ART “4”
“2”-DAY 17 January
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>Died on 17 January 1706: Phillip Peter
Roos, “Rosa da Tivoli” “Mercurius”,
German painter born on 30 August 1657, brother of Johann Melchior Roos [27
Dec 1663 – 1731], son of Johann
Heinrich Roos [27 Oct 1631 – 03 Oct 1685], and nephew of Theodor
Roos [Sep 1638 – 07 Jun 1687], and father of Cajetan Roos who was
the father of Joseph Roos [09 Oct 1726 – 25 Aug 1805]. — Phillip Peter Roos went to Italy in 1677 on a scholarship from the Landgrave of Hesse. In Rome he studied under Giacinto Brandi, whose daughter Maria Isabella he married in 1681, after converting to the Catholic faith. In 1684–1685 he bought a house near Tivoli, which gave rise to his nickname ‘Rosa da Tivoli’. From 1691 he seems to have lived mainly in Rome. Roos was a member of the Schildersbent, which gave him the nickname ‘Mercurius’ because of the speed with which he painted. Apart from a Self-portrait (1700), he painted exclusively domestic animals with their herdsmen in the Roman Campagna. The animals dominate the foreground, leaving only small glimpses through to landscapes set beneath threatening skies. Roos applied his paint in impastos, rendering the coats, the stance and the movements of each species in a virtuoso manner. The light bodies of the animals seem to grow fascinatingly out of the darkness. In the 1680s Roos tended to depict small groups of animals—sheep, goats, often headed by a billy goat with twisted horns. The herders lie at the side dressed in coarse clothing, close to the animals. Far off, wildly precipitous valleys alternate with high cliff-faces lit by a yellow-brown light; the distant mountains are conveyed in tones of light blue. Altogether the pictures are characterized by a spectral, somber, wild and daring boldness. — LINKS — A Shepherd and his Flock (588x752pix _ ZOOM to 1372x1750pix) — A Sitting Shepherdess and her Flock (525x742pix _ ZOOM to 1225x1731pix) — Landschaft mit Grotte (97×81cm; _ ZOOM to 3011x2536pix, 349kb) — Landschaft mit Herde (97×81cm; _ ZOOM to 1776x2560pix, 278kb) –- Shepherd Boy with Sheep and Goats (122x173cm; 959x1385pix, 212 kb _ ZOOM to 1918x2771pix, 867kb) also two dogs, with romantic ruins and stormy sky in the background. —(070115) |
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Died on 17 January 1863: Émile Jean
Horace Vernet, French Academic
painter, specialized in Orientalism
and Battle Scenes, born on 30 June 1789. He was the brother-in-law of Hippolyte
Lecomte [28 Dec 1781 – 25 Jul 1857], and the father-in-law of Paul
Delaroche [1797-1856], and the uncle of Charles-Marie
Bouton [1781-1853]. — He was born in the lodgings of his father Carle Vernet [14 Aug 1758 – 27 Nov 1836] at the Palais du Louvre, where his grandfather Joseph Vernet [14 Aug 1714 – 05 Dec 1789] also lived; his maternal grandfather was Jean-Michel Moreau le jeune [26 Mar 1741 – 30 Nov 1814]. To these antecedents and influences are ascribed the supreme ease of his public career, his almost incredible facility, and his fecundity. His early training in his father’s studio was supplemented by formal academic training by François-André Vincent [30 Dec 1746 – 03 Aug 1816] until 1810, when he competed unsuccessfully for the Prix de Rome. He first exhibited at the Salon in 1812. In 1814 Vernet received the Légion d’honneur for the part he played in the defense of Paris, which he commemorated in La Porte de Clichy: la défense de Paris, 30 mars 1814 (1820), a