani in 1959-1960 a short-lived review called Azimut and an avant-garde gallery in Milan, the Galleria Azimut. From 1959 devised a variety of cerebral, provocatively controversial works: 'lines' of various lengths, signing the bodies of living people, tins of the artist's shit, bases for people to stand on as 'living sculptures', etc. He died in Milan. An exemple of Manzoni's “art“ is his Merda d'Artista, constructed in 1961. It is not a painting but a series of 30-gramme cans [foto >] labeled (in Italian and English) “Merda d'artista — CONSERVATA AL NATURALE”, which sit in piles or randomly on a surface. Ninety versions were made, each designed to be sold for its weight in gold. — LINKSComments on a 1998 Manzoni exhibitionLinks to photos of some Manzoni “artwork”.

1941 Maximilien Luce, French painter born (full coverage) on 13 March 1858. —(060205)

1938 Jean-Georges Hulot (Huyot?) “George Auriol”, French artist born on 26 April 1863. He was an Art Nouveau artist and designer, one of a group who frequented the Chat Noir or Black Cat Cafe in the Montmartre district of Paris. He went to Paris in 1883 to be a writer and some of his essays were published in Chat Noir. Eugéne Grasset introduced him to typography and book design which led to his designing Les Trente-six Vues de la Tour Eiffel in 1902. He worked as an illustrator, writer, and printmaker as well as a type designer. He is best known for his Auriol face designed for Deberny Peignot. The letter forms are stencil like and have very organic shapes which can be seen as flowers, plants, or bones. — (060129)

1923 José Navarro Llorens, Spanish painter born in 1867. — {UN AVARO LLORANDO ME DIJO QUE NO PODÍA GANARSE LA RECOMPENSA QUE YO LE PROMETÍ SI ME ENCONTRABA UN NAVARRO LLORENS EN EL INTERNET. Pero por fin encontré unos pocos yo mismo.}
An Arab Caravan on the Move
Vuelta del carnaval (28x43 cm; 498x800pix, 99kb)
Cabras en el campo (53x66cm; 600x766pix, 134kb) —(060129)

^ 1908 Jan Frederik Pieter Portielje, Dutch painter born on 29 April 1829. He studied under Valentijn Bing [1812–1895] in Amsterdam and later under Jan Braet von Uberveldt [1807–1894]. In 1849 he went to the Koninklijke Academie voor Schone Kunsten in Antwerp, where he took lessons from J.-L. Dyckmans [1811–1888]. After this period of training he spent two years in Paris and traveled in France and Germany. Settling in Brussels, he made a name for himself as a portrait painter, especially in English circles. He also received commissions from Dutch and US patrons. Between 1857 and 1884 he took part in exhibitions in Amsterdam and The Hague. He painted genre scenes and portraits (Gypsy Woman, 1873; Woman in Historical Costume). He also worked with Frans Lebret [1820–1909] and Eugène R. Maes [1849–1931]. His sons Edward Antoon Portielje [08 Feb 1861 – 1949] and Geerard Jozef Portielje [06 Feb 1856 – 1929] were also painters.

1898 Leopold baron of Löfler-Radymno, Austrian Polish artist born on 30 October 1827.

1861 Charles-Jean Avisseau, Tours French artist born on 25 December 1796. —(060129)

1859 Benno Friedrich Tormer, German artist born on 04 July 1804.\

1800 Robert Léopold Leprince, French artist born on 14 November 1800, son of painter and lithographer Anne-Pierre Leprince and brother of the painters Auguste-Xavier Leprince [28 Aug 1799 – 24 Dec 1826] and Gustave Leprince [1810–1837].

