search 8500 artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 17 Jan
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” JAN 18 ||| ALTERNATE SITES
ART 19 Jan >>>
TEAR
RATE
abspic1
4~2day
ART “4” “2”-DAY  18 January v.10.00
RAY
DANCE
abspic2
4~2day
DEATHS: 1818 BACCIARELLI — 1987 GUTTUSO
^ Died on 18 (05?) January 1818: Marcello Bacciarelli, in Warsaw, Italian Polish painter born on 16 February 1731 in Rome.
— He studied in Rome under Marco Benefial and in 1750 was summoned to the Dresden court of Elector Frederick Augustus II (Augustus III of Poland), where he worked as a draftsman in the picture gallery. In Dresden, Bacciarelli also painted portraits. Along with the entire Saxon court, he spent the years 1756–1764 in Warsaw, working as portrait painter to the aristocracy. At this time he also moved in Polish circles, getting to know the family of the future Polish king, Stanislav II Poniatowski (reg 1764–1795), among others. In 1764–1766 Bacciarelli worked at the imperial court in Vienna. From 1766 he settled permanently in Warsaw, where he was closely associated with Stanislav II and his court and worked as the chief propagator and interpreter of the artistic policy of the monarchy. In 1786 he was admitted into the Polish nobility. He became the King’s principal painter, organizing and maintaining the artistic workshop in the Royal Castle, supervising the decoration of the King’s residence (1776–1785) and coordinating the accumulation and maintenance of the royal collection. In 1786 he was appointed Director-General of the royal buildings. Bacciarelli enjoyed both the confidence and the friendship of the King. In 1787 he made a trip to Italy, where he was elected to membership of several academies. When the King was forced in 1795 to abandon the capital and abdicate the throne, Bacciarelli remained in Warsaw, maintaining overall control of artistic affairs in the city, and after the death of Stanislav II in 1798 he took control of matters relating to the King’s estate and the disposal of the royal collections. In 1816 he became honorary dean and professor at the newly founded faculty of education and fine art at Warsaw University. Bacciarelli regarded Poland as his homeland, and his descendants assumed Polish citizenship.
— W latach 50 tych pracowal w Dreznie na dworze Augusta II. Do Polski przyjechal na stale w 1766, po wczesniejszym pobycie na dworze cesarskim w Wiedniu. Byl nadwornym malarzem Stanislawa Augusta i jego doradca w sprawach sztuki. Malowal obrazy dekorujace wnetrza rezydencji królewskich (Zamek Królewski, Lazienki itp.). Najwiekszy talent wykazal jednak malujac portrety króla i magnaterii (namalowal ich okolo 200). Poczatkowo jego portrety utrzymane byly w tradycji baroku. W okresie pózniejszym, pod wplywem malarzy francuskich, tworzyl w stylu rokoko, a nastepnie neoklasycyzmu.
— Aleksandr Orlovsky and Jonas Rustemas were students of Bacciarelli.

–- The Academy of Krakow is founded in 1400 by King Wladyslaw Jagiello (1784; 1176x1605pix, 130kb) _ .detail (764x808pix, 60kb) _ Drugi w kolejnosci obraz z cyklu przedstawia wydarzenie, które mialo miejsce w 1400 roku. Król Wladyslaw Jagiello w rok po smierci zony Jadwigi, która przekazala swój majatek uczelni, nadaje przywileje Akademii. Bp Piotr Wysz kleczacy przed wladca otrzymuje dokumentna nowo ustanawiajacy Krakowska Szkole Glówna. /powstala z inicjatywy Kazimierza Wielkiego przeszlo 30 lat wczesniej/ W ciemnoniebieskiej todze, stojacy na pierwszym planie rektor Stanislaw ze Skalmierza rozmawia z mezczyzna o wyraznych rysach Stanislawa Augusta Poniatowskiego. Obraz Bacciarellego powstal ok 1784 roku, a wiec duzo ponad 300 lat od wydarzenia przedstawianego. W nietypowy sposób, a zarazem jedyny jaki mógl sobie wyobrazic zdarzenie malarz doby Oswiecenia, artysta przedstawia obok historycznych osób mitologiczne muzy. Wsród nich mozemy rozpoznac dwie damy dworu: Minerwa - Helena Radziwillówna i Urania - Izabella Czartoryska. Za nimi stoja jeszcze Erato - muza poezji z lira oraz Klio - opiekunka historii. Dodanie do sceny historycznej postaci mitologicznych poszerza interpretacje dziela o dodatkowe znaczenia - doskonale rozumiane na salonach XVIII wiecznej Warszawy. Warto przy okazji zwrócic uwage na stroje i fryzury przedstawionych osób - szczególnie muzy wygladaja jak zywcem wziete z dworu króla Stanislawa. Bacciarelli nie musi studiowac historii, nie musi poznawac dawnej sztuki ani sledzic ksztaltowania ubioru... Wywiazuje sie z powierzonego zadania po swojemu - brak archaizacji /bez której nie moze obejsc sie malarz nastepnego stulecia/, wprowadza postacie mitologiczne, twarze przedstawionych naleza zas do znajomych artysty lub króla - nie pochodza ze sredniowiecznych sztychów czy innych dokumentów...

