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ART “4” “2”-DAY  14 February v.10.10
^ Born on 14 February 1838 (1836?): Valentine Cameron Prinsep, British Pre-Raphaelite painter who died on 11 November 1904.
— Born in Calcutta, the son of an English colonial civil servant who was able to afford a house in Holland Park, one of the most fashionable areas of London, and to send his son to Haileybury, Valentine Prinsep was also fortunate to have as his teacher, George Frederick Watts (1817-1904), a historical and portrait painter, now regarded as one of the foremost of the Victorian artists. Watts, who seems to have been a permanent guest in the Prinseps' home — a meeting place for all the major artists, poets, and writers of the day — eventually suggested that Valentine should go to Paris to complete his art education under Gleyre, who was considered by English students to be the best art teacher in France.
      Prinsep returned to England and exhibited a hundred pictures at the Royal Academy from 1862 and 1904. A versatile artist and a very wealthy one after his marriage to the well-connected Florence Leyland, he painted historical subjects and portraits. He also tried to paint classical and biblical subjects, but the results were dull and no match for the more inspired flights of imagination to be seen in the works of the more famous trio of classical painters, Alma-Tadema [1836-1912], Leighton [1830-1896], and Poynter [1836-1919]. In 1876 Prinsep was commissioned by the Indian government to paint the durbar that was held to proclaim Queen Victoria the Empress of India. The result was a gigantic canvas, At the Golden Gate.
— He was the son of Sir Henry Thoby Prinsep [1793-1878], a wealthy merchant with the East India Company by 1827 and then acting secretary to the Government Territorial Department in India, and Sara Monckton Pattle Prinsep. The family returned to London in 1843. Val was encouraged to become a painter by George Frederick Watts (his mother’s house guest from 1850 to 1875) and began his training from Watts in 1856. In 1857 he worked with members of the Pre-Raphaelite circle on the Oxford Union murals, painting Sir Pelleas Leaving the Lady Ettarde. Dante Gabriel Rossetti and Edward Burne-Jones were predominant influences on the Pre-Raphaelite style of his early works, such as The Honey Queen (1859). Prinsep toured Italy with Burne-Jones in 1859, studied at Charles Gleyre’s atelier in Paris from 1859 to 1860 and was in Rome from 1860 to 1861. George Du Maurier, a fellow student under Gleyre, introduced him to the St John’s Wood Clique, of which he became an honorary member. His mature style was influenced by Frederick Leighton, for instance in At the Golden Gate (1882) and Ayesha (1887), and by John Everett Millais in such works as Cinderella (1899) and Goose Girl (1900). Both artists were close personal friends. Prinsep’s late style was also influenced by the Venetian subjects of Luke Fildes and Henry Woods [1846–1921]. In 1876 he was commissioned to paint The Imperial Durbar to commemorate Queen Victoria becoming Empress of India. He became Professor of Painting at the Royal Academy in 1900. He married Florence Leyland, the daughter of F. R. Leyland, and in 1864 commissioned a house from Philip Webb at 14 Holland Park Road, Kensington. The house was completed in 1866 in a red-brick, parsonage style typical of Webb, with Queen Anne Revival details. It was among the first of several grand houses commissioned by artists in that area, designed both to accommodate studio space and to display the artists’ social status. Although Prinsep’s work lacked originality, his personal charm, wealth and social standing gave him an important place in the Victorian art world.

