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DEATHS: 2000 “HUNDERTWASSER” — 1878 DAUBIGNY BURIAL: 1622 POURBUS
BIRTHS: 1885 MONTENEGRO — 1899 FONTANA
^ >Died on 19 February 2000: Friedrich Stowasser “Friedensreich Regentag Dunkelbunt Hundertwasser”, Austrian painter, printmaker, and architect, born on 15 December 1928 — Real name: Friedrich Stowasser. His made-up name means “Peaceland Rainy~day Darkly~multicolored Hundred~water”. Born in Vienna, he studied there and in Paris, 1951 in Morocco and Tunisia, 1961 in Japan, married 1962 Yuuke Ikewada in Vienna. After 1969 he signed his work Friedensreich Hundertwasser or Friedensreich Hundertwasser Regenstag. He lived in Venice on the Giudecca.
— Born to a Jewish mother, he foiled the Nazis and was able to shield some of his relatives for a time. During Nazi rule he studied in Vienna, at public schools and at the Montessori school before briefly attending the Akademie der Bildenden Künste. His floridly patterned works with their haunting and rich colors are dependent on the decorative tradition that produced Art Nouveau. The luxurious, sinuous forms and expressive distortions affiliate him to figurative artists such as Klimt and Schiele. Hundertwasser’s subject-matter modified these stylistic sources and was often influenced by his great interest in a sane environment expressed as a stable relationship between man, the built world and nature. He travelled widely and developed a pictorial vocabulary unspecific to any place or time. Hundertwasser made significant contributions to printing techniques with such works as the woodcut series Nana Hiakv Mizu (1973; with Japanese artists). The decorative and technical opulence of his work made him a controversial figure with the critics, while assuring him a large popular following.

LINKS
–- Venice (1963, color lithograph 24x33cm; 790x1082pix, 174kb)
–- Good Morning City (1969, screenprint, 77x49cm; 1149x725pix, 130kb _ .ZOOM to 1723x1088pix, 266kb)
–- Venezia (1968 color lithograph, 56x47cm; 1049x868pix, 250kb)
–- Burning Winter (1156x1036pix, 120kb)
–- Regentag (965x1445pix, 154kb)
–- Regentag (964x1445pix, 199kb) almost identical, except for the strident yellow replacing the cream color of the other version.
–- Man Tree Vase (1251x852pix, 228kb)
–- The Wide Tibetan Flower (1306x861pix, 188kb)
–- Blobs Grown in Beloved Gardens (1163x1168pix, 309kb)
–- Goodbye From Africa (959x1300pix, 140kb)
–- Sun and Moon. The Aztecs (1966; 908x1321pix, 137kb)
–- Look at it on a Rainy Day (924x1348pix, 136kb)
–- A Rainy Day With Walter Kampmann (934x1292pix, 115kb)
–- Endless Way to You (1111x1356pix, 132kb)
–- Hide Under the Meadow It Begins to Rain (791x1318pix, 98kb)
–- King Kong (1168x912pix, 123kb)
–- Waiting for Houses (1076x1396pix, 126kb) dull colors
–- Waiting for Houses (1064x1412pix, 279kb _ .ZOOM to 1758x2332pix, 476kb) almost identical, except that the colors are bright.
–- Midori No Namida (954x1339pix, 130kb)
–- Nana Hyaku Mizu (1374x1047pix, 124kb)
–- Sunset (1072x1400pix, 147kb)
–- Song of the Whales (1101x783pix, 95kb)
–- Green Power (1157x875pix, 114kb)
–- Tears of an Artist (1200x880pix, 156kb)
–- Utilisation Économique de l'Espace Même Tout Petit (1197x1575pix, 256kb)
The 30 Day Fax Picture (1994, thirty A4-size FAXes, 151x130cm)
—(100220)
Tehuana^ Nació el 19 febrero 1885: Roberto Montenegro, pintor mexicano quién murió el 13 octubre 1968.
— Roberto Montenegro, artista polifacético, nació en la Ciudad de Guadalajara el 19 de febrero de 1885. Estudió en la Academia de San Carlos e incursionó a lo largo de su vida en muy variados estilos y vanguardias. En San Carlos conoce a Saturnino Herrán y a Diego Rivera, y en 1905, cuando recibiendo una beca del Gobierno de México, se traslada a París y a Madrid, entrando en contacto con diversos círculos literarios y artísticos; ahí conoce a Machado, Unamuno, Valle Inclán, Jean Cocteau y Juan Gris. Entre 1908-1909 viaja a Italia, pasando una temporada en Venecia, para posteriormente regresar a París y exponer en el Salón de Otoño. Al inicio de la Primera Guerra Mundial, huye a Barcelona; y algo muy importante de resaltar, es el hecho de que realiza entre 1915 y 1918 un mural en el Casino de Palma, cuando residía en Pollenza, Mayorca.
      A su regreso a México, es convocado por José Vasconselos para realizar diversos murales en los edificios públicos en conjunto con otros artistas de gran renombre, como es el caso de Fernando Leal, Diego Rivera, Orozco y otros. Roberto Montenegro incursionó a lo largo de su vida, en diversidad de estilos y vanguardias. Tuvo la enorme libertad de que su obra tocara las diferentes tendencias que surgían en aquellos años, entre ellas el Art Nouveau, el Surrealismo y eventualmente el arte abstracto. Hacia 1921 a iniciativa suya y ayudado por el Dr. Atl , Adolfo Best Maugard y Jorge Enciso, se realiza en la Ciudad de México la primera exposición de Artes Populares. Después sería el fundador del Museo de Artes Populares.
      Montenegro incursionó también en el mundo de la escenografía para la danza y el teatro. Igualmente participa en el rodaje de "Viva México" del cineasta soviético Sergei Eisenstein. De su vasta producción destacan lienzos influidos por la corriente fantástica, dentro de la cual llegó a alcanzar una personalidad muy fuerte y definitiva. Dentro de sus obras murales importantes, cabe destacar los realizados en la Capilla del exconvento de San Pedro y San Pablo, donde estuvo ubicada la Hemeroteca Nacional. Muere en la Ciudad de Morelia, Michoacán,
Tehuana (70x70cm) [imagen >>>]
 