–- The Liberation of Vienna in 1683 (934x750pix, 78kb) _ Vienna was besieged by the Turks and Jan III Sobieski [17 Aug 1629 – 17 Jun 1796], who was elected King of Poland in May 1674, honored his 01 April 1683 alliance with Austria by coming to its aid with 25'000 soldiers and, as the senior commander, took command of the combined relief force of 75'000, which he led to a brilliant victory at the Kahlenberg (12 Sep 1683), one of the most decisive battles of European history. The painting is an equestrian portrait of Jan III. In Pióro Orla Polskiego wiedenska i strygonska opisujac ekspedycja the poet J. Boczylowic celebrated the king and the victory with these verses:
"Wiec juz do Wiednia, ledwo w bramie stanie,
Az 'Vivat, vivat rex!' - Niemców wolanie,
'To nasz salvator, to pan!' - wykrzykuja,
Ci suknie, ci zas rece mu caluja.
Do kosciola go Szczepana Swietego
Prowadza hurmem tryumfujacego,
'Vivat Rex' - nawet w kosciele wolaja,
Lub Cizszej kaza oni, zagluszaja.
I tam 'Te Deum laudamus' zaczeto,
Gdzie król, zwyciestwa celebrujac swieto,
Padl krzyzem, Bogu za ten cud dziekujac."


Portrait of King Stanislaw August Poniatowski in a Plumed Hat (after 1780).
– Portrait of King Jan Kazimier [1609-1672] _ detail
– Portrait of King Michal Korybut Wisniowiecki [31 Jul 1640 – 10 Nov 1673] _ detail _ The sitter was elected King of Poland in 1669.