La Révolution (1896 diploma work, 163x112cm; 600x405pix, 61kb)
Home From Gleaning (122x161cm)
Il Barbagianni (78x54cm)
My Lady Betty (81x58cm)
The Imperial Durbar in 1877 (394x600pix, 58kb)
Mariana (388x297pix, 70kb)
Ayesha (1887, 90x70cm; 512x393pix, 20kb)
Cinderella (550x419pix, 63kb)
At the Golden Gate (599x403pix, 50kb)
The Queen was in the Parlour, Eating Bread and Honey (512x275pix, 25kb)
^ Died on 14 February 1780: Gabriel Jacques de Saint~Aubin, French painter, draftsman, and etcher, born on 14 April 1724. — Son of royal embroiderer Gabriel-Germain de Saint~Aubin [1696-1756], brother of Charles-Germain de Saint-Aubin [17 Jan 1721 – 06 Mar 1786], Augustin de Saint~Aubin [03 Jan 1736 – 09 Nov 1807], and Sèvres porcelain designer Louis~Michel de Saint~Aubin.
— De Saint-Aubin studied under François Boucher [29 Sep 1703 – 30 May 1770]. De Saint-Aubin's drawings include figure studies, genre-like works, and landscapes. He also studied under the painters Etienne Jeaurat [09 Feb 1699 – 14 Dec 1789] and Hyacinthe Colin de Vermont, but failed three times to win the Prix de Rome. He broke with the Académie Royale, preferring to support and exhibit at the Académie de Saint Luc. Although he continued to paint such pictures as A Street Show in Paris (1760), he is best known as a draftsman and etcher.
      He was a passionate and unconventional observer of the sights of the Paris streets and of the social scene. He was a man who drew at all times and in all places. His contemporary Jean-Baptiste Greuze [1725-1805] spoke of his ‘priapism of draftsmanship’.
      In his many drawings he combined pencil, black and red chalk, bistre, ink and watercolor to create dazzling spontaneous effects. He drew incidents that struck him as he wandered the streets, or entertainments that he attended. He recorded them, noting dates and times, in sketchbooks or sometimes in the margins and blank pages of printed books that he was carrying (such as a volume of the poems of Jean-Michel Sedaine).
      These drawings of contemporary incidents include The Fire at the Foire Saint-Germain on the Night of 16–17 May 1762 and The Crowning of Voltaire at the Théâtre-Français in 1778 . He went regularly to the Salon of the Académie Royale and to art sales, covering the margins and flyleaves of his sale catalogues and Salon livrets with tiny sketches of works of art and the passing scene. One hundred of these illustrated catalogues were among his effects when he died, and of these about a third survive. These include the livrets for the Salons of 1761, 1769 and 1777, as well as the catalogues of the sales of Louis-Michel van Loo [1707-1771] in 1772 and Charles Natoire [1700-1777] in 1778, and that of Pierre-Jean Mariette in 1775. Together with his etchings and large watercolors of the Louvre’s Salon Carré at the time of the exhibitions of 1753, 1767, and 1769, they constitute a precious record of Paris art life in the 18th century.

La Promenade (600x483pix _ ZOOM to 1400x1128pix, 466kb)
–- Theater Scene (Ernelinde, Princess of Norway) (1767, 21x28cm; 907x1204pix, 129kb) sketchy
Le Salon de 1765 (1765, 25x46cm)
–- A Parisian Fête (1768; 595x404pix, 32kb) sketchy
Cabinet of a Connoisseur (25cmx40cm).

Died on a 14 February:

^ 1987 Juan Del Prete, Argentinian painter born on 05 October 1897.
El Juicio de Paris (159x102cm; 765x481pix, 36kb) _ This has been transformed by the pseudonymous Jean Dumoine into the colorful and symmetrical abstractions
      _ El Juicio de Satán aka Park Rap (2006; screen filling, 229kb _ ZOOM to 1000x1414pix, 488kb) and
      _ El Juicio de Saddam aka Perk Rep (2006; screen filling, 229kb _ ZOOM to 1000x1414pix, 501kb) —(060127)

