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ART “4” “2”-DAY  26 January v.9.20
^ Born on 26 January 1582: Giovanni Lanfranco (or Lanfranchi) di Stefano, Italian Baroque painter who died on 30 November 1647. He studied under Agostino Carracci in Parma and worked in Rome and Naples. His main rival was Domenichino.
— Lanfranco was born near Parma, where he was a student of Agostino Carracci, and was also much influenced by the domes by Correggio. He was in Rome in 1612, and about 1616 decorated the ceiling of the Casino Borghese in a manner derived entirely from the Farnese Gallery. He developed Correggio's sotto in sù type of illusionism to an extravagant point, and painted several domes and apses in Roman and Neapolitan churches in this manner. To him Domenichino lost part of the commission for the decoration of San Andrea della Valle in Rome, a slight he resented so bitterly that - so the story goes - he weakened part of the scaffolding, hoping that Lanfranco would break his neck. Lanfranco completed the dome with an Assumption, Correggiesque in inspiration, between 1625 and 1627, and such was its success that he was then employed at Saint Peter's until 1631.
      From 1633 or 1634 to 1646 he was in Naples, and in 1641-1643 painted the dome of the San Gennaro chapel in the Cathedral, which by its more up-to-date illusionism and greater showiness appealed far more to local tastes than Domenichino's works there. His dome is based on Correggio's type of illusionism and replaces one actually begun by Domenichino. He died in Rome, where his last work was the apse of San Carlo ai Catinari.

