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DEATHS: 1632 JANSSENS 1962 LHOTE 1896 LEIGHTON
BIRTHS: 1806 MACLISE — 1585 VAN AVERCAMP 1708 BATONI
^ Died on 25 January 1632: Abraham Janssens van Nuyssen, Flemish figure and portrait painter born in 1775.
— Janssens was active mainly in Antwerp. He was in Rome in 1598 and back in Antwerp by 1601. A second visit to Italy seems likely, for although in 1601 he was painting in a Mannerist style (Diana and Callisto), by 1909 (Scaldis and Antwerpia) his work had become much more solid, sober, and classical, suggesting close knowledge of Caravaggio in particular. For the next decade Janssens was one of the most powerful and individual painters in Flanders, but during the 1620s his work became less remarkable as he fell under the all-pervasive influence of Rubens. His students included Gerard Seghers and Theodoor Rombouts.

LINKS
Scaldis and Antwerpia (1609, 174x308cm; 463x800pix, 85kb _ ZOOM to 750x1338pix, 155kb _ ZOOM+ to 1185x2048pix, 245kb) _ In addition to his favorite allegorical scenes, Abraham Janssens also painted religious and mythological themes. Janssens was slightly younger than Rubens, and for a time was his equal. After his visit to Italy, however, Rubens quickly surpassed him. Janssens painted Scaldis and Antwerpia for the State Room or 'Staetencamer' of Antwerp Town Hall. This decorative, allegorical work, commissioned by the city authorities, originally adorned the mantelpiece, and consists of a paean of praise to the city's main artery, the River Scheldt. The sharp contrast between light and dark recalls Caravaggio, who had a great influence upon many of the artists of the time.
Venus and Adonis (200x240cm; 740x882pix, 158kb) _ Janssens was a contemporary of Rubens. He alloyed the characteristics of the Flemish and Italian painting.
Pietà (600x572pix)
—(060122)
^ Born on 25 January 1806: Daniel Maclise, baptized on 02 February 1806, Irish painter, active in England, who died on 25 April 1870.
— Born in Cork, he made pencil portraits in Cork, and went to London in 1827 where he studied at the school of the Royal Academy. His frescoes in the Royal Gallery of the House of Lords, The Meeting of Wellington and Blücher (1861) and The Death of Nelson (1864) are his most notable works. He was also known as an illustrator of books for Tennyson and Dickens. His sketches of contemporaries in Fraser's Magazine (1830-1838) were published in 1874 and 1883. —He grew up in Cork where his father had set up as a shoemaker after discharge from the British army. In 1822 Maclise went to the Cork Institute where he began to draw from the newly arrived collection of casts made after the antique sculpture in the Vatican, laying the foundation of the strong draftsmanship that characterizes his mature work. Richard Sainthill, antiquary and connoisseur, encouraged Maclise and introduced him to local literary and artistic circles, which were influenced by the Romantic movement and interested in Irish antiquities and oral traditions. Maclise was a central figure in this early phase of the Irish revival, and maintained an interest in Irish subject-matter throughout his career; in 1833 he painted Snap Apple, and in 1841 contributed illustrations to Samuel Carter Hall’s Ireland: Its Scenery and Character. When Sir Walter Scott visited Cork in 1825, Maclise made a sketch of him that was lithographed, and that inaugurated his public career. He set up a studio in Cork where he specialized in finely penciled portrait drawings. During 1826 he traveled extensively in Co. Wicklow, Co. Tipperary and Co. Kerry, searching out picturesque views, although his landscape drawings were rather linear and old-fashioned, as in Moar Abbey near Cashel (1826).

LINKS
A Scene from Undine (1843, 45x61cm; 907x1252pix, 187kb) _ detail (1186x970pix, 194kb) _ The subject is based on a moment in the romantic German novel Undine by Friedrich de la Motte Fouqué [12 Feb 1777 – 23 Jan 1843], which was first translated into English in 1818 and became almost as popular with artists in England as Goethe's Faust. The incident painted by Maclise occurs in chapter IX, where the young knight, Huldbrand, accompanies his bride, Undine, back home through the forest. The priest, Father Heilmann, who has just performed the marriage ceremony, follows behind and is visible beneath the branch of the tree. Ahead is the dark and sinister apparition, Kuhleborn, the spirit of the waters and the uncle of Undine. Huldbrand draws his sword on Kuhleborn and then strikes him, whereupon the spirit of the waters is transformed into a waterfall. Clearly the painting illustrates the forces of good, represented by the newly married couple, overcoming the power of evil, symbolised by the looming figure of the water god. The narrative element of the picture is aligned on a diagonal, which is contained within a bower populated by elves, goblins and water-nymphs associated with the surrounding forest.
     The composition is a triumph of design with the main elements of the story formed by an ornamental border of considerable intricacy. Maclise used other such borders for several of his book illustrations including those for The Chimes by Charles Dickens of 1844 and Irish Melodies by Thomas Moore of 1845. Maclise has here relied on German sources for the decorative features, and was clearly influenced by German illustrators.
     Maclise was of Irish origin and in 1827 he came to London, where he almost immediately gained recognition as a portrait draftsman, drawing numerous likenesses for Eraser's Magazine. He painted historical and literary subjects, several as frescoes for the Palace of Westminster. Maclise formed close friendships with the novelists Charles Dickens and William Makepeace Thackeray as well as his compatriot, the poet Thomas Moore, and the politician Benjamin Disraeli. With all of these he shared an ebullience of character and a sense of humor, but this later gave way to melancholy and pessimism.
Merry Christmas in the Baron's Hall (1838; 241kb)
King Cophetua and the Beggarmaid (137kb)
The Marriage of Strongbow and Aoife (171kb)
Snap-Apple Night (166kb)
Charles Dickens (1839, 103kb)
Scene from Twelfth Night (Malvolio and the Countess) (1840, 74x125cm) _ This picture shows an incident in Act 3 scene 4 of Shakespeare's play Twelfth Night. Malvolio is a pompous steward in the household of the rich Countess Olivia. Fed up with his behavior, his colleagues trick him into believing that Olivia is in love with him. A forged letter in Olivia's name leads Malvolio to think that it is his yellow cross-gartered stockings which particularly attract her to him. Thus dressed, Malvolio's ridiculous appearance and behavior while he attempts to court Olivia in her garden leads to him being imprisoned as a madman.
The Play Scene in Hamlet (1842, 152x274cm) _ At the beginning of Shakespeare's play Hamlet, the ghost of Hamlet's father reveals that he was murdered by his own brother, Claudius, who is now king. Claudius had killed the king by pouring poison into his ear while he was asleep in his garden. Later in the play, Hamlet arranges for some strolling actors to put on a play in which the murder is re-enacted. Maclise shows the scene in the hall of Elsinore Castle during the performance. Claudius is about to leap to his feet and thereby expose his guilt.
The Faun and the Fairies (412x580pix, 57kb)
 
