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ART “4” “2”-DAY  03 January v.9.01
^ Born on 03 January 1915: Jack Levine, US painter, printmaker, and draftsman, who was prominent in the US Social Realist school of the 1930s.
      Trained first at the Jewish Welfare Center in Roxbury, Massachusetts, and later at the School of the Museum of Fine Arts in his native Boston, Levine also studied at Harvard University from 1929 to 1931. From 1935 to 1940 he was intermittently part of the Works Progress Administration (WPA) Federal Art Project. During this period he set up a studio in the slums of Boston, where he depicted the poor and created satirical portrayals of corrupt politicians. Levine gained attention through paintings such as Brain Trust (1936) and The Feast of Pure Reason (1937). In the latter work, a police officer, politician, and a wealthy man huddle together, presumably striking a deal; this theme of corruption would continue in much of his work. In works such as The Trial (1954), Gangster Funeral (1953), The Patriarch of Moscow on a Visit to Jerusalem (1975), and a triptych, Panethnikon (1978), that depicts an imaginary meeting of the United Nations Security Council, he continued in the vein of biting social satire. Technically, these works reflect the dramatic distortions of European Expressionists such as Chaim Soutine [1894 – 09 Aug 1943] and Georges Rouault [27 May 1871 – 13 Feb 1958]. Levine's satirical tendencies drew sharp criticism from President Dwight D. Eisenhower [14 Oct 1890 – 28 Mar 1969] when he saw some of Levine's works in a 1959 State Department show in Moscow. But, in 1973, upon the purchase of Levine's Cain and Abel (1961), Pope Paul VI [26 Sep 1897 – 06 Aug 1978] told him that his work would always be welcome in the Vatican Museum, an unusual distinction for a US artist, a Jewish one at that. Levine married the painter Ruth Gikow, and their daughter Susanna also became an artist.
— Levine studied drawing at the Community Center, Roxbury, MA (1924–1931) and painting at Harvard University, Cambridge, MA (1929–1933). He had a precocious talent for drawing, as is shown by the delicate and meticulous At the Watering Place (1931). From 1935 to 1940 he was intermittently employed by the Works Progress Administration’s Federal Art Project in Boston. He established his reputation with The Feast of Pure Reason (1937), whose title comes from the novel Ulysses by James Joyce. The painting shows a politician, policeman and capitalist engaged in disreputable collusion, revealing Levine’s interest in socially committed art. By the late 1930s he employed exaggeration and distortion to enhance the satire or pathos in his works, as in Neighbourhood Physician (1939), in which he characteristically enlarged the head and used broader, looser brushstrokes. From 1942 to 1945 he served in the US Army. A trip to Europe in 1947 deepened his understanding of the Old Masters whose works he preferred to those of 20th-century artists. He often used their techniques, styles and subjects, as in Magic for the Millions (1948), in which he adopted the Mannerist forms of El Greco in a satire on religious mysticism. In the 1950s he adopted a tighter, more strongly modelled style and treated numerous biblical subjects, such as King Asa (1953). He also painted satires of contemporary society, such as Election Night (1954), a tawdry night scene populated with dissipated, lifeless figures. Similar works appeared in the 1960s, such as The Last Waltz (1962, 198x122cm; xpix, kb). After earlier experiments in the 1940s, in the 1960s he also turned to printmaking, producing such powerful works as the aquatint The Prisoner (1963). His later painting included the huge diptych Panethnikon (1978), depicting a gathering of world leaders. He painted several biblical works in the 1980s, such as David and Saul .

