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DEATHS: 1684 NETSCHER — 1887 AMERLING 1955 TANGUY 1879 WARD
BIRTHS: 1793 WALDMÜLLER 1858 SEGANTINI  1817 DAUBIGNY
1889: MILLET PAINTING INSPIRES POEM
^ Born on 15 January 1793: Ferdinand Georg Waldmüller, Austrian painter who died on 23 August 1865. He was one of the most representative Biedermeier painters, together with Franz Krüger [10 Sep 1797 – 21 Jan 1857], Georg Friedrich Kersting [22 Oct 1785 – 01 Jul 1847], Julius Oldach [17 Feb 1804 – 19 Feb 1830], Friedrich von Amerling, and especially Carl Spitzweg [05 Feb 1808 – 23 Sep 1885]. The Biedermeier period in art was a transition between Neoclassicism and Romanticism as it was interpreted by the bourgeoisie, particularly in Germany, Austria, northern Italy, and the Scandinavian countries. Following the Napoleonic wars, the Biedermeier style grew during a period of economic impoverishment from 1825 to 1835. The name Biedermeier was derogatory because it was based on the caricature Papa Gottlieb Biedermaier, a comic symbol of middle-class comfort, the unsophisticated imaginary author of poems published by Ludwig Eichrodt[02 Feb 1827 – 02 Feb 1892] in the Viennese satirical magazine Fliegende Blätter , the final spelling being established when Eichrodt published Biedermeier's Liederlust (1869). Such comfort emphasized family life and private activities. Soirées perpetuated the rising middle class's cultural interests in books, writing, dance, and poetry readings, all subject matter for Biedermeier painting, which was either genre or historical and most often sentimentally treated.
— Waldmüller received sporadic art lessons of varying quality in Vienna between 1807 and 1820, first under Zinther and then with Johann Baptist Lampi, Hubert Maurer [1738–1818], Josef Lange [1751–1831] and Wilhelm Johann Nepomuk Schödlberger [1799–1853] at the Akademie der Bildenden Künste. After 1811 he made a meager living painting miniatures and giving art lessons. Perhaps more significant than this haphazard formal training was Waldmüller’s extensive copying after the Old Masters at the court and municipal art galleries of Vienna, mostly between 1817 and 1821. His copy of Jusepe de Ribera’s Martyrdom of Saint Andrew (1821) is an example of his accomplished technique. However, commissions for copies barely enabled him to support himself.
— This eminent representative of early realism financed his sporadic studies at the Vienna Academy between 1807 and 1811 by "illuminating chocolate boxes". (Subsequently he made a living as a painter of miniature portraits, as a drawing master and as a scene painter at various theatres.) He gained proficiency in painting in oils, inter alia, by copying the masters of the Italian Renaissance and Baroque as well as the 17th-century Dutch masters. Waldmüller, who had become professor and first custodian of the picture gallery of the Vienna Academy in 1829, was appointed "Kaiserlicher Rat" (imperial ... rat ... no! ... councilor) in 1835. In 1846, he issued his first polemic pamphlet against the instruction provided by the Academy. Metternich supported him for years, but on the appearance of his third pamphlet in 1857, he was sent into retirement and as a punishment his salary was cut by half. In 1863, the pugnacious art historian and pioneer of Austrian open-air painting was rehabilitated by Emperor Franz Joseph I. The independent spirit of the portrait, landscape, genre and still-life painter and his passionate aspiration to "truth" manifested themselves, inter alia, in the unmistakably objective depiction of details and in his unique way of "painting with light".
— He studied at the Vienna Academy. He lived in Pozsony, then worked as a teacher of art in the house of Count Gyulay. After his return to Vienna, he copied pictures of old masters, and painted portraits and genre pictures. He became the most significant representative of biedermeier: he was second to none in depicting nature in delicate colors. In addition to portraits, his genre-pictures are significant: Midsummer Day (1844), Grandpa's Birthday (1845), Distraint (1847), Recruit Saying Farewell (1858), Godmother Saying Good-Bye, Neigbors (1859), Congratulators (1861), Going to Church in Spring, Bride Saying Good-Bye (1863), Christmas in a Peasant Room (1849), Returning Home from Church Festival and Panorama. He became a teacher of the Vienna Academy. After he had published his works on art education, he was forced to retire. He was reinstated in 1863.
— Waldmüller's students included József Borsos I, Béla Klimkovics, Viktor Madarász, Bertalan Székely, Mihály Zichy.