 
^ Died on 18 January 1987: Renato Guttuso, in Rome, Italian Expressionist painter and polemicist, born on 26 December 1911 in Bagheria, near Palermo. His father Gioacchino, a land-surveyor and amateur watercolorist, and his mother Giuseppina d'Amico, due to disagreements with their home town because of their liberal ideas, registered the birth on 02 January 1912 in Palermo. Renato Guttuso was the leader of the social realist group in Italy.
— He gained his first practical experience of art in the form of Sicilian cart-painting in the bottega of a family friend Emilio Murdolo. The images of the exploits of the Normans in Sicily that adorned these carts instilled in Guttuso a strong and lasting preference for epic stories and vivacity of color; similarly, the knowledge that he gained of the Sicilian countryside and peasantry through his father, a land-surveyor and committed socialist, had a marked effect on his work as a mature artist. While still at school in Palermo, he began to study painting in 1928 under Pippo Rizzo [1898–], a minor Futurist who had extensive contacts with mainland Italy. He began studying law in 1930 at the University of Palermo but left the course soon after exhibiting at the Quadriennale in Rome in 1931.
— Born in Bagheria, near Palermo, Sicily, he abandoned law studies in 1931, to devote himself to painting. In Rome in 1933-1934 he associated with Cagli, Mafai, Fazzini, and others who were reacting against Novecento neoclassicism. Then he lived in Milan in 1935-1936, in contact with Birolli, Fontana and Persico. He settled in Rome in 1937. He painted The Flight from Etna, his first large realist composition of contemporary Italian life, in 1938. Guttuso took an active part in the struggle against the Fascists and Nazis and made a series of bitterly anti-Nazi drawings Gott mit Uns. In 1946 with Birolli, Vedova, Morlotti, Turcato, and others, he formed the group Fronte Nuovo delle Arti. Guttuso made frequent visits to Paris to study modern French art and for a time he was influenced by Picasso. Many of Guttuso's works have been inspired by the poverty and struggles of the Sicilian peasantry. His later works also include large paintings of the student riots in Paris in May 1968, the funeral of the Italian Communist leader Togliatti, etc., and a series of autobiographical canvases painted in 1965 and 1966.
— In 1924, when Guttuso was only thirteen, he began signing and dating his work, mainly copies of 19th century Sicilian landscapes painted on wood. Among them one can mention Gulf of Palermo (1925), in which the grain of the wood is used to represent the sea waves. He also followed other models: French painters, as in Millet’s Angelus (1926), painted on a palette maintaining its original shape, or contemporary ones whose illustrations he somehow succeeded in getting hold of, as in Maritime Pine (1929) after Carrà. In this period he also painted portraits such as Graziella, and the portrait of his father, Gioacchino Guttuso Fasulo (1930). In the following years he frequented the studio of the futurist painter Pippo Rizzo and the artistic milieu in Palermo.
     In 1929 Guttuso began contributing to newspapers and periodicals. In 1933 his first article on Picasso ran into the Fascist censorship and caused the suspension of his contributions to the Palermo newspaper L’Ora.
     In 1931 the acceptance of two of Guttuso's paintings by the Prima Quadriennale d'Arte Nazionale in Rome offered him the opportunity to see the works of the greatest Italian artists. To earn his living, Guttuso worked as a picture restorer at the Picture Gallery in Perugia and at the Borghese Gallery in Rome. In the early 1930s he came into contact with artists such as Mario Mafai, FrancescoTrombadori, Corrado Cagli, Pericle Fazzini, Mirko, and Afro. With three other Sicilian artists (sculptors Giovanni Barbera and Nino Franchina, and painter Lia Pasqualino Noto) he formed the Group of Four in reaction against the dominant 'Novecento' movement.
      In 1935 Guttuso did his military service in Milan where he made friends with artists such as Birolli, Sassu, Manzù, Fontana (with whom he shared a studio), and intellectuals such as Raffaele de Grada, Elio Vittorini, Raffaele Carrieri, Edoardo Persico, the poet Salvatore Quasimodo and the philosopher Antonio Banfi. Despite these friendships, which were of primary importance for the political and cultural experience of the group 'Corrente', Guttuso's Milan period was marked by depression and severe economic hardship, reflected in the tone of his poems.
      The years 1937-1939 were among the most important in Guttuso’s life. He settled permanently in Rome His studios, the first of which was in Piazza Melozzo da Forlì, appeared in his paintings and became stimulating cultural centers in Rome. In that period he made friends with Alberto Moravia, Antonello Trombadori, and Mario Alicata, who played a decisive role in Guttuso's decision to join the Communist Party. These are the years of the outstanding still lifes and of large works such as Fucilazione in campagna dedicated to Garcia Lorca, and Fuga dall'Etna. In 1938 he met Mimise Dotti who became his mate and later his wife. He contributed as art critic to Le Arti, Primato and Il Selvaggio, the periodical directed by Mino Maccari which devoted an issue to his drawings (1939).
     In the early 1940s, Guttuso kept producing outstanding works: nudes, landscapes, still lifes as well as a large-scale composition, La Crocifissione (1941), his most famous painting. He explained: “… this is a time of war. I wish to paint the torment of Christ as a contemporary scene … as a symbol of all those who, because of their ideas, endure outrage, imprisonment and torment”. This painting provoked controversy and was censured by the Vatican. In 1940, Renato Guttuso made his debut as musical scene designer, creating scenery and costumes for Histoire du Soldat at the Teatro delle Arti in Rome, directed by Anton Giulio Bragaglia. In 1943 he left Rome for political reasons and join the Resistance against Fascism. The series of drawings entitled Gott Mit Uns, made with inks of underground printing-houses, bears witness to this period of partisan war.
      After World War II, Guttuso met Picasso in Paris and their friendship lasted until Picasso's death. With artists such as Birolli, Vedova, Marchiori, and the art dealer Cairola Guttuso founded the "Fronte Nuovo delle Arti', a group of leftist artists who aimed at making up for the art suppressed in Italy by the Fascist regime. Social themes and scenes of everyday life prevailed in his painting: workers of the Aspra quarries, sulphur miners, seamstresses, peasants claiming uncultivated lands. In 1947 Guttuso moved to a new studio in the Villa Massimo. In the same year he prepared scenery and costumes for the first Italian performance of the Lady Macbeth of Shostakovich, in Venice, initiating a long collaboration with the choreographer Aurele Millos.
      In 1952 Guttuso designed scenery and costumes for the Italian première of Mother Courage by Bertoldt Brecht, performed at the Teatro dei Satiri in Rome. Large-scale paintings of his were regularly shown in the Venice Biennale, always stimulating debates and controversies: in 1952 Battle of Ponte Ammiraglio, in 1954 Boogie Woogie, in 1956 The Beach. When Guttuso married Mimise, Neruda, who had dedicated a heartfelt poem to his painting, was a witness at their wedding.
      In the 1957-1965 period, Guttuso was particularly active as an art critic, contributing to important Italian and international magazines articles on the theory of art, and particularly on realism. He painted The Discussion. He also made illustrations for an edition of The Divine Comedy (1961). These were very successful years sanctioned by major international exhibitions. In 1963, in Parma, Guttuso designed scenery and costumes for Macbeth of Verdi. Guttuso began working on the theme of the newsstand and the man reading a newspaper, which led to his only major sculpture.
      In 1965 Guttuso moved to the Palazzo del Grillo in Rome, where he lived and worked until his death. The following year he painted Autobiografia, a large cycle of paintings which formed the nucleus of an exhibition which traveled to many European museums. One of the most noteworthy paintings was Gioacchino Guttuso Land-surveyor (1966), portraying his father behind his theodolite. Guttuso worked on scenery for Il contratto by his friend Eduardo De Filippo.
      Two major Guttuso paintings of the 1970s are La Vucciria (1974) and Caffe Greco (1976). Guttuso illustrated Verga's Malavoglia (1978) and Virgil's Aeneid (1980). In 1976 he was elected a Senator of the Republic for the Italian Communist Party in the constituency of Sciacca.
      In the 1980s, Guttuso completed one important cycle of paintings, Le Allegorie, which, together with Malinconia nuova and La visita della sera, were shown in Rome. In 1983, he painted a mural, Fuga in Egitto, for one of the chapels of Sacro Monte (above Varese).
At the end of 1984 were published the first three volumes of the catalogue raisonné compiled by Enrico Crispolti, who completed the work after the death of Guttuso. After his death, his adopted son, Fabio Carapezza Guttuso, established the Archivi Guttuso in the artist's former studio in the Palazzo del Grillo.
     — Compie gli studi liceali a Palermo, dove frequenta lo studio del pittore futurista Pippo Rizzo. Nel 1928 espone per la prima volta alla Mosra Sindacale Siciliana. Nel 1930 si iscrive alla Facoltŕ di giurisprudenza, che perň abbandona l'anno seguente, per dedicarsi completamente alla pittura; nel 1931 č ammesso alla prima Quadriennale di Roma. Nel 1933 si stabilisce a Roma, dove stringe rapporti di amicizia con Corrado Cagli, Mario Mafai, Mirko Basaldella, Pericle Fazzini, Alberto Pivieri e Fausto Pirandello. Nel 1935 partecipa alla II Quadriennale e nel 1936 alla Biennale di Venezia. Durante una mostra alla galleria Il Milione di Milano, si costituisce il "Gruppo dei Quattro", formato da Nino Franchina, Giovanni Barbera, Lia Pasqualina Noto e Renato Guttuso. Dal 1935 al 1936 presta servizio militare a Milano, dove ha l'occasione di frequentare gli artisti Renato Birolli, Giacomo Manzů, Lucio Fontana, il poeta Salvatore Quasimodo, i critici Raffaele De Grada e Duilio Morosini, l'architetto Eldorado Persico e il filosofo Antonio Banfi. Nel 1938 si trasferisce definitivamente a Roma, dove realizza il primo dipinto epico-popolare, La fuga dall'Etna, e tiene una personale alla Galleria della Cometa. Due anni piů tardi, insieme a Birolli, Cassinari, Manzů, Morlotti, Migneco, Sassu, e Vedova, aderisce al gruppo "Corrente". Nel 1942 al Premio Bergamo ottiene il secondo riconoscimento con la tela Crocifissione, un'aperta denuncia della politica del regime fascista che conferma la sua sensibilitŕ nei confronti delle questioni sociali. In questo periodo, il pittore siciliano studia e reinterpreta le scattanti figurazioni del Picasso post-cubista, svolgendo un ruolo fondamentale nell'evoluzione in senso "realista" della pittura italiana. Negli anni della guerra partecipa attivamente alla Resistenza accanto ad Antonello Trombadori, figlio del pittore Francesco e suo fraterno amico, e ad altri esponenti del Partito Comunista. Dopo quest'esperienza realizza la serie di disegni intitolata Massacri, in seguito raccolti nell'album Gott mit uns. Nel 1947 aderisce al "Fronte Nuovo delle Arti", gruppo artistico che persegue il cammino di "Corrente" e che comprende artisti di diversa formazione uniti da simili necessitŕ morali e dall'idea di fare della pittura un mezzo di rinnovamento sociale. Dagli anni Cinquanta č l'esponente principale di una corrente realista spesso polemicamente in lotta con le tendenze formaliste di molta arte astratta e politicamente impegnata nel sostegno del PCI; Guttuso, infatti, diventa membro ufficiale del comitato centrale del Partito Comunista nel 1951, anno in cui ottiene il premio Lenin a Mosca. Dal 1952 al 1961 partecipa con regolaritŕ alla Biennale di Venezia e dal 1963 č membro dell'Accademia Nazionale dell'Unione Sovietica. Nel 1971 gli viene conferita la laurea honoris causa a Palermo e l'anno successivo i suoi scritti vengono pubblicati con il titolo Mestiere di pittore. Il numero delle mostre personali dedicate a Renato Guttuso nel corso della sua vita č vastissimo, cosě come sono innumerevoli le partecipazioni a collettive in istituzioni prestigiose sia in Italia sia all'estero. Nell'ultimo decennio della sua vita alterna l'impegno attivo in politica all'intensa attivitŕ espositiva: dal 1975, viene eletto nel consiglio comunale di Palermo e piů tardi č nominato Senatore della Repubblica. Guttuso muore a Roma nel 1987, lasciando parte delle sue opere alla Galleria Nazionale d'Arte Moderna a Roma e la produzione giovanile a Bagheria, sua cittŕ natale.
Double Portrait of Guttuso (1976; 492x992pix +frame, 159kb) by Mario Schifano

