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ART “4” “2”-DAY  01 January v.9.b0

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BURIAL: 1661 CLAESZ — DEATHS: 1768 RESTOUT — 1939 JOHNSON 1958 DOMÍNGUEZ
BIRTHS: 1787 QUAGLIO — 1888 ROSSINÉ — 1857 KOSSAK — BAPTISM: 1618 MURILLO
^ Born on 01 January 1787: Domenico Quaglio, German {si ! tedesco !} painter, draftsman, printmaker, and architect who died on 09 April 1837.
— His family of artists originally came from Laino, a small village in Valle d’Intelvi near Como. The first known artist of the family was Giulio Quaglio I (1601-1658+]. Domenico studied first under his father, Giuseppe Quaglio [02 Dec 1747 – 23 Jan 1828], and then with Johann Michael Mettenleiter [1765–1853] and Carl Ernst Christoph Hess [1755–1828]. From 1803 he painted scenery for architectural stage sets at the Hoftheater in Munich and in 1819 he finally turned to drawing and painting architecture and landscapes (e.g. Phantasiearchitektur, 1819). In 1823 he founded the Munich Kunstverein, along with Joseph Karl Stieler [1781-1858], Peter von Hess [1792–1871] and Friedrich von Gärtner, to create better opportunities for artists to sell and exhibit their works.
      From the 1820s he traveled through central Europe recording such well-known monuments as the cathedrals of Strasbourg, Cologne and Reims (e.g. Reims Cathedral, 1833). During these years he also painted numerous views of Munich, e.g. The Old Riding School with the Café Tambosi in the Year 1822, recording the city’s appearance before King Ludwig I’s architectural changes. As in the views of Canaletto, these scenes, for which he used uniformly warm, earthy colors, are enlivened by a shifting play of light and shade. The figures in them are also interesting from the point of view of costume history. He had a love of Gothic buildings and showed his debt to Romanticism by painting images of medieval hermitages and castles (e.g. Die Ulrichsburg bei Rappoltsweiler, 1825). In 1833 Crown Prince Maximilian of Bavaria (later Maximilian II) commissioned him to take charge of the restoration of the ruin of Schloss Hohenschwangau, and in 1833 he began the project, with Georg Friedrich Ziebland as his assistant. Quaglio also began the redesigning of the interior; it was finished after his death by Moritz von Schwind. An example of one of his prints is The Door of Augsburg Cathedral (1816, chalk lithograph).
     In May 1842, his daughter Josephine Quaglio married the Bavarian painter Benno Raffael Adam [1812-1892].

Dom zu Reims, Frankreich (74x94cm; 625x800pix, 158kb)
Die Residenzstraße gegen den Max-Joseph-Platz im Jahr 1826 (1826, 64x84cm; 532x700pix, 172kb)
Die Alte Reitschule in München mit dem Café Tambosi im Jahr 1822 (1822; 524x700pix, 156kb)
Die Nordseite der Königlichen Residenz in München im Jahr 1828 (1828)
Die Königliche Residenz in München von Nordosten in Jahr 1827 (1827)
Blick auf die Villa Malta in Rom (1830; 367x489pix, 210kb)
Marienburg (1834; 300x380pix, 26kb)
Der Dom zu Wetzlar (1822, 57x69cm)
Landschaft bei Kobern an der Mosel (1827, 33x40cm)
 
^ Buried on 01 January 1661: Pieter Claesz van Haarlem, Dutch Baroque painter, specialized in Still Life, born (but not still born) in 1597.
— Dutch still-life painter, born in Burgsteinfurt, bishopric of Münster (now Steinfurt, Germany) and active in Haarlem where he settled in 1617. He and Willem Claeaszoon Heda, who also worked in Haarlem, were the most important exponents of the "ontbijt" or breakfast piece. They painted with subdued, virtually monochromatic palettes, the subtle handling of light and texture being the prime means of expression. Claesz generally chose objects of a more homely kind than Heda, although his later work became more colorful and decorative. The two men founded a distinguished tradition of still-life painting in Haarlem, but Claesz's son and student, Nicholas Berchem became famous as a landscape painter.
— Still-life painter Pieter Claesz probably came from Berchem, near Antwerp. He moved to Haarlem at an early date, where he married in 1617 and later died. Pieter Claesz's son Nicolaes Berchem, also became a painter. In his early work, Pieter Claesz employed brilliant colours. Later, he adopted a more subdued palette, with colours of similar hues. His compositions acquired more elegance, broadness and nonchalance than previously. Nevertheless, the objects in his still lifes rarely overlap. For Pieter Claesz, the principal aim was to render the materials and catch the reflected light as accurately as possible. This was his speciality.