LINKS
Ruins of the Juno Lacinia Temple at Agrigento (1845, 31x39cm; 992x1250pix, 325kb _ ZOOM to 1983x2500pix, 1323kb; or you can get the same dimensions as this last one, but in a 2002kb version) _ The picturesque ruins of the Temple of Juno Lacinia lie on a rocky hill with an olive grove. In 1845 Waldmüller travelled to Sicily for the second time, on this occasion to Agrigento named after the sacred sites built there in the fifth century BC. The Greek Temple of Lacinia is one such site the Romans dedicated to the goddess Juno Lacinia.
      For his picture Waldmüller chose the perspective from the north. In the background, to the south, appears the sea between the rock formations. The view of the temple is from its best preserved side. The painting is a direct expression of the fascination the southern light and the characteristics of the Italian landscape held for Waldmüller. The glistening sun bathes the landscape in a warm, yellow light. The color blends the porous stone of the temple with the surroundings, making it seem an integral part of the landscape. The long shadows of a late summer afternoon weave the olive trees spread loosely across the slope into a lattice reaching to the foot of the hill.
The future emperor Franz Joseph, age 2 (1832, 35x29cm; 1250x984pix, 285kb _ ZOOM to 2500x1969pix, 1066kb, or, if this last one dowloads too fast for you, try this, same dimensions, but 5513kb) _ Franz Joseph [18 Aug 1830 — 21 Nov 1916] at the age of two is shown dressed as a grenadier wearing a bearskin cap. In his right hand he holds a rifle and in his left the wooden figure of a Hungarian grenadier. A red and white checked flag used as a marker during maneuvers and a drum complete the military toys. With a friendly smile, the child is seen toying with the insignias of future power. The peaceful ambience and the pseudo still-life arrangement robs the toys of any association with the brutalities of real life. As, later in life, the Emperor was presented with this childhood portrait, he recognized the study of his grandfather, Emperor Franz I [12 Feb 1768 – 02 Mar 1835], in the imperial house in Baden. On the desk in the background stand miniatures of his uncle Archduke Ludwig [1784–1864] and Elisabeth, Princess of Savoy-Carignan [1800–1856].
The Lesson (1837, 25x22cm; 2500x2198pix, 1033kb)
The Ruins of the Greek Theatre at Taormina on Sicily (1844)
The architect Charles de Moreau [1758-1841] (1822)
Lake Fuschl with the Schafberg (1835)
Mountain Landscape with the Ruin of Liechtenstein near Mödling (1859)
View of Mödling (1848)
Lime-kiln in the Hinterbrühl (1845)
Thiery, Landlord of the Wolf-in-the-Meadow Inn (1833)
The Temple of Concord at Agrigento (1849)
Maternal Admonition (1850)
Revival to New Life (1852)
Ruines of the greek theater in Taormina towards the straits of Messina (1844)
The halted Pilgrimage (1853)
Waldmüllers Sohn Ferdinand mit Hund (1836, 39x31cm; 900x722pix, 109kb)
Junge Bäuerin mit drei Kindern im Fenster (1840, 85x68cm; 900x728pix, 113kb)
Kinder im Fenster (1853, 85x69cm) _ This picture, similar to the preceding one, shows chubby-cheeked, happy children in their Sunday best crowded at the window, watching with interest what is going on outside. With friendly smiles, the smaller of the two boys and the sister follow the movement of their brother's arm as he points out of the picture with his index finger. This gesture, which appears spontaneous and perfectly natural, emphasises the highly illusionist depiction and the implied closeness to the beholder. Waldmüller captured an unspectacular, fleeting moment with convincing intensity and true-to-life accuracy. The dazzling sunlight and the bold, cast shadows clash almost tangibly. The artist, who referred to the "...three-dimensional reproduction of shadow and light as the point of main interest", achieved a convincingly realistic effect with clearly delineated chiaroscuro. The play of light brings out the various textures with impressive clarity. With great attention to detail, Waldmüller presents the "glory of simplicity". Dainty climbing roses make the scene appear less shabby and mirror the blooming health of the children. Merry peasant children, depicted without any suggestion of social criticism, were a popular motif when this painting was made in 1853. Frame pictures were a classical motif in European art.