LINKS
Autoritratto (1943, 50x40cm)
–- Balera (Ballo Campestre) (778x900pix, 96kb)
–- Fiasco sul Tavolo (1951; 900x816pix, 43kb)
–- Studio per Crocifissione (849x595pix, 78kb)
–- Spadole (661x900pix, 74kb)
–- Fiori (Garofani e Rose) (886x538pix, 46kb)
–- Barattoli e Fiaschi sul Tavolo (711x900pix, 79kb)
–- Tetti di Alcamo (766x900pix, 95kb)
–- Donne che Preparano l'Estratto di Pomodoro (713x900pix, 63kb)
–- Figurini (741x797pix, 109kb)
Sicilian Carpenter (600x773pix, 105kb)
La Nuvola Rossa (600x731pix, 154kb)
The Mocking of Christ (595x400pix, 80kb)
Sulphur Miners (1949, 69x104cm)
Santa Panagia (Sicilia) (1956, 69x78cm)
Natura Morta nello Studio (1962, 32x34cm)
La discussione (1960, 220x248cm; 448x512pix, 43kb) _ The fervent nature of Guttuso's politics is captured in this painting. It mixes the reportage style of Socialist Realism with the modernist device of collage, and shows a scene of heated debate. Partial headlines are legible, such as ‘Proletariat’ and ‘Today in Moscow’. It coincided with Guttuso’s increasing need to defend art that was committed to realism at a time when many in the Western European Communist parties were questioning its value following the death of Stalin and the disintegration of Stalinism.
Bucranio, mandibola di pescecane e drappo nero contro il cielo (1984, 75x109cm; 57kb)
Gioacchino Guttuso (1930; 92kb)
Mario Alicata (1955; 545x562pix, 124kb)
Franco Angeli (1971; 600x312pix, 49kb)
Tetti di Palermo (1985, 140x170cm; 405x490pix, 62kb)
Tetti di Roma (1942, 156x112cm)
—(070116)

Died on a 18 January:

^ >1996 Leonor Fini, Argentinian artist born on 30 August 1908 (Fini, fini à Paris}.
–- Paysage (634x900pix, 129kb) brightly restaured by the pseudonymous Ronoel Comencé, or you can see the excessively dark, dull colored (due to aging?) .unrestaured picture (634x900pix, 54kb).
–- Femme (892x704pix, 45kb) head and shoulders.
–- Raffaele Carrieri (1938, 22x18cm; 892x695pix, 58kb) head and shoulders. _ The sitter is Italian critic and art historian Raffaele Carrieri, specialist in contemporary Italian art (Pittura e Scultura d'Avanguardia in Italia 1890 - 1950, 1950). He was a friend of Leonor Fini and wrote not only the first critical article of importance on the painter (in the revue La Lettura, January 1937), but also first monograph on her work (1951). The painting was made in Paris two years after Leonor Fini's first New York exhibition (at the Julien Levy Gallery, alongside Max Ernst) and a year before her second exhibition at the same gallery. By 1939 the artist was frequently involved in portraiture and in the same year she painted the jewelry maker Jean Schlumberger and Prince Jean-Louis Faucigny-Lucinge.
–- L'Amazone (892x665pix, 37kb) excessively pale, dull color. Not a river, but a woman, no horse, no amputation, no weapon.
–- Nu échevelé (1948, oval 12x9cm, 605x448pix, 26kb) quadruple amputee.
–- Princess Francesca Ruspoli (40x24cm, 1110x648pix, 45kb) _ She is dressed all in black, as if in mourning, and holds a stiletto in her left hand; a buzzard is at her feet. _ Francesca Ruspoli dei Principi di Poggio Suasa was born on 17 July 1940 in Rome, where, on 12 July 1969, she married the count Eziprando Visconti di Modrone [24 Sep 1932~]. —(070116)

1985 Antonio Gómez Cano [1912–], Spanish Impressionist painter. Francisco Farreras [1927~] was one of his students.
La Era (66x55cm; 480x575pix, 32kb) . —(100117)

1985 Anwar Jalal Shemza [1929–], Pakistani painter. A 1947 graduate of the Mayo School of Art, Anwar Jalal Shemza was also among the pioneer modernists. He settled in England but continued to hold regular exhibitions in Pakistan. Geometric patterns entwined with forms inspired from Arabic calligraphy in vibrant colors dominated his later work —(100117)

>1982 Juan O'Gorman, Mexico City artist born on 06 July 1905.
Grito de Dolores (1600x1108pix, 318kb) —(100117)

1980 Cecil Walter Hardy Beaton, English photographer born on 14 January 1904. He is known primarily for his portraits of celebrated persons, but also worked as an illustrator, a diarist, and an Academy Award-winning costume and set designer. — LINKS —(060115)

^ 1973 Velino Shije Herrera Ma-Pe-Wi, New Mexico Zia Pueblo Amerindian artist born on 22 October 1902. Velino Shije Herrera, also known as Ma-Pe-Wi (“Oriole Egg”), was educated at Santa Fe Indian School; there, in 1918, Elizabeth DeHuff [1887-1983], wife of the school superintendent, invited him and several other students, including Fred Kabotie [1900 – 28 Feb 1986] and Otis Polelonema [1902–1981], to spend afternoons painting in her living room. After a showing at the Museum of New Mexico, the work was exhibited at the Annual Exhibition of the Society of Independent Artists in New York in 1920. Extensive press coverage stimulated so much interest that, in effect, the early Santa Fe Amerindian art movement was thus launched. Thereafter, Herrera’s paintings were widely exhibited throughout the US and Europe. He illustrated several books, including educational material for the Bureau of Indian Affairs. In 1939 he painted murals in the Department of Interior Building in Washington DC, and in 1954 he was awarded the French government’s Palmes d’Académiques for his contribution to Native American art. Herrera constantly developed and added to his skills. He came to excel in realistic compositions displaying a command of perspective and modeling, fine detail and sensitive portraiture. His inventive abstract compositions, based on traditional Pueblo symbolism, were emulated by many other artists. Nevertheless, through most of his life he was estranged from his native Pueblo because its elders objected to his paintings of ceremonial dances. In 1955, a crippling automobile accident cut short his career. He was a rancher, painter, and educator, employed by the School of American Research in Santa Fe to depict his people’s customs and traditions, along with Fred Kabotie and Alfonso (Awa Tsireh) Roybal [1898-1955]. — LINKS
The Pueblo Eagle Dance (332x600pix, 56kb) _ center detail (400x349pixel, 41kb)
Buffalo Chase (18x17cm; 372x350pix, 14kb)
Buffalo Dance (240x264pix, 11kb) —(060116)
Samokish book
^ 1944 Nikolay Semyonovich Samokish, Ukrainian painter born on 25 October 1860 (Julian or Gregorian?).
Troika (1930, 62x120cm; 554x1000pix, 144kb) —(060117)

1939 Vladimir Alekseyevich Shchuko, Russian architect, graphic designer, and stage designer. born in Berlin on 17 July 1878. —(060117)

1922 Pierre-Henry-Ferdinand Massignon “Pierre Roche”, Parisian painter, sculptor, medallist, and designer born on 02 August 1855. — LINKS
Diane endormie (60x120cm, 356x720pix, 41kb) guarded by a dog. Almost monochrome. —(060117)

1921 Adolf von Hildebrand, German artist born on 06 Oct 1847. —(060116)

1919 Joseph Wenglein, German artist born on 05 October 1845. {he lived the exact same number of days as von Hildebrand: 1920 was a leap year}

1905 Edward Henry Corbould, Londoner artist born on 05 December 1815. — (060116)

1892 George Theodore Berthon, in Toronto, Canadian painter of French origin, born in Vienna on 03 May 1806, son of René Théodore Berthon [1776–1859], court painter to Napoléon I, who was in Vienna at the time of George Theodore’s birth to paint a portrait of Francis I. The elder Berthon had been a student of Jacques-Louis David, and he trained his son in the French Neo-classical style.