^ Born on 25 January 1585: Hendrick van Avercamp “de Stomme van Kampen”, Dutch painter who died on 15 May 1634.
— Active in Kampen, he was the most famous exponent of the winter landscape. He was deaf and dumb and known as “the mute of Kampen”. His paintings are colorful and lively, with carefully observed skaters, tobogganers, golfers, and pedestrians Avercamp's work enjoyed great popularity and he sold his drawings, many of which are tinted with watercolor, as finished pictures to be pasted into the albums of collectors. His nephew and student Barent Avercamp [1612-1679] carried on his style in an accomplished manner.

LINKS
–- A Winter Scene with Skaters near a Castle (1609, round 41cm diameter; 900x900pix, 181kb _ .ZOOM to 1350x1350pix, 180kb _ .ZOOM+ to 2700x2700pix, 1427kb) _ Avercamp’s lively picture is typical of his winter scenes in which men and women from every level of society enjoy themselves on the ice. Elegantly designed, the spindly silhouetted tree frames the castle behind, while the distance is lost in a frosty haze. The scene is imagined, no such castle existed, but Avercamp has filled it with carefully observed and witty incident and detail. Smartly dressed couples hold hands and skate into the picture, children play on the left and near the picture’s center a man crashes to the ice while his partner throws up her arms in horror.
Winter Landscape with Ice skaters (1608, 88x132cm) _ Crowds of people are on the ice in a scene that stretches far into the distance. There is considerable variety among the people, both in clothing and in what they are doing. Some of those portrayed are having fun, while others appear to be working. Avercamp has included several daring details, such as the couple making love, bare buttocks, and a man urinating. People are enjoying themselves in different ways. Of course, many are skating, on their own, in rows, or in pairs. Some people are playing kolf (a sport in which a ball is struck with a kolf stick, which is a cross between a golf club and a hockey stick; the object is to hit the poles on the kolf pitch; kolf was played both on land and on ice; for centuries, from the Middle Ages on, it was as popular in the Low Countries as football is today; West Friesland is the only place in which kolf is still played., a game resembling ice hockey). Others are playing with sleighs and sailing on the ice. For some the daily toil never stops. They are shown here engaged in their work. There is a reed cutter carrying a bunch of reeds; the eel fisher carries his trident over his shoulder and the fish in a net. Beside the brewery, recognizable from its signboard, a hole has been made in the ice so that water can be drawn out for brewing beer. A ragged person is begging for bread.
     Avercamp has included several anecdotes in his winter landscape. We see a bare behind emerging from a small boat, as well as a man urinating against a tree, another in a ditch, and a couple making love in a hay stack. The way the painter has signed this work is also humorous: on a tumbledown building in the right foreground the name 'Haenricus Av' appears on the wall like graffiti, with a small figure beside it. It has been suggested that fun on the ice refers to the slipperiness of the human condition. This would imply that the painting was meant as a lesson on morality. But whether this was what Avercamp intended is impossible to tell.
     Avercamp painted winter scenes throughout the year, partly based on sketches and partly from memory. Like other seventeenth-century artists he did not go outside to paint from nature, but worked indoors in his studio. He combined his sketches to form a single composition with the result that his perspective is not always accurate. In this painting the perspective is not quite right either. The trees in the foreground and the house in the center appear to be at eye level, while the brewery in the foreground is seen from above, from a kind of bird's-eye view. A high view point of this type is characteristic of early seventeenth-century landscapes such as this scene on the ice.
    Avercamp's typically Dutch winter scene has Flemish predecessors. This appears from the composition as well as from the bird trap in the foreground. The bird trap with its cage on a small stick is an exact copy of a well-known painting of that time by Pieter Bruegel (Landscape, 1565). Avercamp also appears to have emphasized the Flemish connection by painting the coat of arms of the city of Antwerp on the brewery building. The three-dimensional effect in this picture is remarkable. With its extreme depth Avercamp manages to include countless figures and anecdotal scenes.
     The weather is hazy, the light filtered. The colors fade into the distance and shapes become vague. In this 'atmospheric perspective' depth is suggested by change of color. The trees to the left and right of the small boat in the foreground emphasize the sense of depth and form a repoussoir. The viewer's gaze is carried into the distance, along the thickly frozen river. There are occasional red accents of color. In the foreground a small dog appears to be chasing its own shadow. In fact this is the first painted version of the dog that Avercamp apparently placed in the wrong position. Over the years the overpainting has become transparent.
Enjoying the Ice (1634, 25x38cm) _ There are all sorts of things going on in this flooded river landscape. It seems as though everyone is out on the ice in the freezing cold. In the foreground kolf (^) is being played and there are people skating everywhere. At the same time there are also people working: on the right someone is fishing for eels with a long spike and on the left of the foreground a workman is walking with a hay fork and waders over his shoulder. The view of the meadows is framed by buildings. In the distance a sort of fairy-tale castle looms up. On the left is a village and further up a small city can be seen. In the village the Dutch flag is flying on a long flagpole. Is this a celebration?
Fishermen by Moonlight (1625, 14x19cm) _ In the pale moonlight fishermen are working on a river while fire glows in the distance where boats are being repaired. Hendrick Avercamp has conjured the nocturnal atmosphere with masterly skill. After drawing the design in pen and ink, the artist added body color over the entire surface of the composition. The contours of the figures are clearly outlined: this type of paint cannot be mixed and each brushstroke remains separate, requiring the artist to work with utmost control. Thus the glistening reflection of the moonlight on the water is rendered solely with cross-hatching in white body color. 'Paintings on paper' like this were intended for display as autonomous works of art. They were a cheap alternative to oil paintings.
