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ART “4” “2”-DAY  12 January v.10.00
BIRTHS: 1800 LAMI — 1856 SARGENT — 1763 MICHEL — 1702 AVED
^ Born on 12 January 1800: Eugène Louis Lami, French painter and lithographer who died on 19 December 1890.
— As a boy his health was so delicate that he was taught by a tutor at home. In 1815, after seeing some of his sketches, Horace Vernet took him into his studio. Overburdened with work himself, Vernet then sent him in 1817 to Antoine-Jean Gros’s studio at the Ecole des Beaux-Arts, where he remained for three years, while also continuing to work with Vernet. While in Gros’s studio he met Paul Delaroche, Théodore Gericault and R. P. Bonington. Although Bonington taught him the art of watercolor painting, Lami’s early work was largely in the field of lithography. In 1819 he produced a set of 40 lithographs depicting the Spanish cavalry, which reflect his fascination for military subjects. These were published in Paris under the title Manejo del Sable. However, his largest project of this period was a set of lithographs called Collections des uniformes des armées françaises de 1791 à 1814 (1821–1824), all of which (except for a few by Horace and Carl Vernet) were produced by Lami himself. A series of six lithographs representing characters from Byron designed by Gericault and Lami appeared in Paris in 1823, and in the same year he began a number of caricatures entitled Contretemps.
— Lami first studied painting with Horace Vernet, who in 1817 sent him to study with Baron Antoine-Jean Gros at the Ecole des Beaux-Arts. There he met Théodore Géricault and learned the art of watercolor painting from the English Romantic, R. P. Bonington. Much of Lami's early work was in lithography, which had only recently become a commercially viable medium. Between 1819 and 1821 he produced numerous lithographs depicting the Spanish cavalry, as well as a large series illustrating the uniforms of the French Army. Lami's paintings of military subjects caught the attention of royalty and he quickly established ties to the French court. Louis-Philippe commissioned him to make a number of military paintings for the chateau at Versailles, which the King turned into a museum in 1837. At this point, Lami began to concentrate on court life, painting scenes of the bourgeoisie. He then turned to watercolor, which would remain his favorite medium for the rest of his life. In his later years, he became increasingly interested in depicting historical events. At the age of seventy-nine, Lami helped establish the Society of French Watercolorists. He continued to work until his death at the age of ninety.

The Battle of New Orleans (1840, 347x550pix, 33kb) _ Lami painted the moment of the US victory over the English at the Battle of New Orleans, fought just outside the city in Saint Bernard Parish. To the right US flags wave as Andrew Jackson and his advisors look upon the celebrating troops. The free men of color and pirate Jean Laffite in the foreground reveal the diversity of Jackson’s troops. To the left, General Packerham lies fatally wounded on horseback, surrounded by the fallen or retreating British troops in their redcoat uniforms. Lami, who studied art with Lucien-Alphonse Gros, Horace Vernet, and at the École des Beaux Arts in Paris, painted five large battle scenes for the Versailles Palace. He offered to sell The Battle of New Orleans and The Battle of Yorktown to William Corcoran for the Corcoran Gallery of Art in Washington DC. Despite Corcoran’s initial refusal, the paintings were repeatedly reoffered to him through Z. B. Stearn, a Richmond, Virginia, dealer. Corcoran finally relented, and in 1878 he bought both of the paintings for fifteen hundred dollars. Instead of adding the works to his gallery, he presented The Battle of New Orleans to the state of Louisiana and The Battle of Yorktown to the state of Virginia. The Battle of New Orleans was displayed in the St. Louis Hotel in the French Quarter. Later it was hung in the senate chambers of the capitol in Baton Rouge until 1907, when it was damaged by fire and transferred to the Louisiana State Museum. The painting was again damaged in the 1988 Cabildo fire. Today the conserved painting hangs in the newly renovated Cabildo on Jackson Square in New Orleans.
Charles Ier recevant une rose des mains d'une jeune fille, au moment où il est conduit prisonnier au château de Carisbrook, pour être bientôt condamné et exécuté (1829, 89x115cm; 76kb) _ of Charles I [19 Nov 1600 – 30 Jan 1649] of England. His absolutist tendencies were opposed by Parliament and his middle-of-the-road religious policies by the Puritans. This led to the English Civil War (1642-1649), his defeat and execution, followed by the military dictatorship of Cromwell [25 Apr 1599 – 03 Sep 1658].
Marie Stuart at the Hunt (62x105cm; 772x1283pix, 233kb) _ Mary Stuart [08 Dec 1542 – 08 Feb 1587] was “Mary Queen of Scots” from 1542 to 1567 and queen consort of France (1559–1560). Her unwise marital and political actions provoked rebellion among the Scottish nobles, forcing her to flee to England, where she was eventually beheaded as a Roman Catholic threat to the English throne.
Inauguration of the Crystal Palace (1851, 53x38cm; 1164x840pix) _ The Crystal Palace, designed by Sir Joseph Paxton [03 Aug 1801 – 08 Jun 1865], was a remarkable construction of prefabricated parts. It consisted of an intricate network of slender iron rods sustaining walls of clear glass. The main body of the building was 563 meters long and 124 meters wide; the height of the central transept was 33 meter. The construction occupied some 7 hectares on the ground, and its total floor area was about 92'000 square meters. On the ground floor and galleries there were more than 13 km of display tables. It was built for the Great Exposition at whose opening on 01 May 1851 it was inaugurated. After the exposition, it was taken down and rebuilt at Sydenham Hill, where it stood from 1854 until destroyed by fire on 30 November 1936.
A Couple Embracing in an Artist's Studio (1881, 20x25cm) _ Overcome with emotion, a young painter throws his brush and palette to the ground and falls on his knees before his model. The subject of this watercolor, an amorous couple, recalls the carefree and pleasure-filled themes of the earlier Rococo period. The costumes and interior details make further reference to this period. After spending many years painting military scenes with panoramic views and dramatic skies, Eugène Lami turned his attention to bourgeois society. He began painting ceremonial scenes from court life, which provided festive and colorful material for his canvas. Lami spent the later years of his life making watercolors of historical events.
Arrival of Queen Victoria and the Duke of Wellington at St. James's Palace (1851, 15x19cm; 520x666pix, 118kb) _ Most of the career of Arthur Wellesley, 1st duke of Wellington [01 May 1769 – 14 Sep 1852] was in the past when Victoria [24 May 1819 — 22 Jan 1901] became queen on 20 June 1837. As a revered elder statesman, he could be a sort of father figure to the young queen.
Assassination of Henri IV (23x34cm; 486x700pix,96xm) _ King of France, Henri IV [13 Dec 1553 — 14 May 1610] died stabbed by François Ravaillac [1578 - 27 May 1610], who, for this, was tortured and died dismembered by the pull of four strong horses on his arms and legs.
^ Born on 12 January 1856: John Singer Sargent, US painter specialized in portraits, who died on 15 April 1925. — {Would you believe that, in basic training, I met his grandson, Drill?}
— An expatriate US national, he showed remarkable technical precocity as a painter. After studying under Carolus-Duran [04 Jul 1837 – 18 Feb 1917], he achieved a great reputation for his portraits, employing a style that could be seen as derived from Velázquez [06 Jun 1599 – 07 Aug 1660] by way of Manet [23 Jan 1832 – 30 Apr 1883]. Moving in the circle of the Impressionists, he came to know most of them, and they reacted to his work in varying ways. Degas [19 Jul 1834 – 26 Sep 1917], as might have been expected, was brutally dismissive; Pissarro [20 Feb 1863 – 1944], in sending his son to see him in London, where Sargent spent the major part of his working life, described him as `an adroit performer'; but with Monet [14 Nov 1840 – 06 Dec 1926] he had a close and mutually profitable relationship. In the 1880s he began to paint landscapes that were overtly Impressionist in technique and approach, despite a certain superficiality. At this time he visited Monet at Giverny on several occasions, painting two memorable portraits of him: Claude Monet Painting at the Edge of a Wood in a Garden Near Giverny (1885, 54x65cm) and Claude Monet in his Bateau-Atelier (1887). Although Monet was later to deny that Sargent was an Impressionist, this was unjust, especially in relation to some of his works in the 1880s and 1890s. Indeed, Sargent's technique for painting large canvases out of doors, as evinced in Carnation, Lily, Lily, Rose (1886), was to be of use to Monet in his larger compositions. Sargent persuaded Monet to exhibit at the New English Art Club, and at the Leicester Galleries in London.
— Sargent is known for his glamorous portraits of eminent or socially prominent people of the period. He was born in Florence, Italy, of US parents. He studied art in Italy, France, and Germany, receiving his formal art education at the École des Beaux-Arts and in the Paris studio of the noted French portraitist Carolus-Duran. He spent most of his adult life in England, maintaining a studio there for more than 30 years and visiting the US only on short trips. Criticized for what some believed to be a superficial brilliance, Sargent's portraits fell into disfavor after his death. Since that time, however, these same canvases have been acknowledged for their naturalism and superb technical skill. About 1907 Sargent tired of portrait painting and accepted few commissions. He then worked chiefly on European scenes in watercolor, in a notably impressionistic style. Among his more famous works are El Jaleo (1882), Madame X (1884), The Wyndham Sisters- Lady Elcho, Mrs. Adeane, and Mrs. Tenant (1899), and Boats at Anchor (1917).
— Life-long US citizen. His elegant portraits created an enduring image of society of the Edwardian age. Wealthy and privileged people on both sides of the Atlantic Ocean came to his studio to be immortalized. Sargent was raised abroad and first came the United States in 1876, when he established citizenship. Serious and reserved, he had a talent for drawing, so in 1874 he went to Paris to study painting with Carolus-Duran, a fashionable society portraitist. In 1879 Sargent went to Madrid to study the works of Diego Velázquez and to Haarlem to see the works of Frans Hals. Some critics believe that his best work, in a rich, dark palette, was done in the years immediately after this trip. At the Salon of 1884, Sargent exhibited what is probably his best-known work, Madame X, (the portrait of Madame Gautreau, a famous Parisian beauty). Sargent considered it his masterpiece and was unpleasantly surprised when it caused a scandal — critics found it eccentric and erotic. Discouraged by his Parisian failure, Sargent moved permanently to London. His work was perhaps too continental and avant-garde to appeal immediately to English taste; The Misses Vickers (1884) was voted worst picture of the year by the Pall Mall Gazette in 1886. Then, however, in 1887, Carnation, Lily, Lily, Rose (1886), a study of two little girls lighting Japanese lanterns, captured the hearts of the British public, and he began to experience the phenomenal acclaim in England and the United States that would stay with him the rest of his life. After 1910 Sargent abandoned portraiture and devoted himself to painting murals and Alpine and Italian landscapes in watercolor. With stenographic brilliance, Sargent pursued transparency and fluidity beyond J.M.W. Turner and Winslow Homer, sometimes becoming Expressionistic, as in Mountain Fire (1895). Between 1890 and 1910 Sargent worked on a commission for the Boston Public Library to paint murals on a history of the Jewish people.