György Gaál (1842, 63x50cm; 760x600pix, 62kb) _ György Gaál [1783-1855] was a writer, pioneer in collecting Hungarian folktales. He worked in Vienna.
A Dog By A Basket Of Grapes In A Landscape (1836, 65x80cm)
Children Making Their Grandmother a Present on Her Name Day (63x50cm)
Der Alte Und Die Kuchenmagd (1818, 44x71cm)
The Center of Attention (46x60cm)
— Portraits of Eleonore Feldmüller (1833, 99x79cm) and her husband, sailing-master Matthias Feldmüller (1837, 98x79cm)
9 ZOOMable images at Wikimedia
—(060405)
^ Died on 15 January 1684: Caspar Netscher, foreign-born Dutch Baroque painter specialized in portraits born in 1639. He studied under Gerard Terborch. — {Would anything match Netscher nature paintings, if any existed?}
— Netscher may have been born in Heidelberg or Prague. Most of his career was spent in The Hague, where he settled in 1661 or 1662, but he was trained in Deventer by Terborch. From his master he took his predilection for depicting costly materials — particularly white satin. He painted genre scenes and some religious and mythological subjects, but from about 1670 he devoted himself almost exclusively to portraits, often for court circles in The Hague. His reputation was such that Charles II invited him to England. His work, elegant, Frenchified, small in scale, and exquisitely finished, influenced Dutch portraiture into the 18th century, his followers including his sons Constantijn [1688-1723] and Theodor [1661-1732]
— Caspar Netscher was a son of the German sculptor Johann Netscher. As a young man he went to Arnhem to do an apprenticeship with the painter Hendrik Coster. About 1654 the young artist relocated to Deventer, where he completed his studies in the workshop of Gerard ter Borch. Late in the 1650s, he left for Italy. However, he did not journey further than France, where he married. The couple settled in The Hague.
     Netscher's early paintings were simple, small-format genre pieces, but in the 1660s he moved onto more distinguished subjects. He painted several portraits in the elegant Hague court style. Netscher received high prices for his work, especially in the 1670s, when he developed into a highly successful portrait painter and the enormous demand forced him to employ assistants. Netscher was a master in depicting silk and brocade. His careful rendering of material was derived from the Leiden fijnschilder tradition, but he was also strongly influenced by Delft painters such as De Hooch and Vermeer. In the 1670s he also turned his hand to history pieces and landscapes. In addition to his paintings, a large number of his drawings are still extant.
— Caspar Netscher's father was the German sculptor Johann Netscher [–1641] and his mother the daughter of Vetter, Mayor of Heidelberg. At an early age Caspar came to Arnhem, where he was apprenticed to Hendrik Coster, a little-known still-life and portrait painter (fl 1638–59). About 1654 Netscher moved to Deventer, where he completed his training in the workshop of Gerard ter Borch (ii). A number of signed and, occasionally, dated copies by Netscher after ter Borch survive from this period, such as the copy (1655; Gotha, Schloss Friedenstein) after ter Borch’s Parental Admonition (c. 1654; Amsterdam, Rijksmus.) and a freely handled version (1659; untraced) of ter Borch’s Doctor’s Visit (1635; Berlin, Gemäldegal.). Netscher’s first independent compositions, for example the small pendants Portrait of a Man and Portrait of a Woman (both 1656; Utrecht, Cent. Mus.), were strongly influenced by ter Borch. That these works are all fully signed suggests that Netscher held a special position in his master’s workshop.
— The students of Caspar Netscher included, besides his sons, Johannes Brande, Olivier Deuren [1666-1714], Jacob Does the Younger [1654-1699], Daniel Haringh [1636-1713], Maurice Linden, J. Spirk, Johannes Tiellius [1660-1719], Johannes Vollevens the Elder [1649-1728] Aleijda Wolfsen [1648-1690].