1984 Valdis Abolins, in West Berlin, “performance artist” born in Latvia on 14 April 1939. He arrived in Germany at the age of five as a refugee and later triumphed over geopolitical circumstances to help revitalize artistic culture in his occupied homeland. While pursuing architectural studies at the Technische Hochschule in Aachen (1961–1971), he grew interested in the interplay of progressive politics and innovative art forms, which prompted early collaborations with Wolf Vostell and Joseph Beuys, such as their performance 20 July 1964. In 1966 Abolins and Gerd Vorhoff founded the Neue Galerie in Aachen, where they organized happenings and performances by Beuys, Jörg Immendorff, Nam June Paik, Tomas Schmit and other key members of Fluxus, the movement instigated by another exiled Balt, the composer George Maciunas [1931–1978]. At the same time, inspired by the New Left, Abolins combated artistic provincialism within the conservative Latvian émigré community by proposing a cultural rapprochement with Soviet Latvia. Advocating an international, rather than a narrowly nationalist Latvian identity, Abolins helped to organize in 1973 the first major exhibition of art from Latvia to reach the West since the Soviet annexation. One year later he became the executive secretary of the Neue Gesellschaft für Bildende Kunst in West Berlin, under the auspices of which he promoted the rediscovery of the avant-gardist Gustav Klucis and the Western European début of the contemporary realist Maija Tabaka. In turn, Abolins exhibited in Riga, where his irreverence, kitsch aesthetics and experiments with correspondence art were revelatory to the local audience. Ironically, it was his leftist orientation that enabled him to alleviate the isolation of Latvian artists under Communism.—(060127)

^ 1975 Germán Cueto, not German, but Mexico City sculptor and painter born on 09 (08?) February 1893. — Relative? of Fernando Cueto Amorsolo [1892-1972]? — Su familia paterna poseía una tradición social e intelectual en Cantabria, España. A esta familia pertenecían Matilde de la Torre, militante republicana, y María Gutiérez Blanchard, pintora cubista, que ocupó un lugar fundamental en la vida de Cueto. Inició estudios de química que la revolución no le permitió terminar y viajó entonces a España. A su regreso a México en 1918 decide ser escultor y estudia entonces en la Academia de San Carlos, aunque por poco tiempo: la enseñanza convencional lo decepciona y opta por formarse a su manera. En 1922 asistió al escultor Ignacio Asúnsolo en las renovaciones al edificio de la Secretaría de Educación. Cueto se inició en la corriente fomentada por José Vasconcelos de dar cultura artística al pueblo. Existieron en ese momento gran cantidad de artistas jóvenes quienes fueron incitados por profesores como Ramos Martínez y el Dr. Atl a un arte liberado del academicismo. Otros tantos regresaron de su viajes al extranjero como Rivera, Montenegro, Siqueiros, o el guatemalteco Mérida y el francés Charlot que se afincan en México. Fueron los incios del muralismo mexicano con sus temas accesibles al pueblo. La escultura se redució en esta época a temas que aludían a la nación, la libertad, el trabajo, etc. Como respuesta, muchos artistas se adhieren al movimiento estridentista, rechazando los valores tradicionales y religiosos convencionales. Las máscaras de cartón pintadas, una de ellas dedicada a Leopoldo Méndez, datan de esta época. Las máscaras de la colección Blaisten se presentaron por primera vez en en Café de Nadie, sitio de reunión de poetas y artistas unidos en torno a las propuestas de este movimiento. De 1927 a 1932 Cueto vivió en París, y a través de Marie Blanchard, conoció a Joaquín Torres García, Jacques Lipchitz y Constantin Brancusi, entre otros. Cueto trabajó entre la creación de máscaras y la escultura abstracta. En 1930 expuso en Cercle et Carré, grupo fundado por el artista uruguayo Joaquín Torres-García y el crítico belga Michel Seuphor como oposición al surrealismo, creándose así mismo una revista con el mismo nombre. Este movimiento reunía a artsitas de la talla de Mondrian, Jean Arp, Kandinsky, Gorin y Vantongerloo. Expuso posteriormente en Suiza, en Barcelona y en el Salon des Suridépendants. A la muerte de María Blanchard en 1932, la familia Cueto decidió regresar a México (Cueto se había casado con Dolores Velázquez en 1919 quien se daba a conocer por sus tapices y grabados) e invitaron a Angelina Beloff a seguirlos. Cueto se adhirió a la Liga de Escritores y Artistas creada en 1934, Revolucionarios, pero no es reconocido por su escultura o su obra gráfica, sino por su aportación a las artes del espectáculo (teatro) y a la enseñanza. En 1948 fue por un tiempo director del Instituto de Danza del palacio de Bellas Artes. Hizo máscaras para diferentes ballets. Utiliza el hormigón, el cable eléctrico, el alambre metálico, para sus obras de 1940-1950: Estela II, Máscara (1948) y El Nahual. De 1941 a 1945 hizo dibujos abstractos de gran formato en negro o lápiz de color. En 1944 presentó sus obras en Galería de Arte Mexicano entre pinturas, gouaches, máscaras, y escultura en diversos materiales. Acádemicamente entrenado con una fuerte afinidad por el lenguaje del arte moderno, nutrido primero por el Estridentismo y después por sus experiencias en Europa, Cueto se colocó entre los más experimentados artistas en la escultura mexicana moderna, ocupando el papel más importante sus máscaras. Entre sus esculturas monumentales destaca El Corredor, realizada para la Ruta de la Amistad en los XIX Juegos Olímpicos efectuados en la ciudad de México en 1968.
Sin título (1950, 36x28cm; 850x664pix, 128kb) {Did he consider the title: “Bacteria Wandering in a Labyrinth”?} _ The pseudonymous Gerboy Quieto y Baliente has enhanced and transformed this into
      _ Sin titubeo aka Tack Cat (2006; screen filling, 229kb _ ZOOM to 1000x1414pix, 586kb) and
      _ The Sin of Tit Willow aka Tuck Cut (2006; screen filling, 225kb _ ZOOM to 1000x1414pix, 573kb) —(060127)