The Patriarch of Moscow on a Visit to Jerusalem (1975, 213x237cm)
Volpone at San Marco (1977, 102x89cm)
Reconstruction (1962, 89x102cm; 656x758pix, 76kb)
–- Inauguration II (799x677pix, 50kb) partly monochrome.
Jack Levine's Oak Street (800x705pix, 123kb)
Pensionnaire (800x606pix, 49kb)
Carnival at Sunset (800x628pix, 98kb)
Café (531x600pix, 52kb)
The White Horse (504x600pix, 56kb) with a very long neck, but not quite long enough, as the horse stretches it through a grocery window, to reach food.
King David (etching 25x20cm; 740x582pix, 114kb)
The Prisoner (aquatint 33x46cm)
Runway (1999, 61x53cm; 432x678pix, 65kb)
–- Roman Girl (800x367pix, 28kb)
Abstract Composition (1959, 27x36cm; 451x567pix, 85kb)
Orpheus in Vegas (1984, 102x152cm; 315x468pix, 62kb)
Study for Bloomsbury Group (1965, 76x107cm; 308x432pix, 63kb)
Girls of Tunbridge Alley # 1 (1968 etching)
McHeath at Tunbridge Alley (1968 etching)
Moritat (1968 etching)
^ >Died on 03 January 1809: Henri-Pierre Danloux, French artist born on 24 February 1753.
— He was orphaned at an early age and was brought up by an uncle who was an architect and contractor. About 1770 his uncle apprenticed him to genre painter Nicolas-Bernard Lépicié [16 Jun 1735 – 14 Sep 1784]. He exhibited for the first time in 1771 at the Exposition de la Jeunesse in Paris, where he showed A Drunkard at a Table. About 1773 he was admitted into the studio of history painter Joseph-Marie Vien [18 Jun 1716 – 27 Mar 1809], whom he followed to Rome in 1775 on the latter’s appointment as Director of the Académie de France. Danloux’s sketchbooks show that he also visited Naples, Palermo, Florence, and Venice. He was not interested in the monuments of antiquity but concentrated instead on drawing landscapes and, in particular, portraits, among them that of Jacques-Louis David.
      Settling in Lyon, France, in 1783, Danloux established himself as a portraitist in the relaxed, informal manner of Jean-Baptiste-Siméon Chardin.
      After Danloux moved to Paris in 1785, his reputation grew as a portraitist to the aristocracy. Danloux paid great attention to rendering fabrics, embroidery, and accessories in both oils and chalk. After another sojourn in Rome, Danloux returned to Paris in 1789, where he was commissioned to make portraits of the royal family. Soon the French Revolution forced him to flee to London. Influenced by fashionable English portrait painters like George Romney, Danloux excelled in family groups and portraits of children, whom he captured in natural, spontaneous poses. He also began painting history subjects. He returned to Paris in 1801 and spent his remaining years frustrated by his failure to establish himself as a history painter.

Mademoiselle Rosalie Duthé (1792; 55kb) — {Ne pas confondre “voir Duthé” et “boire du thé”, bien qu'on (bien con?) puisse deviner que ce que servait à boire au peintre la demoiselle Duthé était du thé.}