Hagar in the Wilderness (138x159cm) _ Sarah, Abraham's childless wife, brought her Egyptian maid Hagar to him so that he would produce an heir with her. However, when she herself bore Isaac, she demanded of her husband: "Cast out this bondwoman and her son: for the son of this bondwoman shall not be heir with my son, even with Isaac." (Genesis 21:10) Hagar and Ismael wandered in the wilderness, dying of thirst. Yet God heard the lamentations of the mother and sent her an angel who showed her the way to a spring and prophesied that her son would be the founder of a great nation.
      In the painting, Hagar, who has been crying, is just lifting her head to look up at the angel in astonishment; her child, half hidden behind her shoulder, is also looking up incredulously at the kindly angel who has taken Hagar by the arm and is showing her the way to the water. It is the handling of color, in particular, that highlights the unexpected aspect of the occurrence so clearly: against the gloomy brown of the wasteland, the sumptuous red and midnight-blue of Hagar's robes radiate like a lamentation of pathos. Her pale, exhausted face is turned towards the shining figure of the angel that seems to have brought light with it. Light bathes the figure, and radiates from the angel towards Hagar, rising in a pale cloud behind the angel and inflaming the orange of his hair and robe.
Miracle of the Bread and Fish (1623, 229x426cm)
Coronation of the Virgin with Saint Augustine and Saint William of Aquitaine
Banquet with a Gladiatorial Contest (1638)
Erminia tra i pastori (146x196) _ Della tela esistono altre due versioni autografe. Il soggetto è tratto dalla Gerusalemme Liberata di Torquato Tasso: figlia di un re saraceno, Erminia crede che il suo innamorato, il cristiano Tancredi, sia ferito; mentre lo cerca, rivestita con un'armatura, incontra un pastore che le rivela le gioie della vita umile e pacifica. Allievo di Annibale Carracci e attivo in particolare a Roma e a Napoli, l'artista è uno dei principali interpreti del gusto pittorico barocco.
Gesù servito dagli angeli (1605) _ Annibale Carracci, ammalatosi, suggerì per la decorazione del Camerino degli Eremiti - uno dei cinque presenti nel Palazzetto di via Giulia direttamente collegato con quello Farnese tramite un arco - il nome de giovane Lanfranco, suo collaboratore nella precedente impresa della Galleria. Il Gesù servito dagli angeli, con altri nove dipinti che lo circondavano, decorava dunque il soffitto del camerino, prima opera autonoma dell'artista che già dimostra, con l'adozione della prospettiva aerea e di una grande libertà nella definizione degli spazi e nell'uso della luce, una sua personalità, distinta da quella del maestro. Intorno alla metà del seicento il soffitto del camerino fu smembrato ed i quadri, forse sostituiti in loco da copie non ancora rintracciate, trasferiti a Parma.
^ Born on 26 January 1877: Cornelis Theodorus Maria Kees van Dongen, Dutch-born French Fauvist painter and printmaker who died on 28 May 1968. He was a member of Die Brücke.
— He took evening classes in geometric drawing from 1892 to 1897 at the Akademie voor Beeldende Kunsten in Rotterdam. In 1895 he began working intermittently for the newspaper Rotterdamsche Nieuwsblad, for which he made, among other things, a series of bright watercolor drawings of Rotterdam’s red-light district and illustrations of Queen Wilhelmina’s coronation. Van Dongen’s first paintings used dark tones in imitation of Rembrandt, who remained the most important model for his work; his later book on Rembrandt was, in fact, a projection of his own life. By the mid-1890s he was using more vivid contrasts of black and white, for example in Spotted Chimera (1895), his palette soon becoming brighter and his line more animated. In Le Muet Windmill (1896), a red ochre monochrome painting, he successfully enlivened the color by means of broad, energetic brushstrokes.
— From the moment van Dongen arrived in Paris in 1897, he immersed himself in the sensuality, rawness and vulgarity of the city's low-life haunts and avant-garde art. He was to become associated with two key modern movements,Fauvism and Expressionism , and yet always to remain essentially a figurative artist, with a febrile eroticism that gives his best paintings (including this one and his 1926 Portrait of Lily Damita, the Actress ) a spectacular bad taste. Modern art in Paris in the early 20th century is often thought of as being almost boringly tasteful, but this is a terrible misunderstanding. Artists flirted not just with popular subject matter but with popular art. From 1903 Van Dongen painted at the Moulin de la Galette dancehall. In 1904 he had an exhibition at the influential commercial gallery of Ambroise Vollard, and in 1905 he showed this painting in the Salon d'Automne, in the same exhibition that saw works by Matisse, Vlaminck and Derain sectioned off in Salle VII.
      Seeing a traditional sculpture uncomfortably situated in this room with its hotly colored paintings, the critic Louis Vauxcelles joked to Matisse (who was exhibiting his Open Window, Collioure) “Tiens! Donatello chez les fauves!”. The nickname stuck. And Salle VII got called “la cage”.
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–- A Young Woman (55x33cm; 928x548, 43kb)
–- Aux Folies Bergères (81x60cm; 1/3 size, 115kb)
–- Head of a Woman (1930 drawing, 33x26cm; 5/6 size, 127kb)
–- Woman with a fan (1920 drawing, 35x29cm; full size, 156kb)
–- Woman watching a steeplechase (59x40cm; 1177x843pix, 84kb) _ The pseudonymous Amatheo Modigre-Lianico has exaggerated the elongating tendencies of Dongen and otherwise enhanced this picture, resulting in
      _ Woman experiencing a steeple stretch (2007, 1176x211pix, 31kb _ ZOOM to 4706x844pix, 447kb) also seen here in this tiny thumbnail image >>>.
Le Coquelicot (1919, 55x46cm) _ not a flower but a woman with a big red hat.
La vasque fleurie (1917)
La Comtesse Anatole de Brémond d'Ars (1947, 62x50cm; 480x365pix, 33kb)
–- Venise No. II, le Manteau de Cygne (1930, 196x131cm; 799x527pix, 39kb)
–- Paysage au Clair de Lune (1912, 38x46cm; 754x900pix, 156kb) this half-moon is at least as bright as the whole sun.
–- L'Élégante au Chapeau (1913, 78x37cm; 800x376pix, 26kb) _ The female form was a constant source of inspiration for van Dongen. Fascinated with their strength and sensuality, he painted women from all walks of life, employing broad bands of often contrasting color to depict the figures. By the time this work was painted, van Dongen was a sought-after, fashonable portraitist. L'Élégante au Chapeau was painted during his late Fauve period, as is evident in the electric aquamarines ringing the woman's piercing eyes, the streaks of blue within her hair and her bright red, sensuous lips, further highlighted by the reds in her haloed hat. The woman strikes an elegant three-quarter pose repeated in several of van Dongen's Fauve portraits. Her hands are thrust into the pocket of her perfectly tailored suit while she confidently looks into the distance, her hat fashionably tilted to one side. Même dans les portraits délicatement fantomatiques des femmes du monde, les figures sont comme des masques, d'une lueur de phosphore, avec des bouches cerise-feu et des orbites d'un bleu de poupée peint.