     Avercamp learned his trade from Pieter Isackszoon in Amsterdam. His work also betrays the influence of Flemish landscape painters such as Gillis van Coninxloo. The Flemish tradition is discernable in Avercamp's early work. These are narrative pieces: landscapes with high horizons and staffage. Later, winter landscapes became his specialty. Avercamp's drawings were often intended as preparatory sketches for paintings, although he also produced autonomous works on paper, like this nocturnal scene.
River Landscape (18x28cm) _ After an apprenticeship in Amsterdam with portrait and historical painter Pieter Isackszoon, Hendrick Avercamp began to specialize in painting winter landscapes. In composing these he drew on a large supply of sketches of individual figures drawn from life. These rapid sketches of people going about their daily activities and pastimes on the ice or in the open field also served for composing, back in the studio, more developed, colored drawings such as this River Landscape. His lively pen, the bright color contrasts and the spatial continuity between the foreground and middle ground provide this scene with a freshness characteristic of the innovative middle period of Avercamp's career. The drawing attracts us with its narrative and realistic style. It is also very ingeniously structured, as can be seen in the skilful positioning of the man on the shore in the left-hand foreground, and in the lively interaction between the wind-swelled sails of the smaller and larger ships. The fishermen look on motionless, revealing the sober, at times humorous but never mocking eye that Avercamp casts on his surroundings.
      The contours of the figures are drawn in pen and the intervening space is carefully filled in with water color and body color. Avercamp probably borrowed the use of aquarelle and gouache from Jan Brueghel the Elder and the Flemish emigrants living in Amsterdam, such as Hans Bol, Jacob Savery and David Vinckboons, whose works he had got to know during his apprenticeship with Pieter Isackszoon Avercamp was one of the first Dutch draftsmen who in the early 17th century developed this aquarelle technique specifically as a separate, independent art form. His pen drawings, illuminated with water colors, were so carefully finished and richly detailed that they were highly sought after by connoisseurs and art lovers. Indeed some were not, as was customary, kept in albums, but glued to panels and framed, and hung as a cheap alternative to paintings. Avercamp directed his efforts not only at the local art market in and around Kampen, but also and in particular at that of Amsterdam, where, according to contemporary documents, he was held in high renown.
A Scene on the Ice near a Town (1615, 58x90cm) _ Hendrick Avercamp was known as de stom van Kampen (the mute of Kampen) because he was dumb. He was baptized in the Old Church in Amsterdam on 27 January 1585 but in the following year his parents moved to Kampen where his father was the town apothecary. Avercamp seems to have trained in Amsterdam with Pieter Isackszoon, who was a history painter, portraitist and draftsman in an elegant, late Mannerist style quite unlike that of Avercamp. Avercamp's manner is based in the first place on that of the Flemish followers of Pieter Bruegel the Elder and he presumably came into contact with some of his followers who had settled in Amsterdam, such as David Vinckboons. Avercamp developed the style of Bruegel and Vinckboons in the direction of more decorative effects, creating scenes crammed with small figures and full of incident. He also possessed a refined sense of color, carefully placing pinks, reds, blacks and whites with touches of yellow and green to create delicate and subtle effects. He principally painted winter scenes and made many watercolors of these and of fishermen and peasants: a large group of these watercolors is in the Royal Collection.
      There are dated paintings by Avercamp from 1608 until 1632 but they show relatively little development in style: the earlier paintings are more 'Flemish', that is, closer to Bruegel and his followers; but once he had mastered a successful style Avercamp saw little need to change it substantially. The dating of paintings which do not bear a date is therefore difficult but this particular winter landscape appears to be from about 1615. It has been supposed that the building on the right is the Half Moon Brewery at Kampen but only a few barrels outside suggest it is a brewery, and the vaguely indicated town in the distance does not seem to be Kampen. The tower is closer to that of the Sint Cunerakerk in Rhenen. Avercamp was buried in the Sint Nicolaaskerk in Kampen. His nephew, Barent Pieterszoon Avercamp, who also lived and worked for much of his life in Kampen, was a close follower, as was Arent Arentszoon of Amsterdam.
Winter Landscape with Sledders (1620, 19×36 cm; 400x800pix, 63kb _ ZOOM to 2049x4096pix, 538kb)
Skaters (1615, 24x38cm; 516x800pix, 94kb _ ZOOM to 2062x3200pix, 595kb)
Winter Scene on a Canal _ Avercamp spent most of his life in the small quiet town of Kampen on the eastern shore of the Zuider Zee. Residence relatively far from the principal artistic centers of the Netherlands helps to explain why this delightful artist, who discovered the pictorial qualities of flat landscapes and was the first to specialize in winter scenes of outdoor sport and leisure, had little influence on the development of Dutch landscape painting.
      Avercamp's pictures peopled with motley crowds of all ages and classes skating, sledging, golfing, and fishing on the frozen canals of Holland fascinate social historians as well as art historians. The latter sometimes find him a troublesome painter, because it is difficult to trace his development. The plain fact seems to be that he did not have a marked one. From the very beginning he could paint a landscape with a high horizon, a great accumulation of detail, and a number of light colors, or one with a low horizon, few details, and vivid colors in the foreground which lighten as they recede to the distance. The two possibilities existed simultaneously and could be used at will until the end of his career, depending on either the artist's, or his patron's predilections.
Winter Landscape (1610, 25x34cm) _ Avercamp's early Winter Landscape, with its general view and colorful narrative character, is very much in the tradition of the famous winter landscapes by Pieter Bruegel the Elder. But Avercamp's winter landscapes painted after the 1620s - reflecting the trends of the period - are composed with the now fashionable low horizon and vanishing-point perspective.
—(060125)

Died on a 25 January:

^ 1992 Manuel Hernández Mompó, Spanish painter born on 10 October 1927. El empezó sus estudios en la Escuela de Artes y Oficios de Valencia a los trece años. Hizo entonces sus primeras ilustraciones de cuentos. Tres años después de la guerra civil ingresó en la Escuela de Bellas Artes de San Carlos, de Valencia. Entonces conoció a Javier Calvo, que le influyó decisivamente en su ruptura con el academicismo. En 1950 llegó a París, donde permaneció unos seis meses. En 1953 consiguió una beca para ir a Italia a la Academia Española de Bellas Artes en Roma. Su pintura, de un cubismo analítico, lineal, y de colores sombríos, comenzó a transformarse al residir un año en Holanda y conocer la obra del grupo Cobra, cuyo cromatismo le impactó. Regresó con su familia a Madrid en 1957. Durante esos años hizo sobre todo obra sobre papel, con gouache u óleo. Sus cuadros se poblaron de pequeños seres, en un verdadero microcosmos animado. Esos personajes se fueron esquematizando hasta convertirse en signos abstractos que junto con el color y la luz conforman su mundo. En 1963 pasó un verano en la isla de Ibiza que marcó profundamente su obra. Los colores se hicieron más luminosos, y trabajó con formatos más grandes. El blanco de los fondos se convirtió en un espacio abierto donde pululaban signos vivos. En las últimas décadas creó una serie de pinturas sobre metacrilato, así como experiencias escultóricas en metal pintado. Falleció en Madrid.
Trampolín (1961, 17x25cm; 500x743pix, 61kb)
Pareja de enamorados (1971, 36x25cm; 643x450pix, 67kb)
Firmamento (1973, 12x31cm; 424x640pix, 25 kb) _ The pseudonymous Hernán de Monpote y Maidussien has taken up the challenge of transforming this picture into something worthwhile and has created in succession
      _ Firmamente aka Rife Fir (2006; screen filling, 175kb _ ZOOM to 1000x1414pix, 437kb),
      _ Firma de Mente aka Rift Fir (2006; screen filling, 216kb _ ZOOM to 1000x1414pix, 386kb),
      _ Firma Demente aka Turf Rut (2006; screen filling, 140kb _ ZOOM to 1000x1414pix, 345kb), and
      _ Firma de Menta aka Tarp Rat (2006; screen filling, 168kb _ ZOOM to 1000x1414pix, 360kb).
Fiesta en el puerto (130x110cm; 480x359pix, 29kb) 30 separate quick doodles
Gente saliendo del Gris (130x97cm; 480x349pix, 14kb) a small irregular-sided dark blue-gray square in the center, surrounded by 36 separate quick faint doodles. Monpote has succeeded in regrouping those doodles into 48% of the area, producing
      _ Volviendo al Gris (2006; 480x349pix, 14kb), which, after trimming, became
      _ Volviendo al Gris Sin Espacios Vacíos (2006; 265x301pix, 11kb), and then, made denser by adding more Monpó doodles,
      _ Muchos Volviendo al Gris Sin Espacios Vacíos (2006; 265x301pix, 17kb), but that was still almost as dull as Monpó's picture, so Monpote gave it growth hormones and a thorough beauty treatment, resulting in
      _ Festejando al Amarillo aka Nip In (2006; screen filling, 438kb).
— (untitled?) (608x450pix, 156kb gif)
— (graffiti?) (457x611pix, 23kb)
Casa con paisaje (1979, 50x70cm; 424x640, 18kb)
Paisaje (1980, 50x70cm; 424x640pix, 32kb)
Multitud en grises (1961, 50x33cm; 480x318pix, 50kb) monochrome
Untitled (1966, 38x46cm; 480x566pix, 16kb) a large off-white blank rectangle with top and bottom borders decorated with nondescript yellow designs.
Untitled (1978, 32x44cm; 43kb) a small step in the direction of Monpote: less blank space, a bit more color, some semblance of symmetry.
16 images at Galería Rayuela
12 more images at Galería Rayuela —(060123)

1962 André Lhote, French Cubist painter and sculptor born (full coverage) on 05 July 1885. —(060123)

>1955 Sydney “Sid” Long, in London, Australian painter born on 20 August 1871.
–- Farmhouse (745x1059pix, 109kb)
–- Evening (967x800pix, 59kb)
–- Creeping Shadows (297x800pix, 34kb) messy —(070124)

^ 1927 Pompeo Mariani, Italian painter born on 09 September 1857. — Relative of Camillo Mariani, Carlo Maria Mariani ? — Pompeo Mariani é un grande pittore di marine. Nipote di Mosè Bianchi egli seguì sino in fondo la sua passione per l'arte votando la sua vita alla pittura. Fu ritrattista e paesaggista. Nel 1898 venne a svernare a Bordighera e, Marianisubito, come Kleudgen fu attratto dal mare, dai pescatori dell'Arziglia e naturalmente dagli ulivi e le palme. Fu nel 1909 che divenne ospite permanente di Bordighera e fra la Città Vecchia e la Via dei Colli fece costruire la sua villa che porta ancora oggi il suo nome e nel grande giardino lo studio, la famosa Specola. La vicinanza di Montecarlo gli ispirò deliziosi quadri e bozzetti di vita mondana, ma il suo fedele amico, la sua fonte d'ispirazione fu il mare che dominava dalla sua Specola e che rappresentò in tutti i suoi aspetti. Dopo numerose esposizioni la sua fama andò sempre aumentando. Verso il settantesimo anno la salute dell'illustre artista cominciò a declinare.— He was born in Monza. His mother was Giulia Bianchi (Mose Bianchi's sister) and his father was professor Martino Mariani. After attending the secondary school (liceo) he started in 1879 working as a bank clerk in Milan, following his father's advice. But soon, thanks to his friend Uberto dell'Orto, he was apprenticed to the painter Eleuterio Pagliano. In 1883 Porto di Genova, a night scene, is shown at the Brera Exhibition. It was made in 1882 during a period spent at his sister's house. In the same year he takes part in the International Exhibition in Nice and in the National Exhibition of Fine Arts in Rome. In 1884 he opens his first studio at Villa Sala in Monza; he wins the award "Principe Umberto" thanks to the painting Saluto del Sol Morente shown at the Brera Academy. In 1885 he receives the silver medal at the International Exhibition at the Crystal Palace for the painting L'Onda. In 1886, after his father's death, he moves with his family to Prince Porcia's house. In 1887 Four paintings are shown at the first International Exhibition of Arts in Venice: Ritratto della Contessa Rossi Martini, L'Onda, Pescatori di Notte, L'Ora che Volge al Desio. In 1888, with his works Tramonto nel Porto di Genova and Sorge la Luna he wins the golden medal at the 3rd International Exposition in Munich. In 1889 he paints the bust of King Umberto for the Cappella Palatina in Rome. He takes part in the Universal Exposition of Paris with his works Cantuccio di Primavera and Acqua a Catinelle. In 1898 he paints Rittratto della Signora Beddicom con la Figlia that will be shown the following year at the Royal Academy. In 1900 he settles in Milan for four years and is appointed Councillor of the Brera Academy by the ministry of Education. In 1906 he partecipates in the International Exposition of Milan with the paintings In Val Seriana, Interno di Caffé, All'Eden, La Violetta, Impressione, and with seventeen monotypes. in 1907 he gets marries opera singer Marcelllina Caronni, nicknamed "La nana" (the dwarf). In 1909 he returns to Bordighera and goes to live in via della Madonnetta (today called via P. Mariani) in the villa that had belonged to Senator Agnelli. In 1914, after his mother's death Mariani devotes himself to a welfare institution for the combatants. In 1923, at the Gallery Pesaro in Milan there is an exhibition, organized by the artist himself, with 348 paintings, among which Ricordi del Vecchio Cairo, Impressioni di Genova, Ricordi di Monzo, Vita di Bordighera, Impressioni di Montecarlo. In 1927 he dies in Bordighera.
In Zelata (49x74cm; 333x510pix, 55kb)
Ragazza in giardino (1898, 54x39cm; 661x473pix, 61kb)
Marina (1887, 80x109cm; 253x350pix, 24kb)