1950 Cecilio Guzmán de Rojas [24 Oct 1899–], the first Bolivian Ameridian painter, commits suicide. Es considerado uno de los talentos más importantes de la plástica boliviana del siglo veinte. Su temática está centrada en el rasgo racial de lo indígena, aunque su obra trasciende del indigenismo para dedicarse al retorno a los orígenes. La búsqueda de una identidad particular y el desafío de crear un arte auténtico fueron tareas centrales en la vida y obra de Guzmán de Rojas. Habiendo sido soldado en la Guerra del Chaco, este conflicto internacional marcaría de manera profunda la vida y obra del autor de “El Cristo Indio”, determinando que fuera una razón fundamental el guardar plena fidelidad a su tierra y a sus tradiciones. Comprendió a cabalidad que el indio marginado y anónimo era el personaje central del siglo, en quien descansaba lo más auténtico del ser boliviano.
El Mendigo (1919;1600x1043pix, 133kb)
Hill Landscape (1949, 65x52cm; 480x377pix, 215kb) —(100215)

1907 Adolf Seel, German artist born on 01 March 1829. — {There is no Seel seal of approval in the Internet, it seems: I find no online examples of his work.}

1888 Arthur Johann Severin Nikutowski, German artist born on 09 January 1830. — {Je ne trouve Nikutowski ni Kutowski dans l'Internet}

1868 Emilius-Ditlev Baerentzen, Danish artist born on 30 October 1799.

1799 Luis Paret y Alcázar, Madrid Spanish painter born on 11 February 1746. His father was a Frenchman of Catalan descent, and his mother was Spanish. He trained in Madrid, first with the French jeweller Augustin Duflos (fl 1722–1767) and then with the Trinitarian friar Bartolomé de San Antonio [1708–1782], uncle of the architect Ventura Rodríguez. Paret studied for four years at the Real Academia de Bellas Artes de S Fernando and with the patronage of the Infante Luis Antonio Bourbon, the brother of Charles III, went to Rome in 1763, where he completed his artistic training. On his return to Madrid in 1766, he won prizes at the Academia and probably visited France or studied contemporary French art under the guidance of Charles de La Traverse, who was a former student of François Boucher and who was in Madrid at that time.