LINKS
Mary II, Wife of Prince William III (80x63cm) _ Cloaked in an orange dress Mary sits against a background that includes a giant amphora. A balustrade separates the terrace from the luscious growth of the garden with its various statues. The ermine cloak indicates the subject to be royalty: Mary II was the daughter of the English king, James II. On 15 November 1677, Mary, still only sixteen, married the Dutch Stadholder, William III. The couple took up residence in Holland. In 1689, she and William were crowned King and Queen of England and Scotland. Her father, James II, a Catholic, had aroused the opposition of the English Protestants who subsequently invited William III to usurp the throne.
     The royal monogram on the tapestry is that of William and Mary: Rex William et Maria Regina. The interwoven initials 'W' and 'M' symbolise the marital bond between William and Mary. The tapestry was made between their accession to the throne in 1689 and Mary's death in 1694. Beneath the crown are the coats of arms of Scotland, England and Ireland and the lion of Nassau. This tapestry was probably made after a design by Daniel Marot, one of the leading artists in William and Mary's court.
William III, Prince of Orange and, from 1689, King of England (80x63cm) _ While a cavalry skirmish rages in the background, William III poses coquettishly with one hand on his hip and holding his staff of office in his other hand. He is wearing armour. His helmet, decorated with an orange plume, is standing on a block of stone. William III was the first member of the House of Orange to bear the title king. In 1689 he became King of England. That was after this portrait was painted, in which he is depicted as captain general of the army - the position he was appointed to at the beginning of 1672. Later in July of that Disaster Year he was installed as Stadholder, thus ending the first Stadholderless Period which had begun in 1650, the year of the death of William II [27 May 1626 – 06 Nov 1650] and of the birth of William III [14 Nov 1650 – 19 Mar 1702].
      A stadholder (the word means viceroy or governor) represented the sovereign in a part of the latter's domain. He was both administrator and general. When the provinces of the Low Countries revolted against Spain in the late 16th century the office was retained. But now it was the provinces themselves that appointed the stadholder. Each province had its own stadholder, although the same person was often appointed in more than one province. of Holland and Zeeland.
      A series of bitter conflicts with Stadholder William II led the province of Holland to oppose the appointment of a successor after the latter's death in 1650. Holland gained its objective. The States General resolved that it was not constitutionally necessary for a province to appoint a stadholder. No successor was therefore chosen. Friesland and Groningen kept their own stadholder. The first Stadholderless Period lasted until 1672, the Disaster Year in which England and France attacked the Republic together. The call for a strong leader became irresistible and a new stadholder had to be appointed.
     William III was the son of William II and Mary Henrietta Stuart [14 Nov 1631 – 03 Jan 1661], eldest daughter of the English King Charles I [29 Nov 1600 – 09 Feb 1649]. William III also married (on 15 November 1677) an English princess: his cousin Mary II [30 Apr 1662 – 28 Dec 1694], daughter of the future King James II [24 Oct 1633 – 16 Sep 1701]. It was in 1685 that James succeeded to the throne of England. However, he soon began to rouse the opposition of the English Protestants with his pro-Catholic policies. Eventually, the King's opponents called on William III and Mary II (next in line) to take the English crown. Having gained the permission of the States General States General, William III left for England on 11 November 1688.
      In Bruges in 1464, representatives of the estates of the various provinces of the Netherlands assembled for the first time at the invitation of Philip the Good under the name States General. A century later, during the Dutch Revolt against the Spanish king, the States General assumed sovereign power. Under the Dutch Republic (1588-1795) the States General represented the central authority. The delegates of the seven provinces met in the Binnenhof in The Hague. Today, the States General is the name given to the combined upper and lower houses of the Dutch parliament.
     With a fleet of three hundred ships, William sailed from Hellevoetsluis. On 15 November 1688 the Stadholder and his army landed at Torbay, starting the “Glorious Revolution”, which passed without bloodshed, as most of the English forces deserted to William's camp, and ended in early 1689, when William and Mary accepted to be joint monarchs under the condition set by the English Parliament that they accept the Bill of Rights, a new limitation on the power of the crown.
The Visit (1865; 555x463pix _ ZOOM to 1295x1080pix, 362kb)
The Lace-Maker (1662, 33x27cm) _ Caspar Netscher is said to have been born in Prague but moved as a child to Arnhem, where he was a student of the local painter Herman Coster before entering the studio of Gerard ter Borch in Deventer. (The central figure in ter Borch's An Officer Dictating a Letter has been identified as Netscher.) He set out for Italy but only got as far as Bordeaux where he stayed for several years before returning to Holland in 1662 and settling in The Hague. He established a great contemporary reputation, . particularly as a portrait painter, and is said to have been invited to England by Charles II. He declined to go, although he painted many English and French sitters in The Hague. His portraits, most of which are on a small scale, were strongly influenced in style by van Dyck and his followers. In his early years, before devoting himself exclusively to portraiture, Netscher painted small-scale genre paintings and also some religious and classical subjects: the earlier ones are related stylistically to the work of ter Borch and Metsu, the later ones, to Frans van Mieris the Elder. This painting was cleaned in 1990 and the correct date of 1662 revealed. It stands, therefore, at the very beginning of Netscher's career as an independent artist in The Hague. It is one of his most successful works, remarkable for the modesty of its subject, its richness of color and firmness of modeling. It is an image which celebrates the effective performance of quiet domestic duties. The landscape print pinned to the wall (at the bottom of which can be seen the artist's signature and the picture's date) shows how such works were displayed in households which were not prosperous enough to afford paintings.
Presentation of the Medallion (1655, 62x68cm) _ A young officer kneels to present a medallion to a young woman sitting by a table. She receives his attentions with no show of emotion, unlike the woman behind her and the young man beside her who are preparing to drink a toast. A feature of this work is the splendid painting of the elaborate costumes worn by the protagonists. It is not possible, nor is it important, to decide whether the officer is making a declaration of love or merely handing over the medallion on behalf of some absent friend. Netscher became a student of Terborch sometime during the 1650s and he was the student who most successfully emulated the style of his master. As a young man he made excellent copies of Terborch's works. It has been suspected that the Presentation of the Medallion is an adaptation of a painting by Terborch. Although it is typical of the best of Netscher's work, the somewhat affected gesture foreshadows the approach of the later more mannered period of genre painting.
A Lady (1679; 600x500pix)
A Man in a Long-Haired Wig (1680; 600x488pix)
Vertumnus and Pomona (1681; 600x440pix)
 