1887 (Julian or Gregorian?) Tadeusz Tolwinski, in Odessa, Polish artist who died on 13 January 1951. — (060117)

1884 Carl Peter Mazer, in Naples, Swedish artist born on 09 March 1807. — (060117)

1879 Friedrich Eduard Meyerheim, German artist born on 07 January 1808.

1875 Oscar Gustav Rejlander, in London, Swedish artist born in 1813. —(060117)

1871 George Hayter, Londoner artist born on 17 December 1792. —(060116)

1866 Joseph-Antoine Bernard, French sculptor who died on 07 Jan 1931. — Not to be confused with “Joseph Bernard”, one of the pseudonyms of the Austrian painter Hans Zatzka [08 Mar 1859 – 1945]. — Relative? of Émile Bernard [1868-1941]? — (060116)

^ 1826 Balthasar Paul Ommeganck, Antwerp Flemish artist born on 26 December 1755. — {Of interest mainly to those who want to cover Flemish art from Alphanck to Ommeganck?} — He appears in the register of the Antwerp Guild of Saint Luke in 1767 as an apprentice of the landscape painter Henri-Joseph Antonissen [1737–1794], who gave him a taste for sketching from nature. His friendship with the landscape painter Simon Denis [1755–1813], who also attended Antonissen’s studio, dates from this period. Ommeganck was a talented and highly successful artist who gave a new breadth and vigor to landscape painting in the Low Countries. He developed a new expressive range combining the light found in the work of the Dutch Italianate painters of the 17th century with detailed observation of the hills and vales of the Ardennes. With great skill he resolved the conflict between an idealized view of nature and his concern for realism. The original formula that Ommeganck invented was widely copied in the 18th century and early 19th. From 1796 Ommeganck was a teacher at the academy of arts in Antwerp. — Ommegankc était un peintre d'animaux, de portraits et de paysages, et un dessinateur. Etudie puis enseigne ŕ l'Académie d'Anvers. Travaille souvent dans les Ardennes. Réalise des commandes pour l'impératrice Joséphine. Nommé Commissaire pour le rapatriement des śuvres d'art dérobées par Napoléon (1815). Annonce le romantisme, par les subtils effets de lumičre et le ton de sentiment qu'il introduit dans ses paysages. Pčre du peintre Anna-Maria Ommeganck, qui suivra son style. — Eugène J. Verboeckhoven [08 Jun 1798 – 19 Jan 1881] and Jean Baptiste de Jonghe [08 Jan 1785 – 14 Oct 1844] were students of Ommeganck.
–- Cattle in a Meadow Near a River (1781; 100x124cm; 930x1160pix, 102kb)
–- Grazing Cows (38x38cm; 812x800pix, 33kb) _ The countryside with a low horizon is bathed in the golden light of the late afternoon sun. Heavy rainy clouds are in the sky. While the standing cows are in the sunshine, the resting bull is completely engulfed in the shade of an unseen tree.

1787 Francesco Ladetti “François Ladatte”, Turin Italian artist born on 09 Dec 1706. —(060116)

1781 Inacio de Oliveira Bernardes, Lisbon Portuguese artist born on 01 February 1697. —(060116)

1780 John Valentine Haidt, in Pennsylvania, artist born in Danzig on 04 October 1700. —(060116)

1743 Michele (or Michiel) Giovanni Marieschi, Venitian artist born on 01 December 1710. —(060117)

1733 Simon Gribelin II, in London, French artist born on 05 May 1661. —(060116)

1721 Wigerus Vitringa, Dutch artist born in 1657.

1713 Jean-Baptiste Théodon, French sculptor born on 26 September 1645. — LINKS —(060117)

1701 Henri Gascar (or Gascard; Gascars), in Rome, French artist born in 1635. —(060116)

1687 (burial) François Collignon, in Rome, French artist born in 1610. —(060116)

1670 Andrea Vaccaro, Napolitan painter baptized as an infant on 08 May 1604. He first studied literature but at an early age turned to painting. He was probably a student of the late-Mannerist painter Gerolamo Imparato, though there are no known works from this period. About 1620 he became a follower of Caravaggio; he copied Caravaggio’s Flagellation. David with the Head of Goliath and Sebastian are early works indebted to Caravaggio’s naturalism and chiaroscuro. After 1630 Vaccaro drew inspiration from Guido Reni, Anthony van Dyck, and Pietro Novelli, and made copies of their works for Neapolitan collectors and dealers such as Gaspar Roomer and Jan Vandeneyden. Abraham and the Angels dates from this period; Reni’s images of saints are the forerunners of his Saint Rosalia (1635) and Penitent Magdalene (1636).— Giacomo Farelli and Domenico Viola were students of Vaccaro. — LINKS
Adoration by the Magi (1655, 175x229cm; 469x614pix, 220kb)
14 images at Ciudad de la Pintura —(060117)

^ 1650 Matteo Roselli, Florentine artist born on 10 (08?) August 1578. Francesco Furini [1603-1646] was a student of Roselli.
The Triumph of David (701x605pix, 79kb)
Vergine del Rosario con S. Domenico e Santi (600x410pix, 68kb)

1616 (burial) John Bettes II, English artist. —(060116)

1613 Anthuenis (or Antoon) Claeissins (or Claeis; Claes; Claeiss; Claeissens), Bruges Flemish artist born in 1536, son of Pieter Claeissins I [1500 – 1576], and brother of Gillis Claeissins [<1536 – 17 Dec 1605] and of Pieter Claeissins II [<1536–1623]. Like his brothers, he studied under Pieter Janszoon Pourbus [1523 – 30 Jan 1584].