–- a different L'Élégante au Chapeau (1908, 46x33cm; 799x561pix, 51kb) _ This elegant portrait of a woman perfectly exemplifies van Dongen's love for the exotic. Depicted wearing an extravagant hat and dramatic eye make-up, the woman in the present work demonstrates the Orientalist flare and exoticism that characterized most of van Dongen's Fauvist depictions of women. European or exotic at his leisure, van Dongen had a personal and violent feel for orientalism. His painting often smelled of opium and amber. We are struck by the extraordinary chromatic subtlety which goes far beyond Van Dongen's earlier accomplishments. The determination to emphasize the plastic values on the modeling is the second characteristic of these works which extol the model's sensual beauty. “I exteriorize my desires,” van Dongen] said, “by expressing them in pictures. I love anything that glitters, precious stones that sparkle, fabrics the shimmer, beautiful women who arouse carnal desire ... paintings lets me possess all this most fully”..
–- Jeune Fille à sa Toilette (1942, 24x16cm; 800x497pix, 37kb) rough sketch
–- Les Escarpins Mauves (1921, 100x150cm; 523x800pix, 42kb) _ An example of Van Dongen’s art of the 1920s, that became known as the ‘années folles’, Les Escarpins Mauves depicts an unidentified sitter, whose striking pose, clothes and jewelry, give her an air of vibrancy and boldness characteristic of Van Dongen’s most accomplished portraits. Although fully clothed in a white dress symbolizing purity, the alluring model is depicted in a seductive pose, her beauty accentuated by her hair, her fashionable purple shoes, and the large bracelet executed in dabs of paint applied directly from the tube. The figure’s identity, however, remains obscure, as Van Dongen’s primary interest lay in the feminine allure of her figure. The subtlety of the woman’s skin is emphasised by the contrast with the painting’s background rendered in wide brushstrokes of various shades of blue, grey and green, this lack of reference in the setting underlining the mysterious character of the composition. The green highlights of the figure’s skin demonstrate the artist’s disregard for anatomy and naturalistic representation, in favor of depicting the physicality and sensual presence of his sitter.
      Known as the principle portraitist among the Fauve artists, Van Dongen executed portraits inspired by his visits to the cabarets and cafés where dancers performed in exotic costumes, as well as those of members of the high society. In 1917, the artist began a relationship with Léa Jacob, also known as Jasmy, who helped launch his career among the Parisian fashion circles. In 1922 the couple moved to a new residence in rue Juliette Lamber, where Van Dongen held exhibitions and Jasmy hosted extravagant parties attended by influential members of the society. During the 1920s, Van Dongen became one of the most talked of figures in the French art world. He was frequent visitor to Deauville, where the smart world gathered, and to the cabarets and restaurants of Paris. What appealed to him about the années folles were their movement and gaiety. He once said: ‘I passionately love the life of my time so animated, so feverish! Ah! Life is even more beautiful than painting’’
–- Jean-Marie au Port (1950 lithograph, 56x47cm) a boy, about 3, half-length.
–- Polo à Alexandrie (lithograph 50x65cm)
–- Anita - la Belle Fatima et sa Troupe (1907, 100x81cm; 799xpix, kb) _ Orientalist themes dominated van Dongen's work throughout his Fauve period providing an exoticism and intensity that perfectly suited the artist's temperament, as illustrated in this painting of circa 1905-07. In his predilection for the theme, van Dongen followed a long tradition of Orientalism in French art from Delacroix and Ingres to Matisse. In 1906, Matisse made his first trip to Morocco, and the visit had a profound effect on the development of his style. Matisse and van Dongen were the two Fauve artists most influenced by the Arab world and most capivated by the human figure. The exoticism of the cultures of North Africa and the Ottoman Empire and intensity of the color and light made a tremendous impact on their motifs and techniques at this time. Van Dongen's particular achievement, as exemplified in the present work, was to achieve a synthesis of the brilliant and pure chromatic vision of the Fauves with a great sense of movement and compositional audacity.
      While living at the Bateau Lavoir in Montmartre, van Dongen frequented the bals musettes and cabarets of the area, seeking out models for his paintings, and became one of the leading figures in bohemian circles. At this time van Dongen made a series of paintings using the model Anita la Bohémienne, a dancer he found at a club in Pigalle. The sensual dancer became the subject of some of van Dongen's most emotionally charged, energetic, and erotic paintings, including the present work, in which she is pictured as La Belle Fatima et sa troupe. In this period numerous models came to his studio in rue Lamarck including Anita la Bohémienne, who was a dancer at a dive in Pigalle. We are struck by the extraordinary chromatic subtelty which goes far beyond Van Dongen's earlier accomplishements.The determination to emphasize the plastic values of the modeling is the second characteristic of these works which extol Anita's sensual beauty. 'I exteriorize my desires' Van Dongen said, 'by expressing them in pictures. I love anything that glitters, precious stones that sparkle, fabrics that shimmer, beautiful women who arouse carnal desire. Painting lets me possess all this most fully'.
      It was with works such as the present painting that van Dongen was to come closest to German Expressionist art, and it is possible to see the present work as a precursor to the wild dancing girls of Nolde and Pechstein. Daniel-Henry Kahnweiler, the first owner of this painting, was van Dongen's dealer until 1908 when the artist signed a contract with Bernheim. Kahnweiler was instrumental in promoting the reputation of van Dongen not only in Paris, where he held an exhibition of the artist's work at his gallery in 1908, but also in Germany where later that year he organised an exhibition at the Galerie Flechtheim in Düsseldorf. Pechstein visited Paris in 1908 and invited van Dongen to collaborate with Die Brücke. The exhibition, organized by Kahnweiler, proved to be of substantial influence on the artists associated with Die Brücke and spread van Dongen's reputation into the German speaking world.
–- La Femme aux Bijoux (1929, 130x97cm; 799x589pix52kb)
–- La Femme à l'Orchidée (1928, 65x54cm; 1073x900pix, 60kb) _ In the years immediately following the First World War, Van Dongen mostly devoted himself to portraits and achieved sensational succes as a painter of beautiful and fashionable women. The richest US women, the most elegant French women, would dispute among themselves the honor of being portrayed by him. This is a powerful portrait of an elegant woman in a hat and a large exotic orchid which stands out brightly against her coat. Van Dongen plays on the contrasts between the sitter's pale face and orchid with the background and dark clothing that surrounds her.
–- L'Écuyer (63x48cm; 800x608pix)
–- L'Oiseau Solitaire (1908, 46x38cm)
–- Grand Bouquet de Fleurs (1910, 195x130cm) _ This painting reflects van Dongen's increased confidence as an artist. By this time he had established himself in Paris, frequenting the cafés and nightclubs of Montmartre, and establishing a friendship with Picasso and his mistress Fernande Olivier while living at the Bateau Lavoir. In Grand Bouquet de Fleurs, van Dongen's flowers erupt from the dark background and spill over the edges of the canvas, transforming a typically unassuming subject into a dynamic composition. The artist has balanced the bursts of color in the upper half of the picture plane with a band of subtle greens and browns at the bottom, while the more delicate flowers in the middle of the canvas link these positive and negative spaces.