^ 1839 François-Louis-Thomas Francia, Calais French [well, what did you think?] painter and engraver born on 21 December 1772. The son of the director of the Military Hospital in Calais, Francia was intended for the legal profession; his talent as an artist was recognized early, and he was permitted to attend the local drawing school where, at the age of 16, he was awarded all of the prizes. He retained a passionate loyalty to Calais and to its art school, vigorously protesting in 1835 against plans to exclude students under ten years of age from the drawing class; such crusades were characteristic of this energetic man. — LINKS
–- Landscape (19x26cm; 364x492pix, 32kb _ .ZOOM to 728x984pix, 58kb) house and grove of trees by a canal.
–- Estuary (1826, 20x26cm; 507x674pix, 39kb _ .ZOOM to 1018x1346pix, 77kb) with a boat drawn up to the beach, and a beacon.
–- Ships on a rough sea (10x18cm; 387x674pix, 41kb)
61 images at Tate

1816 Gerrit Malleyn (or Mallein), Dutch artist born in 1753.

1708 Elias van den Broeck (or Broek), Dutch artist born in 1650..

1549 (or 09 Aug 1546) Martin Schaffner, German painter and medallist born in 1478. He produced some of the outstanding altarpieces of the Renaissance in Swabia. His birthdate is suggested by a self-portrait medal of 1522 on which he describes himself as aged 44. He was obviously trained in Jörg Stocker’s workshop in Ulm: his name first appears on the reverse side of the winged altar made by Stocker in 1496 for Saint-Martin at Ennetach, where he signed the Carrying of the Cross. Yet Schaffner’s contribution here would have been confined to subsidiary details; Stocker, a rather conservative and spiritless artist, could have imparted only basic painting skills to the young painter. An altar wing with paintings on both sides (1500), perhaps also painted by Schaffner in Stocker’s studio, seems old-fashioned, though not totally devoid of the charm of his later figures. Schaffner was a taxpaying householder in Ulm in 1499, suggesting that he had meanwhile become an independent master, free to develop along his own lines.

Born on a 06 February:

^ 1927 John Plumb, British abstract painter. Born at Luton. Studied at the Luton School of Art 1942–1945, the Byam Shaw School 1948–1950 and the Central School 1952–1955, under Anthony Gross, Victor Pasmore, William Turnbull, and Keith Vaughan. Has taught at Luton School of Art 1955-1961, Maidstone College of Art 1961-1966, and Bennington College, Vermont 1968-1969. He became Senior Lecturer in Painting at the Central School of Art and Design, London 1969-1982. Did murals for the temporary U.I.A. Congress Buildings 1961.
— /S#*>Ladder No.2 (152x10cm; 12'833x900pix, 968kb) —(060605)

^ >1923 Tadashi Sato, Hawaiian artist who died on 04 May 2005. He designed Aquarius, the circular mosaic on the floor of the state Capitol atrium. A fisherman who enjoyed being close to the ocean, Sato was among a group of Japanese-Americans who became successful artists in New York after fighting for the United States in World War II. Many of Sato's Abstract Expressionist paintings captured the ethereal, unifying and reflective quality of water. He got his break as an artist while working as a security guard at the Museum of Modern Art. Two actors and a Broadway producer visited his apartment to see his works and bought seven paintings. Some of his artworks on public display include a floor mural, Submerged Rocks and Water Reflections, at the Shinmachi Tsunami Memorial in Hilo and a painting untitled Nakalele at the Hawaii Convention Center in Honolulu.
24 images at mishabittleston :
— Raindrops on Lake (1967, 76x107cm)
— Untitled (1968, 91x122cm)
— Sea Form #8 (1960, 127x152cm)
— Untitled (1968, 122x91cm)
— Submerged Rock and Reflections (1967, 107x107cm)
— Untitled (1968, 51x76cm)
— Untitled (1971, 91x122cm)
— Untitled (1973, 91x72cm)
— Night Surf 1 (1965, 173x127cm)
— Composition II (1997, 153x127cm)
— Shadow in the Walkway (1991, 127x152cm)
— Composition (1984, 173x127cm)
— Subway Station (1977, 173x127cm)
— Untitled (1958, 39x29cm)
— Resting Maynah (2001, 152x127cm)
— Bird and Surf (1981, 51x25cm)
— Lava Field (1987, 183x178cm)
— Airscape (1997, 86x56cm)
— Mauka Makai (1975, 107x107cm)
— Untitled (Nakalele) (1988, 76x122cm)
— Untitled (1974, 51x61cm)
— 7000 ft. A.S.L. (1981, 51x41cm)
— Sand Turtle (2000, 46x61cm)
— Something had to be done to make those small images more interesting, so the pseudonymous Tad Archie Stoodow chose the eight least dull, collaged them together and then metamorphosed them four different ways into
      _ Compenetration aka Task Sat (2006; screen filling, 172kb _ ZOOM to 1414x2000pix, 815kb),
      _ Compensation aka Test Set (2006; screen filling, 172kb _ ZOOM to 1414x2000pix, 815kb),
      _ Comparation aka Dose Sod (2006; screen filling, 169kb _ ZOOM to 1414x2000pix, 810kb), and
      _ Computation aka Tame Mat (2006; screen filling, 243kb _ ZOOM to 1414x2000pix, 1243kb),