^ >Died on 19 February 1878: Charles-François Daubigny, Parisian Barbizon School painter and printmaker born on 15 February 1817. He was one of the most important landscape painters in mid-19th century France and had an influence on the Impressionist painters.
— He studied under his father Edmond-François Daubigny [1789 – 14 Mar 1843] and in 1831–1832 was also trained by Jacques-Raymond Brascassat. At an early age he copied works by Ruisdael and Poussin in the Louvre, while also pursuing an apprenticeship as an engraver. At this time he drew and painted mainly at Saint-Cloud and Clamart, near Paris, and in the Forest of Fontainebleau (1834–1835). In 1835 he visited several Italian cities and towns, including Rome, Frascati, Tivoli, Florence, Pisa, and Genoa. He returned to Paris in 1836 and worked for François-Marius Granet in the painting restoration department of the Louvre. In 1840 he spent several months drawing from life in the studio of Paul Delaroche, although his early works were much more heavily influenced by 17th-century Dutch painters, whom he copied in the Louvre, than by Delaroche’s work.
— Besides his son “Karl” Daubigny [09 Jun 1846 – 25 May 1886], the students of Charles-François Daubigny included Dwight W. Tryon, Adolphe Appian, John Joseph Enneking, Alfred Roll, António Silva Porto.