LINKS
Still Life with Fish (1647, 64x82cm) _ In the 17th century, a still life with bread, cheese and fruit (perhaps even fish!) would be known as a 'breakfast piece' painting, as shown here. On the left is a large römer, a green wine glass with prunts on the stem. Next to it is a hyperboloid salt cellar, with a Chinese porcelain dish on top. It contains capers, which go well with fish. A little salt is visible on the salt cellar. The still life is subdued in color, only the yellow of the lemon grabs the eye. Such “monochromes” with a limited number (though more than 1) of colors, were popular in the 1640s. Pieter Claesz's elegant composition contains delightful details such as the vine tendrils and curling lemon peel while the pewter plates jut out slightly from the table.
Still Life with Turkey Pie (1627, 75x132cm; 894x1600pix, 208kb) _ Since the Middle Ages one of the features of any banquet was the pie, a dish covered with pastry containing a filling which could be any of an infinite number of varieties of meat, fish, game, poultry, cheese, mushrooms or fruit. Sometimes the pie would be decorated to resemble a swan, a turkey, a peacock or a pheasant. Pies are often featured in paintings of banquets, as in the militiamen's banquet by Bartholomeus van der Helst. Pies were also a common element in 17th century still lifes, as in the paintings of Claes Jansz. Heda. A large turkey pie is the most eye-catching part of this richly decked table. The pie is crowned with a real, dead turkey. Pieter Claesz put his initials on the handle of the knife: 'PC A[nn]o 1627'. In the seventeenth century a painting like this with attractive kitchen utensils and exotic delicatessen was called a 'banketgen', or banquet painting. Such a showpiece was made to hang in the house of a prosperous citizen.
     Claesz painted the various materials and the effect of the light upon them with great accuracy. The reflection of the light on the round bulge of the pewter wine jug are very cleverly painted: not only is the dish on which the wine jug stands is reflected, part of the table can also be seen. Even the room in which the still life stands is partially visible in this way. The shadow of the plate that sticks out over the edge of the table falls on the damask tablecloth. The knife produces the same effect. The glass römer, which is half-filled with wine, casts a pale yellow reflection on the tablecloth.
     Claesz painted the still life in subdued tones. Older still lifes, such as Still Life with Cheeses by the Haarlem artist Floris van Dijck, are often more colorful.
     On the right on a small pewter plate, are pepper, spilling out of a rolled up almanac, and salt. Salt and pepper were very expensive in the seventeenth century. So too were lemons, grapes and olives. Besides these delicacies, Claesz also painted beautiful kitchen utensils like the porcelain dish containing fruit and the nautilus beaker beside it. Claesz strikingly renders the silk-like shine of the mother-of-pearl.
Vanitas Still Life with the Spinario (1628, 70x80cm) _ This painting looks like a combination of several smaller still lifes. In the foreground, to the right, are a number of musical instruments. They are lying beside a piece of armor and various books. More books are shown on the table, along with a plaster statue, some bones, a skull and various artist's materials. From the skull and bones, it is clear that this painting is about transience, or vanitas. The term refers to the opening verse of Ecclesiastes in the Latin Bible 'Vanitas vanitatum, omnia vanitas'. Seventeenth-century Dutch paintings often feature symbols of transience, especially still lifes. Skulls, hourglasses, extinguished candles and similar elements refer to the evanescence of existence. Vanitas paintings are intended to remind the viewer of how short life is and that it should be lived with due regard to God's laws. The watch and the fading oil lamp refer to the passage of time, while the musical instruments symbolize the ephemeral nature of music.
     This still life is not just about Vanitas. Claesz also alludes to the different phases of an ideal painter's apprenticeship. The master's assistant started out doing odd jobs. He mixed paint and kept the studio tidy. After a while he was allowed to start drawing, copying prints and other work. In the foreground we see the necessary sample books, depicted alongside a pen and inkstand. The apprentice would proceed to sketching plaster casts of famous statues. This helped the student gain insight into the human form. Once these phases had been completed, the apprentice could start working in color, learning how to apply paint and progressing to the depiction of real people.
      The 'Thorn-puller', or Spinario in Italian, is a famous statue. It can be seen in Rome, in one of the Capitoline musems. Indeed, it was also on display in the 17th century. The painting by Claesz depicts a plaster copy. The original is a bronze. In fact there is something strange about the statue: the head is made of a different type of bronze from that of the body. Moreover, the way the boy's hair hangs is also wrong. The head probably once belonged to a standing figure and was subsequently added to this (later) body. In Pieter Claesz' time this was not yet known. The statue was considered a model of classical harmony.
Still Life with pitcher, glass of wine, red lobster, crab, etc. (1643, 75x89cm; 888x1125pix, 669kb _ ZOOM to 1776x2251pix, 2747kb)
Still Life with flowers, fruits, meats, crab, red lobster, cello, violin, etc. (1653; 600x809pix, 204kb)
Still Life with Musical Instruments (1623, 69x122cm; 572x1020pix, 120kb)
Vanitas Still-Life (1630, 40x56cm) _ Nearly all Dutch still-lifes include - to a greater or lesser extent - the aspect of vanitas, a lament about the transience of all things. It is often symbolized by objects such as a skull or a clock, as in this painting, where the effect is enhanced by an overturned wine glass and an extinguished candle. Claesz's metaphysical criticism concentrates on book knowledge and its futility in the face of eternity. The claim of the enlightenment that book contains knowledge, experience and thoughts that were permanently valid beyond the life-span of an individual is met with resigned scepticism. With hues of grey, brown and green that tend to add up to a general 'monochrome' impression, Claesz's still-life was painted at a time when European book market was going through a phase of considerable expansion.
Still-life with Herring (1636, 36x46cm) _ The stylistic phases and fluctuations in aesthetics through which the Dutch landscape passed had their direct counterpart in still-life. The silvery tone which dominates in this Still-life by Claesz., muting the colors and subtly adjusting the objects to each other, directly relates to the tonal direction landscape took after 1630.
Still-life with Wine Glass and Silver Bowl (42x59cm; 600x839pix, 145kb) _ It is worth noting that in this almost monochrome 'banketje', which is dominated by shades of grey, green and silver, the elements of the painting have been reduced to a small number of vessels. Thus the composition of the painting is determined by an overturned silver goblet, a half empty wine glass and two pewter plates. Although this is a so-called breakfast still-life (an onbijtje), hardly any food is shown, but only the sparse left-overs of a meal, such as the olive on the plate, where it forms some kind of optical barrier between the hollow foot of the goblet and the plate that reflects it. Unlike the overabundance of food in earlier Flemish still-lifes, this painting emphasizes a refinement of taste. Naive consumerism has been replaced by aesthetic sublimation under the influence of Protestant introspection and asceticism.
Breakfast-piece (1646, 60x84cm) _ The work of the Dutch still-life painters who appear around 1620 corresponds to the tonal trend of the landscapists of van Goyen's generation. Pieter Claesz and Willem Claeszoon Heda, popularizers of the breakfast piece, are the principal representatives of this phase. Claesz, the father of the landscapist Nicolaes Berchem, was born at Berchem (probably the village near Antwerp). Heda's origins are obscure. Both were primarily active at Haarlem and underwent similar stylistic developments.
      Their early works show the influence of the older still-life painters, but they soon limited themselves to the description of a simple meal set near the corner of a table - some bread and cheese, a herring on a pewter dish, a glass of beer or wine, perhaps a silvery pewter vessel, and a white crumpled tablecloth - just enough to suggest a light breakfast or snack. These objects, which always look as if they had been touched by someone who is still close by, are no longer treated as isolated entities: they are grouped together, forming masses along a single diagonal axis. But more important, Pieter Claesz and Heda reacted to the comprehensive forces of light and atmosphere which envelop us and the things with which we live, and they found means to express their reactions to these forces as accurately, immediately, and intensely as possible. As a result, they seem to animate their simple subjects. With a new pictorial mode, they achieve a more dynamic spatial and compositional treatment.
      The foreground of their unpretentious arrangements becomes spacious, and there is clear recession. Instead of vivid local colors, monochromatic harmonies with sensitive contrasts of valeurs of low intensity are favoured, without, however, a loss of the earlier regard for textural differentiation. From the point of view of composition and of coloristic, tonal, and spatial treatment the perfectly balanced still-lifes by Claesz and Heda are among the most satisfying Dutch paintings made during the century.
      Claesz has a more vigorous touch than Heda. He was also a man of simpler tastes. Heda depicts oysters more frequently than herrings, and after 1640 his compositions became larger, richer, and more decorative. To obtain a more monumental effect, during his maturity Heda often abandons the traditional horizontal format for a vertical one. Ornate silver vessels and costly 'façon de Venise' glasses, at the time blown in the Netherlands as well as Venice, intensify the contrasts of valeurs, and touches of color provided by the pink of sliced hams and ripe fruit are combined with an increased chiaroscuro.
Still-Life (1633, 38x53cm) _ The affluent citizens of Haarlem were particularly open to the refined taste displayed in breakfast still-lifes by artists like Pieter Calesz. and Willem Claesz Heda.
Still-life (1647, 40x61cm) _ In the still-lifes of Claesz, the objects are ordered in a simple way; they are just laid out on the table. The light is even; shadows are used only to emphasize each object's plastic form.
Still Life with Pipes and Brazier (1641; oval 600x794pix, 135kb)
Still Life with Two Lemons [actually 2 and 2/3 lemons] (1629, 43x59cm) _ Pieter Claesz perfected the still life by breaking out of the more conventional mold and creating a sub-genre, the ontbijtje, or breakfast piece. There were no bright colors or plentiful table arrangements here; Claesz worked with an almost monochromatic palette of brown, gray, olive, and gold. Light was his unifying element, the texture of each object all important. Nor was there abundance, as in the traditional still life, but instead an elegantly arranged collection of sparse objects -- often a hunk of cheese or bread, pewter tableware, and almost always a white tablecloth. In Still Life with Two Lemons, Claesz deviated further still, with no cloth covering the table and no ordinary breakfast foods visible. His placement of olives and lemons -- depicted realistically but certainly not considered typical of breakfast fare -- emphasized Claesz's concern with technique above content.
 