^ 1925 Harry Kramer, German painter specialized in scribbles, who died in 1997.
Hither (2005, 50x40cm; 480x386pix, 49kb)
Big Bite (2005, 50x40cm)
Big Dog (2005, 152x183cm)
Chicken Little (2005)
Infidel (2002)
King of Kong (2005)
Secret Love (2005)
What Was the Question (2005, 152x183cm; 480x570pix, 47kb) _ These eight scribbly pictures have been combined and enhanced by the pseudonymous Ira Remark to make the colorful and complex
      _ The Question Is Whether When the Secret Love of the Infidel Got the Big Dog to Bite the Little Chicken King Kong Was Right to Hit Her aka Mare Rame (2006; screen filling, 216kb _ ZOOM to 1414x2000pix, 666kb),
      _ That Is the Question aka Ramp Mar (2006; screen filling, 259kb _ ZOOM to 1414x2000pix, 777kb), and
      _ The Question Is That aka Mark Ram (2006; screen filling, 260kb _ ZOOM to 1414x2000pix, 775kb), —(060123)

>1907 Felix-Joseph Barrias, Parisian artist born on 13 September 1822. —(060122)

1896 Frederick Leighton, English painter born (full coverage) on 03 December 1830. —(051202)

1896 Vicente Palmaroli González [1834–], Spanish painter born (main coverage) on 05 September 1834. —(100124)

^ 1891 Karl Stauffer~Bern, suicide, Swiss printmaker, painter, sculptor, and poet, born on 02 September 1857. He first took lessons in Berne from Paul Volmar [1832–1906] and worked as an apprentice in the arts and crafts doing plastering, decorative painting and nature studies. In 1876 he was awarded a scholarship enabling him to study at the Akademie der Bildenden Künste in Munich under Johann Leonhard Raab [1825–1899], Wilhelm von Dietz [1839–1907] and Ludwig von Löfftz [1845–1910]. In 1880 he transferred to Berlin, where he worked briefly under Anton von Werner, although he did not form a very high opinion of him. After winning an award in 1881 for his oil painting of the sculptor Max Klein, he quickly became sought after as a portrait painter. From 1884, under the guidance of the printmaker Peter Halm [1854–>1914], he began to do the etchings upon which his fame rests. These include portraits of Gustav Freytag (1886), Conrad Ferdinand Meyer (1887) and Gottfried Keller (1887). His work is distinguished by superbly handled anatomical knowledge, a sure grasp of character, and sound mastery of the technique. In 1888 he moved to Rome, where he finally turned to sculpture. His aim was to create a Gesamtkunstwerk; however, only the Praying Figure (1890 bronze) was actually made. His affair with Lydia Welti-Escher, with whom he fled to Italy in 1889, had a profound effect on his life. After spending some time in prison, he was handed over to a mental asylum in Florence where he wrote poems that are a mixture of reason and madness. After his release in March 1890 he intended to engrave the work of Hans von Marées, and he entered a competition for the monument to Adrian von Bubenberg. However, in 1891 he committed suicide.
Gustav Freytag (1886; 600x448pix _ ZOOM to 1400x1046pix)

1864 (or 26 Jan?) Simon Marcus Larson, Swedish painter born on 05 January 1825. He was trained briefly as a saddler before gaining entrance to the Konstakademi in Stockholm. In 1848 he won a prize for a study of a tree: the study of nature formed an important foundation for the careful, detailed realism that distinguishes his magnificently composed landscapes. Although Larson’s artistic career lasted only 16 years, his output was considerable. His earliest paintings are predominantly moonlit scenes, influenced by the Swedish romantic landscape painter Carl Johan Fahlcrantz. A stay in Helsingborg in 1849 opened Larson’s eyes to the beauty of the sea. He learnt the technique of painting water from the Danish marine painter Vilhelm Melbye [1824–1882], and he soon developed it to a level of virtuosity. A considerable part of Larson’s oeuvre consists of vessels in storms, shipwrecks, and burning steamships, where the foaming sea plays a prominent role. He collaborated on such paintings as Shipwreck on the Swedish Coast (1853) with his friend Kilian Zoll, who added the figures, and at other times with the marine officer P. W. Cedergren [1823–1896], who did such details as the vessels’ rigging. — He was not related to Carl Larsson [28 May 1853 – 22 Jan 1919].