1904 Otto KoehlerTheo Balden, German sculptor who died on 30 September 1995. —(060129)

1895 Franz Radziwill, German painter who died on 12 August 1983. — Relative of Krystyn Radziwill? — Radziwill grew up near an airfield in Bremen, which led to a continuing fascination with aircraft. He completed an apprenticeship as a brick-layer from 1909 to 1913. From 1913 he studied architecture at the Hoheren Staatslehranstalt für Hochbau, Bremen, and also took evening classes in figure drawing at the Kunstgewerbeschule, producing still-lifes and landscapes and meeting such artists as Heinrich Vogeler. After military service in World War I, Radziwill returned to Bremen and devoted himself to painting, producing work that was Expressionist in style. He also founded the Grüne Regenbogen artists’ group with Hans Schmidt and took part in 1920 in an exhibition of the Freie Sezession in Berlin. There he met Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein, George Grosz and Otto Dix. In 1923 he settled in the small town of Dangast, which had earlier been a favorite retreat for members of Die Brücke, and the following year began producing work that was more realist in style, although with Surrealist overtones. A visit to the Netherlands in 1925, and the chance to study Dutch art, was another important stylistic influence around this time. The same year he held his first major one-man exhibition, at the Augusteum in Oldenburg.. In the same year 1925, Radziwill increasingly abandoned the Expressionist style of his early work. He developed a friendship with Otto Dix in this year, who introduced him to the 'Neue Sachlichkeit' circles and worked together with Dix in his studio in Dresden until 1928. He participated in the large 'Neue Sachlichkeit' exhibition in the Stedelijk Museum in Amsterdam in 1929. Radziwill was much praised when he took over Paul Klee's chair at the Düsseldorf Akademie in 1933. The Nazis forced him to resign two years later, however, and banned him from practising his profession. He fought in the war a second time from 1939 to 1945 and then returned to his house in Dangast, where he began painting religious subjects. He was awarded the Villa-Massimo Prize in 1963 and spent some time in Rome. About the mid 1960s Radziwill began changing his older works by painting over them. — 1979 photo of Radziwill
Todessturz (1928; 676x700pix, 99kb) _ André Wangler (not pseudonymous) has pictured the same scene by moonlight Todessturz bei Nacht (676x700pix, 36kb) _ or in almost complete obscurity Todessturz, fast totale Finsternis (676x700pix, 27kb) _ or under snow (just the house) Todessturz, Schnee (nur das Haus) (740x700pix, 115kb)
Strike (1931; 518x728pix, 100kb)
Houses (back view) in Dresden (1931; 524x590pix, 88kb)
The Object and Morning (1929; 540x702pix, 56kb)