^ Died on 15 January 1887: Friedrich von Amerling, Austrian painter born on 14 April 1803. Like Waldmüller, he is considered to be one of the Biedermeier painters.
— He came from a family of craftsmen and studied (1815–1824) at the Akademie der bildenden Künste, Vienna, where one of his teachers was the conservative history painter Hubert Maurer [1738–1818]. From 1824 to 1826 he attended the Academy in Prague, where he was taught by Josef Bergler II [01 May 1753 – 25 Jun 1829]. In 1827 and 1828 Amerling stayed in London, and he met the portrait painter Sir Thomas Lawrence [13 Apr 1769 – 07 Jan 1830], whose work was to be a strong influence on Amerling’s painting during the next two decades. Amerling also went to Paris and Rome but was recalled to Vienna on an official commission to paint a life-size portrait of the emperor Francis I of Austria. With this work, Amerling became the most sought-after portrait painter in Vienna, a position he was to retain for about 15 years.

LINKS
Self-Portrait (50x41cm; 556x450pix, 56kb)
Elise Kreuzberger (1837, 57x45cm; 1250x1006pix, 211kb _ ZOOM to 2500x2012pix, 1142kb; or you can get the same dimensions as this last one, but in a 1724kb version)
A Girl (1835, 64x51cm; 1250x952pix, 156kb _ ZOOM to 2500x2013pix, 623kb; or you can get the same dimensions as this last one, but in a 1502kb version)
Princess Marie Franziska of Liechtenstein, at age 2 (1836, 33x27cm; 1250x1010pix, 250kb _ ZOOM to 2500x2020pix, 1084kb; or you can get the same dimensions as this last one, but in a 6210kb version) _ The mamy is shown sleeping with a doll in her arms. Her relaxed and peaceful slumber mirrors her untroubled being. The finely painted features and red cheeks contrast with the energetic, open brush strokes, which capture her unruly locks and wrinkled shirt. Amerling focuses closely on the subject, thereby increasing the intimate nature of the picture through its proximity to the viewer. This work is a successful blend of portrait and genre. As seen here, this combination played a dominant role in the Biedermeier period. This portrait also expresses the close relationship between the artist and his princely client. Prince Alois II commissioned many portraits of his family from Amerling. This painting is the first of a series, comprising portraits of the Princesses Karoline (1837) and Sophie (around 1839), the hereditary Prince Johann (1845) and finally of the Prince himself, in a robe of the Order of the Golden Fleece (1845).
The Sculptor Bertel Thorvaldsen (1843, 103x81cm; 1250x992pix, 154kb _ ZOOM to 2500x1985pix, 770kb; or you can get the same dimensions as this last one, but in a 4573kb version) _ Thorvaldsen [19 Nov 1770 – 24 Mar 1844] is shown sitting comfortably in an armchair with a look of concentration on his face. The marked wrinkles between his eyes and the thin-lipped mouth, seemingly incapable of smiling, bring to life his taciturn and melancholy personality. This portrait was painted during Amerling’s second stay in Rome. Presumably the main features of the work were complete by autumn 1842, as Thorvaldsen, who left Rome on 01 October 1842, etched his name into the wet paint with the wooden tip of a brush. Amerling’s signature below indicates that work on the painting continued until 1843. Thorvaldsen’s fame had not diminished with age. He briefly returned to Rome in 1841, where he had worked for almost forty years, developing his sculptural style with its influences of classicism and emerging romanticism.
Die Mutter des Malers (1836; 600x494pix _ ZOOM to 1400x1154pix _ ZOOM+ to 2456x2024pix, 669kb)
Porträt des Rudolf Arthaber und seiner Kinder (1837; 600x435pix, 121kb _ ZOOM to 1400x1014pix _ ZOOM+ to 2175x1576pix, 616kb)
Bildnis des Malers Carl Vogel von Vogelstein (1837; 600x494pix, 126kb) _ Carl Christian Vogel von Vogelstein [26 Jun 1788 – 04 Mar 1868] painted this .Portrait of Friedrich von Amerling (1000x772pix, 63kb)
Oriental Woman (1838, 95x79cm)
 

Died on a 15 January:


1955 Yves Tanguy, French painter born (full coverage) on 05 January 1900. —(070114)

^ 1909 Robert Zünd, Lucerne Swiss painter born on 03 May 1827. He was trained by Jakob Schwegler [1793–1866] and Joseph Zelger [1812–1885], whom he accompanied on a study visit to the Engadine. Zelger encouraged him to go to Geneva in 1848. There he was a student first of François Diday and then of Alexandre Calame, who influenced his early work. However, while Calame painted dramatic mountain scenes, Zünd preferred the idyllic, tranquil region of the Alpine foothills. In 1851 he moved to Munich, where he met the Swiss painter Rudolf Koller, who remained a close friend. From 1852 he often stayed in Paris. He studied paintings by 17th-century Dutch and French artists in the Louvre and became acquainted with Alexandre-Gabriel Decamps, Louis Français, Louis Cabat, Frank Buchser, and Albert Anker.
–- Der Lauerzersee (668x900pix, 52kb) some crackling in the sky.
–- Blick auf Luzern vom Stollberg (670x900pix, 42kb)
Zwei Kinder im Eichenwald (77x53cm; 709x489pix, 96kb)
The Harvest
Road to Emmaus —(070114)