Self-Portrait (1906, 70x53cm)
Madame X aka Madame Pierre Gautreau (1884, 235x110cm; _ ZOOMable)
Lady Agnew (1893, 126x100cm; _ ZOOMable)
Miss Ellen Terry as Lady Macbeth (1889, 221x114cm; _ ZOOMable)
Madame Paul Poirson (1885, 150x85cm; _ ZOOMable)
Vernon Lee (1881, 54x43cm; _ ZOOMable)
Lord Ribblesdale (1902, 258x143cm; _ ZOOMable)
Mr. and Mrs. Isaac Newton Phelps Stokes (1897, 214x101cm; _ ZOOMable)
Elizabeth Winthrop Chanler aka Mrs John Jay Chapman (1893, 125x103cm; _ ZOOMable)
Mrs. Hugh Hammersley (1893, 206x115cm; _ ZOOMable)
Mrs. Edward L. Davis and Her Son Livingston (1890, 219x122cm; _ ZOOMable)
Mrs. Adrian Iselin (1888, 154x93cm; _ ZOOMable)
Mrs. Henry White (1883, 221x140cm; _ ZOOMable)
Fumée d'Ambris Gris (1880, 139x94cm; _ ZOOMable)
Street in Venice (1882, 70x52cm; _ ZOOMable)
Venetian Interior (1882, 68x87cm; _ ZOOMable)
The Breakfast Table (1884, 55x46cm; _ ZOOMable)
Jean-Joseph-Marie Carriès (1880, 56x47cm; _ ZOOMable)
View of Capri (1878, 25x34cm; _ ZOOMable)
Miss Frances Sherborne Ridley Watts (1877, 106x84cm; _ ZOOMable)
A Spanish Woman aka Gigia (1882, 56x46cm; _ ZOOMable)
–- A Dinner Table at Night (1884, 52x67cm; 850x1174pix, 72kb _ F*>#ZOOM not recommended to scratched xpix, 802kb)
Fête Familiale: The Birthday Party (1887, 61x74cm; 800x967pix, 562pix _ ZOOM not recommended to blurry 1841x2224pix, 2846kb) _ This vivaciously painted domestic subject belongs with a group of similar interior scenes with portraits of friends executed by Sargent in the 1880s. It depicts the family of the well-known French artists Albert Besnard (1849-1934) and his wife Charlotte Dubray (1855-1931), whom Sargent had befriended by 1883.
–- Caroline de Bassano, Marquise d'Espeuilles (1884, 160x105cm; 800x522pix, 36kb _ .ZOOM to 1400x912, 72kb _ .ZOOM+ to 2400x1565pix, 216kb _ .ZOOM++ to 4801x3131pix, 2285kb)
John D. Rockefeller (1917, 147x114cm) _ Son of polygamist-crook William Avery Rockefeller (13 Nov 1810 – 1904], John Davison Rockefeller [08 Jul 1839 – 23 May 1937] was a the first billionaire in the US, an industrialist and philanthropist, founder of the Standard Oil Company, which dominated the oil industry and was the first great US business trust. John D. Rockefeller was the first in a dynasty that includes his only son John D. Rockefeller Jr. [29 Jan 1874 – 11 May 1960] and Junior's sons John D. Rockefeller III [21 Mar 1906 – 10 Jul 1978], Nelson A. Rockefeller [08 Jul 1908 – 26 Jan 1979], Laurance S. Rockefeller [26 May 1910 – 11 Jul 2004], Winthrop Rockefeller [01 May 1912 – 22 Feb 1973], and David Rockefeller [12 Jun 1915~]; and JDR3's son John Davidson “Jay” Rockefeller IV (18 Jun 1937~)
Luxembourg Gardens at Twilight (1879, 74x93cm, blurry _ ZOOM not recommended to blurrier 1804x2270pix)
–- Study of Architecture, Florence (1910; 880x1132pix, 100kb)
–- Beach at Capri (1878, 26x35cm; 840x1118pix, 67kb) ruined by smudges
–- Trout Stream in the Tyrol (1914, 56x71cm; 927x1189pix, 149kb _ .ZOOM to 1854x2378pix, 1102kb, good for studying brush strokes)
–- A Note (The Libreria, Venice) (1908, 35x50cm; 829x1297pix, 83kb)
–- Opera Scene (1890 monotype, 31x58cm; 669x1272pix, 59kb) blurry
–- Cloud Study (24x33cm; 832x1146pix, 62kb) hasty dabbing of dull colors _ This has provoked the pseudonymous Jonas Composer Colonel in metamorphosing it into the colorful abstractions rich in fine detail
      _ Pad New Age (2007; 724x1024pix, 404kb _ ZOOM to 1024x1448pix, 775kb _ ZOOM+ to 18644x2636pix, 2016kb) and the partly symmetrical
      _ Cloudy Student (2007; 724x1024pix, 404kb _ ZOOM to 1024x1448pix, 775kb _ ZOOM+ to 18644x2636pix, 2016kb)
In a Hayloft (1907, 39x30cm; 745x1000pix, 85kb) _ Fellow artists Raffaelli and Pollonera in a hayloft where they took shelter from the rain.
Carolus-Duran (1879)
Claude Monet Painting by the Edge of a Wood (1885, 54x65cm)
Paul Helleu Sketching with his Wife (1889, 66x82cm)
Dennis Miller Bunker Painting at Calcot (1888, 69x64cm)
Study of Dorothy Barnard for Carnation, Lily, Lily, Rose (1886)
^ Carnation, Lily, Lily, Rose (1886, 174x154cm; _ ZOOMable) _ This painting dates from a period of social withdrawal for Sargent, when he stayed with the painter F. D. Millet in the Cotswolds village of Broadway in 1885. Broadway was an artistic haven and Sargent must have found it a welcome retreat after leaving Paris in clouds of scandal following the exhibition of his portrait Madame X the previous year, the sensation that kickstarted his career. The subjects are Dolly, aged 11, and Polly, 7, the daughters of the illustrator Frederick Barnard, who lived in Broadway.
      This is a painting that sets out to make us see through childish eyes. Everything is big, colorful, new, in Sargent's subtly shifted perspective. This large painting performs a trick of scale: suddenly we feel the same size as the children, in a remembered reality in which flowers are taller than we are. The portrait was painted over two months of autumn evenings in 1885, and then again in late 1886; the writer Edmund Gosse, who was there, recalled how Sargent arranged all the Japanese lanterns and posed the girls at the start of each session. It is a fictive rather than naturalist painting, a distillation of pastoral fantasy, with a monumentality that belies its Impressionist method. Sargent makes this a mythic garden idyll, in contrast to his urban portraits of worldly people. This is a scene at dusk; the girls' downcast eyes, golden hair and identical dresses give them a dreamy appearance. The portrait is a record of their childhoods, done with deliberate decorum, making their inner lives - suggested by their rapt involvement in what they are doing - visible yet mysterious.
      Sargent was a great portrait artist because everyone he painted became a character in a novel. Madame X (1884) amplifies the reputation of the society beauty Madame Gautreau by depicting her as a femme fatale, in a black dress, with revealing decolletage. His men are scary, such as the daunting Lord Ribblesdale at the National Gallery, dressed for the hunt and flaunting his riding crop as if about to thrash a servant. This painting is the antithesis of those portraits.
      Sargent's life and his paintings can be compared to the novels of his friend Henry James [15 Apr 1843 – 28 Feb 1916], whose portrait (1913, 85x67cm; 720x623pix, 44kb) Sargent painted. James was fascinated by the contrast of adult corruption and childhood innocence, explored in What Maisie Knew (1897) and The Turn of the Screw (1898). In this painting, Sargent creates a similarly powerful portrayal of childhood. The children are solemn about their lantern lighting. Sargent portrays them lost in their activity, as if they were lighting church candles; their white dresses give them a religious quality.
      The scale of the painting makes us register these globes of fiery light as magical presences in the garden; we are drawn to the light and, like the children, find ourselves entirely enclosed. The garden surrounds the girls totally; the lilies and carnations shelter them and us. This is a moment of pastoral escape, but Sargent has no illusions about its permanence. The lighting of the lanterns is a defence against evening coming on, time's intrusion, of which the children are unaware.
      Impressionist portraiture began in the 1860s as an attempt to capture the person in the flux of life. French paintings anticipating this scene include Monet's double portrait Bazille et Camille (1865), of a man and woman talking in a brightly lit garden. Sargent's style looks forward towards Symbolist art. The use of the garden anticipates Monet's late Symbolist paintings, with their endless meditation on reflections in a lily pond.
      _ Francis Davis Millet [03 Nov 1846 – 15 Apr 1912] drew a cartoon of Sargent painting Carnation, Lily, Lily, Rose.
Boats, Venice (1908, 36x51cm)
Garden Study of the Vickers Children (1884)
713 images at the Athenaeum
429 images at ARC