^ Born on 01 January 1888: Vladimir Davidovich “Daniel” Baranoff~“Rossiné”, Ukrainian painter and multimedia artist who died in 1944.
— He studied painting in Odessa (1903), before enrolling at the Imperial Academy of Arts in Saint-Petersburg in 1905. His proximity in the mid-1900s to the artists of the nascent avant-garde, especially David Burlyuk and Vladimir Burlyuk, was of decisive importance to his stylistic development. Contributing to The Link (1908) and their other exhibitions in Moscow, Kiev and Saint-Petersburg, he supported their stand against Realism and the Academy, favoring a brightly colored post-Impressionism reminiscent of Georges Seurat and Louis Valtat. He worked in Paris from 1910 until he returned to Russia after the February 1917 Revolution and participated in the revolutionary Russian artistic activities. He left Russia in 1925 with his family and settled again in Paris. He invented and performed on what he called an optophonic piano.
— Baranov-Rossiné was a versatile artist, thinker and inventor. His artistic experiments in a variety of media, whether easel painting or pictorial relief and sculpture, set him apart as a unique innovator. His passion for science and technology led him to investigate the laws of light and invent a number of apparatuses, including a type of magnifying glass essential for gemology. Other inventions included a color-visual optophone, which greatly contributed to the art of color music. He articulated his idea of a polychromatic palette in a letter to good friends Sonya and Robert Delaunay whose friendship played a critical role in Baranov-Rossiné’s artistic development. In his 1916 exhibition in Norway, Baranov-Rossiné explained, “Have you seen my palette?...Any color, being it white, black or red can, nevertheless, be transformed by its relationship to the neighboring color. If you know paints, you have to predict their alteration. As you can see, I have divided my palette into various color sections: green, blue lilac, red, orange, black, brown and white. By this means, I am able to obtain what I want.”
— 1903-1907: Après ses études à Odessa, entre à l'Académie Imperiale des beaux-arts de Saint Pétersbourg. 1907-1910: Participe aux premières expositions historiques de l'avant-garde russe avec les groupes «Stéphanos» à Moscou, «VienokStéphanos» à Saint Pétersbourg, «Zvieno» à Kiev, groupe qui se voulait synthèse de tous les arts regroupant peintres, musiciens, sculpteurs. Baranoff travaillera par la suite dons ce même souci de synthèse des arts. Réalise une sculpture polychrome, Symphonie n°1.
      1910-1914: Part pour Paris. Se fait appeler Daniel Rossiné. Commence à sculpter et expose au Salon des Indépendants. Assume les conquêtes du cubisme puis du dynamisme futuriste. Nourri de nombreux contacts artistiques et se lie d'amitié avec Robert et Sonia Delaunay pour lesquels il éprouve une grande admiration et avec qui, il entretiendra des relations jusqu'à sa disparition. Il affirme son originalité dès l'exposition de sa Symphonie n°2 sculpture polychrome faîte d'“assemblages paradoxaux” et qui soulèvera de nombreuses critiques et qui attire l'attention de Guillaume Apollinaire. Fait partie de l'Ecole de Paris. Installe son atelier à La Ruche où il côtoie Archipenko, Chagall, Dobrinsky, Soutine, Zadkine. Il participe également aux soirées de Paris données par la Baronne d'Oettingen et Serge Ferat où ils reçoivent l'avant garde russe et parisienne aux cotés d'Exter, Gontcharova, Larionov, Survage, ou encore Max Jacob et le critique André Salmon.
      1915-1917: Voyage en Norvège. Expose à Kristiana (Oslo). Enrichi de nouvelles expériences, il invente un nouveau principe plastique pour appréhender le réel, fondé sur l'utilisation du ruban de Möbius. Premier concert de son invention le piano optophonique.
      1917-1922: Prend le double nom de Baranoff Rossiné. A la révolution de février, revient en Russie et occupe des fonctions officielles. Il se marie en 1919, sa femme décède en 1920 après avoir donné naissance à Eugène (décédé en 1997). Participe à de nombreuses manifestations à Pétrograd et à Moscou. Dirige un atelier de peinture à Pétrograd. Expose à la Galerie Van Diemen à Berlin. 1923-1924: Poursuivant ses recherches chromatiques, il matérialise son rêve d'unir sons, formes et couleurs en construisant le fameux piano optophonique: la frappe des touches déclenche des mouvements de disques colorés. Dispersé après la guerre, il sera reconstitué. Donne deux concerts “visualos-colorés” au théâtre Meyerhold et au Bolchoï (Moscou) avec Pauline Boukour [1900-1979] qu'il venait d'épouser.
      1925-1939: Quitte l'URSS avec sa femme Pauline et son fils Eugène pour la France. Donne un concert optophonique à Paris à Riga et à Berlin. Fonde la première académie optophonique (1927) et poursuit ses travaux de recherches audiovisuelles. Naissance à Paris de son fils Michel [1928-1935]. Expose régulièrement au Salon des Indépendants. Naissance à Paris de sa fille Tatiana [1934~]. Participe à l'Exposition internationale de Paris, aux Réalités Nouvelles à Paris, à l'Exposition des artistes musicalistes à Limoges.Sa sculpture polythechnique provoquera les sarcasmes de la presse. Son fils Eugène, en mauvaises relations avec lui, s'enfuit du domicile familial en 1936, à l'age de 16 ans. Il découvrira la disparition de son père et retrouvera sa belle mère Pauline Baranoff Rossiné qu'en 1945.
      1939-1941: Expérimentateur permanent, il tente d'appliquer l'art des couleurs à l'art militaire par la technique du camouflage pointilliste ou procédé Caméléon, objet d'un accord de commercialisation avec Robert Delaunay. Baranoff Rossiné inventa également un “photo-chromemètre” permettant de déterminer les qualités des pierres précieuses. Dans un autre domaine il met au point un appareil de fabrication de stérilisation et de distribution de boissons gazeuses, le Multiperco, qui reçu à l'époque des distinctions techniques.