1549 Evangelista di Pian di Meleto, in Urbino, Italy, artist born in Pian de Meleto, near Urbino, in 1460.


Born on a 18 January:

Pas une brouette

1949 Philippe Starck, French designer.
Ceci n'est pas une brouette (photo) hybrid armchair-wheelbarrow (1996, 88x150x60cm). —(060117)


1941 Barry Flanagan, Welsh sculptor. — LINKS
Ubu Sketch (1974, 13x9cm) —(060116)

book cover1932 Peter Magubane, South African photographer. —(060116)

1929 Peter Joseph, English artist. —(060116)

1926 Francisco Moreno Capdevila, painter and printmaker born in Barcelona, Cataluña, who in 1938 fled the Spanish civil war to France, and in 1939 moved to Mexico City, where he was naturalized, and, in May 1995, died. Ingresó a la Escuela Nocturna de Artes en 1944, y tuvo como maestro a Santos Balmori. Posteriormente, de 1945 a 1947, estudió grabado en la Escuela de Artes del Libro y en la Nacional de Artes Plásticas, en 1948. Llevó a cabo una destacada labor como ilustrador en libros y revistas editados por la SEP la UNAM, el INBA y otras editoriales. En l961 ingresó al Salón de la Plástica Mexicana y, a partir de l902, realizó un gran número de muestras individuales entre los que destacan la de pintura y grabado en el Museo de Arte Moderno del INBA, en 1981 y el homenaje que le rindió el Palacio de Bellas Artes, en 1993.
Don Quijote (1964; 516x780pix, 200kb) grainy grayscale print. —(080117)

1925 Gianni Dova, Italian artist who died on 14 October 1991. — (060116)

^ 1921 Tony Tuckson, in Egypt, Australian abstract expressionist painter who died on 24 November 1973.
Self-portrait No. 1 (1951; 245x300pix, 36kb) monochrome _ Tuckson was interested in jazz and improvisation. This life-size portrait shows Tuckson's confidence in painting and his interest in simplifying forms. In the paintings of this period Tuckson explored the themes of self and family. He improvised on these themes to create works that are both intimate and playful.
White over red on blue (1971, 214x244cm; 885x999pix, 135kb) _ This large painting is built up from layers of blue and red-brown pigment, roughly applied one over the other. Onto this ground, Tony Tuckson then applied the white paint in broad strokes or 'slaps' across and up and down the surface of the painting. The act of painting and the presence of his body in the making of the work become the dominant themes. The painting confronts the viewer through the energetic use of paint, the size of the work, and the stark use of light and dark. Tony Tuckson had collected Aboriginal grave posts from Melville Island. Often these were simply painted in ochres and clay, the ochre falling to the ground at the base of the post. There are interesting parallels to the ground and poles in Tuckson's painting. In Tuckson's paintings the poles are also a creamy white and the ground is red ochre. _ This has stimulated the pseudonymous Tommy Fenix to create
      _ Black over blue on red and other colors aka Tuck Cut (2006; screen filling, 241kb _ ZOOM to 1414x2000pix, 862kb)
TP 51 Swirl (1965, 122x183cm; 403x600pixel, 245kb gif)
TP 273c (1954, 50x40cm; 353x279pix, 83kb) a face
Two Women (25x39cm; 425x658pix, 78kb) distorted faces —(060117)

^ 1909 María Martorell, Argentinia geometrical painter. Nació en la provincia de Salta, y en 1942 se inició en la pintura con el maestro Ernesto M. Scotti. Sus primeros momentos se manifestaron en naturalezas muertas, figuras humanas y pasajes salteńos, donde el color surge en ricas gamas subordinadas a la forma natural con sensible realismo, que evidencian un profundo conocimiento de las estructuras formales. Sus viajes le permitieron a contemplar obras de un movimiento coherente, sustentado en la no figuración del sentido geométrico, representado por Arte Concreto Invención y Madí, que la llevaron a una profunda reflexión que gestó en ella un nuevo lenguaje plástico. En Espańa, aunque unida todavía a la figuración, comienza a manejar las formas estructurándolas con mayor síntesis, surgiendo así una pintura simple, en la que los colores sugieren una casi total bidimensión. En 1953 viajó a París, donde se vinculó con Vantongerloo, pilar del arte concreto europeo. Con todo este bagaje óptico y conceptual volvió a Salta en donde ya definió su tendencia netamente geométrica y se adentro en la experiencia de nuevos mundos pictóricos, trabajando con formas poligonales expresas. Fue un momento de líneas rectas y de colores parcos. En el 1961 viajó a Nueva York, donde se conectó con el mundo caótico del arte de esa ciudad, exacerbado con la neofiguración, el pop-art, los happenings el cinetismo y la desmaterialización de la obra. En este momento el color se erigió como el elemento plástico predominante en la obra de María, enganchándose en gamas de ricos matices surgiendo también las formas curvas, que se constituyeron en adelante en la impronta de la creadora. Algunas de sus obras son los óleos: Tema (1977); la serie Sigua (1974) y Silencio (1983).
Sunya (1971, 180x220cm; 247x300pix, 46kb gif) _ major detail (325x397pix, 103kb gif)
Iteración (1974, 43x62cm; kb gif)
Circuito (1976, 42x65cm; 218x300pix, 34kb gif) —(060119)

1908 Lyndon Raymond Dadswell, Australian artist who died on 07 November 1986. —(060116)

1906 Hans Aeschbacher, Zürich Swiss artist who died on 27 January 1980. —(060115)

1902 Émile Aillaud, in Mexico City, French artist who died on 29 December 1988. —(060115)

