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DEATHS: 1906 BRETON — 1793 ROSLIN
BIRTHS: 1761 BOILLY 1885 LHOTE 1828 GABRIËL 
^ Born on 05 July 1761: Louis-Léopold Boilly, French portrait and genre painter who died on 04 January 1845.
— Boilly's work illustrated everyday life during the French Revolution and Napoleonic Empire. Sensitive command of media, color, and composition. Boilly's only teacher was his father, Arnould Boilly, a wood-carver. Boilly came to Paris for the first time in 1785, and remained there permanently. He is said to have painted over 5000 portraits, besides other works.

LINKS
–- Portrait of a Child (46x38cm)
–- La Paresse (1824)
Oh What a Fool He Is! (600x724pix _ ZOOM to 1400x1689pix, 446kb)
Young Woman Ironing (1800)
Madame Vincent (1820)
Sarah Bowdoin (1805, 22x17cm)
The Geography Lesson (1812, 74x59cm) _ Louis-Léopold Boilly was the most gifted genre painter in France during the Napoleonic era and one of the period's most prolific portraitists. Boilly exhibited regularly at the Paris Salon (the State-sponsored exhibition of contemporary art) between 1800 and 1814 and won the recognition of a gold medal of the first class in 1804. This double portrait, shown both at the Salons of 1812 and 1814, depicts Monsieur Gaudry, a civil servant, instructing his daughter in geography. Boilly, as a close family friend, observed the girl's lessons many times. Even the little dog can be identified as "Brusquet," much admired in the family because his constant barking had once succeeded in scaring away a band of thieves who had broken into the Finance Ministry. Historical geography was promoted as a field of study for both boys and girls in Napoleonic France, the maps of whose territories were subject to frequent revision with each new conquest. Here the sphinx and pyramid in the cartouche of the map no doubt refer to Napoleon's Egyptian expedition of 1798-1801; the globe shows Europe and Africa. Moreover, The Geography Lesson portrays a theme popular in the Dutch seventeenth-century paintings that Boilly emulated: the proper duty of parents to nurture {nu NOT to} and instruct {in NOT de} their children.
The Amateur Print Collectors (1810, 33x25cm)
Depart des Conscrits en 1807 (1807, 85x138cm)
Reading of the Bulletin of the Grand Army 1807 Oil on canvas 17 1/4 x 23 1/8 inches (44 x 59cm)
Réunion d'artistes dans l'atelier d'Isabey (1798, 72x111cm)
Still Life With Garden Flowers in a Glass Vase and a Dragonfly (32x25cm)
–- S#> Jeune Fillette (18x14cm oval; 427x348pix, 22kb)
–- S#> Une Mère et ses Enfants dans sa Cuisine (xcm; 510x374pix, 33kb)
–- S#> Famille de paysans avec du bétail (38x46cm; 493x600pix, 61kb)
–- S#> L'acteur Elleviou jouant Le Prisonnier (54x45cm; 609x456pix, 28kb) _ Jean Elleviou [14 Jun 1769 – 05 May 1842] a débuté sa carrière de chanteur en 1790, à la Comédie-Italienne dans l'opéra comique Le Déserteur de Michel-Jean Sedaine [02 Jun 1719 – 17 May 1797], musique de Pierre-Alexandre Monsigny [17 Oct 1729 – 14 Jan 1817]. Elleviou connait rapidement le succès et devient administrateur du théâtre Feydeau en 1801. Grâce à l'acteur, idolâtré par son public, les recettes du théâtre ne cessent de croître. Cependant Elleviou préfère se retirer de la scène en 1813, la société de l'Opéra-Comique lui refusant un salaire jugé exorbitant. Exposé au Salon de l'an VI, le Portrait d'Elleviou est, comme les autres tableaux de Boilly, très admiré. Cependant, c'est surtout la Réunion d'artistes dans l'atelier d'Isabey qui, par son sujet, son ampleur et le nombre de ses figures, attire l'attention du public et des critiques. Boilly choisit de représenter le jeune chanteur dans une pièce qui connaît une immense fortune populaire. Le Prisonnier ou La Ressemblance, opéra comique en un acte, paroles d'Alexandre Duval [06 Apr 1767 – 09 Jan 1842], musique de Pierre-Antoine-Dominique Della-Maria [14 Jun 1769 – 09 Mar 1800], est représenté pour la première fois au théâtre Feydeau (ou Favart?) le 29 janvier 1798.
 