–- Master Gardiner (1802, 75x62cm; 814x667pix, 34kb _ .ZOOM to 1072x1000pix, 69kb)
–- Le supplice d'une vestale (1790, 188x170cm; 916x826pix, 35kb)
Captain Joseph Sydney Yorke [1768-1831] (1795, 76x64cm; 826x700pix) _ A half-length portrait of Sir Joseph Yorke, Admiral of the Blue, in a captain's (under three years) undress uniform. He is facing almost full-front with his head turned towards the left with his left arm outstretched. His jacket has gold braid and gold naval buttons and he wears a necktie. In the background the inclusion of the sea denotes his naval career. Even in this small half-length, the pose has a dynamic tension often characteristic of Danloux's work. His best known portraits, in which this is even more apparent, are the large full-lengths of Admiral Duncan, victor of Camperdown, 1797, and the one of Admiral Lord Keith taking the Cape of Good Hope in 1796.
^ Baptized as an infant on 03 January 1591: “Moïse” Jean Valentin de Boulogne , French painter, active in Italy, who died on 20 (18? 19?) August 1632. — (not to be confused with sculptor Jean de Boulogne = Giambologna [1529 – 13 August 1608])
— He studied under Simon Vouet. He spent most of his career in Rome, where he came under the influence of Caravaggio and Bartolomeo Manfredi. He continued to paint in a variant of their dramatic chiaroscuro style even after this had fallen out of fashion in Italy. Although he is best known for his low-life genre scenes of the kind popularized by Manfredi, these represent only one aspect of a more varied oeuvre that also includes devotional pictures, allegories and portraits. The poetic character of his style, at once violent and tender, makes him one of the most engaging French painters of the 17th century.
— Moïse Valentin (also called Le Valentin and Valentin de Boulogne), French Caravaggesque painter active in Rome from about 1612. His life is obscure; the name Moïse (the French form of Moses) by which he was called was not his Christian name (which is unknown) but a corruption of the Italian form of 'monsieur'. He did, however, have one major public commission: The Martyrdom of SS. Processus and Martinian (1629), painted for Saint Peter's as a pendant to Poussin's The Martyrdom of Saint Erasmus.
      About fifty works are attributed to him. They vary in subject — religious, mythological, and genre scenes and portraits — but the same models often seem to reappear in them, and all his work is marked by an impressively solemn, at times melancholic, dignity. He was one of the finest of Caravaggio's followers and one of the most dedicated, still painting in his style when it had gone out of fashion. He died after taking a cold bath in a fountain following a drinking bout; his death was much lamented in the artistic community.
— Nicolas Tournier was a student of Valentin de Boulogne.