— By year, links to all images of his work available on the Internet, at JSS Gallery:
— 1856~1870 — 1871~1876 — 1877 — 1878 — 1879 — 1880 — 1881~1882 — 1883~1884 — 1885~1886 — 1887~1888 — 1889 — 1890~ — 1890~1891 — 1892~1893 — 1894~1895 — 1896~1897 — 1898 — 1899 — 1900~1901 — 1902 — 1903 — 1904 — 1905 — 1906 — 1907 — 1908 — 1909 — 1910 — 1911 — 1912 — 1913~1914 — 1915~1916 — 1917 — 1918 — 1919.0 — 1919.5 — 1920~1921 — 1922~1924 — 1925 — Undated Paintings — Sketch Book
^ >Died on 12 January 1938: Oscar Florianus Bluemner, suicide, German US painter born on 21 June 1867.
— Born in Prenzlau, Prussia. Studied primarily architecture and building design in Hanover, Elberfeld and Berlin. Emigrated in about 1892 to US and practiced architecture in Chicago and New York for about twenty years until he began to paint seriously under the influence of Alfred Stieglitz. Worked in New Jersey and then South Braintree, Massachusetts. Committed suicide on 12 January 1938.
— Between 1886 and 1892, Oscar Bluemner attended technical high schools in Hannover and Berlin, Germany. He held two jobs as an architect before immigrating to the United States in 1892. For the next eight years, Bluemner moved between Chicago and New York, working on a variety of architectural projects. By 1900, he was married and settled in the New York City area, where he would live until 1926.
      Bluemner painted and sketched landscapes in Germany and America. His 1910-11 color drawings of New Jersey and New York scenes display a chromatic vibrancy equal to that of the Post-Impressionists, especially van Gogh. In 1912, Bluemner gave up architecture to devote all his energies to painting. That same year, during a seven-month stay in Europe, he had his first solo exhibition in Berlin.
      During 1914-15, back in America, Bluemner radically transformed his artistic conceptions and techniques, incorporating simplified architectural and landscape forms into interlocking architectonic grids of color planes; the result is brilliantly prismatic. Although the use of bright color in these works resembles that of the Synchronists and Orphists, Bluemner claimed the early nineteenth-century color theories of Goethe were more influential.
      In 1926, Bluemner moved to South Braintree, Massachusetts. In his late work, he abandoned the geometric grid format and his landscapes became more naturalistic. He developed a system, based in part on Goethe's principles, that ascribed meanings to specific colors, and thus fully realized the emotive symbolism he had always sought. In 1938, bedridden and in great pain as the result of an automobile accident, Bluemner took his own life.
1867: Born Oskar Julius Blumner on June 21 in Prenzlau (Brandenburg), Prussia. Father and grandfather were itinerant builders.
1882-1886: Attends school in Hildesheim, Hanover, Elberfeld.
1887-1892: Studies at Konigliche Technische Hochschule, Berlin (Charlottenburg). Royal Medal for painting of an architectural subject. Builds theater in Glewitz and post office in Halle am Saal.
1892: To the United States aboard SS City of Chester. Design assistant at the World's Columbian Exposition, Chicago.
1893-1895: To Long Island and New York City. Sporadic employment as draftsman, bartender, and peddler. Contracts malaria.
1895-1899: To Chicago, Licensed as architect. Marries Lina Schumm. Birth of son Robert. Becomes U.S. citizen.
1900-1907: To New York City. Licensed architect (161 Columbus Avenue). Designs residences and Bronx Borough Courthouse Birth of daughter Vera. Early watercolors, sketch trips, notes ("Principles of Painting").
1908-1910: Meets Alfred Stieglitz at The Little Galleries of the Photo-Secession (291 gallery). Considers leaving architecture for painting.
1911: Produces first fifteen oils. Begins writing in his Painting Diary Studies of Cezanne exhibition at 291 and color theories of Chevreul, Rood, Church, Bacon, and Bezold.
1912: Wins Bronx Borough Courthouse lawsuit and is awarded $12,500. Tours Europe (April-October). Inaugural one-man exhibitions at Galerie Fritz Gurlitt, Berlin; Leipzig Kunstverein; and Stadtliches Museum, Elberfeld. Visits Sonderbund exhibition in Cologne (review published); Kahnweiler, Sagot, and Druet galleries in Paris, and Roger Fry's second Post-Impressionist exhibition at the Grafton Galleries in London. Reads essays by Signac, Denis, and Matisse. Produces copies In museums, small watercolors, and sketchbook.
1913: Five paintings included in the International Exhibition of Modern Art (Armory Show) in New York, First of several articles for Camera Work published.
1915: Initial American solo exhibition at 291 features series of eight recent oils and related studies.
1916: Displays four oils in "Forum Exhibition of Modern American Painters," Anderson Galleries, New York.
1916-1923: To Bloomfield, New Jersey. Revises early paintings. First sales to William Bahr (Montross Gallery) and Georgia O'Keeffe (291). Begins Theory Diaries. Demonstrates interest in Oriental art, Symbolism, and Goethe's Farbenlehre. Participates in annual group shows at Bourgeois Galleries, New York. Becomes a board member of Salons of America. Transience, poverty, occasional home improvement/repair work.
1924-1926: To Elizabeth, New Jersey. Begins new series of fifty-nine watercolors Notes on philosophers Schopenhauer and Spengler. Solo exhibitions at J. B Neumann's New Art Circle and Aline Meyer Liebman's Handwork Centre, New York. Wife dies.
1926: To South Braintree, Massachusetts. Leaves many of his paintings in care of Stieglitz (Lincoln Storage, New York).
1927: Essay on O'Keeffe printed by Stieglitz.
1928: One-man exhibition,''Suns, Moons, Etc. Facts and Fancy Strains or Moods" at The Intimate Gallery, New York.
1929: "Twenty New Oil Paintings on Panels," Whitney Studio Galleries, New York. Joins Boston Society of Independent Artists.
1930-1931: '" Modern American Watercolors," Newark Museum, Develops "Casein-Varnish" paintings. Cat "Florianus" dies. Falls out with Stieglitz for favoring "native" artists; makes new arrangements with J. B. Neumann.
1932: Included in first "Biennial Exhibition of Contemporary American Painting," Whitney Museum of American Art, New York (purchase). Unsuccessful application for Guggenheim Fellowship.
1933: Joins Public Works of Art Project (P.W.A.P.), New England Region. "FLORIANUS" adopted as middle name and signature.
1934: Holds "smallest one-man show" (Self-Portrait) at Morton Gallery, New York. Participates in "Public Works of Art Pictures," Labor Department, Washington, D.C.
1935: "Landscape Paintings by Oscar F. Bluemner Compositions for Color Themes" shown at Marie Harriman Gallery, New York, and the Arts Club of Chicago. Invited to submit single works to "Abstract Painting In America," Whitney Museum of American Art, New York and "Second Biennial Exhibition of Paintings of Today," Worcester Art Museum and St Louis Art Museum.
1936: Suffers from falling health. Begins last paintings and "Sonnet" drawings.
1937: Plans retrospective exhibition, University Gallery, University of Minnesota, Minneapolis (held in 1939). Reviews and organizes all records.
1938: Commits suicide on 12 January.