spirited painting that represented a manifesto of Liberal opposition to Restoration oppression. — Thomas Jones Barker was an assistant of Vernet. — Vernet's students included Jacques-Laurent Agasse [27 Dec 1767 – 24 Mar 1849], Pedro Américo de Melo, Paul-Jean Clays, Feodor Dietz, Jozef Israëls [1824-1911], Janet-Lange [26 Nov 1815 – 25 Nov 1872], Eugène Lami, Charles Langlois, Joseph-Nicolas Robert-Fleury [08 Aug 1797 – 05 May 1890], Frederick Tayler, Gustaf Wappers [23 Aug 1803 – 06 Dec 1874], Ignace-François Bonhomme [15 Mar 1809 – 01 Oct 1881]. — LINKS — Self-Portrait in Rome (1832; 380x316pix, 14kb) _ Vernet stands authoritatively before the Villa Medici, seat of the French Academy in Rome, where he was director from 1829 to 1835. In the foreground, a stepladder with palette and brushes indicates Vernet's talent for painting large canvases. The newly popular paper-wrapped cigarette he holds proves his stylishness, while the rising smoke catures the momentary quality of the portrait. — L'Atelier d'Horace Vernet (1828; 600x724pix _ ZOOM to 1400x1689pix) –- An Arab (100x81cm; 798x644pix _ ZOOM to 1597x1287pix _ ZOOM+ to 2395x1931pix) — Judah and Tamar (1840; 600x428pix _ ZOOM to 1400x999pix) _ Judah pays off Tamar with a gold ring and a necklace, before his sarcastic saddled camel and a hilly landscape. — Traversée du Désert (1827; 600x744pix _ ZOOM to 1400x1736pix) — La Barricade de Clichy. Défense de Paris, le 30 mars 1814 (600x816pix _ ZOOM to 1400x1904pix) — Philippe-Auguste avant la Bataille de Bouvines (1827; 600x1004pix _ ZOOM to 1400x2343pix) — La Bataille de Fontenoy (1828; 600x1024pix _ ZOOM to 1400x2389pix) — La Bataille de Iena (1836; 600x700pix _ ZOOM to 1400x1633pix) — La Bataille de Wagram (1836; 600x812pix _ ZOOM to 1400x1895pix) — Bandits Italiens Surpris par les Troupes Pontificales (1836; 600x940pix _ ZOOM to 1400x2193pix) — Edith Trouve la Tête de Harold Après la Bataille de Hastings (1836; 600x752pix _ ZOOM to 1400x1755pix) — Le Glaour, Conquerer of d'Hassan — Le Raconteur Arabe (1833, 100x138cm _ ZOOM to 1400x2025pix) — La Chasse au Lion (1836, 57x82cm _ ZOOM to 1400x1989pix) — Napoleonic Battle in the Alps (1814, 90x117cm) — The Battle of Habra, Algeria in December 1835 Between Emir Abd El Kadar and the Duke of Orléans (1840, 88x118cm) — Le Dernier Grenadier de Waterloo (46x56cm) — Lieutenant Colonel, comte de Thalouet (100x83cm) — Village Musicians (1832, 52x44cm) — A Fisherman Setting Out (1824, 39x46cm) — Judith and Holofernes (42x32cm) — Raphael and Pope Leo X — Two Soldiers On Horseback (44x64cm) — Bataille de Friedland, le 14 juin 1807 (1836, 465x543cm) _ Napoléon I and the comte Nicolas Charles Oudinot are seen on horseback. — Bataille de Wagram, le 6 juillet 1809 (1836, 465x543cm) _ Napoléon I and the duc d'Istrie are seen on horseback. — Bataille d'Iéna, le 14 octobre 1806 (1836, 465x543cm) _ Napoléon I, Joachim Murat, and Louis Alexandre Berthier are seen on horseback. — Invalide présentant une pétition à Napoléon Ier lors d'un défilé devant le palais des Tuileries (1838) — Portrait de Louise Vernet, fille de l'artiste (1833, 100x74cm) — Jean-Baptiste Isabey (1828, 81x65cm) — La barrière de Clichy (1820, 98x131cm) — Madame Philippe Le Noir [1792-1874] (1814, 61x51cm) — Philippe Le Noir [1785-1867] (1814, 61x51cm) _ Portrait de l'ami de Vernet, rencontré au sein de la Garde nationale. Le modèle pose dans le jardin des Tuileries. On distingue le dôme des Invalides et le Palais de la Légion d'Honneur dans le