^ 1926 Eugeniusz (or Eugen) Zak, Polish artist born on 15 December 1884.
The Nun (100x80cm; 390x313pix, 34kb)
Tancerz (1921; 397x294pix, 41kb)

1879 Edward Matthew Ward, English painter born (full coverage) on 14 July 1816. —(070114)

1868 Lucie-Marie Mandix Ingemann, Danish artist born on 13 (19?) February 1792. — Portrait of Ingemann by Andreas Ludvig Koop (1822; 1136x830pix, 325kb) monochrome brown, faded..

^ 1845 John Knox, Scottish artist born in 1778. — Relative? of Archibald Knox [British, 1864-1933]?
–- Looking South-East Through the Nant Francon Valley, Caernarvonshire (510x706pix, 24kb) almost monochrome brown. —(070114)

1811 Vincent Janszoon van der Vinne, Dutch artist born on 31 January 1736. He and his brother Jan Janszoon van der Vinne [1734-1805] seem to have been the last of some 10 artists which the Haarlem Mennonite van der Vinne family produced during the 17th and 18th centuries. Vincent and Jan were sons of Jan Laurenszoon van der Vinne [1699–1753], and nephews of Vincent Laurenszoon van der Vinne II [1686–1742] and of Jacob Laurenszoon van der Vinne [23 Jun 1688 – 17 Jan 1737]. They were the grandsons of Laurens Vincentszoon van der Vinne [1658–1729], and the grandnephews of Jan Vincentszoon van der Vinne “des Nageoires” [03 Feb 1663 – 01 Mar 1721] and of Izaak Vincentszoon van der Vinne [1665–1740]. And they were the great-grandsons of Vincent Laurenszoon van der Vinne I [11 Oct 1628 – 26 July 1702]. — {If any of them vas really a vinne, vhy isn't there any sample of his vork in the vorld vide veb?}

^ 1743 Jan Kaspar Hirschely, Prague Czech still life painter born in 1698 (1695?). He was a student of Johann Adalbert Angermeyer.
Still Life with Flowers (30x21cm; 473x350pix, 35kb) —(060114)

^ 1687 (burial) Jacob Esselens, Amsterdam Dutch Baroque draftsman and painter born in 1626. — {Can anyone silence Esselens excellence?} — He was referred to as a ‘painter’ on the occasion of his (late) marriage on 11 April 1668, but in the will drawn up after the death of his wife in 1677 he is called a ‘merchant’. He did indeed trade in silks and velvets. As an artist, he was self-taught and should probably be considered an amateur. His textile business occasioned visits, among other places, to Italy, France, England, and Scotland, where he made accomplished landscape drawings. Panoramic views of English towns (Chatham, Greenwich, London, Rochester, and Rye) dating from the 1660s were later included in the Atlas van der Hem. In 1663 he journeyed along the Rhine with Gerbrand van den Eeckhout and Jan Lievens, as is evident from the many drawings by all three artists of the same locations, including Rhenen, Arnhem and Cleve (e.g. Amsterdam, Rijksmus.; Edinburgh, N.G.; Haarlem, Teylers Mus.; St Petersburg, Hermitage). Besides these topographical views, Esselens also drew imaginary landscapes, for example of riverbanks and coastlines with fishermen or tradesmen in the manner of Simon de Vlieger, woody landscapes suggesting the influence of Anthoni Waterlo and hilly landscapes in the style of his travelling companions van den Eeckhout and Lievens. Some works (see fig.) seem to have been inspired by etchings and drawings of the Dutch countryside made by Rembrandt in the 1640s and 1650s. It would, however, be an exaggeration to consider Esselens a pupil of Rembrandt, as has often been suggested since the 19th century. Despite a clearly recognizable personal style of drawing, Esselens was often inspired by the work of other draughtsmen. This is also true of his paintings, which are somewhat eclectic in nature but sometimes of a surprisingly high artistic standard. His seaside views with their characteristic atmosphere, betray the influence of Adriaen van de Velde, but the use of silver-grey tints also suggests that of Simon de Vlieger. He painted arcadian landscapes, in a rather uninspired style, that are reminiscent of Cornelis van Poelenburgh, but he also occasionally produced charming landscapes bathed in southern light, for instance the Landscape with Hunters and the ‘Scottish’ Landscape. In his non-topographical landscapes, animals and, especially, figures play an important role: fishermen or townspeople are seen buying fish in his beach views, while in other works elegantly dressed ladies and gentlemen are involved in recreational pursuits (e.g. Elegant Hunting Party on the Bank of a River). He died wealthy; his friend and fellow silk merchant Abraham Rutgers [1632 – 1699], who was also an avid amateur draftsman, was appointed guardian of his children. Rutgers was also the administrator of Esselens’s estate, which included many of the latter’s drawings, which he repeatedly copied. — LINKS
Riverscape with a Pair of Anglers (600x904pix)
Mountain scenery (1670, 53x69cm) _ a memory from Esselens's stay in Scotland.