–- Color Study for the painting Moonlight on a Creek (1929, 18x12cm)
–- Color Study (1926)
Azure (1933, 91x130cm)
Paterson Centre (Expression of a Silktown)
Violet Tones
^ Born on 12 January 1763: Georges Michel, French painter, restorer, copyist, and dealer, who died on 07 June 1843.
— He came from a humble background, his father being an employee at the market of Les Halles in Paris. At an early age, a farmer general, M. de Chalue, took an interest in him and found him a place with the curate of Veruts, on the plain of Saint-Denis, north of Paris. It was here that he first developed a love of the countryside. In 1775 he was apprenticed to a mediocre history painter called Leduc, but he preferred to go off and sketch out of doors. In order to assist him, M. de Berchigny, Colonel in the Hussars, engaged him in his regiment garrisoned in Normandy and arranged for him to take lessons in art. He remained there for more than a year and then returned to Paris, where he worked under M. de Grammont-Voulgy, who was Steward to the brother of Louis XVI. In 1789 Grammont-Voulgy took him to Switzerland, and Michel also visited Germany, where he stayed with the Duc de Guiche. Michel exhibited at the Salon between 1796 and 1814. Both his subject-matter and technique reveal the deep influence of seventeenth century Dutch landscapes by Koninck and Rembrandt. Michel's dark landscapes and dramatic lighting foreshadow the work of Daumier and Millet.