LINKS
Paysage près de Crémieu (1849, 63x91cm; 886x1280pix _ ZOOM to 1683x2432pix, 2959kb)
Le Carrefour du Nid d'Aigle, Forêt de Fontainebleau (1844, 79x113cm; 840x1204pix _ ZOOM to 1564x2241pix, 2926kb)
Un Étang dans le Morvan (1869, 113x165cm; 876x1280pix, 683kb _ ZOOM to 1674x2445pix)
Les Dunes à Camiers (1871, 57x65cm; 960x1166pix _ ZOOM to 1836x2230pix, 2714kb)
Paysage de moisson avec ciel orageux (1865; 600x1280pix _ ZOOM to 1400x2987pix)
Bateau sur l'Oise (1865; 600x1016pix _ ZOOM to 1400x2371pix)
–- Les Bords de L'Oise à Conflans (1859, 39x67cm; 1073x1898pix, 172kb)
–- Le Village de Gloton (30x54cm; 647x1179pix, 57kb _ .ZOOM to 1294x2358pix, 204kb)
–- Cattle at the Pool (34x60cm; 814x1453pix, 95kb)
–- Valmondois (61x46cm; 1334x977pix, 158kb _ .ZOOM to 2672x1954pix, 1031kb) there seems to be a small elephant (Babar?) hiding behind the trees on the right.
Les Sablières près de Valmondois (1872, 55x97cm; 750x1348pix, 849kb)
Le Hameau d'Optevoz (1857)
The Flood-Gate at Optevoz I (1854; 600x1008pix _ ZOOM to 1400x2352)
The Flood-Gate at Optevoz II (1855; 600x1108pix _ ZOOM to 1400x2585)
The Flood-Gate at Optevoz III (1859; 574x880pix, 120kb)
Harvest (1875)
Les Péniches
–- Le Passeur de l’Oise (57x82cm; 572x900pix, 141kb) _ This is a copy made by Winston Churchill [30 Nov 1874 – 24 Jan 1965] under the title A View of the River l'Oise. Daubigny's original belonged to Churchill’s cousin Sunny, 9th Duke of Marlborough [13 Nov 1871 – 30 Jun 1934], , before it was sold at auction in 1924, and Churchill saw it at Blenheim Palace, his birth place and the house where he was a regular visitor.
—(070218)
^ >Born on 19 February 1899: Lucio Fontana, Argentine~Italian slasher and puncher (alleged sculptor and painter) who died on 07 September 1968, specialized in titling most of his non-art Concetto Spaziale. . — Relative? of Roberto Fontana [1844-1907]?
— Entre 1905 y 1922 Lucio Fontana hizo sus estudios primarios y secundarios en Milán, y los de arte en la Academia de Brera, de esa ciudad. Pasa los seis años siguientes en su Rosario natal, donde inicia su obra de pintor y escultor, y vuelve a instalarse después en Milán (1928-1939): se vuelca entonces a la abstracción, sin abandonar del todo lo figurativo. Se asocia, en 1935, al grupo Abstraction-Creation, y empieza su labor como ceramista.
      La guerra lo devuelve a la Argentina y se afinca en Buenos Aires, en 1939: aquí se cuenta entre los fundadores de la Escuela de Arte Altamira, en la cual dicta clases; y en este período hace esculturas figurativas. Publica, en 1946, aunque firmado por sus alumnos, el Manifiesto blanco, al que seguirá, en 1947, cuando ha retornado — definitivamente — a Milán, el Manifiesto especialista, primero de una larga serie que informa su revolucionaria obra de la época.
Concepto Espacial      La gran ruptura artística (?) de Lucio Fontana — dicho sea en términos teóricos y también materiales — ocurre en 1949, cuando empieza a realizar sus telas con perforaciones (buchi), que serán sucedidas, una década más tarde, por las telas con tajos (tagli), como en la obra aquí presentada. Es evidente la naturaleza conceptualista y gestual de estas creaciones de Fontana — que él llevará además a otros soportes, como el papel y el metal —, y su sentido estético: al rasgar la tela y quebrar su continuidad, acaba con la idea que de ella tuvo y tiene la pintura, la de una superficie ilusoria capaz de albergar una representación ficticia; por lo tanto, recupera la verdad de esa tela en beneficio de una nueva (forma de) creación. El tajo, que conecta el anverso y el reverso del lienzo, integra el espacio real a la obra y abre una vía de comunicación con el infinito, aboliendo la necesidad de pintar.
[Concetto Spaziale (1959, tela rasgada, 65x72cm) >]
— Lucio Fontana explored the problem of representing space. Born in Argentina, Fontana studied sculpture at Milan's Brera Academy in the late 1920s. His early sculptures embraced both figurative and abstract forms. In addition to his work as a sculptor, Fontana wrote and collaborated on a number of theoretical manifestos. He is best known for pioneering the concept of "Spatialism," which, like Cubism, radically disavowed the practice of creating the illusion of three-dimensional space on a flat surface. Beginning in 1949, Fontana turned to painting in order to confront this issue directly. First he punctured holes in canvases as a means of integrating the imaginary space represented on the surface of his paintings with the real space that surrounded them. By the late 1950s he was slashing monochromatic canvases with a razor blade. In doing so, the artist transformed a seemingly destructive gesture into an act of creation that challenged traditional easel painting and the sanctity of the picture plane. In 1959, Fontana resumed his work as a sculptor with a series of spherical works known as Nature forms.

