ART “4”
“2”-DAY 14 January
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Born on on 14 (10?)
January 1507: Luca Longhi (or Lunghi) “le
Raphäel de Ravenne”, Ravenna Italian Mannerist painter, who produced
mainly religious paintings and portraits. He died on 12 August 1580. — His earliest works, such as The Marriage of Saint Catherine (1532), show the influence of Baldassare Carrari (fl 1489–1516), Francesco Zaganelli and Niccolò Rondinelli, but he also learnt from the works of mainstream painters, in particular Giorgio Vasari, as is evident in his Circumcision (1561), in which he introduced portraits of Dante Alighieri, Michelangelo and Titian among the spectators. Luca Longhi never left Ravenna, and this isolation no doubt contributed to his limitations. However, he was a skilled portrait painter, his subjects being local dignitaries, patricians, and professional men, such as Girolamo Rossi, Raffaele Rasponi and Giovanni Arrigoni (all 1567)— He trained two of his children, Francesco Longhi [10 Feb 1544 – 1618) and Barbara Longhi [1552-1638], who collaborated with him on several of his later works, including The Marriage of Cana (1580), which incorporates portraits of Barbara and Francesco Longhi. –- The Lady and the Unicorn (800x550pix, 27kb) _ This is supposed to be a portrait of Giulia Farnese, sister of Paul III and lover of Alexander VI. (she is said to be also in the .Transfiguration (1520, 405x278cm; 1766x1202pix, 178kb) of Raphael [06 Apr 1483 – 06 Apr 1520]: .in this detail (947x802pix, 88kb _ .ZOOM _ .ZOOM+). –- The Adoration by the Shepherds (1545, 86x73cm; 408x347pix, 35kb) _ estimated at about $30'000 for the 14 May 2003 auction at Bonhams & Butterfields. –- Virgin and Child with Saints Sebastian and Rocco (200x171cm) _ Qui l'artista sottomette la monumentalità delle invenzioni cinquecentesche alle esigenze di una antica devozione. La figura iconica della Vergine arcaizza modelli diffusi in area raffaellesca e partecipa degli schematismi che induriscono i due santi laterali, Rocco e Sebastiano, i protettori contro ogni tipo di contagio. L'opera e' riferibile alla tarda maturità del pittore, probabilmente agli anni Sessanta. |
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Born on 14 January 1841: Berthe
Marie-Pauline Morisot, Mme. Eugène Manet, French
Impressionist
painter who died on 02 March 1895. — Berthe Morisot was a French impressionist painter. Influenced by the artists Camille Corot and Edouard Manet, she gave up her early classical training to pursue an individualistic impressionistic style that became distinctive for its delicacy and subtlety. Her technique, based on large touches of paint applied freely in every direction, give her works a transparent, iridescent quality. She worked both in oil and in watercolor, producing mainly landscapes and scenes of women and children, as in Madame Pontillon Seated on the Grass (1873). — Born into a family of wealth and culture, Morisot received the conventional lessons in drawing and painting. She went firmly against convention, however, in choosing to take these pursuits seriously and make them her life's work. Having studied for a time under Camille Corot, she later began her long friendship with Édouard Manet, who became her brother-in-law in 1874 and was the most important single influence on the development of her style. Unlike most of the other impressionists, who were then intensely engaged in optical experiments with color, Morisot and Manet agreed on a more conservative approach, confining their use of color to a naturalistic framework. Morisot, however, did encourage Manet to adopt the impressionists' high-keyed palette and to abandon the use of black. Her own carefully composed, brightly hued canvases are often studies of women, either out-of-doors or in domestic settings. Morisot and US artist Mary Cassatt are generally considered the most important women painters of the later 19th century. — Berthe Morisot's mother arranged drawing lessons for her three daughters with no other intention than cultivating a polite pastime. That Berthe emerged with professional aspirations must have caused some consternation in their upper-middle-class Parisian household, since it might have compromised her future responsibilities as a wife and mother. Between 1864 and 1868 Morisot exhibited at the Paris Salon. Her early contact with the plein air Barbizon painter Camille Corot and her meeting Edouard Manet, whose work was reviled by both