Le Moulin d'Argenteuil (1839; 600x508pix, 137kb _ ZOOM not recommended to 1400x1185pix, 568kb, severely patterned especially in dark areas _ ZOOM++ not recommended to even worse 2264x1916pix, 2365kb, patterned all over)
–- Landscape With Windmills (60x87cm; 641x1000pix, 61kb) _ in shades of only three colors: grayish white, grayish violet (mostly for the clouds), and grayish brown (for the land).
Evening Landscape (1820; 600x798pix, 176kb) annoyingly patterned in the dark clouds.
La Plaine de Saint-Denis (1826, 32x45cm; 457x635pix, 100kb) _ This view of the plains to the North of Paris under a dramatic stormy sky is typical of Michel. The paint is swiftly and freely applied most dramatically in the bursting storm cloud where Michel has dragged the paint to mimic the sudden torrent of rain. In the foreground are two windmills, one in deep shadow the other in a pool of light. Such dramatic contrasts of light and shadow in the landscape help suggest the movement of the clouds in the sky above.
^ Died on 12 January 1851: Johannes Hermanus Koekkoek, Dutch marine painter born on 17 August 1778, founding father of the Koekkoek dynasty of painters and teacher of its second generation, his four sons. [De familie Koekkoek Vier generaties schildertalent PDF 1509kb, with images].
— Johannes Hermanus was de eerste in het geslacht Koekkoek die van schilderen zijn vak maakte. Hij werd geboren in Veere op het Zeeuwse eiland Walcheren en trok omstreeks 1800 naar Middelburg om in de leer te gaan bij de behangselschilder Thomas Gaal. Daarnaast volgde hij in de avonduren lessen op de Middelburgsche Teeken-Academie. In deze tijd begon hij ook te schilderen: schepen en zee, waarmee hij aanknoopte bij de heersende schildertraditie in het waterrijke Zeeland. Zijn oeuvre omvat stadsgezichten met water en historische voorstellingen, maar vooral schepen op onrustige zee, ‘woelende waters’ zoals men ze noemde, of voor anker liggend bij windstilte. Taferelen die hij met de grootste precisie schilderde en voorzag van een levendige, verhalende stoffering. Johannes Hermanus was beroemd om zijn waarheidsgetrouwe weergave van allerlei scheepstypen. Tijdgenoten wisten te vermelden dat hij ter oefening en studie tot in de details gelijkende scheepsmodellen maakte. De zee, die zich in het goeddeels uit eilanden en water bestaande Zeeland gewillig leende voor de meest uiteenlopende transporten, was ook een vijand, die bij ongunstig tij en storm kon veranderen in een wild-kolkende watermassa. Een scheepsramp lag altijd op de loer. Johannes Hermanus schilderde deze het liefst dramatisch, het schip met stukgewaaide zeilen langzaam zinkend in beukende golven en drenkelingen die zich vastklampend aan wrakhout in veiligheid proberen te brengen. Johannes Hermanus werd een van de beroemdste marineschilders van zijn tijd en gaf zijn talent door aan vier van zijn acht kinderen.

–- Schipbreuk in het zicht van de haven (64x85cm; 631x875pix, 102kb _ .ZOOM to 946x1312pix, 64kb)
–- The Shipwreck (1814, 59x77cm; 534x741pix, 41kb _ .ZOOM to 1068x1482pix, 82kb)
–- A Fresh Breeze off the Dutch Coast (23x29cm; 807x1000pix, 61kb _ .ZOOM to 1210x1500pix, 106kb)
–- Dutch Fishing Vessel caught on a Lee Shore with Villagers and a Rescue Boat in the foreground (49x71cm; 807x1000pix, 61kb _ .ZOOM to 1210x1500pix, 102kb)
–- Sailing The Stormy Seas (39x51cm; 725x1000pix, 48kb _ .ZOOM to 1088x1312pix, 80kb)

Stamvader Johannes Hermanus Koekkoek gaf zijn artistieke talent door aan vele begaafde nazaten: vier van zijn kinderen, zeven kleinkinderen en vier achterkleinkinderen werden beroemd als schilder. Doordat alle kunstenaars dezelfde achternaam dragen vormt dit geslacht voor velen een onontwarbare kluwen.

Johannes Hermanus Koekkoek [17 Aug 1778 – 12 Jan 1851] was the father of:
1. Barend Cornelis Koekkoek [11 Oct 1803 – 05 Apr 1862]
2. Marinus Adrianus I Koekkoek [1807-1868]
3. Johannes Koekkoek [1811-1831]
4. Hermanus Koekkoek Sr. [13 Mar 1815 – 14 Mar 1882]

1. Barend Cornelis was the father of:
11. Adelaide Alexandrine “Adèle” Koekkoek [1838-1919]
12. Maria Louise Koekkoek [1840-1910]

2. Marinus Adrianus I was the father of:
21. Pieter Hendrik “H.P.” Koekkoek [1843-1927]

4. Hermanus Sr. [1815-1882] was the father of:
41. Hermanus Jr. Koekkoek [1836-1909]
42. Willem Koekkoek [1839-1895]
43. Johannes Hermanus Barend “Jan H.B.” Koekkoek [06 Jul 1840 – 12 Jan 1912]
44. Barend Hendrik ‘H.B.’ Koekkoek [1849-<1909]

41. Hermanus Jr. was the father of
411. Stephen Robert Koekkoek [1887-1934]

42. Willem was the father of
421. Hermanus Willem Koekkoek [1867-1929]
422. Marinus Adrianus II Koekkoek [1873-1944]

43. Johannes Hermanus Barend “Jan H.B.” was the father of
431. Gerardus Johannes ‘Gerard’ Koekkoek [1871-1956]

^ Died on 12 January 1912: Johannes Hermanus Barend “Jan H. B.” Koekkoek, Dutch painter born on 06 July 1840.
— Jan H. B. Koekkoek exhibited landscapes, as well as marine and coastal scenes, at Amsterdam, Rotterdam, The Hague, and Leeuwarden from 1862 to 1887. He was the third son of marine painter Hermanus Koekkoek [13 Mar 1815 – 14 Mar 1882], and a member of one of the most prominent dynasties of Dutch painters, started by his grandfather Johannes Hermanus Koekkoek (who died on this same date, 61 years earlier). Johannes Hermanus Barend, like his father, painted primarily seascapes in a unique style, although clearly related to the Koekkoek tradition.