      By 1908, van Dongen's paintings had begun to receive widespread recognition. For a brief time, he was represented by the renowned dealer Daniel Henry Kahnweiler, who organized exhibitions of his work in Düsseldorf and Paris. Later that year, he was taken up by the Galerie Bernheim-Jeune, which represented many of the most prominent artists of the twentieth century, including Bonnard, Matisse, and Modigliani. Van Dongen's predilection for bold color and energetic compositions also prompted the artists' group Die Brücke to invite him to exhibit in a show of their work in Germany. The relationship of Van Dongen's painting to that of the German Expressionists is an interesting topic. There is an obvious relationship in subject-matter; the coarseness of his handling gives his painting more of a German than a French character. Indeed, the ambitious use of color and space in Grand Bouquet de Fleurs recalls the floral landscapes of Emil Nolde although on a much larger scale.
      The highly saturated hues van Dongen employed in the present work reflect his affiliation with the Fauves. The artist's break-through occurred at a time when Fauvism was the dominant style in France. In 1904 Van Dongen was in touch with two of its principal exponents, Derain and Vlaminck. He was a painter who found a natural means of expression in the use of thickly applied color, bold stark reds, greens, and blues, colors which held for him an almost symbolical meaning.
–- Le Prince de Sagan au Bois (1947, 24x21cm; 892x688pix, 60kb) This is an illustration for Marcel Proust's A la recherche du temps perdu. The artist produced seventy-seven illustrations for the book, which was commissioned by Gallimard and published in three volumes in 1947 in an edition of 8750.
–- Au Cabaret Nègre (1925, 98x95cm; 892x868pix, 97kb) _ This is an instance of Van Dongen's fascination with the subject of café society and the world of entertainment, which he expolored throughout his career, and particularly in the years leading up to the First World War. In taking up the theme of the cabaret and depicting scenes of Moulin de la Galette, a favourite Montmartre haunt of many Impressionist artists, Van Dongen drew his inspiration from the French turn of the century painters such as Renoir and Toulouse-Lautrec. The present work demonstrates Van Dongen's fascination with high society, depicting the cabaret crowded with elegant, fashionably dressed ladies and cigar smoking men. The composition is built up of quick brushstrokes of brilliant colors, portraying the excitement of the night life of the metropolis and the vibrancy of Parisian beau-monde.
–- La Plage de Deauville (1935, 46x56cm; 675x800pix, 45kb) _ Deauville, a summer resort on the coast of Normandy, was a popular retreat for both artists and aristocratic vacationers from the mid-nineteenth century through the 1900s. A well-established artist within the beau-monde by the 1920s, Van Dongen was naturally attracted to this community, with it's fashionable crowd and its colorful and vivacious surroundings. His favorite subjects were often derived from the observation of these people at play on the beach, some riding horses, others swimming, and others simply sunning themselves.
      Louis Chaumeis writes of Van Dongen's work from this period, ``One rediscovers the feeling of the sketch, the assurance of tone, the life of the crowd and of the racetrack beneath the skies treated like theatre sets. The beach and the ocean furnish inexaustible themes: On the Boardwalk, Sunbathing, The Trasparent Bathrobe, Dosville [sic], as well as pretexts for fixing on paper or on canvas, in almost bare silhouettes, the men and women of society and their hangers-on (mondaines et demi-mondaines) on vacation in the foubourg de Paris." (Louis Chaumeil, Van Dongen, l'homme et l'artiste- la vie et l'oeuvre, Geneva, 1967, pp. 208)
      The present work perfectly encapsulates Chaumeis' summary of the Deauville pictures. Not only is it a depiction of the aristocratic vacationers at play, but it also demonstrates Van Dongen's mastery of color and atmosphere. The ominous, gray sky is juxtaposed against the vividly colored tents and figures in the foreground. While a portending storm brews on the horizon, the sea remains relatively calm and the carefree vacationers continue with their leisurely activities undisturbed.
–- Guus (1907, 100x81cm; 892x718pix, 42kb) _ This portrait of Van Dongen's wife, Guus, was painted just after the pivotal Salon d'Automne of 1905, when the Fauves first exhibited their revolutionary style of painting. Van Dongen shared with these artists an interest in the essentials of painting and the immediacy of images through aggressively gestural brushwork. His brush stroke was masterful and in complete control of his means, a gift ranging from the most delicate measures to the most brilliant colors with easy virtuosity. Of all the Fauves, he kept the longest the usage of pure, unblended colors, and these he juxtaposed without recourse to a neutral zone between them. He liked effects of violent contrasts where a dark tone adjoined to a bright one. He circumscribed the latter with darker lines so as to enhance its resonance. Such was his passion for pure color that he wholly disregarded any natural appearance and gave free rein to his imagination.
      In the present work, Van Dongen has used the above means to convey an intimate and alluring portrayal of his wife. The varying shades of orange pigment he used for her dress persist and darken throughout her right arm, giving the illusion of depth while maintaining a uniform field of colour. Similarly, her backdrop is divided into wide bands of progressively lighter hues, suggesting a light source which illuminates her face and gracefully raised arm. Unlike other, more flamboyant portraits Van Dongen completed during this time, Portrait de Guus displays a level of intimacy achieved only by years of familiarity with his model. The delicate apricot tones of her face, her modest pose and her averted gaze suggest a level of sophistication that sets her apart from many of Van Dongen's other subjects, resulting in a unique and tender painting.
Guus Preitinger, the Artist's Wife (1911, 146x114cm)
–- Harem (1917, 65x54cm; 800x660pix, 43kb) _ Van Dongen made at least two trips to North Africa. In 1910 he went to Morocco and in 1913 he visited Egypt where he also painted. Erotic themes have been associated with Van Dongen's oeuvre since his early days when he worked as an illustrator for two Dutch publicatons, Groenz and Rotterdamsche Nieuwesblad, and he portrayed prostitutes and exotic dancers as early as 1895.
      After settling permanently in Paris in 1900, Van Dongen, still an unknown painter, survived by selling his drawings to French and Dutch papers. In 1905, after a financially successful exhibition with Ambroise Vollard, Van Dongen befriended Matisse, Vlaminck, Derain, and Marquet. Their group exhibition at the Salon d'Automne created a stir, and for the first time the word fauve was used in conjunction with their painitng. Van Dongen's brilliant hues were incorporated into works that had an exotic theme. Famous dancers of the era became his favorite models, among them Nini des Folies-Bergères and Anita la Bohémienne, who was painted in exotic Middle-Eastern attire in Van Dongen's 1908 Anita en Almée.
      After his trip to Egypt in 1913, Van Dongen's interest in Orientalist themes was heightened. Harem is a work in which the artist's pursuit of the exotic is captured. The Villa Saïd on the Bois de Boulogne where he lived between 1916 and 1918 was decorated with paintings similar to Harem. Returning from Egypt, Van Dongen altered his use of vivid colors, moving away from the blazing reds and oranges employed during his fauve period. On the contrary, his palette became more subdued, with softer tones like the pinks and purples we see in the sensually exotic Harem.