LINKS
Autoportrait cubiste (1913, 49x35cm) monochrome brown which has provoked the pseudonymous Divag Barneuf-Rossinante to create the very colorful and almost abstract palindromic
      _ Dirge Grid (2005; 707x1000pix, 252kb _ ZOOM to 1000x1414pix, 597kb)
Autoportrait peintre au pinceau (1906, 80x64cm; 510x405pix, 33kb)
–- Still Life With Chair (1911, 88x69cm; 800x616pix, 69kb) _ Baranov-Rossiné painted this one year after he arrived in Paris, and the same year that he went to Strasbourg. Although Cubism originated with Picasso and Braque as early as 1906, by 1910, the Cubist movement began to gain great momentum and was officially launched at the Paris Salon d’Automne and at the Salon des Indépendents, with Cubist exhibitions taking place in Paris and other metropolitan centers. Clearly influenced by this pictorial representation, Baranov-Rossiné presents his own derivative of the Cubist idiom in Still Life with Chair, which pulsates with energy and life. Baranov-Rossiné transforms a static subject into a dynamic tour de force and thus eschews a traditional approach to Cubism visible in André Derain's Still Life on a Table (1910). Space is demarcated through geometric layers of bold colors, and the vibrating, slicing arcs that accent the composition engender volume and atmosphere, an unconventional approach akin to the experimental work of friend Robert Delaunay. The combination of color and geometry suffuses the present compsition with rhythm and musicality and achieves “color in motion”, a concept the artist adhered to throughout his oeuvre. Baranov-Rossiné was among the first Russian artists to experiment with cubism; however he was too much of “un génie multiple” to espouse one style, and features of this or that “ism” never became fixed principals within a personal cosmology, but merely new and various means of arranging his pictorial solutions. _ Sold at Sotheby's, New York, for $1'184'000 on 23 April 2004.
Le Jugement de Pâris (1928, 95x128cm; 567x793pix, 46kb)
La charge de la cavalerie, révolution de 1905 Moscou (1905, 70x90cm)
Composition abstraite (1910, 149x101cm; 438x302pix, 21kb)
Composition abstraite (1913, 45x37cm; 510x412pix, 27kb)
Formes (1934, 80x115cm; 370x510pix, 15kb)
Le village (1916, 48x72cm)
Paysage (1909, 35x50cm; 510x758pix)
La soeur de l'artiste (1908, 50x35cm; 624x425pix)
more than 100 small images at dbr.club
—(071210)
^ Died on 01 January 1768: Jean Restout II, French Neo-classical painter, specialized in historical subjects, born on 25 (26?) March 1692. — {his pictures linked to below are in; the rest, out.}
— Jean Restout came of a family of painters and did many religious and mythological pictures, and worked for a time for Frederick the Great. Born in Rouen, he was the son of Jean Restout, the first of that name, and of Marie M. Jouvenet, sister and student of Jean Jouvenet. In 1717, the Royal Academy having elected Restout a member on his work for the Grand Prix, he remained in Paris, instead of going to Italy, exhibited at all the salons, and filled successively every post of academical distinction. His works, chiefly altar-pieces, ceilings, and designs for Gobelin tapestries, were engraved by Cochin, Drevet, and others.
— Jean Restout II received his early artistic training from his father, Jean Restout I, and from his mother, Marie Catherine Jouvenet Restout. By 1707 he was in Paris as the student of his famous uncle and godfather, Jean Jouvenet [1644 – 05 Apr 1717], the leading religious painter there.
     In 1717 Jean Restout painted Vénus demandant à Vulcain des armes pour Énée. Ce tableau lui mérita d'être agréé de l'Académie le 29 May 1717. On y voit l'influence de Jouvenet: même caractère de dessin, mêmes formes larges de drapées, même principe de disposer ses groupes, mêmes entente de la perspective et de toute la magie du clair-obscur. He followed with Vénus montrant ses armes à Enée.
     He was received (reçu) by the Académie on 28 June 1720, the year in which he married Marie-Anne Hallé [1704–], a daughter of the painter Claude-Guy Hallé. Unlike most history painters of his time, Restout did not travel to Italy to study. He had a solid training from Jouvenet, and perhaps also from Nicolas de Largillièrre, and, once established in the 1720s, he had a studio of assistants and students. He occasionally attended the drawing school of the Académie, where from 1730 he was professor of drawing, in which capacity he wrote his Essai sur les principes de la peinture.
    Jean Restout II painted many religious and mythological pictures, and worked for a time for Frederick the Great. His works, chiefly altar-pieces, ceilings and designs for Gobelin tapestries, were engraved by Cochin, Drevet and others. Jean Restout II had an impressively active and successful career. He specialized in serious historical subjects, especially sombre and large-scale religious scenes, which seem out of place in a period renowned for its rather more amorous Rococo art and fêtes galantes, although they demonstrate the continuity of the tradition of monumental figure painting throughout the 18th century.