–- Schepen voor de haven van Hoorn (1861, 38x59cm)
Zeilschepen op woelige zee (36x54cm)
Zeilboten voor de kust (1861, 30x44cm)
Strandgezicht met schelpenkar (33x49cm)
Het uitladen van de vangst, Zandvoort (1888, 24x42cm)
Stoomschip voor anker (25x42cm)
Scheepswrak voor de kust (30x44cm)
Schepen in zwaar weer (12x16cm)
Vissen bij ochtendgloren (126x127cm) _ Konden de eerste en tweede generatie schilders van de familie Koekkoek nog werken in een relatief rustig cultureel klimaat, latere generaties zagen zich geconfronteerd met een turbulente ‘stijlenstrijd’. Door de opkomst vanuit Frankrijk van nieuwe kunstbewegingen als het realisme en impressionisme, zagen kunstenaars vanaf het midden van de 19e eeuw zich gedwongen hun werkwijze onder de loep te nemen. Sommigen kozen ervoor vast te houden aan hun gevestigde stijl en thematiek, anderen deinden mee op de woelige baren van de moderne kunststromingen, en lieten invloeden daarvan toe in hun werk. De stijlwijziging die in het oeuvre van Jan H.B. zichtbaar is, is een afspiegeling van de ontwikkeling die de 19e-eeuwse schilderkunst ook in Nederland doormaakte. Hij begon als romantisch schilder van zeegezichten, geheel in de lijn van zijn vader Hermanus sr, maar kwam uiteindelijk uit bij een impressionistische verbeelding van het landschap: strand- en zeegezichten, visserstaferelen, rivier- en poldergezichten en scènes uit het boerenleven. Zijn verhuizing in 1864 naar Hilversum, in het centrum van het Gooi, bakermat van de Larense School, is hoogstwaarschijnlijk de belangrijkste oorzaak van zijn stijlverandering. De impressionistische invloedsfeer die hij hier onderging werd al snel zichtbaar in zijn werk, dat thematisch evenwel meer aansloot bij de Haagse School.
Unloading the Catch (32x50cm; 382x640pix, 48kb) _ A fishing boat docks on the sandy shore, and peasants gather to quickly unload its load. The men pile heavy baskets onto the horse-drawn cart, while the women carry the smaller packages in their arms. Color dots the landscape, found in the figures’ red and blue garments, white caps and shoes. Such color guides the viewer through the composition, from the standing figures on the right to the docked boat on the left, pushed slightly back into the space and chromatically integrated into the seascape. The ship’s horizontal woodwork echoes the waves as they roll over in lines of white froth. In addition, the compositional location of the ship lends dynamism to the picture, relieving the static central position of the figures.
(Loading the Cart?) (400x291pix, 23kb)
Shipping in an Estuary (72x115cm; 393x640pix, 18kb)
^ Born on 12 January 1702: Jacques-André-Joseph “le Camelot” Aved (or Avet) “le Batave”, French collector and painter specialized in portraits, who died on 04 March 1766.
— His father, Jean-Baptiste Havet, a physician of Armenian origin, died when Aved was a child. He was brought up in Amsterdam by his step-father, a captain in the Dutch Guards. At 16 he is said to have become a peddler or ‘camelot’ (hence the nickname given to him by his French acquaintances) traveling through the Netherlands, drawing portraits at fairs. In 1721, after spending short periods in the Amsterdam studios of the French engraver Bernard Picart and of the draftsman François Boitard [1652–1722], he left the Netherlands to work in the Paris studio of the fashionable portrait painter Alexis-Simon Belle. At this time he met other notable painters including Carle Vanloo and the portrait painters Maurice-Quentin de La Tour, Jean-Baptiste Perroneau, and Jean-Étienne Liotard. He also formed a deep and lasting friendship with Jean-Siméon Chardin, with whom he may have collaborated on occasion; they used similar techniques, and he may have encouraged Chardin to turn from still-life painting to figure painting in the 1730s.
— If his father hadn't died when he was a child, Jacques-André-Joseph Aved might never have seen Dutch art. After his mother remarried a captain in the Dutch guards, the family left France for Amsterdam. Aved's exposure to Dutch art led to his development of the "psychological portrait." This innovation signaled a shift away from the mythologizing style of contemporaries like Nicolas de Largillière. By the age of sixteen, Aved was a camelot, or peddler, traveling through the Netherlands drawing portraits at fairs. After short stints in the Amsterdam studios of French artists, he arrived in Paris at nineteen. Working in a fashionable portrait painter's studio, Aved met Maurice-Quentin de La Tour, Jean-Baptiste Perroneau, and Jean-Étienne Liotard. Most important, he began a long, cherished friendship with Jean-Baptiste-Siméon Chardin. Together they shared the goal of capturing "truth" rather than depicting surface appearances alone. Many of Aved's portraits were attributed to Chardin during the 1800s. As a Parisian, Aved became a successful and independent artist, a member of the Académie de Peinture, and one of the foremost connoisseurs of his day. He owned a large, important collection that included paintings by or attributed to Rembrandt van Rijn, Gerrit Dou, Nicolaes Berchem, Anthony van Dyck, Domenichino, Tintoretto, Guercino, Claude Lorrain, Nicolas Poussin, and others, along with an extensive collection of Rembrandt etchings.

Madame Crozat (1741; 70kb)
Count Carl Gustaf Tessin [1695-1770] (367x286pix, 34kb)
Jean-Gabriel du Theil at the Signing of the Treaty of Vienna (1740; 380x283pix, 23kb)
Marc de Villiers, Secrétaire du Roy (1747, 147x115cm; 479x374pix, 46kb) _ Aved created a sense of immediacy by depicting Marc de Villiers leaning slightly forward while fixing the spectator with an intense gaze. Behind him an ornate desk is covered with parliamentary and state papers. Grasping the arm of the chair as if about to rise, Villiers holds a copy of Homer's Iliad in his right hand, giving the impression that he has been interrupted while reading. By appearing in his study and in casual dress, the sitter presents himself not only as a high-ranking official but also as a gentleman scholar.

Died on a 12 January:

1993 Richard Strange Mortensen, Danish painter (main coverage) born on 23 October 1910 (some give his date of death as 06 Jan 1993). —(090104)