Cheerful Company with Fortune-teller (1631, 190x265cm; 893x1250pix, 154kb _ ZOOM, with the right-hand 30% in deep shadow cropped out, to 1786x1786pix, 569kb) _ The half-length portraits, the fortune tellers, musicians and guardhouse scene are typical motives for Valentin de Boulogne. Much is known about how this late work came into being: a Sicilian aristocrat living in Madrid, Fabrizio Valguarnera, when on a visit to Rome in 1631, placed a commission with Valentin for a “picture of people featuring a gypsy, with soldiers and other women playing instruments”. Clients were thus able to specify requirements. The crowded inn scene thus contains all the elements that were popular in this genre: loud music is being played at one table, hardly anyone pays attention to a fight that is developing at the next one; only one soldier tries to intervene. A little girl takes the opportunity to steal the purse of one of the brawlers. Amid all this confusion, a fortune-teller reads a young man’s palm. Themes and figures were interchangeable in these scenes. They all appealed differently to the perception of viewers, which is why such images were often regarded as allegories of the senses, hearing first and foremost in this case. Valentin’s achievement lies not so much in inventing a suitable pictorial form for the theme as in his artfully varied poses and skilful painting.His subtle handling of light gives structure to the work and defines the positions of the figures in the space. The chiaroscuro is inspired by Caravaggio [1571–1610]. Valentin’s work is based on the secular scenes of Caravaggio’s early period, but he combined them with the dark, highly contrasting colors of the master’s late style.
Crowning with Thorns (128x95cm; 950x698pix, 96kb) _ after a Caravaggio painting (now lost, possibly this, or even this).
The Last Supper (1626, 139x230cm; 680x1090pix, 94kb) _ The painting shows the most dramatic moment of the Last Supper, when Jesus reveals to the disquieted apostles that one of them would betray him. Beside Christ, Saint John rests his head on the table and sleeps, in keeping with an iconographic tradition popular in Emilia. Meanwhile Peter, to the left of Christ, raises his hands in a gesture of astonishment. In the left foreground, Judas can be seen holding a purse behind his back: this contains thirty coins, the price of his treachery.
      This painting is one of the masterpieces of Valentin's maturity. His compositional scheme shows classical influence, with the solemn and monumental figure of Christ at the exact center of the scene and the symmetric composition around him, with the apostles distributed regularly around the table. Such stylistic elements are distant from the convulsed and turbulent compositions Valentin had preferred earlier in his career. In contrast to these, which constitute a large part of Valentin's production, this picture reveals an attachment to the classicizing French modes that Poussin and Vouet were developing in these years. Yet Caravaggesque style, an essential component of this painting, is perfectly evident in the realism of the apostles' hands, which Valentin depicts without any sort of idealization. The influence of Caravaggio also shows in the masterful control of light which, through the deft play of chiaroscuro, aptly emphasizes the emotional state of the characters. Likewise, light enlivens the simple but effective still life that seems to spring forth from the white tablecloth.
Christ Driving the Money Changers out of the Temple (1618, 195x260cm; 773x1029pix, 137kb) _ The attribution to Valentin (1845) has been followed by all successive critics. The close dependence of this French artist on the style of Caravaggio extends even to the copying of individual passages like the figure lying on the ground to the left or the fleeing, screaming boy to the right. This, as well as, the use of strong light, chiaroscuro, and the realistic definition of the faces suggest a precocious date, perhaps around 1618.
      Despite the dependence on Caravaggio's style, the complex composition is fundamentally new. Everything is arranged along diagonals, carefully studied to give an overall sensation of whirling motion. Isolated in the center of all this is the powerful figure of Christ. With his arm raised against a terrorized, fleeing crowd, this figure is a very individual interpretation of its prototype, the Christ at the center of Michelangelo's Sistine Chapel Last Judgment.
Saint John the Baptist (1630, 130x90cm; 980x747pix, 93kb) [about Saint John the Baptist]
Martyrdom of Saint Lawrence (1622, 195x261cm; 669x900pix, 121kb) _ Saint Lawrence was a Christian martyr of Spanish birth who died in Rome in 258, one of the most venerated saints since the 4th century. He was ordained deacon by Pope Sixtus II and met his death shortly after the pope's own martyrdom. Tradition has it that the pope, when arrested, instructed Lawrence to give away to the poor the church's treasures, consisting of precious vessels and money, for which, as deacon, he was responsible. No sooner had he done so than Lawrence was ordered by the Roman prefect to surrender them to him, whereupon Lawrence, indicating the poor and sick around him, said, 'Here are the treasures of the Church'. For this he was condemned to be roasted on a gridiron, a torture he underwent with equanimity, merely observing, 'See, I am done enough on one side, now turn me over and cook the other'. Valentin de Boulogne was a French Caravaggesque painter who came so close to the master that he was perfectly in place among his Italian contemporaries, French characteristics being confined to certain details.