LINKS
Barochi Concetto Spaziale (600x483pix, 74kb _ ZOOM to 1400x1128pix, 225kb)  dirty yellow  with two rectangular areas of perforations. The pseudonymous Lucido Pozzo (no known relationship to Andrea Pozzo [30 Nov 1642 – 31 Aug 1709]) has enhanced and thoroughly transformed that dreary simplistic picture into the highly complex
      _ Otez Cinq (2006; screen filling, 303kb _ ZOOM to 1414x2000pix, 1799kb).
–- Concetto Spaziale(1966, 80x65cm; 900x722pix, 59kb) _  dirty yellow  with rows of perforations in a central oval area.
–- Concetto Spaziale red, 1 slash (841x841pix, 25kb) _ Lucido Pozzo has made a picture almost as worthless, but which uses much less of the Internet's resources:
      _ Concerto Spastico Rosso, 1 sfregio (2006; 707x1000pix) and which has the great advantage that you can... in fact you are invited to... give in to your urge to slash it further, for which you will need no knife, but just the click of a mouse on the slash.
–- Concetto Spaziale, Attesa red, 2 slashes (872x724pix, 29kb) _ If you have followed the suggestion above, you have already seen something almost as worthless, by Pozzo. If not, just click on this link
      _ Concerto Spastico Rosso, 2 sfregi (2006; 707x1000pix) and make your computer mouse slash away to your heart's content.
–- Concetto Spaziale, Attese red, 3 slashes (711x900pix, 44kb) _ to join the mouse-click image slashers, just click on
      _ Concerto Spastico Rosso, 3 sfregi (2006; 707x1000pix) by Lucido Pozzo.
–- Concetto Spaziale, Attese red, 4 slashes (493x407pix, 10kb) _ yes, there is also (by Pozzo):
      _ Concerto Spastico Rosso, 4 sfregi (2006; 707x1000pix) from which you can click on to
      _ Concerto Spastico Rosso, 5 sfregi (2006; 707x1000pix) and, surpassing by far anything Fontana ever attempted, all the way to
      _ Concerto Spastico Rosso, 15 sfregi (2006; 707x1000pix) and all 15 images together take up no more than 31kb of computer space. In all but the first two images, clicking on the leftmost slash will take you back to
      _ Concerto Spastico Rosso, 1 sfregio. On the 15th image clicking on most of the slashes gets you to
      _ Concerto Spastico Blu, 15 sfregi (2006; 707x1000pix), which is part of a similar series, and which links to
      _ Concerto Spastico Verde, 15 sfregi (2006; 707x1000pix). In the last few images of each series, the link at the rightmost slash also effects a change of color.
–- Concetto Spaziale, Attese red, 5 slashes (825x1074pix, 35kb) _ See above for Lucido Pozzo's improved version economical of computer resources.
–- Concetto Spaziale, Attese red, 6 slashes (302x375pix, 8kb) _ Fontana seems to have stopped at 6 slashes; Pozzo went to 15.
–- Concetto Spaziale, Attese pink, 5 slashes (869x696pix, 90kb) _ For this one, which shows the texture of the canvas, Lucido Pozzo could not use the same economical method as for flat colors, so he worked in the opposite direction, enhancing the texture and introducing a rich variety of colors. The result is
      _ Conceit Specious aka Pink Nip (2006; screen filling, 449kb _ ZOOM to 1000x1414pix, 1071kb).
La Fine di Dio: Fontana, who lacked imagination for his titles as well as for his pictures, has produced, besides the interminable series of Concetto Spaziale, several pictures of perforated ovoids in single colors (or lack thereof) all with the same blasphemous title La Fine di Dio, of which five in combination have provided Pozzo with the starting point for what ought to put an end to such nonsense: the varied and multicolored
      _ La Fin d'Idiot (2006; screen filling, 205kb _ ZOOM to 1414x2000pix, 600kb).
Concetto Spaziale (794x800pix, 75kb) the same title as a multitude of other non-art by Fontana (see below links to a small sample); this one is monochrome blue with lighter shade down the middle, with a few off-white pinholes. _ “Lucido Pozzo” has transformed this into the very colorful and intricate maximalist abstractions:
      _ Concerto Speziale aka Blub Bulb (2006; 659x932pix, 252kb _ ZOOM to 1864x2636pix, 2342kb) and
      _ Speziale Concerto aka Bulb Blub (2006; 659x932pix, 252kb _ ZOOM to 1864x2636pix, 2342kb)