^ >1818 Elias Martin, Stockholm Swedish artist baptized as an infant on 08 March 1739. — LINKS
View of Stockholm (600x947pix, 204kb _ ZOOM to 1400x2210pix)
–- different View of Stockholm (834x1350pix, 144kb) in much worse condition: discolored and with what looks like splash marks in the 2/3 that is sky..
Construction of the Sveaborg Fortress (1765, 49x60cm; 575x701pix, 201kb) badly yellowed and crackled.
Johan Fredrik Martin (22x17cm; 715x560pix, 36kb)
Drottninggatan (1808, 62x92cm; 522x767pix, 54kb)
Horseman and Other Persons in a Landscape with Gateway and Campanile (19x17cm)
All Italy is like a Garden (1786 colored etching, 12x10cm; 570x452pix, kb)
38 small images at Royal Academy —(070124)

1812 (burial) Henry Benbridge, Philadelphia artist baptized as an infant on 27 May 1744. —(060122)

1798 Christoph (or Cristoforo) Unterberger, in Rome, artist born in Cavalese, Italy on 27 May 1732. {You don't believe that makes him Italian? Well, who knows, perhaps he didn't either} —(060122)

1792 Fedele Fischetti, Napolitan artist born on 30 March 1732.. —(060122)

1790 Moritz Michael Daffinger, Austrian artist who died on 21 (22?) August 1849.

1770 Paul Crespin, English artist born in 1694. —(060122)

1632 (burial) Abraham Janssen (or Janssens) van Nuyssen, Flemish artist born in 1575 —(060123)

1586 Lucas Cranach II, German artist born on 04 October 1515. —(060123)


Born on a 25 January:


>1931 Eugene Hyde, Jamaican painter who died on 15 June 1980. In 1953 he left Jamaica to study advertising design at the Art Center School in Los Angeles. In 1955 he moved to the Los Angeles County Art Institute, where he studied painting and graphic art for five years. He returned to Jamaica in the early 1960s and continued to work in advertising while painting and exhibiting regularly. In the 1960s and 1970s, along with Karl Parboosingh [1923–1975], he became a major force in the development of abstract art in Jamaica, and in 1970 he established in Kingston the John Peartree Gallery, which for ten years was to be the principal venue for exhibitions of abstract and modernist art in Jamaica. Hyde's own art ranged from an Expressionism influenced by the US painter Rice Lebrun [1900–] in California in the late 1950s, to a more abstract vision developed in Jamaica in the 1960s and 1970s, where the Abstract Expressionist style of New York provided the technical basis for extended series devoted principally to dance, the female nude and Jamaican flora. After 1975 his figurative Expressionism resurfaced, but with added psychological dimensions inspired by artists such as Francis Bacon. He began to depict the social outcasts, the homeless and the deranged who roamed the streets of Kingston, whom he called “the casualties”. For Hyde, this would be the fate of all Jamaicans if the march towards Communism in Jamaica was not halted. In painting after painting he denounced his country's government. —(100124)

1925 Raul Corrales, Cuban {but not Cubist) photographer. —(060122)

^ 1923 Raul Alonso, Argentinian painter who died on 31 July 1993.
Figura Vertical (287x213pix, 13kb) _ The pseudonymous Raoul Allons-Sots felt challenged by this miserably small image of a dull abstracion to make something grander and more colorful out of it. He came up with the deeper abstractions
      _ Figure de Ver aka Ola Alo (2006; screen filling, 205kb _ ZOOM to 1414x2000pix, 849kb) and
      _ Figue Verte aka Alo Ola (2006; screen filling, 301kb _ ZOOM to 1414x2000pix, 1617kb), which has nothing but the name in common with
      _ Figue Verte (400x550pix, 47kb) by Ola. Figure de Ver has nothing in common with any worm face attack, nor with this Worm Face (a mask) or any other.
links to 41 small images —(060121)

>1911 Lorenzo Goñi Suárez [–11 Mar 1992], Spanish painter, draftsman, and engraver.
Los Signos de Magia Gitana (1988, 50x65cm; 1060x1413pix, 149kb)
Aidez l'Espagne (1014x810pix, 136kb) postage stamp design.
Bogavante (1975, 55x70cm; 549x711pix, 143kb)
42 images at lorenzogoni.com mostly small ones. —(100124)

1901 Max Ernst Haefeli, Swiss architect and designer who died on 17 June 1976. —(060123)

1894 Pietro Lingeri, Tremezzo Italian architect who on 15 May 1968. — (It is suspected that he didn't go into painting, because he was afraid that people would make fun of Lingeri lingerie pictures.} —(060123)

^ 1890 Manuel Cabré, Catalan-born Venezuelan painter, specialized in the El Ávila mountain and the Valle de Caracas, who died on 05 February 1984. Son of the sculptor Angel Cabré. Manuel Cabré nació en Barcelona. Hijo del escultor Angel Cabré y Magriñá, vino con éste a Caracas cuando contaba pocos años. Ingresó a la Academia de Bellas Artes de Caracas en 1904, donde fue alumno de Herrera Toro y Mauri. En 1909 contribuyó al movimiento insurreccional conocido tres años más tarde como el Circulo de Bellas Artes, agrupación que sirvió de puente al desarrollo de los principios del impresionismo en Venezuela. Su carrera ha sido una de las más fecundas del arte venezolano, y se inició en 1907 cuando obtuvo uno de los premios de la exposición de fin de curso en la Academia. Vivió en París entre 1920 y 1931. Obtuvo el Premio Nacional de Pintura en 1948. Cabré puede ser considerado como el más notable de los pintores de la Escuela de Caracas, a la que su concepción arquitectónica de formas y volúmenes en perspectiva ayuda a definir. Su obra se caracteriza por la monumentalidad del espacio y por una precisión en la representación a distancia que pareciera anunciar, desde la década del 40, al hiperrealismo.
–- Vista del Avila desde el Country Club (1122x1398pix, 149kb) .
–- The Country Club, Caracas (796x1400pix, 79kb) .
–- Paisaje Andino (990x1400pix, 144kb)
La Silla de Caracas: Ávila (1920; 635x820pix, 93kb)
Vista al Ávila desde Sarría (1952, 76x130cm; 300x512pix, 26kb)
Tarde de Agosto (1945, 68x97cm; 300x438pix, 27kb) view of El Ávila.
— (mountain landscape 1) (480x640pix, 228kb gif) _ Guess which mountain (clue: its name begins and ends with an A).
— (mountain landscape 2) (480x640pix, 219kb gif) _ same mountain, different view.
— (mountain landscape 3) (480x640pix, 226kb gif) _ same mountain, different view.
— (mountain landscape 4) (480x640pix, 288kb gif) _ foothills of same mountain.
— (mountain landscape 5) (480x640pix, 211kb gif) _ same mountain probably, quite different view certainly.
— (mountain landscape 6) (480x640pix, 215kb gif) _ same mountain, different view.
— (mountain landscape 7) (480x640pix, 242kb gif) _ same mountain, different view.
— (mountain landscape 8) (480x640pix, 232kb gif) _ same mountain, different view.
— (mountain landscape 9) (640x480pix, 234kb gif) _ same mountain, different view.
— (mountain landscape 10) (480x640pix, 229kb gif) _ same mountain, different view.
— (mountain landscape 11) (480x640pix, 222kb gif) _ one extremity of the same mountain, different view.
— (mountain landscape 12) (480x640pix, 220kb gif) _ same mountain, different view. —(070124)