Martyrdom of Saints Processus and Martinian (1629, 308x165cm; 1138x730pix, 100kb) _ This painting was commissioned for Saint Peter's, and it was the only important commission of the whole career of Valentin. It is of interest because the artist modified his largely tenebrist style to suit the situation. The subject, a gruesome one, is of the Martyrdom of Saint Processus and Saint Martinian. It was subsequently replaced by a mosaic.
      A possible reason for the lightening of the artist's style is the fact that the picture had to match the already completed Martyrdom of Saint Erasmus by the young Nicolas Poussin, who had in turn modified his style towards a much more Caravaggesque approach, especially in his realistic treatment of the gruesome subject-matter. Neither painter received such a commission again, and these two altarpieces stand out in their respective careers, proving that young French artists did appeal to influential people — in this case officials of the Papacy — with the money to give commission. It could also be argued that this was because by the end of the 1620s pure Caravaggism as such was already out of fashion among all successful Italian painters working in Rome.
The Martyrdom of Saint Bartholomew [about Saint Bartholomew]
The Judgment of Solomon (1626, 176x210cm; 844x1040pix, 127kb) _ The influence of Caravaggio's dramatic style which revolutionized European painting at the beginning of the seventeenth century can be seen clearly in Valentin's work. He would have come into contact with Caravaggio's work in Rome where he went as a very young man, and spent all of his short career. In The Judgment of Solomon the strength of forms outlined against the shadow, so reminiscent of Caravaggio, does not preclude an atmosphere of mystery and poetry that is peculiar to Valentin. Louis XIV owned several of his paintings; five are still hanging in the King's bedchamber in the Chateau de Versailles.
— a very slightly different The Judgment of Solomon (1620, 174x213cm; 810x1020pix, 101kb) _ Though this painting was at one time thought to be a copy, it is now considered to be Valentin's original. A prominent member of Rome's colony of transalpine painters, this Frenchman was active in the papal city from around 1613 until his death in 1632. A replica of this picture, with slight variations and dated to 1626, is listed above. In both versions, Valentin arranges his scene along a central axis that coincides with the figure of Solomon: to either side are counterbalanced groups, each centering on one of the two female protagonists of this biblical narrative. The figures are emphasized as much as possible by the strong and direct light. Between the original and the second version, variants in the arms of the woman to the right (gathered to her breast in the 1626 picture) have the effect of giving greater movement to the scene and better emphasizing the figure of the true mother. Differences in the idealization of the figures, the more refined and subtle definition of the light and chromatic range in the 1626 picture, and the more intense rendering of the chiaroscuro in the 1620 painting lead to the conclusion that the latter is earlier than the 1626 one and must have been painted around 1620. This conclusion is supported by the many similarities between the 1620 picture and other confirmed works by Valentin that date to the same years.
Judith and Holofernes (1626, 106x141cm; 770x1099pix, 108kb) _ The figure of Judith emerges from the obscurity of the background with crude determination, rivaling the best productions of the Caravaggisti, particularly Bartolomeo Manfredi.
The Four Ages of Man (1630, 96x134cm; 433x600pix, 39kb)
The Fortune Teller (1628, 125x175cm; 750x1076pix, 96kb) Valentin's mature style of about 1630 was already slightly out of fashion, but it was at this time that he produced some of his best pictures. One of these is The Fortune Teller, which belonged to Louis XIV. The artist has, as usual, concentrated on the lowlife aspect of the subject — a gypsy telling fortunes to a hapless youth — yet the refinement of the tones and delicacy of the brushwork raise the painting above those of all his contemporaries in these respect. (The only Italian to achieve such refinement, although it was of a different character, was Gentileschi.)
The Concert (1625, 173x214cm; 820x1019pix, 90kb) _ The scene of this concert is an interior characterized only by a classical low-relief. Valentin's Caravaggism emerges not only from the subject but also from the melancholic characterization of the figures and the violent contrasts of light and shadow.
Cardsharps (1625, 95x137cm; 760x1127pix, 114kb) _ Of all French painters active in Rome in the 1620s, the most consistent, and the only one who can be claimed to have genius, is Valentin. He died relatively young, without leaving Rome. Many of his earlier pictures, painted when he was much closer in spirit to Caravaggio, have remained unidentified until recently. The best example of his early work is the Dresden Cardsharps which is based on a similar composition by Caravaggio (unfortunately missing since the late nineteenth century). In the Dresden painting Valentin has seized on the evil nature of the villain, creating an obvious story completely lacking in subtlety, but delicacy is shown in his handling of the paint which, as always in his work, is very much more refined than that of Caravaggio.
Give to Caesar what is Caesar's (600x859pix _ ZOOM not recommended to badly patterned 1400x2005pix, 605kb)