–- Concetto Spaziale (900x705pix, 29kb) monochrome green, no slashes but some pinholes. _ This one has been transformed by Pozzo into
      _ Concreto Spezzato aka Asp Spa (2006; 165x233pix, 20kb _ ZOOM 2 to 233x330pix, 36kb _ ZOOM 3 to 330x466pix, 62kb _ ZOOM 4 to 466x660pix, 136kb _ ZOOM 5 to 659x932pix, 303kb _ ZOOM 6 to 932x1318pix, 620kb _ ZOOM 7 to 1318x1864pix, 1405kb _ ZOOM 8 to 1864x2636pix, 2103kb _ ZOOM 9 to 2636x3728pix, 5950kb) and
      _ Spezzato Concreto aka Spa Asp (2006; 165x233pix, 20kb _ ZOOM 2 to 233x330pix, 36kb _ ZOOM 3 to 330x466pix, 62kb _ ZOOM 4 to 466x660pix, 136kb _ ZOOM 5 to 659x932pix, 303kb _ ZOOM 6 to 932x1318pix, 620kb _ ZOOM 7 to 1318x1864pix, 1405kb _ ZOOM 8 to 1864x2636pix, 2103kb _ ZOOM 9 to 2636x3728pix, 5950kb)
Ambiente Spaziale e Luce Nera
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale (1962)
Concetto Spaziale, Attese (1964)
Concetto Spaziale, Attese
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale
Concetto Spaziale and that's just the beginning.
70 images at Ciudad de la Pintura almost all titled Concetto Spaziale
—(070218)
^ Buried on 19 February 1622: Frans Pourbus II (or Porbus, Purbis), Flemish painter born in the fall of 1569, son of Frans Pourbus I [1545 – 19 Sep 1581] and of a niece of Frans Floris I [<01 Oct 1520 – 01 Oct 1570]. — (An unreliable source gives 09 February 1622 as the date of the death of Frans Pourbus II)
— Two Flemish court painters of Bruges origin who earned their reputation abroad, Frans Pourbus the Younger and Marcus Gheeraerts the Younger [1562-1636], were active at the close of the sixteenth century and especially in the first quarter of the seventeenth. They are descendants of famous Bruges painter families. Their solid, old-fashioned technique and the rigid, immovable expression of their figures seem more like an extension of the sixteenth century than a herald of the seventeenth. Frans Pourbus the Younger was Pieter Pourbus' grandson. He was trained in Antwerp and worked briefly for the Archdukes Albert and Isabella before going on to become court painter at Mantua, under Duke Vincenzo Gonzaga, and in Paris, under Marie de' Medici and Louis XIII.
— It is likely that Frans Pourbus II, like his father before him, was trained in the Bruges studio of his grandfather Pieter Janszoon Pourbus [1523 – 30 Jan 1584]. Frans the younger became a master in the Antwerp Guild of Saint Luke in 1591. He followed the family tradition and painted individual and group portraits, and, occasionally, religious subjects. From about 1594 he was in Brussels and about 1599 spent a year working at the court of the Archdukes Albert and Isabella. His early work, for instance the portrait of Petrus Ricardus (1592), was close to the smooth and brilliant style of his grandfather but was also influenced by the realism of Adriaen Key. One work that can be related to his work for the Brussels court is a gouache copy of a portrait of Archduchess Isabella, inscribed AUTOGRAPH. APUD PICTOREM CELEBREM F. PORBUS, AD VIVUM DEPICT.
      In September 1599 Vincenzo Gonzaga I, 4th Duke of Mantua, was in Brussels and appointed Frans the younger his chief portrait painter. Frans left for Mantua in 1600 (where Rubens was also working); he is recorded as having executed a number of portraits of the ducal family, but this did not preclude his working for other important patrons: Emperor Rudolf II was considering marriage and Pourbus went to Innsbruck (1603) and Graz (1604) to paint portraits of prospective brides (e.g. Archduchess Eleonore, 1604). Vincenzo Gonzaga’s son Francesco despatched Pourbus to Turin on the same errand, and Pourbus painted the daughters of Charles-Emanuel I, 11th Duke of Savoy (in 1608 Francesco married Margaret of Savoy). In 1606 Pourbus went to Paris to record the French royal family on the occasion of the Dauphin’s baptism for his aunt and godmother, Duchess Eleonora Gonzaga. The following year Pourbus was in Naples, whence he advised the Duke of Mantua to purchase Caravaggio’s Judith Beheading Holofernes and the Madonna of the Rosary (1607).
— Giusto Suttermans was a student of Pourbus.