Died on a 26 January:

>1970 “Rita” Henrietta Catherine Angus Cook, New Zealander Art Deco painter born on 12 March 1908. Henrietta (Rita) Catherine Angus was born in Hastings, the eldest of seven children. Her mother, Ethel Violet Crabtree grew up in Tasmania, where she received instruction in watercolour at a private school. Her father, William McKenzie Angus, was born in Central Otago. Orphaned as a child, he went on to head his own construction company after leaving school at the age of 10.
     The family moved frequently during Rita's childhood, mainly between Palmerston North and Napier. Her gift for drawing was recognised early, and she was given painting lessons while still at primary school. Deeply impressed by the work of Vermeer and Cezanne even as a schoolgirl, in 1927 Rita Angus began studying at the Canterbury College of Fine Art. While she was a diligent student during her first two years, she abandoned the four-year teaching diploma in 1930, when she married fellow artist Alfred Cook.
      Even though the Cooks had no children, Rita soon found her creativity stifled by the expectation that she should adopt a more supportive domestic role after her marriage, and she and Alfred separated in 1934 on the grounds of incompatibility, divorcing in 1939.
      Angus was transient during the years that followed, moving frequently between the Christchurch, upper South Island, Wellington and Napier regions. She often suffered poor health as she struggled to survive on the income from her painting, a string of part-time and temporary illustrating and teaching jobs and small gifts from her mother. In 1950 she suffered a severe physical and mental breakdown, and spent some time in Sunnyside psychiatric hospital, followed by a long period of convalescence at her parents' home in Waikanae, north of Wellington. In 1953, she lived briefly in Mangonui, Northland after her parents moved back to Napier, but returned permanently to Wellington in 1954.
      In 1958, Angus spent a year in Europe, courtesy of a New Zealand Art Societies' Fellowship, and on her return was commissioned to paint a mural to celebrate the Centenary of Napier Girls' High School, which she worked on for most of 1960. Her work continued to gain recognition both in New Zealand and internationally until her death on 26 January 1970.
      From her secondary school days, it was evident that portraiture, figure studies and landscapes were of prime interest to Angus. She was a systematic artist, favouring the reduction of complicated forms to a simplified mass, at times adopting methods close to a very modified cubism. Angus painted no less than 55 self-portraits during her 40-year career, reflecting both her technical and spiritual journeys. The self-portraits also indicate a search for identity, evident in Angus's use of different names during her career. She continued to sign some of her paintings Rita Cook until her ex husband's remarriage, after which she frequently adopted her paternal grandmother's surname - signing her work and referring to herself as Rita Mackenzie or Mrs Mackenzie. However, the majority of her works are signed Rita Angus.
Betty Curnow (1942; 2900x2400pix, 985kb)
Maori Boy (1938; 3000x2170pix, 930kb) _ The pseudonymous August Chef has transformed this into a amazing series of eight interrelated abstract pictures which can be reached by clicks of the mouse from any one of them, for example the asymmetrical:
      _ Moored Buoy (2009; 464x656pix, 115kb _ ZOOM I to 656x928pix, 218kb _ ZOOM J to 928x1312pix, 471kb _ ZOOM K to 1312x1856pix, 992kb _ ZOOM L to 1856x2624pix, 1799kb _ ZOOM M to 2624x3712pix, 4054kb) or the symmetrical
      _ More Buoyancy (2009; 454x656pix, 116kb _ ZOOM I to 656x928pix, 239kb _ ZOOM J to 928x1312pix, 480kb _ ZOOM K to 1312x1856pix, 1012kb _ ZOOM L to 1856x2624pix, 1832kb _ ZOOM M to 2624x3712pix, 4102kb)
Cass (1936, 375x474cm; 499x637pix, 157kb gif) Buildings set in relationship to specific places became an important vehicle of symbolic expressionism early in Rita Angus's career. Cass is a watershed both in her own painting style and for New Zealand landscapes of the 1930s.
Central Otago (1940, 350x548cm; 505x599pix, 73kb gif) _ An indication of the artist's individual appraisal of New Zealand landscape in 1940. Her knowledge of how earlier artists had seen the land is acknowledged by her own surveyor-like construction of subject matter. —(090311)