Born on a 15 January:


^ >1937 Walter Stöhrer, German painter who died on 11 (10?) April 2000. From 1957 until 1959 he studied together with Horst Antes and Dieter Krieg at the University of Fine Arts in Karlsruhe in the class of HAP Grieshaber. After university the artist decided to live in Berlin. His way of painting, which seemed to be passionately excited and reminded of the "Ecriture automatique" - a favorite painting style of surrealism - made the artist already well-known in the early 1960s, although it also contained figurative elements of surreal origin painted in spontaneous brushstrokes. It was in 1961 when his works were already presented in a first individual exhibition in the basement gallery of the Darmstadt castle. Stöhrer was offered a guest professorship of one year at the Hochschule der Künste in Berlin in 1981. A comprehensive exhibition of his oeuvre was presented in two retrospectives shown in the Kunstmuseum Düsseldorf and in the Saarland-Museum Saarbrücken in 1984. Since 1986 Stöhrer taught at the Universität der Künste in Berlin,
–- Untitled (205x180cm; 941x827pix, 150kb) {“The jolly green (predominantly) scribble”} _ The pseudonymous Redlaw Fihler has spotted a small picture embedded in this scribbly Untitled and, for your enjoyment, has greatly enlarged it as
      _ Unimportant Embedded in Untitled aka UEiU (384x556pix, 47kb), which he has enhanced and transformed into
      _ Ink Pace (920x1300pix, 388kb),
      _ Pace Cap (920x1300pix, 393kb), and
      _ Pact Cap (920x1300pix, 781kb). Fihler has also transformed the whole Untitled into the almost equally worthless
      _ Titled aka Tort Trot (920x1300pix, 709kb). As you may have noticed, Fihler would never stoop to naming a picture Untitled, but prefers to give them names as meaningless as possible, palindromic when the picture is symmetrical..
Das Stampfen der Knochen (200x150cm; 600x542pix, 80kb) another scribble which cries out for the special talents of Fihler's pseudonymous friend “Stonewater” Restohrer, who has elevated it to the incomparable
      _ Stamp the Knock and Knock the Stamp (2006; screen filling, 289kb _ ZOOM to 1000x1414pix, 741kb) and the comparable
      _ Knock the Stamp or Stamp the Knock (2006; screen filling, 286kb _ ZOOM to 1000x1414pix, 739kb).
Ohne Titel (1995, 200x250cm; 483x600 pix, 69kb) _ Restohrer took one look at this and the following set of scribbles and smears, combined them, and metamorphosed them into one glorious
      _ This Is Not a Title (2006; screen filling, 232kb _ ZOOM to 1000x1414pix, 632kb) and again into
      _ Own Title (2006; screen filling, 199kb _ ZOOM to 1000x1414pix, 513kb) and again into
Huckleberry Finn erklärt Tom Sawyer die Malerei (1996, 200x250cm; 449x600 pix, 57kb)
Noch Nicht (1996, 124x126cm; 464x600 pix, 63kb)
Ohne.Titel (1998, 73x55cm; 436x323pix, 57kb)
— slightly different Ohne.Titel (1998, 73x55cm; 446x323pix, 59kb)
— different Ohne.Titel (1998, 73x55cm; 441x3243pix, 55kb) _ Fihler has applied to this worthless scribble the power of negative imaging and of symmetry to produce the impressive
      _ One Tea Tale (707x1000pix, 310kb)
Landscape (1990, 200x250cm; 400x500pix, 55kb) —(070114)

1869 Stanislas Wyspianskiy, Polish artist who died (main coverage) on 28 November 1907. —(051114)

1858 Giovanni Segantini, Italian painter who died (full coverage) on 28 September 1899.

^ 1822 Hubert Salentin, German artist who died on 07 July 1910. — {Est-ce que, ne se rendant pas compte que certains de ses modèles étaient des noirs, les gens disaient de leurs portraits: “C'est sale en teint.”?}
–- Good News! (80x101cm; 629x799pix, 50kb) _ .detail (780x540pix, 79kb _ .ZOOM to 1170x810pix, 83kb) 3 children.
–-(Happy Birthday, Grandma?) (1857, 39x46cm, 544x650pix, 48kb) —(070114)