critics and Salon officials, encouraged her to repudiate the Salon system. As a result, she began to follow a more independent path and to exhibit her work with the Impressionists. She married Eugène Manet, Edouard's younger brother in 1874, the year the Impressionists held their first controversial exhibition. — Portrait of Berthe Morisot by brother-in-law Manet. — LINKS –- Au Bois de Boulogne (1888; 636x887pix, 58kb) — Paris vu du Trocadéro (1872) — Cache-cache (1873, 45x55cm) — Nice Little Girl (Nice: the city) — La lecture (1888) _ This is at once a genre scene and a portrait of Jeanne Bonnet. It conveys Morisot's ability to integrate her art and family life by painting canvases of domestic scenes. Although out-of-doors, the space of Reading is shallow, compressed by a balcony railing and foliage. Morisot employed many compositional devices — the bird cage, the railing and chair, the wall casement, and the palm frond that arches over the sitter's head — to enclose the figure. These forms, associated with the nineteenth-century feminine ideal, also picture a woman's space as a closed world turned in on itself. —(070113) |
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Died on 14 January 1813: William Marlow,
English painter born in 1740. — From about 1756 to 1761 Marlow was a student of Samuel Scott, the topographical and marine painter; he also studied at the Saint Martin’s Lane Academy, London. Throughout his career Marlow made oils and watercolors of London views, for example Near Westminster Bridge, Evening, which shows his balanced, classical sense of composition, sensitivity to lighting effects and smooth handling of oil paint. Between 1765 and 1766 Marlow visited France and Italy, making numerous drawings of ruins, which provided the subjects for many paintings finished on his return to London. An Oxcart in the Grotto of Posillipo (1770) exemplifies his bold, blue-toned watercolor style, with washes applied in loose blotches to emphasize the picturesque roughness of masonry and terrain. The handling has much in common with Canaletto, whom Marlow copied; a letter of 1771 from Horace Walpole to Sir Horace Mann records that two views of Verona by Marlow were mistakenly sold as Canalettos. Marlow specialized in souvenirs of the Grand Tour, portraits of country houses, seascapes and river scenes. He visited many parts of Britain and Ireland in search of subjects, such as Powys Castle, Montgomeryshire. He exhibited at the Incorporated Society of Artists from 1767, was made a Fellow in 1771 and Vice-President in 1778. He exhibited at the Royal Academy, London, from 1788 to 1807, but never sought membership. Marlow was commercially successful; he rented a country house at Twickenham from 1775 and moved there permanently ten years later. By the late 1780s he was in semi-retirement, preferring to make telescopes and other scientific instruments. However, a financial downturn may have prompted his production of six etched Views in Italy (1795). He is also thought to have designed the seals for the original 13 United States of America. His achievement as a topographical painter lies in his technical versatility, which allowed him to encompass both the tranquil compositions and cool lighting of British scenes and the picturesque roughness and more intense light of Italian views. — LINKS –- Rome From Monte Mario (62x90cm; 674x1000pix) — Vesuvius Erupting at Night (1768; 182kb) — Capriccio: Saint Paul's and a Venetian Canal (1795, 129x104cm) _ This is an architectural fantasy combining the most instantly recognizable element of the London skyline – Saint Paul’s – with a Venetian canal. The artist, who specialized in city views, may be drawing attention to parallels between Renaissance Venice and modern London. Both cities were made wealthy through international commerce, so Marlow’s picture could be interpreted as a fantasy of the ultimate imperial city. — View on the Thames (1775, 49x79cm) _ In the 1750s Marlow was a student of the foremost native topographical painter of his day, Samuel Scott. His style owes a great deal to that of his master, and also to Canaletto whose works he would have known. The precise location of this view on the Thames is not known, although in the past it has been tentatively identified as Hampton Wick. Painted very much in Scott's manner, the picture most probably dates from the mid 1770s when Marlow was living in Twickenham, in the house previously occupied by Scott. |