1866 (04 Feb?) Vladislav Podkovinski, Polish painter and illustrator who died on 05 January 1895. born on 06 (04?) February 1866. From 1880 to 1884 he studied in Warsaw at Wojciech Gerson’s Drawing School. From 1884 he regularly contributed illustrations to leading Warsaw journals such as Tygodnik Ilustrowany and Wedrowiec. In 1885, accompanied by his fellow artist Józef Pankiewicz, he went to Saint-Petersburg and studied (1885–1886) at the Academy of Fine Arts. Disappointed with the conservative teaching system and short of money, he returned to Warsaw in 1886 and in 1887 continued working regularly for Tygodnik Ilustrowany, becoming one of its most popular illustrators. He produced his first watercolors and oil paintings, much under the influence of Aleksander Gierymski, but continued to regard these as secondary activities until a stay in Paris in 1889, again in the company of Pankiewicz. Here, the experience of new French painting, especially that of Claude Monet shown at the Galerie Georges Petit, encouraged Podkowinski to attempt paintings in an Impressionist manner. Works shown at the Aleksander Krywult Salon in Warsaw in 1890 initiated much heated discussion about Impressionism, then new to Polish art.

1856 Geerard Jozef Portielje, Belgian painter who died in 1929, son of Jan Frederik Pieter Portielje [29 Apr 1829 – 06 Feb 1908] and brother of Edward Antoon Portielje [08 Feb 1861 – 1949]..

1851 Bartolomeo Bezzi, Italian painter who died on 08 October 1923. From 1871 Bezzi studied at the Accademia di Belle Arti di Brera under Giuseppe Bertini. There he became friends with Francesco Filippini [1853–1895] and was influenced by the younger generation of artists then active in Milan, especially by Filippo Carcano’s landscape studies. Bezzi became popular as a landscape, and sometimes genre, painter with such works as Mills on the Adige (1882) and received many commissions. The influence of Gli Scapigliati in their treatment of light and color is apparent in the clear tones in which he painted, and many of his paintings exude a melancholic atmosphere, for example Last Light and Prelude to Evening. In 1890 Bezzi moved to Venice, where he executed many views of the city and its lagoon, such as Church of the Salute. There he became particularly friendly with Guglielmo Ciardi [1842–1917], Luigi Nono [08 Dec 1850 – 17 Oct 1918] and Marius De Maria, “Marius Pictor” [1852–1924]. Bezzi and De Maria were responsible for the acceptance of foreign artists to the Venice Biennale in 1895. Bezzi himself exhibited 11 works in the Biennale that year.

1800 Achille-Jacques-Jean-Marie Deveria, Parisian artist who died on 23 December 1857. —(060129)

1793 Jakob Joseph Eeckhout, Flemish artist who died on 25 December 1861. — {Was he able to eke out a living from his artwork? You couldn't prove it by the Internet, where I don't find any example of it.}

1772 Franz Gerhard Kugelgen, German artist who died on 27 March 1820.

1745 Joseph comte de Boze, French painter and inventor who died on 17 January 1826. He was the son of a sailor and studied painting at Marseille before settling in Arles. In 1778 he moved to Paris, where he studied with the pastellist Maurice-Quentin de La Tour. He attempted some technical improvements in the fixing of pastel and established a reputation for himself as an engineer and mechanic, his system for bridling and instantaneously unbridling four-horse wagons receiving the approval of the Académie des Sciences when tested at Versailles. Boze was presented to Louis XVI by the Abbé de Vermont, confessor to the Comte de Brienne and Queen Marie-Antoinette. Thereafter, he had a fairly successful semi-official career painting miniatures and portraits of the royal family and the court, most notably his Louis XVI (1784) and the ravishing Jeanne-Louise Genet, Mme Campan, Marie-Antoinette’s Première Dame de la Chambre (1786). He also, from 1782, exhibited pastels and miniatures at the Salon de la Correspondance, Paris. These are mostly in an oval format and are of varying quality, some spirited and lively, others stiff and wooden {was he a frustrated sculptor?}.