1817 Charles-François Daubigny, French painter who died (full coverage) on 19 February 1878. —(070114)

1737 Johann Josef Karl Henrici, German artist who died on 27 October 1823.

^ 1714 (baptism) Jan Josef Horemans II “le Clair”, Antwerp Flemish artist who died after 1790, son of Jan Josef Horemans I “le Sombre” [16 Nov 1682 – 07 Aug 1752] and nephew of Peter Jacob Horemans [26 Oct 1700 – 1776]. Jan Josef Horemans II qualified as a master of the Guild of Saint Luke in Antwerp on 10 February 1767 and was dean of the Guild on two occasions (1768–1769 and 1775–1776). He was a placid apologist for bourgeois virtues and, following his father’s example, admirably recreated the atmosphere of his age in a multitude of small paintings that are pleasantly animated and have an old-fashioned charm. He also signed in the same way as his father, but his style was more distinguished and sensitive and his palette lighter (earning him the nickname that distinguishes him from his father). Works such as the Musical Company, the Interior with Figures, The Minuet and the Portrait of a Family (1772) combine traditional genre painting with the 18th-century conversation piece. Jan Josef II sometimes incorporated into his own compositions figures taken unchanged from David Teniers II or Hieronymus Janssens, as in the New Neighbors. He also occasionally painted interior decorations, such as the wall panels of The Seasons (sold at Christie’s on 31 May 1977), and accepted a number of official commissions, such as the Entry of Charles of Lorraine into Antwerp in 1749. He was still exhibiting paintings in Antwerp in 1790. — LINKS
Indoor Concert (1764, 120x108cm; 1095x762pix, 157kb)
The Marriage Contract (1768, 112x108cm; 1092x765pix, 119kb)
Tea Time (51x58cm; 893x1020pix, 148kb)
–- People in a Kitchen (45x56cm; 716x900pix, 53kb) very dark, in this one the artist is underserving of being called “le Clair”.
–- An Elegant Company Resting from a Hunt Before a Palace (1794, 71x99cm; 500x725pix, 35kb) also very dark, except for half the area which is sky. This is painted in the manner of Phillips Wouwermans, is dated, and is signed J. Horemans {false signature? or was there a later J. Horemans? or did Jan II live until at least 1794?}
–- A Merry Company Indoors (510x647pix, 40kb _ .ZOOM to 892x1134pix, 93kb) —(070114)

^ 15 January 1899 The Man with a Hoe, poem by a US schoolteacher, Charles Edward Anson Markham (1852-1940), who used the penname Edwin Markham, is published. It was inspired by a 1863 painting: L'homme à la houe by Jean-François Millet [04 Oct 1814– 20 Jan 1875]. The poem quickly became as famous as the painting. Both continue to be moving testimonies to what the too prevalent inhumanity of humanity can cause.
Homme à la houe
The Man with a Hoe

Bowed by the weight of centuries he leans
Upon his hoe and gazes on the ground,
The emptiness of ages in his face,
And on his back, the burden of the world.
Who made him dead to rapture and despair,
A thing that grieves not and that never hopes,
Stolid and stunned, a brother to the ox?
Who loosened and let down this brutal jaw?
Whose was the hand that slanted back this brow?
Whose breath blew out the light within this brain?

Is this the Thing the Lord God made and gave
To have dominion over sea and land;
To trace the stars and search the heavens for power;
To feel the passion of Eternity?
Is this the dream He dreamed who shaped the suns
And marked their ways upon the ancient deep?
Down all the caverns of Hell to their last gulf
There is no shape more terrible than this--
More tongued with cries against the world's blind greed--
More filled with signs and portents for the soul--
More packed with danger to the universe.

What gulfs between him and the seraphim!
Slave of the wheel of labor, what to him
Are Plato and the swing of the Pleiades?
What the long reaches of the peaks of song,
The rift of dawn, the reddening of the rose?
Through this dread shape the suffering ages look;
Time's tragedy is in that aching stoop;
Through this dread shape humanity betrayed,
Plundered, profaned and disinherited,
Cries protest to the Powers that made the world,
A protest that is also prophecy.


O masters, lords and rulers in all lands,
Is this the handiwork you give to God,
This monstrous thing distorted and soul-quenched?
How will you ever straighten up this shape;
Touch it again with immortality;
Give back the upward looking and the light;
Rebuild in it the music and the dream;
Make right the immemorial infamies,
Perfidious wrongs, immedicable woes?

O masters, lords and rulers in all lands,
How will the future reckon with this Man?
How answer his brute question in that hour
When whirlwinds of rebellion shake all shores?
How will it be with kingdoms and with kings--
With those who shaped him to the thing he is--
When this dumb Terror shall rise to judge the world,
After the silence of the centuries?

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