fond. Le portrait de la femme de Philippe Le Noir est le pendant de ce tableau. — Mazeppa aux Loups (1826; 590x759pix, 410kb) _ John Frederick Herring [1795 – 23 September 1865] copied this painting as Mazeppa Pursued by Wolves (1833, 56x76cm) and followed it with Mazeppa Surrounded by Horses (1833, 56x76cm). _ Ivan Stepanovitch Mazeppa (ou Mazepa) [1644 – 08 Sep 1709] fut hetman (chef) des cosaques d'Ukraine. La légende raconte que, dans sa jeunesse, surpris en flagrant délit d'adultère, il aurait été attaché nu sur le dos d'un cheval fougueux qui l'aurait emporté jusqu'en Ukraine. Là, recueilli par les cosaques, il devint le secrétaire de leur hetman, à qui il succéda en 1687. Après avoir été l'allié du tsar Pierre le Grand, il soutint le roi de Suède Charles XII et fut battu avec lui à Poltava (1709). Il se réfugia en Turquie, où il mourut peu après. L'épisode de sa fuite vers l'Ukraine a inspiré de nombreux peintres, poètes (Byron, qui dans son poème Mazeppa, 1819, voit dans l'aventure de Mazeppa le symbole du génie ; V. Hugo, dans le poème Mazeppa des Orientales ;...) et musiciens (Liszt : Mazeppa, poème symphonique, 1854 ; Tchaïkovski : Mazeppa, opéra, 1884). —(070115) |
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Died on 17 January 1886: Paul~Jacques~Aimé Baudry,
French painter, specialized in portraits,
born on 07 November 1828. — Like many artistic children from the provinces in 19th-century France, he went to Paris with a grant from his municipality to pay his tuition fees. He entered the studio of Michel-Martin Drolling in 1844 and enrolled at the École des Beaux-Arts in 1845. In five successive attempts at the Prix de Rome, he rose up through the ranks of the finalists, winning the first prize (which he shared with Bouguereau) in 1850 with Zenobia Found by Shepherds on the Banks of the Araxes. Critics had already noticed that he was more attracted by Venetian painting than was customary among candidates for the prize. This was reaffirmed by the works he sent from Rome to Paris, especially his La Fortune et le jeune enfant (1857, 146x194cm; angled photo of framed painting), which was clearly indebted to Sacred and Profane Love (1514, 118x279cm; 501x1459pix, 112kb), the masterpiece by Titian. — Baudry entame sa carrière parisienne en 1857. Il exécute tout d'abord deux ensembles décoratifs, l'un pour M. Guillemin en 1857 (aujourd'hui à l'Hôtel Marigny), l'autre pour le ministre Achille Fould en 1858 (pour l'Hôtel Fould, aujourd'hui au Château de Chantilly) et il reçoit la commande d'une vingtaine de portraits. Mais pour établir sa réputation il se devait d'exposer des compositions représentatives de son art au Salon, alors le seul moyen pour un artiste de montrer ses oeuvres, de se faire connaître et d'être jugé. Au Salon de 1857 il avait été accueilli de façon plutôt favorable, mais avec des oeuvres réalisées à Rome dans le cadre de l'Académie de France. Au Salon de 1889 il exposa, outre des portraits, deux tableaux : La toilette de Vénus et La Madeleine pénitente. — Émile Schuffenecker was a student of Baudry. — LINKS — Charlotte Corday (1860; 600x445pix, 125kb _ ZOOM to 1400x1038pix _ .ZOOM+ to 2494x2000pix, 576kb) _ Compare La Mort de Marat (1793, 162x125cm, 600x552pix _ ZOOM to 1400x1287pix) by David [30 Aug 1748 – 29 Dec 1825] — Mme. Louis Cézard (1871, 77x64cm; 396x330pix, 46kb _ ZOOMable) — Platon Chikhachov (1864. 73x60cm) — Albert Beurdeley [1808-1882] (1862, 73x60cm; 700x566pix, 170kb) _ {anciennement “Beurre de Lait”?