Died on a 03 January:

^ 1958 Frederick William Elwell, British artist born on 29 June 1870. — {Not to be confused with FWL Well No.1, No.2, No.3, or No.4 in the North Square Lake Unit Waterflood Project Area in New Mexico} — Relative? of Mary Dawson Elwell [1874-1952]? of Robert F. Elwell [1874-1962]? — Frederick Elwell was the son of cabinet-maker and successful woodcarver James Elwell from Beverley in East Yorkshire. Frederick attended evening classes at the Lincoln School of Art. In 1887 he won a scholarship to become a full time student in the school. The Lincoln School of Art was one of the ten best schools of art in the country and was famous for combining fine art teaching with the study of design. In 1887 Frederick won the Queen's bronze medal in the National Art Schools Competition for A Still Life with Fish. Although Elwell was interested in the impressionist techniques taught by the principal of the school, Alfred Webster, he probably found them too advanced for the British audience in the 1880s. Elwell also spent time studying in Antwerp, where he was influenced by the Northern European painting tradition of the 17th century, which featured interior scenes and everyday subjects. In 1892 Elwell moved to Paris and joined the Academie Julian, the informal art school where some French Impressionist artists also trained. In Paris Elwell met another British artist Augustus John [1878-1961] as well as the French painter Paul Gauguin [1848-1903]. Elwell painted works experimenting with the effects of light and colour and was inspired by Degas [1834-1917] and Toulouse Lautrec [1864-1901] especially their nudes and circus scenes. Elwell also followed a circus in a gypsy caravan.
     After Paris, Elwell was planning to move to London. During his short stay there it became apparent that his financial situation would not allow him to meet the expenses of the capital and his health deteriorated. He was rescued by his father and settled back in Beverly in 1896. Soon Elwell found supporting patrons for his views of the waterways of Beverley and the landscapes of East Riding as well as a number of portraits. He also exhibited regularly at the Royal Academy exhibitions especially after 1909. In 1914 Elwell married Mary Dawson Holmes, (1874-1952), the widow of oil broker Alfred Holmes, herself an established artist. Mary's financial independence allowed Elwell to explore further the effects of light in his work. In 1920s the couple travelled extensively in the Continent and in 1923 spent six months following 'Sanger's Circus' in England. In an exhibition of Elwell's works in Sunderland in 1927 most of the paintings were landscapes from France and other parts of the Continent in which Elwell introduced bolder motifs and a brighter palette.
      In the late 1920s Elwell explored a new direction, combining portraits with interior spaces, and this new work attracted many commissions. Elwell's work was particularly popular with the general public. In 1931 Elwell was awarded the Associateship of the Royal Academy. In 1935 he acquired a studio in Holland Park in London, and received many more commissions for his works while also developing close friendships with fellow artists such as R Brundit (1883-1960), A Munnings (1878-1959) and J Birch (1869-1955). In 1938 Elwell became a full member of the Royal Academy, serving on its Council and on the Selection and Hanging Committee. In his will he bequeathed £1000 to the Royal Academy Schools to endow an annual Fred Elwell Prize for Still Life Painting. Elwell supported art students and local art societies and clubs throughout his career. He was a traditionalist who believed that "painting is 90 per cent perspiration and 10 per cent inspiration" and regarded modern art movements as "misguided attempts at being different".
An Old Inn Kitchen (1922, ; 400x497pix, 38kb) _ This is one of the many interior scenes depicting people at work or at leisure to which Frederick William Elwell was particularly attracted. Although Elwell painted many pictures of workers, he was not especially interested in the hardship of the poor or the social realism of other late Victorian artists. Elwell's work is merely a naturalistic reflection of people and spaces rather than being concerned with any moral message or sentimentality. In Maids with Pigeons (1918), for example, Elwell painted two of the maids, Hilda and Mary, in the kitchen of his home in Beverly feeding the pigeons. In a painting from 1920 with the same title Old Inn Kitchen, Elwell painted the staff of the Beverley Arms Hotel, at work in the kitchen. The hotel was very near to Elwell's home and he was a close friend of the family who owned it. Thus it is no surprise that Elwell painted the kitchen and staff once again, during their rest time for this painting. The kitchen must have particularly attracted him because it was an original 18th century inn kitchen rather than an early 20th century one. The inn had eighteen rooms and eight maids. Its kitchen was distinctive because of its uneven flagged floor and the arched Georgian window, as well as an oven range still heated by coal.
     Elwell painted the staff at the time of their midday meal, with the butler at the head of the table and the cook on the other end being served with her stout. The butler was modeled by Jacob Rainer, who owned an antique shop in Beverley. We also know that the maid in the right front and her companion were modelled from Miss D. Foster (also featured in the 1920 painting) who worked for Elwell's household. Around the room our eyes wonder at the kitchen equipment arranged in a way which reflects Elwell's interest and skills in still life painting. The long table in the kitchen and the arrangement of the maids around it give the painting a tremendous sense of space and depth. We are invited to look at the scene from the back as if we are about to enter the room without disturbing the meal. Most of the people look pre-occupied with their meal with only a few animated gestures and expressions. The head butler with his long coat and knife and fork in his hands resembles a conductor of an orchestra. The painting is all about a synergy of acts and attitudes, its overall structure emphasising the harmony and tidiness required in a well-run kitchen and inn. This effect is even more enhanced by the effects of light, bright but subtle, its rays entering the room through the main window. The subtlety of light and the serenity of the painting give it a nostalgic tone.
The Royal Academy Selection and Hanging Committee (1938, 118x145cm; 491x600pix, 54kb) it decided not to hang Elwell, but to hang his painting instead. —(060102)