1872 (1871?) Mary Eleanor Fortescue-Brickdale, English Pre-Raphaelite illustrator, painter, and designer, who died on 10 March 1945. She entered the Royal Academy Schools, London, and won a prize for a mural design in 1897. She specialized in book illustration, in pen and ink and later in color. Among her many commissions were illustrations to Tennyson’s Poems (1905) and Idylls of the King (1911) and Browning’s Pippa Passes (1908). She was particularly popular with the publishers of the lavishly illustrated gift-books fashionable in the Edwardian era. She exhibited regularly at the Royal Academy and the Royal Water-Colour Society. She took up stained-glass design (windows in Bristol Cathedral), which modified her style of illustration to flat areas of color within black outlines. She also painted plaster figurines and designed bookplates. — LINKS
Today for Me (1901, 51x35cm)
Head of a Tudor Girl (_ZOOMable)
They toil not, neither do they spin (1903, 40x26cm)
Madame Placid (36x26cm)
Mary For All Generations (76x193cm)
Spring (25x51cm)
The Rose (36x26cm; 1000x738pix, 199kb) _ inscribed verso:
          The Rose
A Rose, as fair as ever saw the north,
Grew in a little garden all alone;
By William Browne of Tavistock
The Wise and Foolish Virgins
The Introduction (500x324pix, 76kb) of leprochauns to a delighted girl. —(060124)

1870 Hugo Vilfred Pedersen (or Petersen), Danish artist who died in 1959.

1865 Reinhold Karl Felderhoff, German sculptor who died on 18 December 1919. —(060123)

1857 Alexander-Demetrius Goltz, Hungarian artist who died in 1944. — {I don't find any Goltz goats paintings, or any other Goltz paintings, reproduced on the Internet}.

1857 Max Nonnenbruch, German artist who died on 13 March 1922. — {Nonnenbruch: nun's fracture?}

1851 Adolfo Tommasi, Italian artist who died on 04 October 1933.

1846 Paul Joseph Blanc, Paris artist who died on 05 July 1904 —(060122)

1846 August Andreas Jerndorff, Danish artist who died on 28 July 1906 —(060123)

1841 Cornelis Van Leemputten, Belgian artist who died on 23 November 1902. —(060122)

^ 1834 Otto Scholderer, German painter who died on 22 January 1902. He studied from 1849 to 1852 at the Städel Institut in Frankfurt am Main under Johann David Passavant and the genre painter Jakob Becker [1810–1872]. Scholderer’s early works are imbued with the Biedermeier values of domestic comfort and security, as in Group of Children: Adolf, Albert and Paul Müller (1856). In Frankfurt am Main Scholderer became friendly with the painter Viktor Müller [1829–1871], one of the most passionate champions of modern French painting in Germany. In 1857, with Müller’s help, Scholderer went to Paris, where he came to know the French painter Henri Fantin-Latour, who later introduced him to Edouard Manet. After returning to Frankfurt in 1858, Scholderer stayed for a while at Kronberg in the Taunus Mountains and at Kimbach in the Schwarzwald. From 1866 Scholderer was in Düsseldorf, where he became friendly with Hans Thoma. Works from this period include the Landscape with a Stream (1868). — LINKS
Self-Portrait (1862; 700x510pix, 62kb)
Self-Portrait (1875; 700x562pix, 80kb)
Self-Portrait (1886; 700x542pix, 95kb)
The Flower Arrangement (1900, 115x95cm)
The Artist's Wife (1872; 420x502pix, 34kb) _ The artist made several portraits of Luise Steurwaldt, whom he married at Roehampton on 11 February 1872. This work may be a study for a larger painting, dated 1873, where the sitter wears the same costume but holds a European fan, rather than the Japanese one shown here.
Stilleben mit Birnen und Kirschen (1901; 600x1056pix)
Blumenbinderin (1869, 84x64cm; 400x304pix, 17kb _ ZOOM to 751x576pix, 58kb _ ZOOM+ to 1126x864pix, 130kb) _ This has led the pseudonymous Sedici L. Bower (whose parents did not name him that, but, if they had, it would have been because they were convinced that he would become at least twice as good as anyone named Otto) to ask some questions, to which he has provided pictorial answers:
    1) What if the flower binder had turned her head? Answer:
      _ Blumendinberin (2005; 751x576pix, 58kb _ ZOOM to 1126x864pix, 130kb)
    2) What if the flower binder had four arms? Answer:
      _ Doppelblumenbinderin, aka Bomb Mob, more for the sake of a palindromic title for a nearly symmetrical picture than under the ludicrous theory that the wires hanging from the “flowers” show that these are really camouflaged detonators for suicide bombers (2005; 751x975pix, 101kb _ ZOOM to 1126x1462pix, 242kb)
   3) What might a Doppelblumenbinderin from an other galaxy look like? Answer:
      _ Extraterrestrial Doppelblumenbinderin, aka Band Nab, another palindrome, (2005; 751x975pix, 154kb _ ZOOM to 1126x1462pix, 445kb) —(051202)