1931 Giovanni Boldini, German painter born (full coverage) on 31 December 1842. —(051230)

^ 1891 Gioacchino Toma, Italian painter born on 24 January 1836. He was orphaned at the age of six and spent an unhappy childhood and adolescence in convents and poorhouses; these experiences would later provide subjects for his paintings. He was first taught drawing at the art school in the hospice for the poor in the Adriatic town of Giovinazzo, but in 1855 he moved to Naples, where he worked for an ornamental painter named Alessandro Fergola. In 1857 he was mistakenly arrested for conspiracy and exiled to Piedimonte d’Alife, 60 km from Naples, where he was initiated into the secret society of the Carbonari by some local liberal aristocrats who also became his first patrons. His paintings for them were mainly still-lifes, largely in the traditional Neapolitan style. On his return to Naples in 1858 he became a student at the Accademia di Belle Arti, attending the classes of Domenico Morelli, who influenced such early works as Erminia (1859). Toma fought for two years with Garibaldi in the campaign for the unification of Italy, then returned to painting, exhibiting A Revolutionary Priest at the Esposizione Nazionale in Florence in 1861. In 1862 Toma participated in the first exhibition of the Società Promotrice di Belle Arti di Napoli, showing the Children of the People, a political allegory, and Saint Peter’s Pence. His work began to treat themes, whether historical or contemporary, from a domestic, everyday viewpoint, focusing more on sentiment and psychology than on the representation of events as such. This youthful phase, influenced by the work of Filippo Palizzi, terminated with A Stern Cross-examination by the Holy Office (1864). Through it the characteristics of Toma’s mature style began to show themselves: a harsh perspective, severe composition and the use of all elements for symbolic, never merely decorative, purposes. These elements combined, in the maturer works produced up till 1880, with a control of light achieved through the modulation of cold tones. They keep his paintings from the triteness his chosen themes — derived from minor works of romantic literature — could easily have resulted in. His subtle judgement of effect is particularly evident in his second version of Luisa Sanfelice in Prison, where the drama of an incident of Neapolitan history is conveyed through the exploration of light and tone.
Donna che legge sdraiata (1272x1651pix, 447kb)
Piccoli patrioti (1862; 395x567pix, 59kb)
Vaso con gerani (367x266pix, 31kb)
Biography of Luisa Fortunata de Molina Sanfelice [28 Feb 1764 – 11 Sep 1800] with images of the two versions of Toma's La Sanfelice in carcere version 1 (494x642pix, 33kb) and La Sanfelice in carcere version 2 (390x518pix, 20kb), as well as his La Sanfelice ricondatta a Napoli (397x561pix, 16kb), L'arresto di Luisa Sanfelice (639x467pix, 61kb) by Modesto Faustini, and La Sanfelice condotta in carcere (384x484pix, 31kb) by Eurisio Capocci. She had leaked to the doomed Republic of Naples the secret of a counter-revolutionary monarchist plot and, after the monarchists reconquered the city, they emprisoned and then beheaded her.
_ A Napoli c'era una giovane ed avvenente signora, che conduceva una vita brillante e salottiera all’ombra della nascente repubblica: Luisa Molina Sanfelice. Separata dal marito, viveva in un bel palazzo del centro, e tra i suoi amanti c'era uno dei figli del più ricco commerciante di Napoli, Gerardo Baccher. 34 anni, tenente di cavalleria e legittimista convinto, come tutti nella sua famiglia, era rimasto a Napoli e non aveva mai cessato di cospirare per il ritorno dei Borbone e per la fine della repubblica giacobina. Finalmente la sollevazione della città era pronta per i primi di aprile del 1799; il Cardinale Ruffo era alle porte, e la partenza delle truppe francesi diventava sempre più imminente. Gerardo Baccher decise di dare alla Sanfelice un salvacondotto che la mettesse al riparo da ritorsioni durante la sollevazione popolare, ma la donna, con estrema leggerezza, consegnò il salvacondotto al suo amante repubblicano, Fernando Ferri, che svelò immediatamente la congiura mettendo al corrente Vincenzo Cuoco ed i componenti del Comitato di Salute Pubblica. Il Baccher e tutti gli altri capi realisti furono arrestati e gettati nelle carceri del Castel Nuovo. Il Monitore Napoletano, giornale del regime, annunciò con le parole di Eleonora Fonseca Pimentel: “Una nostra egregia cittadina, Luisa Molina Sanfelice, svelò venerdì sera al governo la cospirazione di pochi non più scellerati che mentecatti… La nostra repubblica non deve trascurare di eternare il fatto ed il nome di questa illustre cittadina. Essa superiore alla sua gloria ne invita premurosamente di far pubblico chi ugualmente come lei è benemerito della patria in questa scoperta: il cittadino Vincenzo Cuoco”. La repubblica aveva ormai i giorni contati e, come spesso accade nei regimi agonizzanti, iniziarono fucilazioni e massacri indiscriminati. L’ultimo giorno di vita della repubblica, il 13 giugno, nella piazza di Castel Nuovo furono giustiziati, dopo un sommario processo che apparve ai più come una farsa, e, come scrive Benedetto Croce, “la vendetta e la crudeltà presero la maschera di una necessaria misura di rigore…”, Gennaro e Gerardo Baccher, Ferdinando e Giovan Battista La Rossa e Natale D’Angelo. Come raccontò un testimone oculare i condannati morirono intrepidamente “tutti contenti di morire per così degna causa”. Il giorno successivo Napoli era liberata, e poco dopo la Sanfelice fu arrestata e gettata in carcere. Nel mese di settembre iniziò il processo, che si concluse con la condanna a morte promulgata il 13 del mese. Due giudici furono a favore ed uno, Antonio della Rossa, contrario: il 29 settembre la sventurata donna fu portata all’ultimo supplizio, ma uno stratagemma le permise di ritardare l’esecuzione per poi ottenere la grazia, si dichiarò incinta. “La sorte fu più benigna a Vincenzo Cuoco e Ferdinando Ferri”, dice Croce, ed è quanto meno paradossale. Ebbero entrambi una condanna all’esilio. I giudici vollero punire nella donna quel che causò con il suo leggero comportamento, più che il reato vero e proprio. Ferri, ma anche il Cuoco e lo stesso successore di Ferri alle Finanze nel 1847, furono in gioventù tutti giacobini. Luisa Sanfelice fu l’ultima dei condannati a morte ad essere giustiziata, quando fu evidente la falsità della sua gravidanza e quando il vecchio Baccher, che si era visto togliere due figli, si recò a Palermo dal Re chiedendo che la giustizia avesse il suo corso: l’11 settembre 1800 veniva decapitata in Piazza Mercato. Vincenzo Cuoco morirà pazzo nel 1823 e Ferdinando Ferri, dopo una lunga carriera come magistrato della Corte dei Conti, fu nominato ministro nel 1841 alla morte di Giovanni d’Andrea, e morirà novantenne nel 1857. Certo egli fu, dopo la restaurazione, uomo onesto e probo tanto che si trovano addirittura i nomi dei suoi figli nelle già povere liste di sussidiati da Francesco II e dalla Regina Maria Sofia dall’esilio. Fino alla caduta del Regno nel 1860 si parlò e si scrisse rispettosamente della Sanfelice come di una sventurata, ma dopo iniziò una sorta di “trasformazione della sventura nella gloria… ed il suo nome cadde in balia degli scrittori di propaganda politica”. (Parole di Benedetto Croce).

^ 1888 Charles Edouard de Beaumont, French painter born in 1812.
–- In the Harem (24x40cm)
–- Femmes au Harem (24x40cm)
— S*#>Le Marchand d 'Esclaves (24x40cm; 480x635pix, 56kb)
–- Le Quart de Monde: “Comment...tu fumes maintenant !” (color lithograph, 26x19cm)
–- Au Bal Masqué: Comme on fait son lit on se couche (color lithograph, 20x18cm)
–- Les Vésuviennes: “Caporale, faites courir après un homme qui se sauve...” (color lithograph, 20x17cm) _ Les Vésuviennes étaient les femmes parisiennes qui avaient pris les armes lors de la révolution de 1848, et qui revendiquaient une Constitution politique des femmes, le port du pantalon, l'accès à tous les emplois publics, civils, religieux, et militaires. Ultra-radicales, les Vésuviennes desservaient toutefois clairement la cause féministe en réclamant des réformes fantaisistes comme l’obligation du mariage féminin à 21 ans, la mise en place d’un service militaire obligatoire féminin, et le doublement du service militaire masculin pour les hommes qui refuseraient les taches ménagères. Ces Vésuviennes étaient tellement caricaturales qu’elles servaient de parfait repoussoir aux hommes hostiles à la cause féministe. —(070112)