^ Died on 05 July 1906: Jules Adolphe Aimé Louis Breton, French Realist painter born on 01 May 1827.
— As one of the primary academic painters of the nineteenth century, Jules Breton evolved a painting style that combined a realist selection of thematic material with an interest in creating figural types that reflected the idealism of the classical traditions. His paintings were often regarded as containing poetic references and his compositions suggest a timeless world where the workers of the field symbolically were linked with literary elegies that evoked their best qualities. Although his works were out of favor for a long period of time, and his compositions were often used as convenient examples of so-called "bad-painting" by supporters of the modernist camp who panned any style whose goal was to portray the trials of the human condition instead of being dedicated to destroying the defining characteristics of great traditional art. Breton's celebration of human values of work, family, home and hearth did not fit into their nihilistic paradigm, despite his poignant and poetic themes painted with a compositional force and sophistication of technique that clearly places him amongst the greatest artists of his time. Breton's paintings have returned to public consciousness through recent exhibitions and an interest in collecting his works by private patrons and museums. He is an artist who has benefitted greatly from the long over due revisionist reappraisal of nineteenth century academic painting.
      Jules Breton was from a rural region in the north western part of France. He was born and spent his youth in Courrières, a small village in the Pas-de-Calais; he died in Paris. His father, Marie-Louis Breton worked for a wealthy landowner whose land he supervised. After the death of his mother, when Jules was 4, he was brought up by his father. Others in the family, who lived in the same house, and had a deep influence on the young artist's upbringing, were his maternal grandmother and especially his uncle Boniface Breton. All instilled in the young man a respect for tradition, a love of the land and, especially, for his native region, which remained central to his art throughout his whole life providing the artist with many scenes for his Salon compositions.
      He received his first artistic training not far from Courrières at the College St. Bertin near St. Omer. Later (1842) he met the painter Félix de Vigne [1806-1862] who was impressed by his youthful talent and persuaded his family to let him study art. In 1843, Breton left for Ghent (Belgium) where he continued to study art at the Academy of Fine Arts with de Vigne, and an other teacher from the school, the painter Hendrik Van der Haert [1790-1846]. Sometime later (1846), Breton moved to Antwerp where he took lessons with Baron Gustaf Wappers; he also spent much of his time copying the works of Flemish masters. Trained as an academic artist, Breton was well aware of other artistic tendencies such as the role of genre painting. In 1847, Breton finally left for Paris where he hoped to perfect his artistic training at the École des Beaux-Arts.
      Once there he studied in the atelier of the genre painter Michel-Martin Drolling [1786-1851]. He also met, and became friends, with several of the Realist painters, including François Bonvin [1817-1887] and Gustave Brion [1824-1877] and his early entries at the Salon reflected not only their influence, but also his concerns for the poor brought to the fore by the events of the 1848 Revolution. His paintings Misery and Despair (1848) shown at the Salon of 1849, and Hunger (1850) shown at the Salon of 1850-1851, are representative of Breton's state of mind at the time and of his artistic preoccupations. Both paintings were destroyed.
      After Hunger was successfully shown in Brussels and Ghent, Breton was encouraged to move to Belgium where he met his future wife Elodie. Elodie, who became one of Breton's favorite models, was the daughter of Félix de Vigne, his early teacher; they were married in 1858. Breton returned to France in 1852. In 1853 he exhibited Return of the Reapers, the first of numerous rural peasant scenes based on his awareness of contemporary themes and influenced by the works of the Swiss painter Léopold Robert [1794-1835]. Breton's interest in peasant imagery was, from then on, well-established and what he is best known for today.
      In 1854, Breton returned to the village of Courrières where he settled. Once there, he began The Gleaners. This work was inspired by seasonal field labor and the plight of the less fortunate who were left to gather what remained in the field after the harvest. The Gleaners received a third class medal. This award, and the success of the painting among other artists and the public, launched Breton's career; his success continued throughout the Second Empire and beyond. He received commissions from the State and his works were purchased by the French Art Administration and sent to provincial museums. His painting Blessing of the Wheat, Artois, completed in 1857 and exhibited at the Salon of the same year, brought a second class medal and was purchased by M. de Nieuwerkerke for the Imperial Museums.
      Many other paintings from the 1850s: Recall of the Gleaners or Dedication of a Calvary, both shown at the 1859 Salon, continued to illustrate his tranquil vision of field labor influenced by the painters of the Italian Renaissance. In 1861, Breton received the Légion d'Honneur for such works as The Colza (1860). The 1860s saw a continuation of Breton's dedication to rural themes, but he moved away from concentrating only on peasant life around Courrières to include views of other French regions such as the south of France in Grape Harvest (Salon of 1864), or Brittany with The Great Pilgrimage, 1869. At the 1867 Universal Exhibition, where ten of his works were on view, Breton received a First Class Medal.
      As Breton continued to exhibit throughout the 1870s and into the 1880s and 1890s, his reputation was assured during the first thirty years of the Third Republic. Later in his career Breton continued his illustrations of peasant life, but in a manner more attuned to Symbolism than to Realism. His poetic renderings of single peasant female figures in a landscape, posed against the setting sun, remained extremely popular especially among US collectors. For example, his Song of the Lark (1884) is a favorite. Because his works were so popular Breton often had to produce copies of some of his best loved images. Breton was extremely popular in his own time, the numerous compositions he exhibited at the Salons and the fact that they were widely available as engravings, made him one of the best known painters of his period not only in his native country, but also in England and in the United States. He became a member of the Institut de France in 1886. Both his brother Emile (1831-1902), who was an architect by training, and his daughter Virginie (1859-1935), were also painters.
      In addition to being a painter, Breton was also a recognized writer who published a volume of poems and several editions of prose related to his life as an artist or to the lives of other artists that he personally knew. Thus, in several ways, Jules Breton, at the time of his death in 1906, was highly regarded as a painter with a personal vision of rural life. His dedication to a section of the French countryside, his absorption of traditional methods of painting, and the creation of a popular style, helped make Jules Breton one of the primary transmiters of the beauty and idyllic vision of rural existence.