^ 1832 (13 Jan Julian) Ivan Ivanovich Shishkin [–1898], Russian landscape painter. He studied at the Moscow School of Painting, Sculpture and Architecture for 4 years, then attended the Saint Petersburg Imperial Academy of Arts from 1856 to 1860. In 1865 Shishkin became a member of the Academy, and later a professor. At the same time, Shishkin headed the landscape painting class at the Higher Art School. For some time, Shishkin lived and worked in Switzerland and Germany. On his return to Saint Petersburg, he became a member of the Circle of the Itinerants and of the Society of Russian Watercolorists. Shishkin's painting method was based on analytical studies of nature. He became famous for his forest landscapes, but was also an outstanding draftsman and a printmaker. — LINKS
The Forest Clearing (1896; 534x800pix, 133kb _ ZOOM to 2880x4316pix, 2625kb)
21 images at Wikimedia —(080602)

1829 Carlos de Haes [–17 Jun 1898], Belgian-born Spanish landscape painter. His students included Aureliano de Beruete [], Darío de Regoyos [], Agustín Riancho, and Jaime Morera. — LINKS
Los picos de Europa (1876, 167x123cm; 800x621pix, 112kb)
Tileworks in the Principe Pio Mountains (540x850pix, size: 136kb) —(090124)

1828 Charles Allston Collins, Londoner artist who died on 09 April 1873. —(060122)

1816 Hermann Werner, German artist who died in February 1905.

1801 Joseph Brian, French artist who died on 01 May 1861 —(060123)

1786 Benjamin Robert Haydon, English painter who died (main coverage) on 22 June 1846. —(060123)

1744 François-Joseph Janssens, Brussels Belgian artist who died on 22 December 1816 —(060123)

1732 Claude-François Devosges (or Devosge) III, French artist who died on 22 December 1811 —(060122)

1708 Pompeo Girolamo Batoni, Italian painter who died (full coverage) on 04 February 1787. —(070203)

1626 (infant baptism) Jan van Cappelle, Amsterdam Dutch artist who was buried on 22 December 1679. —(060122)

1615 Govaert Flinck, Dutch artist who died on 02 February 1660. —(060122)

1614 (infant baptism) Joannes (or Jan; Jean) Cardon, Antwerp Flemish artist who died before 07 April 1656. —(060123)

1574 Lucas Franchoys I, Mechelen, Flanders, portrait and figure painter who died on 16 September 1643. He probably trained both his sons, Pieter Franchoys and Lucas Franchoys II [28 Jun 1616 – 03 Apr 1681], as well as Nicolas Smeyers [–1645], Antoon Imbrechts, and Eloi Bonnejonne [–1695], who married one of his daughters.


Happened on a 25 January:


+ ZOOM IN +2007 At the Hal Marcus Gallery n El Paso, Texas, opening of Sacred Earth, the first one-man show of the landscape painter Friar Vincent Petersen, which runs through 02 March 2007. He grew up in rural Minnesota. In 1980 he received a a B.A. in Studio Arts from St. Louis University and a Master of Divinity degree from Washington Theological Union. He joined the the Conventual Franciscan order and, in 1985, was ordained a priest. Since then he has worked in a variety of parish and retreat ministries, and in foreign missions. In El Paso he is vicar of the parish of San Antonio de Padua and convener of Pax Christi.
     Petersen rarely includes human structures such as roads or buildings in his paintings. He prefers to depict unblemished landscapes. Working from memory, he seeks to inspire a love of God's unblemished creation.
–- Luminous Twilight (2005, 61x91cm; 870x1242pix, 271kb) _ Compare
      _ Luminous Twilight (1022x1280pix, 109kb) by Eralis.
      _ Midsummer Twilight (1888, 82x89cm) by Metcalf
      _ Summer Twilight (58x49cm) by Cole
      _ Twilight on Hunter Mountain (1867, 25x43cm) by Gifford.
      _ Colors Ushering Twilight (46x61cm; 1313x1789pix, 431kb) by Kasey Westra.
— Altered Plates (2006, 56x71cm)
— Autumn Canyon (2006, 76x51cm)
— Chaco Canyon (2005, 76x61cm)
— Deep Recesses - Sanctum Sanctorum (2006, 91x61cm)
— Sandstone Passage (91x76cm)
— Last Remaining Vista (2006, 51x61cm)
— Late Afternoon Melt (2006, 46x61cm)
— Morning Sage (2006, 61x76cm)
— Ondas de Trueno (2003, 61x46cm)
— Piedras Angulares (2006, 46x61cm)
— Sacred Mountain (2005, 91x76cm)
— Sentinels of Hope (2006, 61x76cm)
— Sheltering Light (2006, 38x76cm)
— Stratified Storm (2006, 61x46cm)
— The Way of Light (1999, 41x51cm)
— Vermillion Streams of Peace (2004, 46x61cm)
— Yucca Burst (2006, 76x38cm)
— Arroyo Wash at Twilight (2006, 61x61cm)
— Morning Dew I (46x61cm)
— Morning Dew II (46x61cm)
— Big Blue Stem Morning (46x61cm)
— God's Delight (2001, 41x61cm)
— Sunset Garden (2001, 60x39cm)
— Julio (2001, 54x39cm)
— La Viejita (2001, 60x46cm)
— Ancient Refuge (2006, 61x46cm)
— Arroyo Ingenio (2001, 61x46cm)
— Autumn Morning Winds of Change (2006, 61x91cm)
— Conferring With the Moon (2006, 76x38cm)
— Cosmic Crucified (2001, 36x56cm)
— Heaven's Reach (2001, 46x61cm)
— Trail of Gold (2006, 51x76cm)
— Abstract 1 (2001, 64x46cm) _ the image of this, as of the pictures listed above, is eagerly awaited. To give you something inspired by this to look at, the pseudonymous Eaumille Barkefas has produced the twin symmetrical abstractions
      _ Absurd 0 (2007; 724x1024pix, 224kb _ ZOOM to 1024x1448pix, 518kb _ ZOOM to 2636x3728pix, 4719kb) and
      _ Basurd 0 (2007; 724x1024pix, 224kb _ ZOOM to 1024x1448pix, 518kb _ ZOOM to 2636x3728pix, 4719kb) —(070302)


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