Born on a 14 February:

1903 Johannes Fake Berghoef, Dutch architect, theorist, and teacher, who died on 09 March 1994. (his real middle name was Fake, but it is understandable why he tried not to use it.} — (060127)

^ 1891 Celso Lagar Arroyo [–07 Sep 1966], Spanish expressionist painter of the Paris School.. — {Ce n'est pas Lagar du Nord,. ni Lagar de l'Est, ni Lagar de Lyon. C'est Lagar d'Espagne! Mais gare à qui dirait que c'est le sot Celso.} — Portrait of Celso Lagar (2649x2024pix, 471kb) by Amadeo Modigliani.
Puerto de Honfleur (1928, 80x50cm; 1861x2266pix, 3311kb)
La feria de Trône (1335x1150pix, 455kb)
–- L'Haltèrophile (799x670pix, 50kb) a weightlifter performing in the street
–- Au Port (657x885pix, 72kb) _ Compare
      _ L'automne au port (770x1000pix, 217kb) by Aline-Français [03 Feb 1923~],
      _ Au port de Brest (896x1181pix, 185kb) by Jean François Chaussepied — Not to be confused with
      _ Haut Port-au-persil (41x51cm; 281x350pix, gif)
–- Nature Morte (1164x1976pix, 207kb) pitcher, red bell pepper, knife, bowl of fruits.
–- Nature Morte (1640x1976pix, 290kb) dish of fruits, bread roll, cup of tea, lemon, wine bottle, and what might be a rolled-up tablecloth..
–- Nature Morte (510x717pix, 55kb) dish of fruits and nuts on a checkered tablecloth..
–- Paysage à Blanes (510x704pix, 50kb) —(090906)

^ 1873 Albert Guillaume, French painter and caricaturist who died in 1942. Born in Paris, Albert Guillaume became a leading caricaturist during the Belle Époque. While remembered primarily for his poster art, Guillaume also did oil paintings such as Soirée parisienne, a portrait of Parisian dinner society. He created theater posters as well as advertising posters that were greatly influenced by the work of one of the preeminent poster painters, Jules Chéret [31 May 1836 – 23 Sep 1932].
–- C'est un As (510x624pix, 60kb) a WWI aviator hero is recognized in a restaurant.
La guerre est longue ... les jupes sont courtes (900x750pix, 205kb) 15 Jan 1916 cover of Le Rire Rouge.
Carte Forcée (Almanach Hachette 1908, p.419) monochrome. “Garçon... emportez cette carafe... il y a une mouche morte dans le cidre!... — C'est qu'elle en aura bu... Monsieur veut-il la carte des vins?...”
The Lovers (343x450pix, 37kb) —(070213)

1869 Karel Petrus Cornelis de Bazel, Dutch artist who died on 28 November 1923. —(060127)

^ 1861 Peder Vilhelm Ilsted, Danish painter who died in 1933.
–- Kvinde der Syr (900x734pix, 48kb) shows a woman sewing by the window in a bedroom.
–- Sying ved Pianoet (510x543pix, 22kb) shows a woman sewing by a piano; most of her, as much of the rest of the picture, is barely visible in deep shadows.
–- Ved Vinduet (510x510pix, 24kb) two children, seen from the back, at the window of a living room.
–- Kvinde Foran et Spejl (510x412pix, 20kb) a woman, in a floor-length red dress, is adjusting her hair (or wig?) while looking into an oval mirror on the wall of a hall..
–- Stille Stund (510x473pix, 18kb) a woman, seen from the back through an open door, is at the window of the far room.—(070213)

1860 Léon Marie Gaussson, Lagny-sur-Marne French painter, sculptor, designer, and government official, who died on 27 October 1944. He was trained first as a sculptor and engraver, not taking up painting until 1883. While working at the shop of the wood-engraver Eugène Froment [1844–1900] he met Emile-Gustave Péduzzi (Cavallo-Péduzzi) [1851–1917] and Maximilien Luce. By 1886 all three were experimenting with the stippled brushwork and divided color they had seen in the works of Seurat, Paul Signac, Camille Pissarro, and Lucien Pissarro. That year Gausson made his début at the Salon as a sculptor, with the plaster medallion Profile of a Young Girl. He first showed his paintings at the Salon des Artistes Indépendants in 1887 and exhibited there annually thereafter.