^ 1852 Gioacchino Giuseppe Serangeli, Italian artist born in 1768, active mostly in France from 1790 to 1817. He first studied at the Ambrosian Academy in Milan. He was a student of Jacques Louis David from 1793. Serangeli is at the extreme right in Meeting of Artists in Isabey's Studio (1798, 71x111cm; 894x1400pix, 199kb) by Boilly. — Auguste Jean-Baptiste Vinchon [1789-1855] and Claudio Linati were among the students of Serangeli.
Les enfants Sériziat (1795, oval 55x46cm; 653x547pix, 101kb)
Landscape with Silvio Pellico (510x640pix, 38kb) _ Pellico [24 Jun 1788 – 31 Jan 1854] was an Italian author and patriot. —(060111)

1839 Joseph Anton Koch, Austrian painter born (full coverage) on 27 July 1768. —(070111)

1819 (13 Jan?) Pieter Gaal, Middelburg Dutch artist born in 1785 (or 19 Jul 1769?). He was a student of Hendrik Willem Schweickhardt [1746-1797]. —(060111)

1717 Kaspar Jasper (or Gaspard Jacob) van Opstal, Flemish artist born on 02 July 1654, 1655, or 1656. — Relative? of sculptor Gerard van Opstal [1600-1668]?

Born on a 12 January:

^ 1876 Edouard Eugène François Vallet, Swiss painter, draftsman, and printmaker, who died on 01 May 1929, known for his paintings of the Valais and of Vallet. — {Artiste à l'art triste, Vallet valait-il plus qu'un valet du Valais qui va laid?} — He left the Ecole des Arts Industriels in Geneva before completing his studies and instead drew and painted from nature in the countryside. He also experimented with wood-engraving and produced illustrations for a local publisher. In 1899 he exhibited his work for the first time. In 1900 Vallet began to make etchings and lithographs. After travelling through Germany, France and Italy in 1903–1905, he settled first near Geneva, then, in 1908, in the Valais. In 1909 he presented to the Swiss section of the tenth Internationale Kunstausstellung in Munich Sunday Morning (1909), which combined fresh color with firm drawing and composition in the depiction of a Valais peasant woman in national dress looking out over the valley from the balcony of her chalet; this large figure was influenced by primitivism, albeit recognizably in the Heimatstil. The work earned him his reputation. Thereafter Vallet’s work, comprising both paintings and engravings and including a considerable number of self-portraits (e.g. 1916), was characterized by his constant fidelity to these subjects, although after 1920 he also executed a number of monumental views of the Valais.
–- Au Marché (1898; 740x900pix, 174kb)
–- Petit Paysage (1926; 900x645pix, 184kb)
–- Paysage (1904; 574x407pix, 55kb) —(070112)

1854 Hugo Petterson Birger, Swedish painter who died on 17 June 1887. He studied at the Konstakademi in Stockholm from 1871 to 1877. In 1877 he went to Paris and then spent the summer of 1878 at Barbizon with Carl Larsson, among others. There he painted several spontaneous plein-air paintings, such as Rue Gabrielle (1879), in which the grey tones are contrasted realistically with exquisite colors. He also painted scenes of Parisian life, such as La Toilette (1880), which aroused the interest of his contemporaries when it was exhibited at the Salon that year. Birger’s art was always conventional in style, allied to French salon painting. He was a master of technique and a brilliant subject painter, creating such scenes as In the Bower (1880).
Ung dam i sädesfält (1872; 498x349pix, 115kb)
— hands mosaic —(060111)

^ 1846 Arnold Corrodi, Italian artist who died on 07 May 1874, son of Salomon Corrodi [19 Apr 1810 – 04 Jul 1892], and brother of Hermann David Salomon Corrodi [23 Jul 1844 – 30 Jan 1905].
–- Two Ladies on a Balcony (510x375pix, 47kb) — (070112)

^ 1842 Jean Richard Goubié, French artist who died in 1899.
–- Le Chasseur (605x800pix) on horseback, with a hunting horn over his left shoulder, stopped to relight his pipe. —(070112)

^ 1841 Edward Lamson Henry, US painter who died on 11 May 1919. He received his first art instruction in New York from Walter M. Oddie [1808–1865], followed by two years at the Pennsylvania Academy of the Fine Arts, Philadelphia (1858–1860). After this he left for a two-year stay abroad, studying under Paul Weber [1823–1916], Charles Gleyre, and Courbet. In 1864 he served as a captain’s clerk on a boat taking supplies to the Union army. Two notable pictures that emerged from this experience were City Point, Virginia, Headquarters of General Grant (1872) and Westover Mansion (1869). He soon won recognition and was elected to the National Academy by 1869. Many of his paintings were sold before exhibition, and he had the reputation of always selling his work on varnishing day. — LINKS
–- Stopping to Water His Horses (1904, 31x56cm; 564x1000pix, 138kb _ .ZOOM to 846x1500pix, 181kb)
The Sunny Hours of Childhood (1879, 25x31cm; 926x1156pix, 169kb _ ZOOM to 1389x1734pix, 239kb)
Waiting for the Stagecoach aka Mrs. Fanny Wells (1905, 25x20cm; 1089x861pix, 120kb _ ZOOM to 1633x1291pix, 175kb)
The Army of General Burgoyne (1902, 29x53cm; half-size, 583x1044pix, 108kb _ ZOOM to 875x1566pix, 181kb)
First Train of the Mohawk and Hudson Railroad (1893; 384x911pix, 101kb)
The Butler Hard Rubber Factory (1882, 70x140cm; 265x550pix, 63kb _ + flash zoom)
58 images at the Athenaeum —(060111)

^ >1612 Gillis Peeters I, Antwerp Flemish landscape painter who was baptized on 23 January 1612 and who was buried on 12 March 1653. He was the brother of Bonaventura Peeters I [bap. 23 Jul 1614 – 25 Jul 1652], Catharina Peeters [16 Aug 1615 – >1676], and Jan Peeters I [bap. 24 Apr 1624 – 1679] — Relative? of Clara Peeters [1594->1657]?
–- Coastal Landscape (oval; 901x1101pix) there is a sailing vessel at anchor and people in the foreground.
–- Estuary Scene (515x900pix)
–- Tropical Coastal Scene (35x55cm; 400x655pix) a rowing boat is coming ashore on a beach; other shipping vessels are seen in the background. _ This is likely to be a view of the Brazilian or West African coast, and includes two Blacks in the foreground, and a third greeting a European disembarking from the rowing boat. Since African slaves were to be found in the Dutch colonies on the Brazilian coast by this date, and Frans Post depicted them there mixing freely with natives as well as Europeans, it is possible that the site depicted is intended to be Brazil. No documentary evidence exists to suggest that Peeters went this far from Antwerp, but such views were a well established part of his repertoire. As early as 1637, for example, he painted a view of the harbor of Recife and the Island of Antonio Vaz. — (070112)

1599 Adriaen van Utrecht, Flemish painter who died (main coverage) on 05 October 1652. —(060111)

^ 1591 Jusepe de Ribera “Lo Spagnoletto”, Spanish painter who died (main coverage) on 02 September 1652 (baptized 17 Feb 1591). —(090112)

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