^ 1920 Friedrich August von Kaulbach, German portrait and genre painter, born on 02 Jun 1850. He was the son of Friedrich Kaulbach [08 July 1822 – 17 Sep 1903], who was a first cousin and a student of Wilhelm von Kaulbach [15 Oct 1804 – 07 Apr 1874], who was the father of Hermann Kaulbach [26 July 1846 – 09 December 1909]
–- Kirschen (1903, 101x77cm;1212x900pix, 90kb) _ The subject of Kaulbach's daughter Hedda eating cherries, was one of his favorites {also Hedda's}. He returned to it on several occasions, all with some variations. —(070125)

>1919 John Byam Liston Shaw, British Pre-Raphaelite painter, draftsman, and teacher, born in Madras, India, on 13 November 1872. Byam Shaw married Evelyn Pyke-Nott [1870–1959], also a painter, in 1899; they had five children, one of whom, James Byam Shaw, became a dealer and art historian, specializing in Old Master drawings. Byam Shaw studied at the St John’s Wood Art School (1887–1890), London, and in 1890 entered the Royal Academy Schools, where he won the Armitage Prize. He soon produced many pen-and-ink drawings for ephemera and later several series of watercolours and line drawings for such books as Poems by Robert Browning (1897) and Charles Reade’s The Cloister and the Hearth (1909). Critics praised his paintings, such as the Blessed Damosel (1895), for their skilful coloring and romantic compositions, which owe much to the influence of the Pre-Raphaelites. (An almost Pre-Raphaelite intensity is still evident in the detailed depiction of the natural world in the Boer War, 1900 (1901).) But he was soon criticized for the awkward juxtaposition of the real and the imagined in such religious paintings as Christ the Comforter (1896), which seemed to contemporaries increasingly dated. Always particularly striking, however, were his full-length portraits of his family, for example that of his fiancée, Evelyn Pyke-Nott (1898). Despite successful exhibitions at the Dowdeswell Gallery, London, the first of 39 cabinet pictures inspired by British poets (1899) and the second of 30 works inspired by the Book of Ecclesiastes (1902), and another at Leighton House, London (1902), the obscurity of many of his more elaborate allegorical pictures (e.g. Such is Life, 1907) and his frequent shifts of style limited his admirers. He was obliged to turn to teaching, and in 1910, with Rex Vicat Cole [1870–1940], he opened the still-active Byam Shaw School of Art, London; this left him little time for his own work.— LINKS
The Caged Bird (1907, 94x71cm;_ZOOMable)
Now is Pilgrim Fair Autumn's Charge
The Boer War, 1900 (1901)
A Dirge (1872x1919cm)
Amor Mundi (1872x1919 cm)
'And who knoweth whether he shall be a wise man or a fool? Yet shall he have rule over all my labour wherein I have laboured, and wherein I have showed myself wise.' (40x25cm)
'It is better to hear the rebuke of the wise than for a man to hear the song of fools' (41x30cm)
–- The Adventures of Akbar (559x880pix, 133kb)
–- “There is an evil which I have seen under the sun, as an error which proceedeth from the ruler: folly is set in great dignity and the rich sit in low place” Ecclesiastes Ch.XV V.VI (510x824pix, 84kb) —(070125)