^ 1854 Rudolf Ernst, Austrian artist specialized in Orientalism who died in 1932. — He was a student of the history painters Eisenmenger and Feuerbach at the Academy of Fine Arts in Vienna. He visited Italy, Spain, Morocco, and later Constantinople, before settling in Paris in 1876, along with fellow Orientalists Ludwig Deutsch and Johann Discart. He became a regular exhibitor at the Salon, winning a bronze medal in 1900. From the mid-1880s, Ernst focused exclusively on Orientalist scenes, which brought him enormous success with European and US collectors. He was fascinated with every aspect of Middle Eastern and Islamic culture, and his paintings reflect the breadth of his knowledge. His oeuvre consists of harem themes, warriors, market scenes, religious ceremonies and domestic genre. Ernst was especially taken with Islamic architecture and decoration, and his compositions nearly always include carefully detailed renderings of the ornate architecture, textiles, rugs, tiles and furniture which he observed firsthand during his Middle Eastern visits. — LINKS
–- Standing Guard (61x49cm; 1000x805pix, 183kb _ .ZOOM to 2000x1610pix, 727kb _ .ZOOM+ to 4000x3220pix, 1144kb)
–- The Guard of the Harem (61x48cm; 900x705pix, 98kb) _ The word harem comes from the Arabic for 'forbidden'. Situated in the Topkapi Palace in Constantinople, it was the residence of the Sultan's wives, concubines, and children, who were guarded by black slave eunuchs under the command of the Master of the Harem. The women of the harem, known as cariyes, were gathered from the furthest corners of the Ottoman Empire and beyond, and groomed for the purpose. The girls would be meticulously prepared for their office, being taught etiquette, religion, sociability, morality {which the Sultan and his sons apparently never learned}, and music. Since the Sultan and his sons were the only men allowed access to the harem, westerners could only imagine what went on behind its walls. Like many of Ernst's works, The Guard of the Harem is the product of assiduous research but also of poetic licence. While Ernst did travel to Turkey and the middle east, it was to observe, make sketches, and collect the many props, including tiles, carpets, swords, and costumes, he used for his finished paintings. These he worked up in his Paris studio, in which he would paint wearing a taboosh, the better to immerse himself in his subjects.
The Terrace (935x1140pix, 112kb)
A Moorish Interior (735x939pix, 70kb)
The_Pasha's Favorite Tiger (1000x661pix, 90kb)
–- The Venerated Elder (93x71cm; 799x619pix, 63kb) _ European enthusiasm for Orientalist subjects was ignited in the early 19th century with colorfully written tales and travelogues such as Thomas Moore’s Lalla Rookh of 1817, Lord Byron’s The Corsair of 1814 and, most influential for whetting the European appetite, The Arabian Nights, published in 1840 in an updated and more decorous translation by E. W. Lane. The Scottish artist David Roberts was another inspiring interpreter of the region’s beauty. His series of lithographs, The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, made in a six volume set, was based on his eleven month visit to Egypt and the Levant in 1838, and these widely circulated evocative images inspired other artists to also travel or to invent their own exotic views. Rudolf Ernst was infused with passion for the East, and was one of the artists to visit Morocco and later Constantinople to see the things he loved to paint. He settled in Paris in 1876, along with fellow Orientalist Ludwig Deutch and became a regular exhibitor at the Salon. From the mid 1880s, he focused exclusively on Orientalist scenes, which brought him great acclaim from US and European collectors alike. Ernst was fascinated with the culture, architecture and decoration of the Islamic Middle East, and his paintings display the breadth of his knowledge. This composition shows off Ernst’s fine rendering of a variety of sumptuous surfaces: the simple cloth of a turban, the younger man’s velvet robe, carpets, lustrous ceramic tile, intricately carved wood, and stained glass.
–- The Metalworker (81x63cm; 800x630pix, 49kb) _ Nineteenth century tourists, most notably European and US artists visiting North Africa and the Middle East, transformed shopping for souvenirs into an art form. The khans, souks, and bazaars of the region allowed easy access to the Arab world; craftspeople were eager to open their shops and stalls to European trade. Ernst was a frequent visitor to the region’s marketplaces and collected hundreds of objects, arranging them in his studio, where they became the models for those sold by the metalworker of this painting. Ernst carefully describes the very intricate decoration of the shop’s metalwork, created by the artisan’s held chisel: circle and square forms combined with more complex geometric patterns in innumerable variations. In Islamic decorative arts of the period, repetitive motifs and symmetrical geometric patterns were also combined with the arabesque styles seen in the vegetal design of the porcelain vase, tile and carpet hanging on the shop’s outer wall. This mix of patterns is also evident in Ernst’s compositional technique, in which the curved doorways, rectilinear paving stones, and crisscrossing rooflines of the alleyway combine and overlap, echoing the complex, decorative aesthetics of the craftsman’s product. Despite the realistic depiction of the metalworker’s shop, his European customers’ influence pervades the scene. As a result of the mania for collecting, many craftspeople found business making traditional-style, if not exactly authentic, objects for those who could not purchase more expensive, original antiques. Likewise, Ernst’s marketplace images were popular among his patrons who might not have the ability to visit far-off lands and collects its arts. Works such as The Metalworker became a way for US and European art buyers to own, in one canvas, the myriad special objects of Islamic art, no matter if certain elements of the work were reconstructed a world away in Ernst’s Paris studio. As such, The Metalworker became the ultimate souvenir of the craftsmen’s, artist’s, and patron’s passion for the Islamic world.
–- Smoking the Hookah (60x41cm; 800x531pix, 51kb _ .ZOOM to 1400x929pix, 105kb)
–- The Perfume Makers (643x510pix, 36kb)
A Game of Chess (50x61cm; 480x602pix, 57kb)
After Prayers (93x73cm; 600x474pix, 57kb)
–- The Harem Musician (61x48cm; 600x394pix, 65kb)
— Queen of Sheba detail (571x600pix, 98kb) leaning on a tiger.
The Meal (340x414pix, 43kb) —(070213)