LINKS
La Pentecôte (1732, 465x778cm) _ Cet immense tableau, à l'origine cintré et plus large, a été peint pour le réfectoire de l'abbaye de Saint-Denis. Les apôtres entourant la Vierge reçoivent du Saint-Esprit (invisible ici) des flammèches qui leur donnent le don des langues, pour aller évangéliser le monde.
Ananie imposant les mains à Saint Paul (1719, 99x80cm)
Mort de Sainte Scolastique (1730, 338x190cm; 1094x604pix, 81kb)
Venus Presenting Arms to Aeneas (1717, 137x105cm; 640x488pix, 58kb) _ Restout has faithfully illustrated the passage from Virgil's Aeneid (Book VIII) in which Venus descends amid clouds to bring weapons made by Vulcan to her son Aeneas: "Lo! the presents perfected by my lord's promised skill! so that thou mayest not shrink, my child, from challenging anon the haughty Laurentines or brave Turnus to battle." This painting is believed to be the diploma piece that Restout submitted in 1717 for his "agrégation," or entrance as an associate member of the French Royal Academy. It was the beginning of a successful career as a history painter, that would include his election as professor, director, and finally chancellor of the Academy.

THE FAMILY

—      Jean Restout II is the most famous of a family of painters from Caen, of which the first was Marguérin Restout, active in the early 17th century.
     Marguérin’s son Marc-Antoine Restout [1616–1684] was a student of Noël Jouvenet and a friend of Nicolas Poussin, with whom he apparently visited Rome in 1642. He established a reputation in both Rome and the northern Netherlands, as well as in his native Caen. Several of Marc-Antoine's ten children became artists:
     Jacques Restout [?1653–before 1702], a student of Poussin's nephew Pierre Le Tellier [1614-1680], became a painter, etcher, writer, and abbot of the Premonstratensian abbey of Moncel, near Vitry.;
     Eustache Restout [1655–1743], prior of the Premonstratensian abbey of Mondaye, was trained by Jean Jouvenet [01 May 1649 or 1644? – 05 Apr 1717] and made some fine decorative ceiling paintings as well as being active as an architect and sculptor.;
     Jean Restout I [1663–1702] married Jean Jouvenet’s sister Marie-Madeleine-Catherine Jouvenet [1655–1698], herself a painter, and acquired a reputation for history painting. They were the parents of Jean Restout II, whose son, Jean-Bernard Restout [22 Feb 1732 – 18 Jul 1797], is the second most renowned painter in the family, best known for his portraits; and whose daughter (painter Anne-Catherine Restout?) married Noël Hallé [1711 – 1781].
     Pierre Restout [1666–] was also a painter and monk.
    Charles Restout [1668–] was a Benedictine monk at Saint-Denis, who painted church ceilings and altarpieces.
    Thomas Restout [1671–1754] visited Rome and the Netherlands to study his art before establishing himself as a portrait painter.
 