^ 1730 Januarius Johann Rasso Zick, German painter and architect who died on 14 November 1797. — {Why didn't they name him Februarius? Were they still going by the obsolete Julian calendar?}. — He was first trained with by his father Johann Zick [10 Jan 1702 – 04 March 1762] and was then apprenticed (1745–1748) to the master mason Jacob Emele (1707–1780) in Schussenried — hence his later description of himself as pictor et architectus. Januarius’s first dated painting is from 1750: Saint Benedict Awakens a Monk from Death. He went on working under his father, with interruptions, until 1759, on commissions that included frescoes and panels at Würzburg and Bruchsal. His panel paintings include David Playing the Harp Before Saul (1753) and closely imitate the ‘Rembrandt’ style of his father. In 1757, during a visit to Paris, he studied with the copper-engraver Jean-Georges Wille and met his French contemporaries. He then went via Basle to Rome, where he completed his studies with Anton Raphael Mengs. In 1758 Zick became a member of the Augsburg academy and won a prize for Mercury in the Sculptor’s Workshop. In the same year he painted 34 panels for the ‘Watteau-Kabinett’ in Schloss Bruchsal (destroyed in 1945), using his Paris experience. — The painters of the Zick family worked for over five generations in the 18th and 19th centuries in Upper Bavaria, Swabia, Franconia, and the Rhineland. (1) Johann Zick and his son (2) Januarius Zick were primarily fresco painters, though the latter also did many panel paintings. They included the direct descendants descendant of Januarius Zick, Konrad Zick [1773-1836], Gustav Zick [1809-1886], and Alexander Zick [1845-1907], who, while relatively minor figures, all shared a gift for portrait painting. — Gerhard von Kügelgen was a student of Januarius Zick.

^ 1636 Heyman Dullaert, Duch artist and poet who died on 06 May 1684. In 1655 he became a student of Rembrandt [15 Jul 1606 – 04 Oct 1669] and worked in his studio. — {Hey man! He may not have been Brightaert nor Sharpaert, but it does not mean that he produced only dull art.}— Dullaert waarschijnlijk een bloedverwant maar zeer zeker een veel kiescher, bekwamer en verdienstelijker dichter dan de voorgaande, wiens vertaling van Tasso hij met een lofdicht vereerde , werd geboren te Rotterdam, den 6 Februarij 1636. Zijne ouders waren Kornelis Michielsz. Dullaert, korenhandelaar, en Sofia Melisdyk, deftige en vermogende lieden, die het hem aan geene goede opvoeding lieten ontbreken; daar zij in hem een vlug verstand en grooten lust tot de schilderkunst bespeurden, zonden zij hem naar Amsterdam, waar hij de onderrigting in deze kunst genoot van den beroemden Rembrand van Rhyn, in welke hij zulke vorderingen maakte, dat eene door hem vervaardigde copij van een van Rembrands stukken, zijnde een geharnaste Mars, te Amsterdam, voor het werk van Rembrand zelven werd verkocht. Met de beöefening der schilderkunst paarde hij even gelukkig die der muzijk en poëzij, verdeelende zijn' tijd, uithoofde van zijn zwak ligchaamsgestel, tusschen de beöefening der letteren en fraaije kunsten, leidende een stil en ingetogen leven, van elk geächt en bemind, zoo zelfs, dat hij in 1672 benoemd werd tot Raad in de Vroedschap zijner geboortestad, in welken een zijner voorzaten, Abraham A. Houbraken, Schouburg der Schilders, III Deel, blz. 78, D. van Hoogstraten, Kort Berecht wegens het leven van H. Dullaert, voor diens gedichten. H. Dullaerts Gedichten, blz. 93
     Dullaert, in 1628 Hoofdofficier was geweest; doch hij wees deze benoeming van de hand. Hij telde Joachim Oudaen en de broeders François en Samuel van Hoogstraten onder zijne gemeenzame vrienden, inzonderheid waardeerde hij den laatsten, die gelijktijdig met hem de schilderkunst bij Rembrand had geleerd. Met het vorderen zijner jaren nam zijne zwakheid dermate toe, dat hij een' tegenzin kreeg in het schilderen, dichten, zingen en spelen, den gezelligen omgang, ja bijkans in eten en drinken, waarin hij ongemeen sober was. Hij verzwakte zoodanig, dat hem het spreken en hooren bezwaarlijk viel; hij teerde allengs uit, en stierf den 6 Mei 1684. Zijne gedichten zijn in een bundeltje bijeenverzameld en in 1719 te Amsterdam door D. van Hoogstraten in het licht gegeven. Het oordeel van den Poëtischen Spectator over Dullaert 1 is volkomen ook dat van den Heer De Vries 2 en het onze. Zijne gedichten zijn krachtig en beeldrijk. Zijne Dichtkundige Uitbreiding over Koning Davids CIVde Harpgezang 3 is een uitmuntend fraai stuk; ook schijnt het dat hij het best slaagde in het behandelen van ernstige onderwerpen; ofschoon hij ook regt lieve erotische stukjes heeft geleverd, en eenige puntdichten, die elders 1 blz. 58. 2 geschied. der Nederd. Dichtk. I Deel, blz. 263. 3 Gedichten, blz. 3.Poëtische Spectator, blz. 64 eene plaats zijn ingeruimd.
Time passes (1682) still life with calendar
Trompe l‘œil of objects on a shelf (25x38cm, 266x425pix, 32kb)