1914 Emmerich Alexius Swoboda von Wikingen, Austrian artist born on 17 July 1849.

1853 Johann Nepomuk Schödlberger, Austrian artist born in 1779.

1826 Victor Jean Nicolle, French artist born on 18 October 1754. — {Il n'est pas vrai qu'au sujet de formes d'art autres que la peinture, un contemporain ait dit: “Nicolle ni nie ni affirme que Nicolle ni colle ni grave.”}

1824 Jean Louis André Théodore Géricault, French painter born (full coverage) on 26 September 1791 including “Joshua fit the battle of Géricault, Géricault, Géricault...”. —(050908)

^ 1752 Jean-François de Troy (or Detroy), French painter and tapestry designer born on 27 January 1679. — His successful career was based initially on large historical and allegorical compositions (Time Unveiling Truth, 1733), but he is now most highly regarded for his smaller and more spirited scenes of elegant social life. They are among the best of those that rode on the wave of Watteau's success - indeed The Alarm (1723) was attributed to Watteau in the 19th century.In 1738 he was appointed Director of the French Academy in Rome, and spent the rest of his life there. He was one of a family of painters, his father and teacher, François de Troy [1645-1730], being a successful painter of fashionable portraits and Director of the Academy in Paris. — LINKS
La Gouvernante Fidèle (1723)
A Hunting Meal (1737, 241x170cm)

Born on a 26 January:

^ 1935 Paula Rego, Portuguese-born British painter. She was trained at the Slade School of Fine Art, London, from 1952 to 1956. There she met the English painter Victor Willing [1928–1988], whom she married and with whom she lived in Portugal from 1957 to 1963; they continued to divide their time between Portugal and England until 1975. She first won acclaim in Portugal with semi-abstract paintings that sometimes included collage elements culled from her own drawings. Their satiric wit and verve of line, sometimes applied to violent or political subjects such as Salazar Vomiting the Homeland (1960; 656x850pix, 262kb), revealed gifts for story-telling that had been awakened in her as a child by folk-tales related by a great-aunt. Her diverse influences included Dubuffet, Picasso, Walt Disney, Gilray, and magazine illustrations by turn-of-the-century caricaturists. In 1976 Rego returned to London with her husband, and in the late 1970s she turned from collage to drawing directly in acrylic on paper. Using an essentially graphic style reminiscent of comic strips, she continued to produce figurative pictures that were spontaneous narratives rather than illustrations to literary texts. Her characters often took the form of animals for satirical effect, as in Pig's Secret (1984). She developed a greater freedom and range of color in her drawings, which inclined them more towards painting, as in Girl of the Golden West (1983, 240x203cm) and eight related drawings, each of which interpreted one of her favorite operas. In 1986 she turned to a naturalistic idiom with strongly modeled figures and a consistent light source, often in interior settings as in Snare (1987; 646x566pix, 64kb); similar subjects were treated in prints which effectively combined etched outlines with tonal gradations of aquatint. These psychologically charged presentations of human dramas, based in part on childhood memories, won her a wide and admiring audience. — LINKS
Adoration by the Shepherds (938x900pix, 202kb)
Time, Past and Present (627x622pix, 68kb)
Bad Dog (487x650pix, 54kb)
114 images at U. of Cambridge —(051224)

1922 Tate Adams, Irish-born Australian artist, teacher and publisher. Adams was born in Co. Down, Ireland. After working in Dublin and London in the late 1950s, Adams moved to Australia where he became a pioneer of contemporary printmaking, and established the first full-time diploma course in printmaking in Australia in 1960. For many years Adams had wanted to publish books of the same quality and stature as the French livre d'artiste, and finally in 1997 worked to establish the Lyre Bird Press in Melbourne. —(060125)

1908 Pencho Balkanski [–1985], Bulgarian painter.
Maid from Pirin (1973, 57x41cm; 921x650pix, 84kb) _ This has been transformed by the pseudonymous Painchaud Kanibalov into a remarkable series of abstractions, accessible by clicks of the mouse from any of them, for example
      _ Made From Aspirin (2008; 1100x1556pix, 598kb) —(080623)