1956 Arturo Tosi, Italian painter born (main coverage) on 25 July 1871. —(060102)

^ 1915 William Strutt, English painter and illustrator born on 03 July 1825. — Relative? of Arthur John Strutt [1819-1888]? — William Strutt was the grandson of the antiquarian Joseph Strutt [1749–1802] and the son of the miniaturist William Thomas Strutt [1777–1850]. He was trained in Paris from 1838 to 1845 in the studios of Michel-Martin Drolling [07 Mar 1786 – 09 Jan 1851] and Joseph-Nicholas Jouy [1809–], and at the École des Beaux-Arts. In 1850 he went to Melbourne, where he contributed to the Illustrated Australian Magazine, visited the Ballarat gold fields and recorded the meeting of Victoria’s first Legislative Council. He received numerous commissions for portraits of important Melbourne public figures including politicians and the explorer Robert O’Hara Burke. In 1855–1856 he lived in New Zealand and produced accomplished paintings, drawings, and watercolors of his pioneering life in the bush, the Maoris and the scenery around New Plymouth (e.g. The Beach, New Plymouth, 1856). Returning to Melbourne in 1856, Strutt became a founder-member of the Victorian Society of Fine Arts and sketched the departure of the Burke and Wills exploring expedition from Melbourne in 1860. He exhibited frequently with the Royal Academy and the Royal Society of British Artists, both in London, after his return to England in 1862. He was well known for his religious paintings, which often included animals, and for his studies of lions. His reputation, however, rests on the history paintings depicting events that occurred during his colonial sojourn, including Black Thursday, February 6th, 1851 (1864), an epic depiction of settlers fleeing a bush fire, and Bushrangers, Victoria, Australia, 1852 (1887). Strutt’s daughter Rosa Strutt (fl 1884) and son Alfred William William [1856–1924] also became painters.
Self-Portrait (1845, 77x65cm; 225x196pix, 6kb)
William Thomas Strutt, father of the artist (1848, oval 9x7cm; 205x187pix, 6kb) >
–- Cultivating an Acquaintance (1889; 260x230pix, 14kb) _ Puppy sniffs live lobster
–- A Warm Response (1889; 260x230pix, 14kb) _ Live lobster pinches puppy's foot, puppy howls.
The opening of the new, two-thirds elected, Legislative Council of Victoria on 13 November 1851 (annotated color sketch; 600x1063pix, 208kb)
Opening of the first Parliament of Victoria under responsible government, on 25 November 1856 (annotated color sketch; 600x873pix, 181kb) _ The Parliament comprised a fully elected Legislative Assembly as well as the Legislative Council.

^ 1905 Anton Braith, German painter specialized in cattle, born on 02 September 1836. — {The Internet seems to be somewhat short of Braith.} — Braiths Stoffgebiet ist ein ungemein grosses; er malte mit gleicher Meisterschaft Rinder, Pferde, Esel, Schafe, Ziegen usw. Seine Darstellung beruht auf rastlosem verstaendnisvollen Naturstudium. Man fuehlt foermig das wohlige Behagen, mit dem die breitmaeuligen Rinder die saftigen Graeser abweiden und sie, auf gruener Weide ruhend, wiederkaeuen. In der malerischen Behandlung des Stoffes bekundet Braith eine grosse Meisterschaft. Er weiss aufs anschaulichste das haarige Fell des Rindes mit seinen farbigen Flecken und Schattierungen im Glanz der heissen Julisonne oder in der tauigen Frische eines Septembermorgens darzustellen. Wie er in seinen Bildern das Detail betonte, genau auf die eigentuemliche Bildung des Tiers einging, seinen Organismus kannte und die spezielle charakteristische Form immer gleich teffend hervorhob, drin erkannte man in jedem Zug den Meister. Man kann sagen, dass er durch sein urspruengliches malerisches Talent und durch seine Werke wesentlichen Einfluss auf die Entwicklung dieser Kunstart in Muenchen ausgeuebt hat. — Photo of Braith (445x361pix, 33kb)
Heading for Water (1878, 96x76cm; 600x455pix, 86kb _ ZOOM to 1000x758pix, 211kb)
Viehherde an einem zerstorten steg (1869, 122x152cm)
Ruhende Kaelber (1888; 467x598pix, 59kb)
Calves in a Stream by Sunlight (1882; 422x600pix, 48kb) —(060102)