^ Born on 01 January 1857 (31 Dec 1856?): Wojciech Kossak, in Paris, Polish painter, specialized in military and equestrian subjects, who died on 29 July 1942.
— He studied drawing under his father Juliusz Fortunat Kossak [29 Oct 1824 – 03 Feb 1899], and in 1871 he attended the School of Fine Arts in Kraków, where he was taught by Wladyslaw Luszczkiewicz [1828–1900]. In 1875 Kossak went to Munich, where he studied for two years at the Akademie under Alexander Strähuber [1814–1882], Alexander Wagner [1839–1919] and Wilhelm Lindenschmit [1829–1895]. In 1876 he returned to Kraków, where he drew compositions in the manner of his father and of Józef Brandt, whom he had known in Munich. Kossak worked on historical patriotic themes, especially battles, and other scenes with horses, which he painted with great understanding. A short period of service in the Kraków Regiment of Cavalry (1876) increased his liking for such subjects. In the years 1877–1883 he studied in Paris at the École des Beaux-Arts under Léon Bonnat and Alexandre Cabanel. In 1884 he settled in Kraków and continued to produce a large number of oil paintings and watercolors on historical themes such as the Napoleonic Wars and the Polish November Uprising, contemporary subjects such as World War I and the 1920 military campaign, as well as less specific hunting scenes and military genre scenes. His most accomplished works date from 1903–1914 and include the Spring of 1813 (1904), Bloody Sunday in Saint-Petersburg (1905) and Long Live the Emperor! (1914). Kossak also painted several portraits: of his family, members of the nobility, military figures and figures from artistic circles, as well as numerous self-portraits. He painted three panoramas showing battles: Raclawice, painted to mark the centenary of the 1794 uprising in cooperation with Jan Styka [1858–1925], Teodor Axentowicz [1859–1932] and others in 1892–1894, Berezyna, painted with Julian Falat and others (1896; destroyed since) and the Battle of the Pyramids, painted with Wladyslaw Jasienski [1869–1922] and others (1901; destroyed since). Wojciech Kossak's son Jerzy Kossak [1886–1955] became a painter; his two daughters became writers.

—  Two paintings from the Battle of Somosierra (30 Nov 1808): _ The Polish Light Cavalry Parades Before the Emperor (692x670pix, 210kb) by Kossak, and The Polish Light Cavalry Attacks the Batteries of the Spanish Cannons (405x600pix, 74kb)
Apostolstwo Krzyzackie z cyklu “Duch Pruski” (1909)
Husaria przed Janem III pod Wiedniem (1924)
Mlody obronca (1933)
Szarza w wawozie Samosierry (1907)
Ulan na koniu (1926, 50x41cm; 400x345pix, 18kb)
Józef Pilsudski na Kasztance (1928; 911x750pix, 98kb)
Krakowskie (404x600pix, 19kb)
Portret siostr artysty, Jadwigi i Zofii (510x409pix)
Portret zony artysty, Marii z Kisielnickich Kossakowej (1884)
Portret corek artysty, Marii i Magdaleny (1911)
Elzbieta Potocka w chwili skoku na koniu (1905)
Portret Zofii Hoesickowej (1909)
Portret konny Marii Zandbangowej (1913)
Portret Rozy z Tarnowskich Tyszkiewiczowej na tle stadniny (1926)
Portret Jadwigi Hackbeil (1928; 444x413pix)
Portret Ireny Warden-Cittadini z koniem (1933)
Portret pani Jordanowej (1935)
Portret Magdaleny Samozwaniec (1923)
Portret Marii Jasnorzewskiej z wachlarzem (1934)
Na stepach kalifornijskich (1930)
Portret konia kasztana (1931)
Glowa konia "Essor" (1931)
Studium glowy araba (1932)
Studium bialego araba (1931)
 