1613 Kaspar (or Caspar; Gaspar) van Eyck, Flemish painter who died in 1673.
A Mediterranean coast scene (38x66cm; 719x1280pix, 163kb) _ This is an idealized landscape of a bay with a foreshore in the foreground. To the left there are three small craft in the bay, and the first of these contains seven people variously standing and sitting, possibly fishing. To the left the shore follows a rocky coastline, and in the middle distance on the left the rocks rise steeply. A fortified building sits on a promontory protecting the town sitting high above it. The smoke depicted rising from the fortified building signifies habitation. There are sails of small boats visible in the bay on the left. To the right a large outcrop looms and is darker than the rest of the painting. The archway formation in the rock is an artistic device framing some of the activity and serves as a focal point of interest, through which figures are visible by a boat with its sails furled. In the middle of the arch a figure in dark clothes is stooping. On an outcrop of rock in the bay in the center of the image, a figure sits holding a fishing rod. Vegetation has been carefully and individually delineated and birds have been depicted on the far right in front of the rocks. The image indicates a scene of calm and leads visually from a golden glow in the foreground to a blue haze in the far distance. Although few of van Eyck's pictures have survived, this is thought to be an early work, when he was still under the influence of his master, Andries van Eertvelt. He worked in a Flemish mannerist tradition, was Master of the Guild of Antwerp in 1632 and afterwards lived for a time in Genoa before moving to Brussels.
— /S#*>Sea Battle Between Moors and Christians (510x699pix, 119kb) —(060129)
book cover

Happened on a 06 February:

^ 2006 Publication of Janson's History of Art: Western Tradition (7th Edition) by Penelope J.E. Davies, Walter B. Denny, Frima Fox Hofrichter, Joseph F Jacobs, Ann M. Roberts, and David L. Simon [cover image >]. It has more than 1100 pages and 1450 illustrations. It sells for $107.33. It is the first thoroughly revised edition of the book originally written by Horst Woldemar Janson [–1982]. It replaces some of the images of previous editions by others considered more useful for teaching..
     Among the pictures removed are:
Arrangement in Grey Nº I aka Whistler's Mother (1871, 144x162cm; 866x1000pix, 131kb) by Whistler [1834-1903]
— The diptych The Crucifixion, the Last Judgment (1425, each 57x20cm; 1467x514pix, 168kb and 1469x508pix, 196kb) by Jan van Eyck.
— pictures by Domenichino [1581-1641], and by Louis Le Nain [1603-1648].
     Among the pictures newly included are:
Symphony in White Nº II (1000x634pix, 152kb) by Whistler
American Gothic (725x597pix, 114kb) by Grant Wood.
The Holy Virgin Mary (1996; 379x283pix, 47kb) by Chris Ofili [1968~].
— pictures by Clara Peeters [1594-1657]

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