LINKS
La Bénédiction du Blé en Artois (1879; 600x1526pix _ ZOOM not recommended to terribly blurry 1400x3562pix)
Retour des Glaneuses (1879; 600x1198pix, 271kb _ ZOOM to 1040x2076pix, 241kb _ ZOOM+ to 1400x2795pix, 684kb) badly yellowed.
The Vintage at the Château Lagrange (1864)
Bretonne (1872)
La Première Communion (1884; 535x800pix, 141kb)
Les Communiantes (551x799pix, 313kb)
The Rest of the Haymakers (1872)
A la Fontaine
Harvesters
Le Départ des Champs
The Last Gleanings
The Reapers
La Femme à l'Ombrelle aka Baie De Douarnenez (1871, 65x91cm)
Evening in a Hamlet of the Finistère
The Potato Harvest
Water Carriers
La Bergère (1905, 25x35cm)
The Song of the Lark (1884)
Le Pardon De Kergoat (1891, 123x233cm)
Summer (1891, 75x64cm)
L'Arc-En-Ciel (1883, 111x156cm)
Asleep In The Woods (1877, 62x51cm)
La Jeune Fille Vachère (1872, 47x62cm)
Afternoon Meal (20x30cm)
Mise en Tas des Oeillettes (24x 35cm)
The Water Carrier (82x62cm)
Les Vendanges à Château-Lagrange (59x49cm)
La Gleaneuse Fatiguée (1880, 94x64cm) _ Gleaning was usually the job of the poor, especially women and children. Breton shows a single gleaner stretching against a backdrop of the setting sun, while behind her others still labor in the field. Her bare feet and worn, simple clothing immediately identify her as a peasant. At the same time, however, her expansive gesture and the subdued tones of her skin and clothes link her to the surrounding landscape, both visually and symbolically. Thus, this painting not only suggests the hardships of peasant life, but also the grand link between humanity and the land. Like many of his successful contemporaries, Breton met demand for his paintings by copying and making variations of his own works. This picture is similar to a larger, more famous painting that was exhibited in the Paris Salon of 1880. The Cleveland collector Hinman H. Hurlbut, who bought this canvas from the artist, probably commissioned Breton to make this smaller variation of the larger painting.
 