} _ Albert Beurdeley was a cabinet maker, who ought not to be confused with his son and successor in the same art (and, in addition, an art collector), who would have his portrait painted by Anders Zorn [18 Feb 1860 – 22 Aug 1920]: Emmanuel-Alfred Beurdeley [1847-1919] (1906, 73x60cm; 700x543pix) — Charles Garnier [1825-1898] (1868, 103x81cm) _ Garnier [06 Nov 1825 – 03 Aug 1898] was a French architect of the Beaux-Arts style, famed as the creator of the Paris Opera House, which opened on 05 January 1875. — Mme Charles Garnier [1836-1919] (1864, 61x51cm) — La comtesse de la Bédoyère (1858, 136x84cm) — Le Tourment d'une Vestale — Le Lutteur Meissonier (1848) — La Vague et la Perle (1862) — Vénus et l'Amour aka La Fortune et le jeune enfant (1857, 194x146cm) — L'ivresse de Noé (188x298cm; 412x640pix, 57kb) _ copied from a fresco by Michelangelo in the Sixtine Chapel. — Amours Portant les Attributs de Minerve —(051001) |
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Died on 17 January 1686: Carlo
“Carlino” Dolci, Florentine Baroque
painter born on 25 May 1616. He was the cousin of Onorio
Marinari. — Carlo Dolci, allievo di Jacopo Vignali, eseguì a diciassette anni il bel ritratto di Ainolfo de' Bardi, volgendosi poi a dipingere soggetti sacri. — Dolci was the leading painter in Florence in the mid-17th century, and an exponent of the restrained style of Late Baroque comparable with Sacchi's Roman works. Dolci was extremely precocious and one of his finest pictures is the portrait, painted when he was 16, of Fra Ainolfo dei Bardi (1632). Nevertheless, he later became very neurotic and felt himself to be professionally inadequate. Most of his later works are small devotional pictures often painted on copper in an extremely finicky and detailed manner. When Giordano was in Florence in 1682 he said jokingly that his own virtuoso style had brought him a fortune of 150,000 scudi, but that by spending so much time on his works Dolci would starve; an idea that preyed on Dolci's mind. One of his best works is the Martyrdom of Saint Andrew (1646). — Dolci was the major Florentine painter of the 17th century. He enjoyed an international reputation in his own lifetime. He was a gifted portrait painter and painted a number of large altarpieces, but his reputation is largely based on his half-length, single-figure paintings, characterized by their intense religiosity and meticulous technique. His mature style was complex and sophisticated. Intended for cultivated and aristocratic circles, his was never a popular art in any sense. Dolci’s disturbed personality — full of tormented fantasy and dark fantasms — is evident throughout his work after the later 1640s. — LINKS — Self-Portrait (1674) — Christ Instituting the Eucharist at the Last Supper (34x26cm) — The Angel of the Annunciation (1655, 52x40cm) — The Virgin of the Annunciation (1655, 52x40cm) — Flowers (1675) — Ainolfo de' Bardi (1632, 150x119cm) _ This portrait was painted by Dolci at age 16, as appears from an inscription on the back; and it surpasses, both for the conception and the success and brilliance of the execution, later pictures by this precocious artist. Fra Ainolfo de' Bardi, Knight of Jerusalem, was a very notable soldier and man of politics in his day. He was born in 1573 and died in 1638. — Magdalene (1670, 73x56cm) _ This is among the most admired works of Carlo Dolci. — Saint John the Evangelist (600x360pix) |
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