^ >Died on 01 January 1939: Frank Tenney Johnson, US painter born on 26 June 1874, specialized in the US West.
— A painter and illustrator known for his depictions of the US West, Johnson was born and raised in the Midwest. He studied under Richard Lorenz, F.W. Heinie, and Robert Henri, as well as at the Art Students League in New York. He moved to New York permanently in 1902 and in 1904 made his first trek to the Southwest, where for five months he recorded his experiences in the form of sketches and photographs. Johnson traveled often to the West to gather such source material for the paintings he executed in his New York studio. He produced illustrations in this fashion for such magazines as Field & Stream, Cosmopolitan, and Harper's Weekly. In an effort to preserve the vanishing West for posterity, Johnson focused on cowboy and Amerindian subjects, as well as occasional wildlife scenes.
— Johnson keenly grasped the importance of blending veracity and poetry in his art. Throughout his career, he strived to paint authentic, compelling images of an Old West born of history and myth. Johnson was born and raised on a farm near the historic Overland Trail, which crossed the Missouri River at Council Bluffs, Iowa, a few miles to the north. As a child, he heard old-timers’ stories of the trail when it still teemed with long lines of prairie schooners, stagecoaches, and herds of long-horned cattle. The tales brought the West alive for the boy and etched indelible impressions in his imagination.
      Johnson’s family had left the farm and was living in Milwaukee, Wisconsin, in 1891 when he began to study with Milwaukee artist Richard Lorenz, who had developed his skill as a painter of horses while studying in Europe, a specialty he passed along to Johnson. A former Texas Ranger, Lorenz also passed along fascinating stories of the Wild West, reinforcing Johnson’s determination to “go out West and soak up its atmosphere.”
      When Johnson received a small inheritance in 1895, he went to New York City to study drawing at the Art Students League. He worked intensely until his money ran out, and then returned to Milwaukee. In 1902, he again went to New York, this time to establish a studio and to take classes at the New York School of Art with the two greatest US art teachers of their time, William Merritt Chase and Robert Henri. Years later, Johnson downplayed his formal training, even claiming that he didn’t “get enough art education” to hurt him. He did, however, get enough “art education” to refine his natural talent, develop his artistic skill, and deeply influence his approach to creating art.
      Both Chase and Henri had studied in Europe and favored impressionist-influenced realism. But more important than any particular style of painting was their insistence that artists must know their subjects intimately, must find their own way, and must learn from others. Johnson took to heart Henri’s conviction that the most successful artists were “absorbed in the civilization” they portrayed in their work. By then he was already considering himself a Western artist, and he grew even more determined to make up for the fact that he was not a born Westerner and had neither lived the cowboy life nor witnessed skirmishes during the Indian Wars.
      His chance came in 1904 when Field and Stream magazine hired him to illustrate an article and paid his way west to gather material. Johnson took advantage of this opportunity to remain five months in Colorado and New Mexico. He worked as a cowboy on a Colorado ranch, then went to New Mexico and Arizona where he was fascinated by the Navajos he saw “at their games, racing and selling horses . . . and dancing in the moonlight.” Navajos and Navajo customs remained favorite subjects.
      Beginning in 1906, Johnson made regular trips west, particularly to the Southwest and California. It was his usual practice to sketch and photograph his subjects and to paint landscapes en plein air while in the West then complete the paintings in his New York studio. Dust Stained Riders (1930. Oil on canvas, 23 1/2 x 29 1/2 inches; 322x408pix, 36kb) is an example of this practice. Not only did he thrive in the artistic milieu of the city, but it also was headquarters to magazine and book publishers who gave Johnson ample work as an illustrator. He enjoyed a successful career for more than twenty years, illustrating magazine articles and western novels whose authors were grateful for his talent. One author who wrote to thank him for his drawings declared that “originality is a jewel and you have it.”
      Although he had exhibited at the prestigious National Academy of Design since 1918 and showed his work successfully in commercial galleries, it wasn’t until 1925 that he was able to quit illustrating in order to paint full time. Freed from the bonds of the New York publishing business, he gravitated west, eventually buying a home in southern California. From then on he divided his time between the two coasts. Johnson’s career continued its upward course. Elected an Associate of the National Academy of Design in 1929, in 1937, he was elected a National Academician, a singular achievement for a Western artist.
     Johnson died a few days after contracting spinal meningitis from a woman he kissed at a holiday party. At the time of his death he was at the pinnacle of his career, his passionate love for the West undiminished.

LINKS
–- S*#> The Close of Day (1925, 48x63cm; 1281x1648pix, 233kb)
The Rustler (750x580pix, 113kb)
Southern Night (1927, 70x91cm)
Grizzly Bear in Winter Forest (1913, 76x51cm) _ Here Johnson depicts an impressive beast as it walks unwittingly into the sight of a hunter's rifle. We are struck by the plight of the hapless animal and reminded of the role humans have played in depleting a rich wilderness of much of its wealth. The dark, somber colors of the composition contribute to a feeling of foreboding, as we find ourselves uttering a silent prayer that the hunter's bullet will miss its mark.
Texas Night Riders (1929, 89x102cm) _ This painting is a dramatic rarely seen night view of Texas ranch life. Johnson, like Dunton, paints in the tradition of Remington and illustrates ranch life from the point of view of the traditional cowboy. This painting is particularly striking because of the overall green tonality and the wonderful starlit sky.
Oregon (1926, 78x102cm; 576x771pix, 152kb)
Santa Fe Trail (1920, 267x678cm; 236x640pix, 31kb)
Cowboy (1925, 48x63cm; 393x521pix, 97kb)
Blackfeet Elder (51x41cm; 513x399pix, 84kb)
The Trailblazers (56x71cm; 400x511pix, 109kb)
The Berry Pickers (76x47cm; 579x353pix, 105kb)
Front Footing (76x51cm; 559x365pix, 78kb)
A Moment of Silence (46x51cm; 391x523pix, 55kb)
The Packet Ship - Ivanhoe (1925, 107x71cm; 560x365pix, 87kb)
The Crossing (107x244cm; 298x683pix, 132kb)
The Loaded Travois (71x114cm; 354x576pix, 106kb)
Heading Out (51x97cm; 358x569pix, 78kb)
Commanche Chase (21x26cm; 405x504pix, 104kb)
Sylvan Stream (63x76cm; 414x497pix, 112kb)
Santa Fe Wood-Vendor (1915, 64x84cm)
Journey's End (1938, 103x128cm)
Big Eagle (29x22cm)
Digger Indians (48x25cm; 393x521pix, 97kb) monochrome
311 images at Johnson Extra (mostly slightly less than 400x600pix, 100kb)
 