^ Born on 05 July 1885: André Lhote, French Cubist painter, sculptor, writer, and educator, who died on 24 January 1962.
— He painted figure subjects, portraits, landscape, and still life; he also was very influential as a teacher and writer on art. Born in Bordeaux, he was apprenticed in 1897 to an ornamental sculptor, and also studied decorative sculpture from 1898 to 1904 at the École des Beaux-Arts in Bordeaux. He began to paint in his spare time. Lhote left the sculpture studio in 1905 to devote himself to painting. He was influenced by Gauguin, then from 1910 by Cézanne. First one-man exhibition at the Galerie Druet, Paris, 1910. Abandoning Fauvism, he joined the Cubist movement in 1911; exhibited in 1912 at the Salon de la Section d'Or. Applied Cubist stylization as a formal discipline to scenes from everyday life. In 1917, after discharge from the army, became one of the Cubist group supported by Léonce Rosenberg. An example of the Cubism which became Lhote's mature painting style is Rugby (1917). Lhote also began to write regularly for the Nouvelle Revue Française, which he did until 1940. He taught at the Académie Notre-Dame des Champs 1918-1920 and afterwards at various other art schools, including one he founded in Montparnasse in 1922. Lhote wrote a number of books on art, including La Peinture, Le Coeur et l'Esprit (1933), Traité du Paysage (1939), Traité de la figure (1950). He died in Paris.

LINKS
–- Paysage verdoyant (1921; 1150x970pix, 102kb)
–- Paysage sans titre (1910, 33x51cm; 900x1389pix, 139kb)
–- Entrée du bassin à flot à Bordeaux(1912, 97x130cm; 480x646pix, 28kb) _ Peintre et théoricien, le bordelais André Lhote donne du cubisme une conception différente de celle de ses pères fondateurs : Braque et Picasso. Alors que ces derniers, à force d'analyse, aboutissent à une abstraction, Lhote refuse le monde de "pure conception" afin de préserver une peinture intelligible. Choisissant dans des scènes de la vie courante la source de son émotion, il puise dans le domaine de la géométrie les équivalents plastiques des objets. Le spectacle que lui offre le port de Bordeaux a certainement facilité le passage entre le "désordre émotif" né de sa contemplation et la soumission de cet élan à des signes plastiques purs.
 