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Born on 14 January 1836: Henri
Théodore Jean Ignace Fantin~Latour, French Realist
painter who died on 25 August 1904, specialized in still-life
and flowers. — Henri Fantin-Latour was best known for his group portraits and flower paintings. Although he was a contemporary of the impressionists, he practiced a more conservative style, which gave his work an almost photographic realism, and employed a shimmering, magical use of color. In his group portraits, he portrayed the many contemporary Parisian artists and writers who were his friends. His delicately realistic flower paintings, as well as his more stylized lithographs, strongly influenced later symbolist painters, such as Odilon Redon. — Fantin-Latour, French painter and lithographer, is best known for his luxurious flower pieces, but he also painted several group portraits that are important historical documents and show his friendship with leading avant-garde artists. Homage to Delacroix (1864) shows Fantin-Latour himself, with Baudelaire, Manet, Whistler, and others grouped around a portrait of Delacroix; and A Studio at Batignolles (sometimes called Homage to Manet) (1870) shows Monet, Renoir, and others in Manet's studio. In spite of his associations with such progressive artists, Fantin-Latour was a traditionalist, and his portraits particularly are in a precise, detailed style. Much of his later career was devoted to lithography; he greatly admired Richard Wagner and did imaginative lithographs illustrating his music and that of other Romantic composers. — Born in Grenoble, died in Buré (Orne). Son of the painter Théodore Fantin-Latour, Fantin settled in Paris in 1841 and was trained by his father and Horace Lecoq de Boisbandran. Key influences in his development were the example of Gustave Courbet and his study of old masters at the Louvre, where he copied almost daily until 1870. He first exhibited at the Salon in 1861 and participated in the Salon des Refusés of 1863. Fantin joined with Manet, Renoir, Frédéric Bazille, and others in the avant-garde intellectual circles of Paris and commemorated leading artists, writers, and musicians of the day in several group portraits, but from about 1879 he worked largely in isolation. His delicate, lyrical still lifes in the tradition of Chardin gave way in later years to highly romanticized compositions inspired by his love of Wagner and opera. A personal friend of James McNeill Whistler, he visited England several times and exhibited at the Royal Academy from 1862 to 1900. — LINKS — Self-Portrait (1858, 41x33cm) _ detail — Self-Portrait (1860) — Self-Portrait (1861, 25x21cm) _ detail –- La Naissance du Christ (66x55cm; 901x765pix, 91kb) –- White and Purple Stock (43x48cm; 924x1044pix, 55kb _ .ZOOM to xpix, 784kb) _ Stock (here) = any of a genus (Matthiola) of Old World herbs or subshrubs of the mustard family with racemes of usually sweet-scented flowers. Not traded on the New York Stock Exchange. Matthiola bear no know relationship to Matthis Grünewald [1478 – 30 Aug 1528]. Raceme = a simple influorescence ... er ... make that inflorescence (as in the lily-of-the-valley) in which the flowers are borne on short stalks of about equal length at equal distances along an elongated axis and open in succession toward the apex. (Glad you didn't ask?) It is amazing how dictionary makers seem to always manage to include in each definition at least one word that most people have to look up. You want “inflorescence”? OK, let's see which other unfamiliar word may be included: Inflorescence = a floral axis with its appendages. Axis is easy, as in “axis of evil”. Appendages? Are you axing... I mean asking? Are you serious? Obviously you must never have had to undergo an appendagectomy (let Google take over). –- Asters (1892, 51x45cm; 1/4 size, 55kb _ .ZOOM to 1/2 size, 869kb) –- White Rockets and Fruit (1869, 56x53cm; 1/4 size, 45kb _ .ZOOM to 1/2 size, 633kb) –- Spray of Purple Lilac (1880, 36x29cm; 1048x848pix, 91kb) –- Flowers in a Vase (1882, 35x28cm; 1022x818pix, 81kb) — Diana and her Handmaidens (1892) — Édouard Manet (1867) — Homage to Delacroix (1864) _ Delacroix died in 1863. The following year Fantin-Latour painted this group portrait of his disciples around a likeness of the master. — Un Atelier aux Batignolles (1870) — 204 images at the Athenaeum — 183 images at ARC — 78 images at Ciudad de la Pintura —(070113) |
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