LINKS
–- A 54-year-old Lady (1591, 100x74cm; 845x570pix, 36kb _ .ZOOM to 1409x950pix, 96kb _ .ZOOM+ to 2348x1583pix, 207kb)
Marie de Médicis turned one-quarter to her left (1617, 285x218cm; 1600x1208pix) _ The queen is portrayed in her full regalia. Everything here emphasises her royal status: the crown, her ermine robes and the canopy. This official portrait was made in the studio of the painter Frans Pourbus II. The queen is Marie de Médicis [1573-1664], a member of the renowned Italian family and wife of the King of France, Henry IV [1553-1610], whom she married in 1600. Henry IV was an ally of the Dutch Republic in the struggle against Spain. In 1638 Marie de Médicis, now a widow, visited Amsterdam, where she was received with great ceremony. For the occasion Joachim van Sandrart [12 May 1606 – 14 Oct 1688] painted a militia painting in which she is also portrayed (as a sculpture bust):
      _ Captain Bicker's Company Waiting to Welcoming Marie de Medicis in September 1638 (1640, 343x258cm).
Marie de Médicis turned one-quarter to her right (1617, 215x115cm, 800x413pix, 52kb)
–- Archduke Albert of Austria (1600, 10x7cm; 385x285pix, 12kb _ .ZOOM to 770x570pix, 32kb)
Archdukes Albert and Isabella (two panels 60x42cm each, 850x1206pix, 192kb) _ Archduke Albert of Austria [1559 - 1621] was appointed Governor of the Netherlands in 1595, and from 1598 became joint sovereign of the Seventeen Provinces with his wife, the Infanta Isabella Clara Eugenia [1566 - 1633], Archduchess of Austria, daughter of Philip II of Spain . The official double portrait by Pourbus was reproduced on several occasions. This is an early 17th century replica, one of the best early versions of a pair of portraits of which Pourbus invented the prototype. Rubens undoubtedly took these earlier works as the basis for his first portraits of
      _ Archduke Albert (122x89cm; 420x320pix, 25kb) and
      _ Infanta Isabella (121x89cm; 420x320pix, 28kb) after he was appointed their court painter in 1609.
Henry IV, King of France, in Armor (770x488pix, 73kb)
Claude de Lorrain, Prince of Chevreuse (1610, 198x123cm) 812x480pix, 54kb)
Petrus Ricardus (1592, 107x77cm, 1127x807pix, 87kb) _ Until about 1600, Pourbus painted in the smooth and technically brilliant style established by his grandfather, which he augmented with an analytical realism attributable to Adriaan Key. This portrait of a famous professor at the University of Louvain is a good example of this style.
Guillaume du Vair [1556 - 1621] (61x51cm; 768x681pix, 34kb) _ Président du Parlement de Provence, puis Garde des Sceaux de France depuis 1616, l'année où Louis XIII prend pratiquement le pouvoir. Gallican, humaniste, lettré, c'est un monarchiste partisan de Henri IV puis de Louis XIII.
 