^ Died on 05 July 1793: Alexander Roslin, Swedish painter and pastelist, born on 15 July 1718, active in Germany and France.
— He was trained by Lars Ehrenbill [1697–1747], a draftsman employed by the Admiralty in Malmö, and in Stockholm by Georg Engelhardt Schröder [1684–1750], a portrait painter working in the tradition of Hyacinthe Rigaud and Nicolas de Largillièrre. In 1741 Roslin moved to Göteborg, but the following year he returned to Malmö, where he painted devotional works for the parish church of Hasslöv, Halland, and began establishing himself as a portrait painter.
— Roslin was born the same year that Charles XII died, in 1718. This was a period of material reconstruction in Sweden. People were simply unable to afford the vanity and luxury which the fine arts were considered part of, and so young artists - Alexander Roslin among them - went abroad to search for a living. He was born in Skåne, in the south of Sweden, and learned to paint in Stockholm. In the mid-1740s he was court painter at Bayreuth. He went on an educational tour of Italy and in 1752 went to Paris. He then spent the rest of his life in France, except for two years in the service of Catherine II in Saint-Petersburg, and it was in that connection that he passed through Sweden again.
— On 08 January 1759, Alexander Roslin married French pastelist and miniature painter Marie-Suzanne Giroust [09 Mar 1734 – 31 Aug 1772]. She was his model forThe Lady with the Veil (1768), among other paintings.
— Roslin's students included Per Gustaf Floding, Per Krafft, Lorens Pasch.

LINKS
The Lady with the Veil aka The Woman with a Fan, aka Marie Suzanne Roslin (1768; 63×54cm; 599x499pix, 32kb _ ZOOM to 2430x2024pix, 333kb) half-length; the right 40% of her face are hidden by her veil, the top 40% of her left breast are not. This is by far the best-known and most popular of all Alexander Roslin's paintings. The model is his wife. She is dressed à la Boulognaise, that is, after the manner of women from Bologna in Italy. Part of the fascination of this portrait is the model's gaze, partly secretive and hidden behind her veil. When the painting was put on show at the Paris Salon, the critic Diderot found it “très piquant”.
Benjamin Franklin (1790, 73x60cm) This painting is based on a portrait by Joseph S. Duplessis that was owned by the artist. Duplessis first painted Franklin's portrait in Paris in 1778, and this original is now in the Metropolitan Museum of Art. Numerous copies were made from it by Duplessis and other artists in the years that followed. _ (Benjamin Franklin by Houdon)
–- Une jeune fille s'apprêtant à orner la statue de l'Amour d'une guirlande de fleurs (1783, 148x106cm; 782x580pix, 66kb)
Septimanie de Richelieu comtesse d'Egmont Pignatelli. (1763; 87kb) _ This oil painting depicts Septimanie de Richelieu [1740–1773] in a relaxed pose, with an open book in her hand, and a small dog by her side. The daughter of the duc de Richelieu, Septimanie married the Casimir Pignatelli, the Comte d’Egmont, when she was 16 years old, becoming the Comtesse d’Egmont Pignatelli. She was beautiful, intelligent and a frequent guest at the salon of Madame Geoffrin, the confidante of Madame de Pompadour. She was also a key figure at the court of the French king Louis XV, a close friend of the King of Sweden, Gustav III, and an acquaintance of some of the most important artistic and literary figures of her day. The Comtesse d’Egmont died from tuberculosis. The portrait depicts the comtesse in a dazzling white gown, or Spanish costume, which is bedecked with ribbons, lace, and multiple strings of pearls adorning her neck, earlobes, and lightly powdered hair. Her feet, clad in white satin shoes, are crossed on the parquet floor. A small black-and-white spaniel tries to capture his mistress’s attention by raising its left forepaw. The languid pose, open book, and spaniel relate this painting to the portrait Madame de Pompadour (1756, 201x157 cm; 1000x910pix, 170kb) by François Boucher [29 Sep 1703 – 30 May 1770].
—(060603)
Double Helix
Died on a 05 July:


2007 Odile Crick (née Speed) [11 Aug 1920–], British painter best known for her drawing (in Nature) of the double helix of DNA discovered by her husband Francis Crick [08 Jun 1916 – 28 Jul 2004] and James D. Watson [06 Apr 1928~] in 1953 (the two men shared the 1962 Nobel Prize for Physiology or Medicine with Maurice Wilkins [15 Dec 1916 – 05 Oct 2004] .. —(080704)