^ 1908 Rupprecht Geiger, German painter and architect, son of Willi Geiger [17 Aug 1878 – 1971]. — {It is not true that their relatives, and others with the same surname whether traceably related or not, were so numerous that they were assigned a special census taker: the Geiger counter. Actually the Geiger counter is not a person but a device, and it would not have been used on members of that family, even if some of them had been had been broadcasters and might therefore have been considered radio-active. The Geiger counter was invented by physicist Hans Geiger [30 Sep 1882 – 24 Sep 1945], who is not known (by me at least) to be related to Rupprecht and Willi Geiger, nor to rabbi Abraham Geiger [24 May 1810 – 23 Oct 1874], meteorologist Rudolf Oskar Robert Williams Geiger [24 Aug 1894 – 22 Jan 1981], or sociologist Theodor Julius Geiger [09 Nov 1891 – 16 Jun 1952]} — Rupprecht Geiger first studied architecture under the neo-classicist Eduard Pfeiffer [1889–1929] at the Kunstgewerbeschule, Munich (1926–1929). He served an apprenticeship as a mason from 1930 to 1932, which was followed by a period of study at the Staatsbauschule in Munich (1933–1935). In 1940 Geiger was called up for military service. Self-taught, he started to paint in the Ukraine and in Greece, where he discovered the differing qualities of light and color that later became the sole subject-matter of his art. Although Geiger resumed work as an architect at the end of World War II, he took part in some of the first post-war exhibitions, including Extreme Kunst in the Schaezlerpalais in Augsburg, exhibiting such works as Surreal Landscape (Dream Picture with Abstract Forms) (1947). In the wake of these exhibitions and encouraged by John Anthony Thwaites, the British consul in Munich, a group of artists formed the Zen 49 group in 1949 with the object of promoting abstract art, although with no attendant ideological programme. Among the founder-members were Geiger, Willi Baumeister, Fritz Winter, Rolf Cavael, [1898–], Gerhard Fietz [1910–], Willi Hempel [1905–1985] and Brigitte Meier-Denninghoff (later Matschinsky-Denninghoff). At that time Geiger was working in complete isolation on abstract trapeziform canvases, for example E 53 (1948). He has also produced Minimalist paintings, which can be appreciated quite adequately in postage-stamp-sized reproductions, though some much bigger ones are available online. The images shown here are NOT by Geiger (because copyright laws prohibit showing images of the originals and how worthless they are}, but quite the contrary, by pseudonymous “Georg Repproacht”. They are in Geiger's style, almost as bad, and even easier to make (a few minutes ago, in fact). Click on them to see Geiger's inspiring mediocrities.
–- Untitled (2002, 75x55cm; 1190x854pix, 30kb) this will make you see red.
Bild I/52 "Paisaje" (1952, 77x90cm)
Bild 351/60 (1960, 96x91cm)
–- Bild 174/1952 (1952, 50x70cm; 591x841pix, 22kb) _ Instead of reducing this picture to the postage-stamp-size it deserves, Repproacht has expanded it and transformed it into something more interesting:
      _ Build Bridges Not Walls aka Rapt Par (2006; screen filling, 258kb _ ZOOM to 1000x1414pix, 714kb). _ One year later Repproacht made an even more wondrous transformation of the same Geiger picture: the two related nearly symmetrical abstractions (the detection of the many minor departure from symmetry intended as a challenge to puzzle solvers):
      _ Billed $174 in 1952, But Waiting Until 2007, What With Interest, Late Fees, Etc., Bill Had to Pay $1'952'174 (2007; 714x1024pix, 258kb _ ZOOM to 1024x1448pix, 521kb _ ZOOM+ to 2636x3728pix, 3785kb) and
      _ That's an Annual Interest Rate of 18.4774791% (2007; 714x1024pix, 258kb _ ZOOM to 1024x1448pix, 521kb _ ZOOM+ to 2636x3728pix, 3785kb)
491/68 (1968, 110x110cm)
Bild 794/82 (1982, 75x85cm)
–- Pinc gerundet zu Red (125x135cm; 1194x1287pix, 52kb)
zum 95ten Geburtstag
Schwarzes Rot (1989, 80x107cm)
originalgrafik (1994, 40x40cm)
Ohne Titel (1956, 56x75cm)
2 x Rot (1988; 77x54cm)
click for worse yet
New Deal

click for worse yet

click for worse yet
click for worse yet
On Bottom

click for worse yet
Green Grounded
Chew Blue

click for worse yet
click for worse yet
C'est le veau
click for worse yet
Soon Kibbutz Tag
click for worse yet
Shorts Rot
click for worse yet
Fickle Gin
click for worse yet
Own Edit
click for worse yet
Twice Rotten

1857 Ferencz Eisenhut, Hungarian Austrian artist who died on 02 June 1903. — {Did he usually wear a helmet?}

1826 Julius Adam I, Munich German artist who died on 02 February 1874; son of Albrecht Adam [16 Apr 1786 – 28 Aug 1862]; and nephew of Heinrich Adam [1787–1862]; and brother of Franz Adam [1815–1886], Eugen Adam [1817–1880], and Benno Adam [1812–1892] whose grandson was Richard Benno Adam [05 Mar 1873 – 20 Jan 1937].

1684 Hendrik F. van Lint, Flemish artist who died on 23 September 1763.
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updated Friday 13-Mar-2009 23:06 UT
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