Died on a 19 February:

1856 Charles C. Wood Taylor [25 April 1792–], date given by some as that of the death of this British painter, engineer, and sailor, who was active in Chile. —(100218)

1750 Jan-Frans van Bredael I, Flemish painter born on 01 April 1686, son of Alexander van Bredael [01 Apr 1663 – 14 July 1720]. Jan-Frans van Bredael I imitated the style of Wouverman and Breughel with such dexterity that even connoisseurs are often unable to distinguish his copies of their pictures from the originals. He visited England, where he was so well employed that in. a few years he was able to retire to his native country. There were several other artists van Bredaels, notably Pieter [1622-1719}, Alexander's father, and Jozef [1688-1739]. They were formerly known as Breda, but this apparently is incorrect, though it occurs as a signature on a picture by Jan Frans.

1735 Ottmar Elliger II, German artist who dies on his 69th birthday.

1666 Willem van Honthorst, Dutch painter born in 1594 — brother of Gerrit van Honthorst [04 Nov 1590 – 27 Apr 1656]

^ 1657 Evert van Aelst, Dutch painter born in 1602 — Relative? of Willem van Aelst [1627-1683] ?
Vase With Two Flowers and Fruit on a Table (423x330pix, 21kb)


Born on a 19 February:


^ 1909 Enrico Donati [–25 Apr 2008], US Surrealist painter and sculptor born in Italy. In 1929 he received a doctorate in economics (sociology) at the Università degli Studi in Pavia. Then he took up music. Unhappy with the state of musical education in Fascist Italy, he moved to Paris and composed avant-garde music. He became interested in anthropology and in 1934 visited to the US Southwest and Canada to study and collect Amerindian artifacts. He did some commercial art and printing in New York, then returned to Paris, where he was drawn to the Surrealist movement. At the beginning of World War II in 1939, Donati returned to New York for good. He attended the New School for Social Research and the Art Students League. He was further influenced by Surrealism by meeting André Breton and coming into contact with other European Surrealists in New York at the time, including Max Ernst, Salvador Dali [11 Mar 1904 – 23 Jan 1989], Yves Tanguy, Arshile Gorky, Marcel Duchamp, Giorgio de Chirico, Fernand Léger, and the US sculptor Alexander Calder. . A typical work of this period, St Elmo’s Fire (1944), contains strange organic formations suggestive of underwater life.
     In the late 1940s Donati responded to the crisis in Surrealism by going through a Constructivist phase, from which he developed a calligraphic style and drew onto melted tar, or diluted paint with turpentine. For a time he became an Abstract Expressionist. He also became associated with Spatialism, founded by Lucio Fontana. Thus began his fixation on surface and texture, mixing his paint with sand, dust, coffee grounds and, at times, the contents of his vacuum cleaner, which he mixed with pigment and glue and slathered on his canvas. This culminated in the 1950s in his Moonscapes, a series that has similarities with the work of Dubuffet. The fossil became a major theme for Donati through the 1960s, and he gave new importance to color in his Fossil works, for example in Red Yellow Fossil (1964).
     He held a number of important teaching and advisory posts, including Visiting Lecturer at Yale University (1962–1972). Donati was for many years as engaged in the business world as he was in the world of art. In the early 1960s, he joined the board of Houbigant Inc., one of the oldest purveyors of French perfumes and eau de cologne. In 1965 he bought the company, which was privately held. . — LINKS
–- 2 Apsaras (800x786pix, 83kb _ .ZOOM to 1200x1178pix, 149kb)
— Magma bianco (40x50cm) —(080501).

^ 1877 Gabriele Münter, German Expressionist painter, mate of Wassily Kandinsky [16 Dec 1866 – 13 Dec 1944]. She died on 19 May 1962. Because the official art academies in Munich and Dusseldorf were closed to women, Munter had to study elsewhere. She studied art in Düsseldorf at the Malschule für Damen in 1897. In 1901 she went to Munich and entered the newly opened Phalanx School, founded by Kandinsky. There she was introduced to Post-Impressionism and to the technique of combining marks made with a palette knife and a brush. Munter's professional relationship with Kandinsky developed into a personal one, and the two lived together for more than a decade. She was one of the first artist to exhibit with the German Expressionist group the Blue Rider. After Munter separated from him, her painting underwent a fallow period during the 1920's. When the Nazis came to power her work, like that of her modernist contemporaries, was condemned as “entartete Kunst”. Her paintings include many powerful landscapes and figure studies as well as striking still lifes. — LINKS
Self-Portrait (1909; 600x454pix, 87kb)
Abstraktion (1912; 570x802pix)
Jawlensky and Werefkin (1909, 33x45cm)
Marianne von Werefkin (1909)
Tombstones in Kochel (1909)
Wassily Kandinsky (1906 color woodcut, 26x19cm)
Kandinsky and Erma Bossi, After Dinner in the Murnau House (1912, 95x125cm)
The Russians' House (1931)
Meditation (1917, 66x100cm).