2001 Joan Josep Tharrats i Vidal, Catalan painter born (main coverage) on 05 March 1918. —(080704)

^ >1886 Charles Louis Baugniet, Belgian academic lithographer and painter born on 27 February 1814. In 1827 he made his first lithographs. He moved to London in 1843, and to Paris in 1860. — {Un beau niais?}— LINKS
–- Memories (72x60cm; 1000x783pix, 156kb _ .ZOOM to 1500x1175pix, 175kb)
–- Spring's New Arrivals (85x65cm; 1000x761pix, 136kb _ .ZOOM to 1500x1142, 144kb)
–- David Roberts (lithograph; 1/2 size, 56kb _ .ZOOM to full size, 225kb) _ David Roberts [24 Oct 1796 – 25 Nov 1864] was a Scottish painter.
Henri Leys (1835 lithograph, 19x15cm; 800x609pix, 70kb) _ Henri or Hendrik Leys [18 Feb 1815 – 26 Aug 1869] was an Antwerp Belgian painter.
Paul Lauters (1842 lithograph, 30x22cm; 800x602pix, 31kb) _ Paul or Paulus Lauters [16 Jul 1806 – 12 Nov 1875] was a Brussels Belgian artist.
Klemens-August von Droste-Vischering, archevêque de Cologne (engraving 32x28cm; 800x699pix, 44kb) _ Klemens-August von Droste-Vischering [21 Jan 1773 – 19 Oct 1845] was ordained a Catholic priest, on 14 May 1798, by his brother Kaspar Maximilian von Droste-Vischering [09 Jul 1770 – 03 Aug 1846], then Auxiliary Bishop of Münster, their native city. Clemens-August was consecrated bishop on 28 October 1827 (as Auxiliary to his brother, who was by then Bishop of Münster), and, on 29 May 1836, he became archbishop of Cologne. He was imprisoned from 20 November 1837 to 22 April 1839 by the Prussian government, which accused him of treason because he followed the orders of the Pope rather than those of the government. —(070226)
Foglar
^ 1868 Magnus von Wright, Finnish painter and illustrator born on 13 June 1805. He was descended from a Scottish family who moved to Sweden in the 17th century. He and his brothers, Wilhelm von Wright [05 Apr 1810 – 02 Jul 1887] and Ferdinand von Wright [19 Mar 1822 – 31 Jul 1906] were brought up in a remote region in central Finland and were almost entirely self-taught. They were among the finest Finnish artists of the first half of the 19th century.Fiskar In 1826 Magnus moved to Stockholm, and, in 1828, he and Wilhelm began publishing Svenska Foglar, the series of bird illustrations that rapidly established the brothers’ reputation in Finland and Sweden. The work, completed in 1838, consists of 180 hand-tinted lithographs. Similarly they did the 500 or so handcolored lithographs of Skandinaviens Fiskar (1834-1857). Magnus also painted landscapes.
Rautatie Helsingin Töölönlahden kohdalla (1862, 29x41cm; 513x729pix, 89kb) railway bed at Töölönlahti Bay in Helsinki.
Maantie Haminalahden kartanon lähellä (1857, 34x45cm; 542x700pix, 90kb) forest road near Haminalahti Manor.
Kuljun kartano (1849, 38x52cm; 430x674pix, 275kb) Kulju Manor _ detail of tree
Helsinki
Sinisorsa (46x37cm) duck _ detail

>1887 Hans von Marées [24 Dec 1837–], German painter, draftsman, and sculptor. — LINKS
Self-Portrait (1862, 42x35cm; 400x333pix, 11kb)
Double Portrait: Self and Lenbachs (1863; 600x693pix, 150kb _ ZOOM to 1400x1616pix, 401kb)
Selbstbildnis mit Hildebrand und Grant (1873; 600x613pix, 108kb _ ZOOM to 1400x1429pix, 247 kb)
Saint Martin und der Bettler (1869; 600x854pix, 246kb _ ZOOM to 1400x1994pix,752kb _ ZOOM+ to 2247x3200pix,756kb) looks unfinished, especially Saint Martin.
The Dragon Killer (1880; 1519x1154pix, 662kb)
The Oarsmen (1873; 103kb)
Youth Picking Oranges (1878, 96kb)
The Four Ages of Man (1878; 201kb)
44 images at Wikimedia —(090325)