1850 Eugène Henri Cauchois, French artist who died on 11 October 1911.

1846 Julian Scott, US artist who died on 04 July 1901.

1814 Joseph Urbain Mélin, French artist who died on 28 November 1886.

1796 Valentín Carderera y Solano [–25 Mar 1880], Spanish painter, archeologist, and writer. He was a student, successively, of Buenaventura Salesa [1756–1819], Mariano Salvador Maella [21 Aug 1739 – 10 May 1819], and José de Madrazo y Agudo [22 Apr 1781 – 08 May 1859]. —(100213)

1790 Pierre Duval Le Camus (or Duval-Lecamus), French painter who died on 29 July 1854. A student of Jacques-Louis David, he pursued an uninterruptedly smooth career, which was almost banal in its lack of deviation in inspiration or style. He showed regularly in the Salon between 1819 and 1853, immediately gaining attention with his first exhibited painting, the Game of Piquet between Two Invalids (1819). Far from being an innocent genre scene, it alludes to the plight of the veterans of Napoléon’s armies during the Restoration. It is one of the few paintings by Duval Le Camus in which a political meaning is suggested. His interiors generally depict a familiar and anonymous reality in the tradition of Martin Drolling, although he was less skilful than Drolling in the rendering of objects and effects. Duval Le Camus was a guileless and unaffected narrator. Throughout his career he painted genre scenes in the Dutch style, showing a genuine talent as a popular storyteller (e.g. Gossiping Porter and Little Chimney Sweep). Unlike Louis-Léopold Boilly he did not seek to amuse but to be sincere. Duval Le Camus depicted the games and minor dramas of childhood several times with the simplicity of Chardin (e.g. The Reprimand).