Died on a 01 January:

>2000 Matías Palau y Ferré [24 Aug 1921–], pintor, escultor, y ceramista español. Finalizados sus estudios de arte en la Escuela Sant Jordi de Barcelona, en 1957 marchó París, pensionado por el gobierno francés, para ampliar su formación en la Escuela de Bellas Artes. En 1961 dio comienzo su etapa italiana en la Escuela Italiana de Arte. Su primera visita a Nueva York tuvo lugar en 1971, como artista invitado para el homenaje que se tributó a Picasso.
Arlequín y pelota (63x50cm; screen filling, 69kb) .
Picasso (733x550pix, 56kb) lithographed line drawing —(091231)

1958 Óscar Manuel Domínguez Palazón, Spanish painter born (full coverage) on 07 January 1929. —(061231)

^ 1877 Adolphe Alexandre Dillens, Belgian painter and etcher born on 02 January 1821, student of his brother Hendrick Dillens [20 Dec 1812 – 1872] and of his uncle J. Dillens. — Relative? of Albert Dillens [1844–]? — He studied at the academy in Ghent. The source of most of his genre subjects was Zealand, and he represented scenes of that region’s daily life (e.g. Skaters in Zealand, 1860). He also produced a few portraits and a number of etchings. At the end of his life Dillens turned to painting historical and military scenes from Flemish life, such as Enlistment in the Austrian Netherlands. He was a prolific and successful artist, who worked with facility and did not hesitate to repeat himself in order to satisfy collectors. Although his pictures lack originality, they are notable for their precise draftsmanship, clear composition, and rich coloring. — He was the uncle of the sculptor and medallist Julien Dillens [08 Jun 1849 – 24 Dec 1904].
The Artist and His Studio (1849, 32x40cm; 750x950pix, 705kb _ .ZOOM to 1250x1583pix, 131kb) he is explaining a painting on which he is working to a woman visitor, who is carefully watched by a suspicious dog.
Rendezvous on the Hill (24x34cm; 512x740pix, 57kb)
Scène uit de 80-jarige oorlog (83x67cm; 500x402pix, 38kb)
Elizabethan Interior Scene (67x50cm; 305x228pix, 18kb; on page with 4 details, each about 350x233pix).
— (drawing) (1841, 24x17cm; 734x531pix, 81kb) illustration for a novel of Walter Scott. —(051231)

1813 Simon-Joseph Denis den Schelen, Flemish artist born on 14 April 1755.

>1687 (or 31 Dec 1686 or 01 Jan 1687?) Jan Anthonie van der Baren
, Flemish painter born in 1615 (1616?). He was court chaplain to Archduke Leopold William of Habsburg, the Governor of the Spanish Netherlands, and in 1656 followed him to Vienna, where he became director of his picture gallery, of which he made an inventory (1659). After the Archduke’s death in 1662, van der Baren held the same offices under Emperor Leopold I. Like Daniel Seghers, van der Baren specialized in painting still-lifes. There are 14 paintings accepted as authentic, some of them signed and dated; most are still-lifes with flower decorations and a central religious motif. Among these are the Mystic Marriage of St Catherine (1641); the Statuette of the Virgin in a Floral Wreath (<1659); and the Virgin and Child in a Floral Wreath. Van der Baren’s work is marked by an exactness of botanical detail, an emphasis on texture and light and the use of warmer colors than are found in Seghers’s work.

>1667 Jacob de Villeers, Dutch late Mannerist landscape painter born in 1616.
Weitblick mit ummauerter Stadt (91x115cm; 508x640pix, 167kb).
Travelers on a path in a mountainous landscape, a fortified town in the distance (94x135cm; 349x512pix, 79kb) monochrome brown except for the sky. —(091231)

1666 (08 Jan?) Adriaen Bloemaert, Dutch painter, draftsman, and possibly engraver, born in 1609, son of Abraham Bloemaert [25 Dec 1564 – 27 Jan 1651], brother of Hendrick Bloemaert [1602 – 30 Dec 1672], Cornelis Bloemaert II [1603-1684], and Frederick Bloemaert [1616 – 11 Jun 1690]. — He visited Italy and worked for a time in Salzburg, where in 1637 he painted eight canvases of The Mysteries of the Rosary. The landscapes signed A. Blommaert, which are attributed to him, are now believed to be the work of an unrelated Abraham Blommaert (fl 1669–1683) from Middelburg.

^ 1655 Roelof Koets I, Dutch still-life painter born in 1592.
–- Still Life With Food (75x109cm; 551x820pix, 35kb _ ZOOM to 826x1230pix, 71kb _ ZOOM+ to 1653x2460pix, 272kb) you get a choice of 8 backgrounds _ On a draped table, there is fish, bread, a partly peeled and sliced lemon, grapes in a basket, a salt cup and a half-full roemer.
–- Still Life With Fruits (872x1106pix, 72kb) —(061231)


Born on a 01 January:


>1761 Jan Frans Eliaerts [–17 May 1848], Belgian painter of still-lifes with flowers or fruit.
Bouquet_of_Flowers_in_a_Sculpted_Vase (90x71cm; 1087x800pix, 190kb _ detail 1103x800pix, 146kb) —(091231)

1571 Rutilio Manetti di Lorenzo, Sienese painter who died (main coverage) on 22 July 1639. —(091231)

1618 (infant baptism) Bartolomé Esteban Murillo, Spanish painter who died (full coverage) on 03 April 1682. —(070402)


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