^ 1814 Andries Vermeulen (or Meulen), Dutch painter born on 23 March 1763. — LINKS
A Winter Scene In Holland (53x71cm)
–- S#> Winter Landscape with a Bridge (46x62cm; _ /S#*>ZOOM to 994x1320pix, 239kb) A horse-drawn cart is starting over the bridge. A man carrying a load on his back is coming off the other end of the bridge. Under the bridge two men in a boat transporting pigs are breaking the ice to make way for their boat, and two children are sledding on the side.
–- S#> Winter Landscape with a Frost Fair and Skaters on a Frozen River (41x70cm; 518x900pix, 71kb)
–- S#> Winter scene with skaters on a river, two children sleigh riding on a path near a farm (49x65cm; 562x768pix, 87kb)
–- S#> Winter Landscape with Skaters Near a Windmill (38x46cm; 410x510pix, 42kb)
–- S#> Winter landscape with people drinking by a frozen river, others skating beyond (40x49cm; 400x507pix, 39kb)

Born on a 05 July:


^ 1868 William Henry Singer Jr., US artist who died in 1943. — Relative? of Clyde Singer [born 1908]?
— William Singer wordt in 1868 in Pittsburgh Pennsylvannia geboren als zoon van een welgestelde staalfabrikant. Als hij achttien jaar is, gaat hij bij zijn vader in de zaak, hoewel hij liever kunstenaar wil worden. Hij blijft daarnaast tekenen en schilderen. In 1900 worden twee van zijn schilderijen geaccepteerd voor een prestigieuze tentoonstelling, wat een grote stimulans voor hem is. In datzelfde jaar trekt Singer sr. zich terug uit de staalfabriek, verkoopt zijn belangen en geeft een deel van zijn vermogen aan zijn kinderen. William wordt nu een rijk man en richt zich volledig op het schilderen. Samen met Anna Brugh, met wie hij in 1958 was getrouwd, reist hij in 1900 naar Monhegan, een klein eiland voor de kust van Maine dat populair was onder kunstenaars. Hier raakt Singer geïnspireerd door het buitenleven en maakt enkele impressionistische werken. Maar een schilder rond 1900 kon niet zonder een bezoek aan Parijs, hét centrum van de kunst. Daarom vertrekt het echtpaar naar de franse hoofdstad, waar William zich inschrijft aan een kunstacademie. Het schilderen in de natuur, waaraan William zo verknocht was geraakt, verdwijnt hier naar de achtergrond. De drukte in de stad en het mondaine leven maken dat het echtpaar terugverlangt naar de rust van het buitenleven. Op het aanraden van vrienden vertrekken William en Anna Singer naar het Nederlandse Laren. Dat was eind 1901.
     Singer was niet de enige kunstenaar die de charme van Laren zag. Het boeren- en weversdorp in het Gooi was al enkele tientallen jaren in trek bij Hollandse kunstenaars. Jozef Israëls ontdekte rond 1870 het schilderachtige Laren, met zijn grillige zandpaden, oude boerderijen en ongerepte natuurschoon. Israëls ondernam, met collega-kunstenaars, tochten naar het Gooi om daar gezamenlijk te schilderen in de open lucht. Anton Mauve verkoos in 1882 Laren tot zomerverblijf en drie jaar later vestigde hij zich er definitief. 't Is aandoenlijk mooi hier van een fijnheid van lijnen, een lieflijke poëzie straalt uit alles, binnenhuizen, wegen, akkers, boschjes en de menschen is van het liefste soort dat te bedenken is, aldus Mauve over zijn geliefde Laren.
      In De Wilde Zwanen omringen de Singers zich met kunst en hier ontvangen ze hun schildersvrienden. Ze kopen werk van vrienden en tijdgenoten en ontpoppen zich als ware verzamelaars. De collectie komt toevallig tot stand, zonder vooropgezet plan. Ze kopen wat ze mooi vinden, wat ze tegenkomen of om vrienden te steunen. Daarnaast groeide hun verzameling doordat ze tekeningen en schilderijen krijgen, in ruil voor een logeerpartijtje of een genoeglijk avondje. Ondanks de spontane verzamelwijze zijn er wel enkele duidelijke accenten in de collectie te ontdekken. De verzameling bevat veel werken van bevriende Larense schilders, 19de-eeuwse Franse meesters, Amerikaanse impressionisten en daarnaast groepen schilderijen van speciale vrienden zoals de Amerikaan Walter Griffin, de Noor Martin Borgord en de Nederlanders Jacob en Willem Dooijewaard. Bij bijna alle schilderijen gaat het om naturalistische en impressionistische werken. Verzamelaars van avant-gardekunst waren de Singers niet; expressionisme en kubisme hadden niet hun interesse.
Photo of Singer (430x661pix, 41kb) in his Olden studio.
Olden harbor in winter (1928; 530x670pix, 104kb)
Mysterious Winter Day (1943; 599x645pix, 66kb)