1876 (or 20 Feb) Constantin Brancusi, Romanian abstract sculptor who died on 16 (15?) March 1957, having become a French citizen a few days before. — LINKS

1849 Hans Dahl, Norwegian painter who died (full coverage) on 27 July 1937. —(050918)

1843 Leonardo de Mango, Italian artist.

^ 1815 Don Federico de Madrazo y Küntz, Spanish painter who died on 10 January 1894. Son of José de Madrazo y Agudo; father of Raimundo de Madrazo y Garreta. — Federico de Madrazo is the greatest figure in Spanish Romantic painting. He held high official posts (he was director of the Prado Museum on two occasions) and was, and still is, considered the finest portrait artist of this period, if not of the entire 19th Century in the whole of Europe. He did over five hundred private and court portraits (he was also a Court Painter). In his work exactness and tidiness took precedence over the psychological aspects of his subjects. The Romantic trend he represented was referred to as "purist". — Federico de Madrazo's students included Léon Bonnat.— LINKS
Amalia de Llano y Dotres - The Countess of Vilches (1853) _ Doña Amalia de Llano y Dotres was a member of Madrid´s high society who married the Count of Vilches. She was a cultured woman who would write and publish several novels that have now been forgotten. In the portrait she is elegantly dressed, reclining in a large chair and rendered with an extremely delicate and deliciously romantic air. The meticulous detail of her face and arms reveal Madrazo´s interest in drawing, which he learnt from his father at the Fine Arts Academy.
The General Duke of San Miguel (1854)

1783 Ambroise Louis Garneray [–11 Sep 1857], French corsair, painter and writer, eldest son of the king's painter Jean-François Garneray [1755–1837], who was student of Jacques-Louis David.
Confiance Kent Fight (740x1000pix, 199kb) _ Robert Surcouf, le plus célèbre des armateurs malouins, entre dans la légende à vingt-trois ans, en 1796 quand, avec un équipage de 190 hommes sur la Confiance, il prend à l’abordage le Kent, un grand vaisseau britannique, trois fois plus important et plus armé que le sien.
Genova (1810; 1490x2305pix, 1005kb)
— Naval Battle of Navarino —(090216)

1753 Willem van Leen, Dutch artist who died on 06 April 1825.

1666 Ottmar Elliger II, German artist who died on his 69th birthday.

^ 1640 (infant baptism) Nicolaes (or Nicolaas) van Veerendael (or Veerandael, Verendael), Flemish painter buried on 11 August 1691. He was taught by his father, Willem van Veerendael, and was a member of the Antwerp Guild of Saint Luke by 1657. Apart from some allegorical scenes with monkeys in the style of Jan Breughel I and David Teniers, van Veerendael painted flower-pieces. Initially these were small, bright, graceful bouquets in tall, narrow vases, or cartouches and garlands surrounding a religious scene, sometimes by another artist, such as the Cartouche with the Virgin Surrounded by a Floral Wreath, in which the central grisaille is by Erasmus Quellinus. In his early work van Veerendael was influenced by Daniel Seghers, but he worked with more glaze and stronger and more contrasting colors. The bouquets from the 1670s are more informal, and insects and vanitas elements are sometimes included, indicating his debt to the work of Jan Davidszoon de Heem, with whom he collaborated on a Flower Still-life. After 1680 van Veerendael painted much more freely and briskly and used fewer glazes (e.g. Flowers and Fruit). Despite his susceptibility to outside influences, he did achieve a recognizable style and can be seen as a forerunner of 18th-century Flemish flower painting. — LINKS
A Tulip, Carnations, and Morning Glory in a Glass Vase (62kb)


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