1901 Tomoyoshi Murayama, Tokyo Japanese artist who died on 22 March 1977. —(060117)

1898 Ichiro Fukuzawa, Japanese artist who died: on 16 October 1992. —(060116)

1894 Lucia Schultz (Moholy-Nagy), Czech photographer who died in Switzerland on 17 May 1989. In January 1921 she would marry László Moholy-Nagy [20 Jul 1895 – 24 Nov 1946]. — Related? to Lucia Moholy-Dessau? —(060117)

1897 Vasily Nikolayevich Chekrygin, Russian artist who died on 03 June 1922. —(060116)

1886 Petrus Alma, in Medan, Sumatra, Dutch artist who died on 23 May 1969. —(060115)

^ 1884 (1886?) (Julian or Gregorian?) Antoine Pevsner, born Natan Borisovich Pevzner in Belorussia, French Constructivist sculptor and painter who died on 12 April 1962, son of a metallurgy industrialist. Natan's brother Naum Borisovich Pevzner became a sculptor, who, in order to distinguish himself from Natan, assumed the name “Naum Gabo” [05 Aug 1890 – 23 Aug 1977]. They both grew up in Bryansk. Natan Pevzner studied at the School of Art in Kiev (1902-1909), where he first met Aleksandr Archipenko, and then spent a three-month probationary period at the Academy of Arts in SaintPetersburg. Among his early paintings, The Giant (1907) shows the influence of the Symbolist painter Mikhail Vrubel’, but Pevsner was also impressed by the Russian Byzantine tradition. — Gustav Klucis was a student of Pevsner. — LINKS
Spatial Construction #10 (1928 print, 74x56cm; 480x355pix, 14kb) _ This simplistic picture has been greatly elaborated by the pseudonymous Chivo Sirop in three progressive ways:
      _ Special Contraption aka Not On (2006; 707x1000pix, 180kb),
      _ Specious Contortion aka No Ton (2006; 707x1000pix, 452kb), and
      _ Spectral Constriction aka Tune Nut (2006; 707x1000pix, 491kb). —(060117)

1882 (06 Jan Julian) Iosif Grigor'yevich Langbard, Russian architect who died on 03 Jan 1951. —(060116)

1874 Guglielmo Zocchi, Italian artist.

^ 1869 Janos Tornyai, Hungarian painter who died on 20 September 1936. The son of day laborers, he studied at the School of Decorative Art in 1886-1888, then a guest student of Bertalan Székely, Károly Lotz and János Gregus in 1888-1889. He studied at the Julian Academy in Paris from 1894 where he was influenced by Munkácsy's art. He visited Germany and Italy in 1897, then returned to his native Hódmezovásárhely. He had hardly enough to keep body and soul together, and had a studio from 1903 only. He started to collect folklore products together with Gyula Rudnay and Béla Endre and they founded a school in Hódmezovásárhely to save folk pottery. He lived in Mártély from the 1910s onwards where he painted a series of landscapes on the Great Plain. He moved to Budapest in 1919. He worked in Szentendre for a few months in 1933-1934. He spent his last years in Hódmezovásárhely, but he painted hardly anything. First he was Munkácsy's follower in portraying peasants' lives. His major works from this period Rákóczi in Rodostó (1904), The Outlaw's Love (1907), and Miklós Nagy Bercsényi (1908). Heritage inspired him to paint landscapes with delicate colors (Well-Sweep, Hungarian Fate, etc.). In his late Szentendre period, colors became lighter and he was engaged in plein air (Woman in Green Coat, 1934, etc.).
Juss The Legacy (1920, 99x138cm; 698x988pix, 135kb)
25 images at Fine Arts in Hungary —(060117)

^ 1857 William Richard Lethaby, British architect, designer, writer on archaeology and medieval art, amateur draftsman and watercolorist, who died on 17 July 1931.
Stained Glass Window (418x289pix, 34kb)
6 monochrome watercolors at Tate —(060116)

1803 Francis Grant, British artist who died on 05 October 1878. —(060116)

1735 Jeremiah (or Jeremias) Meyer (or Majer; Meier), German artist who died in England on 20 Jan 1789. —(060117)

1733 (infant baptism) Samuel Hieronymous Grimm, in Switzerland, artist who died in London on 14 April 1794. —(060116)

1702 Petrus Johannes (or Pierre-Jean; Pieter Jan) van Reysschoot (or Rischoot; van Risquet) de Engelsen, Ghent Flemish artist who died on 24 February 1772. —(060117)

1674 Nicolas-Henry Tardieu, Parisian engraver who died on 27 January 1749. — Relative? of Jean-Charles Tardieu [1765-1830]? —(060117)

1575 (infant baptism) Wolfgang Neidhart II, German artist who died in 1632. —(060117)


click click


<<< ART 17 Jan
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” JAN 18 ||| ALTERNATE SITES
ART 19 Jan >>>
TO THE TOP
PLEASE CLICK HERE TO WRITE TO ART “4” JANUARY
http://www.safran-arts.com/42day/art/art4jan/art0118.html
http://www.intergate.com/~canu/art/art4jan/art0118.html
http://greatquotes.gq.nu/art/art4jan/art0118.html
updated Monday 18-Jan-2010 2:29 UT
Principal updates:
v.9.00 Sunday 18-Jan-2009 3:46 UT
v.8.00 Friday 18-Jan-2008 2:55 UT
v.7.00 Wednesday 17-Jan-2007 19:37 UT
v.6.01 Wednesday 18-Jan-2006 9:46 UT
Wednesday 28-Jan-2004 22:34 UT
Saturday 18-Jan-2003 4:04 UT

safe site site safe for children safe site