^ 1840 Miguel Jadraque y Sánchez de Ocaña, Spanish painter who died in 1919. — Portrait of Jadraque (200x146pix, 5kb)
Carlos V en Yuste (1877, 146x194cm; 400x534pix, 38kb) _ El 03 febrero de 1557 Carlos V llega al monasterio de Yuste, lugar elegido por el monarca como retiro tras su abdicación de la corona imperial en manos de su hermano Fernando, y del trono de España, legado a su hijo Felipe. La vejez, la enfermedad, el cansancio de casi medio siglo de gobierno y la profunda tristeza en la que quedó sumido tras la muerte de la emperatriz Isabel fueron determinantes en su decisión de terminar sus días entre los muros del cenobio jerónimo. Sin embargo, según algunos historiadores, para paliar en parte su soledad invitó a su lado a Juanelo Turriano, ingeniero hidráulico italiano, con quien parece ser que se entretenía ayudándole en la ejecución de pequeñas figurillas articuladas cuyos movimientos imitaban a los del cuerpo humano.
      El cuadro de Jadraque refleja el instante mismo en el que Turriano, de pie junto a Carlos, le muestra la última de sus composiciones. La atenta mirada del rey contrasta con las expresiones de asombro de los monjes que no aciertan a comprender cómo es posible que un muñeco pueda llegar a moverse igual que un hombre. La habitación que sirve de marco a la escena pretende ser una de las estancias del monasterio de cuyas paredes, para dotar de veracidad histórica a la anécdota narrada, cuelgan tres lienzos en alusión a otras tantas obras de Tiziano: a la izquierda un Retrato del Emperador, en el centro una Dolorosa, y a la derecha el conocido Retrato de la emperatriz Isabel, realizado por el pintor italiano en 1548 y del que se tiene constancia que formó parte de las posesiones que el rey quiso tener consigo durante su permanencia en Yuste.
      La obra fue ensalzada por la crítica artística del momento, que destacó su corrección en el dibujo, la maestría evidenciada en la aplicación del color y la habilidad para representar diferentes tipos humanos destacando las facciones de algunos de los frailes, auténticos retratos psicológicos.
      Premiado con medalla de segunda clase en la Exposición Nacional de 1878, fue elegido para figurar en la sección española de la Exposición Universal celebrada en París en el mismo año, fecha también en la que es adquirido por el Estado con destino al Museo Nacional de la Trinidad. Depositado en el Senado desde 1881, en 1919 se decidió su traslado a la Casa de la Tierra de Salamanca.
Coloquio de Don Quijote con el barbero y el cura (53x64cm; 614x800pix, 126kb) “De todas estas locuras sólo los libros son los culpables ... Todos hacen daño grave ...”
 
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