^ 1843 Thomas Christopher Hofland, British landscape painter, copyist, and drawing-master, born on 25 December 1777 in Worksop, Nottinghamshire. His father was a manufacturer of cotton mill machinery, who in in 1780 moved with his family to Lambeth, where he was unsuccessful in business. The son was an almost entirely self-taught artist. He obtained the patronage of some of the first persons in the country, including King George III, who commissioned him to prepare a series of drawings of plants and flowers, then newly received into the Royal gardens. Hofland visited Italy in his sixty-third year, where he had commissions to make sketches for the Earl of Egremont. He died, of a cancer in the stomach at Leamington, where he had gone for medical advice. He was also the author of The British Angler's Manual, or, the Art of Angling in England, Scotland, Wales, and Ireland. With some account of the principal rivers, lakes, and trout streams, in the United Kingdom. His wife, Barbara Hofland [1770 – 09 Nov 1844], was the author of Son of a Genius (1816) and many other novels for children. — LINKS
Boys fishing at Highgate Ponds (63x73cm) shows a vast land- and skyscape dwarfing two boys fishing in the reservoir near Hampstead.
Warwick Castle on the River Avon (61x74cm; 332x400pix, 31kb)
A View from Richmond Hill (1820, 108x164cm frame included) and an imitation.
A View of Windsor Castle

>1705 Luca “fä presto” Giordano [18 Oct 1634–], Neapolitan painer. the most celebrated and prolific (his painter-copyist father had kept telling him “Luca, fä presto!”) of the late 17th century. His speed also earned him second nickname, Fulmine. Yet another nickname, Proteus, referred to his skill in producing pastiches in the style of almost any artist. His range of subject matter was great, although most of his pictures deal with religious or mythological themes. Giordano's earliest dated work is of 1651. He was influenced at the beginning of his career by the work of Jusepe de Ribera [ [12 Jan 1591 – 02 Sep 1652]. His style underwent a profound change as a result of journeys to Rome, Florence, and Venice.The lightness and brightness of Veronese's decorative works in Venice and the recent work of Pietro da Cortona [01 Nov 1596 – 16 May 1669] in Rome and Florence induced him to abandon sober drama in favor of a more decorative approach. The influence of da Cortona's frescoes in the Pitti Palace, Florence, is particularly evident in Giordano's huge ceiling fresco in the ballroom of the Palazzo Medici-Riccardi, Florence, begun in 1682 and completed in the following year. He went to Spain in 1692 as court painter to Charles II, returning via Genoa to Naples in 1702. — LINKS
Isaac Blesses Jacob (1653, 140x186cm; 1907x2500pix, 975kb _ or for more fun than watching the paint dry, but not a better image, the same 1907x2500pix, but 5990kb) there is a network of mostly vertical cracks, as if the canvas had been rolled up at one time. —(090114)

^ 1557 Giacomo Raibolini Francia, born in 1486, Bolognese painter and goldsmith trained by his father Francesco Raibolini “il Francia” [1450 – 05 Jan 1517]. At his father’s death, Giacomo and his brother Giulio Francia [20 Aug 1487 – 22 Jan 1545], assumed responsibility for the family business and together painted many altarpieces, identifiable by the initials (I I) of their latinized names Iacobus and Iulius. Giacomo’s earliest known work is The Virgin in Glory with Saints Peter, Mary Magdalene, Francis, Martha and Six Nuns (>1515). In this painting, as in the Saints Jerome, Margaret, and Francis (1518) and The Nativity (1519), both dated and signed by both brothers, there appear, in addition to the influence of their father, echoes of the monumental style of Raphael.
San Giovanni Evangelista (42x21cm; 1719x822pix, 333kb)
–- Mystic Marriage of Saint Catherine (900x722pix, 54kb) in need of restauration: badly crackled in skin areas.
–- Madonna and Child with Saint Catherine of Alexandria (799x681pix, 73kb) painted jointly with his father. —(070102)

Born on a 03 January:

1887 August Robert Ludwig Macke, German painter who died (full coverage) on 26 September 1914. —(060102)

^ 1863 William Marshall Brown, Scottish painter who died in 1936.
–- Wayside Roses (30x35cm; 900x759pix, 76kb)
–- The Fish Market, Cockenzie (900x1300pix, 128kb)
–- Landing Fish, Cockenzie (531x900pix, 47kb)
–- Paddling in the Sea (706x900pix, 57kb) no paddle: 3 kids gamboling.
–- Taking Turns (659x900pix, 52kb) 3 kids in shallow sea near shore: one pulls a makeshift raft, another rides it, the third walks behind.
–- A North Country Fisher Girl (761x900pix, 68kb)
–- Duck Shooting (1892, 30x46cm; 510x776pix, 69kb) —(070102)

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