1790 Louise Joséphine Sarazin de Belmont, French artist who died on 09 December 1870.

^ 1713 Jan ten Compe (or Kompe), Amsterdam painter, draftsman, and dealer, who died on 11 November 1761. — {He was NOT the son of nine Compe, nor the father of eleven Compe} — In 1736 he became a citizen of Amsterdam, where he spent most of his life, apart from 1740 to 1755, when he lived mostly in The Hague. He was a student of the decorative wallpaper and landscape painter Dirk Dalens III [1688–1753]. Ten Compe produced mostly views of country houses and townscapes, including Haarlem, The Hague, Amsterdam, Oudekerk aan de Amstel, Delft, Leiden, Rotterdam, Utrecht and Kleef. One of the best topographical artists of his generation, he worked in a detailed, controlled and elegant manner, influenced by such 17th-century townscape painters as Jan van der Heyden and the Berckheyde brothers, several of whose paintings he copied. Like the Berckheydes, he painted mostly topographically accurate views, as in The Amsterdam Stadhuis with the Nieuwe Kerk (1744), with its impressive town hall building dominating the scene. For some of the views, preparatory drawings survive, some of which had watercolor washes added by Jacobus Buijs [1724–1801]. Ten Compe’s drawings were engraved by Pierre Charles Nicolas Dufour [1725–1818] and Robert Muijs [1742–1825]. Ten Compe worked for the collectors Frans van de Velde, Gerrit Braamcamp and Jan van Rijneveld. His works were very popular, one painting sometimes fetching as much as 2000 florins. He had one student, Gerrit Toorenburgh [1732–1785], who himself became a town- and landscape painter.

^ 1575 Giovanni-Andrea Donducci “il Mastelletta”, Bolognese artist who died on 25 April 1655. — {Un “c” de moins et “el” de plus, il aurait été “Donduciel” et on aurait dû lui donner le prénom “Théodore”.} — He was trained by the Carracci, most notably Ludovico (Malvasia), but he also responded to the more expressive art of Pietro Faccini and Annibale Castelli. The spontaneity and freedom of his Mystic Marriage of Saint Catherine emphasizes his closeness to these painters, while his Assumption of the Virgin is closer to Ludovico Carracci’s style, though with overtones of a Mannerist elegance that is characteristic of Mastelletta. Annibale Carracci died in 1609, and after 1610 Mastelletta went to Rome, where he probably turned to the group of artists around Adam Elsheimer, Carlo Saraceni, and Agostino Tassi, all of whom painted landscapes enlivened by small, vivid figures. Mastelletta’s Crossing of the Red Sea, Moses Parting the Waters, Fête Champêtre and Soldiers on the March are the stylistically mature product of this relationship, yet they also reveal his responsiveness to Emilian Mannerist painters, among them Parmigianino, Jacopo Zanguidi, Giovanni Bertoia and, in particular, Nicolò dell’Abate. In the same period Mastelletta painted 12 scenes from the Lives of Saints, probably to adorn a Franciscan church. These feature larger figures but still retain the Mannerist insubstantiality apparent in his preceding works.

Three Saints, birds, Chaucer, and Saint Valentine's Day

Click on icon below for full image of SAINT VALENTINE, by a XVIth-century Tyrolean
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Click on detail below for complete picture ST. VALENTINE'S DAY — THE OLD STORY IN ALL LANDS by Winslow Homer
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Klimt ::: The Kiss (1908) _ detail — Alma~Tadema ::: A Kiss (1891) — Cassatt ::: Maternal Kiss (1897) — Cassatt ::: A Kiss for Baby Anne (1897)
— Gérard ::: Amor and Psyche (Psyche Receiving the First Kiss of Love)
— Klimt ::: Beethoven Frieze: This kiss for the whole world — Briullov ::: Italian Woman Blowing a Kiss (1826)
— Brancusi ::: The Kiss (1908) — Hayez ::: The Kiss (1859)
— Munch ::: The Kiss (1921) — Munch ::: The Kiss (1892) — Munch ::: The Kiss (1897)
— Picasso ::: The Kiss (1969) — Gloag ::: The Kiss of the Enchantress — Stuck ::: The Kiss of the Sphinx (1895)
— Nicolo da Bologna ::: The Marriage; the Kiss of the Bride (initial P); the Bride Abandoned (initial D) (1355)
— Fragonard ::: The Stolen Kiss (1788) _ detail — Doisneau ::: Kiss by the Hotel de Ville (1950 photo)

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updated Tuesday 16-Feb-2010 4:43 UT
Principal updates:
v.9.10 Monday 16-Feb-2009 3:39 UT
v.7.10 Wednesday 14-Feb-2007 4:54 UT
v.6.00 Tuesday 14-Feb-2006 2:05 UT
Wednesday 09-Feb-2005 7:24 UT

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