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ART “4” “2”-DAY  19 July v.8.80
^ >Born on 19 July 1834: Hilaire-Germain-Edgar Degas (or de Gas), French painter and sculptor who died on 26 September 1917. — {Il faisait des Degas, PAS des dégas, et pas des “gars Dédé”.}
— Born Hilaire Germain Edgar de Ga. Father was a prominent banker. His father and grandfather signed their names “De Gas”, as did the artist until ca. 1870. He studied at the Lycée Louis-le-Grand and briefly at law school but was most interested in becoming an artist; in 1853 he began to copy at the Louvre. He entered the École des Beaux-Arts in 1855 and from 1856 to 1859 lived in Italy, studying the old masters and working from the model. In Italy again in 1860, he started his first great painting, W?#>?W?*>The Bellelli Family (1862; 849x1066pix). His early work was mainly portraiture and large classical compositions, and he contributed regularly to the Salon from 1865 to 1870. His first sculptures date from the mid-sixties. In 1872-1873, Degas visited New Orleans to see his brother, René, who was in the cotton trade there. It was during this time that Degas produced Cotton Office, New Orleans. In 1876, René became insolvent and it was Edgar who sacrificed his own personal fortune to assume the responsibility of his brothers debts. Degas was to feel this burden until 1883.
      Back in Paris in 1874, he helped organize the first impressionist exhibition and contributed to all but one of the subsequent group shows, although his many paintings of the ballet and opera, cafe scenes, horse races, and other aspects of metropolitan life are distinct in style and subject matter from the work of his impressionist colleagues. About 1892 Degas began to work primarily in pastels. Plagued by ill health and near blindness after about 1900, his style became increasingly broad, and by 1910 he had ceased working.
—       Edgar Degas was born into the family of bankers of aristocratic extraction. His mother died in 1847, so the boy's father, Auguste de Gas, and grandfather, Hilaire de Gas, were the most influential figures in his early life. Despite his own desire to paint he began to study law, but broke off his studies in 1853. He frequented Félix Joseph Barrias’s studio and spent his time copying Renaissance works. In 1854-1859 he made several trips to Italy, some of the time visiting relatives, studying the Old Masters; he painted historical pictures and realistic portraits of his relatives: Marguerite de Gas, the Artist's Sister. (1859), Achille de Gas in the Uniform of a Cadet. (1856-57), Hilaire de Gas, Grandfather of the Artist. (1857) — 87 year-old head of the family.
      By 1860 Degas had drawn over 700 copies of other works, mainly early Italian Renaissance and French classical art. The most important historical work of the period was Spartan Girls Challenging Boys. (1861). It was exhibited only in 1879 at the fifth Impressionist show, and he kept it in his studio throughout his life.
      It was with a historical painting The Suffering of the City of New Orleans. (1865) that Degas made his salon debut in 1865. The picture got little attention. It must have seemed anachronistic and artificial: a medieval landscape setting and naked women bodies were used to symbolize the sufferings of Confederate New Orleans, which was occupied by Union troops in 1862 in the course of the Civil War. The Suffering... turned out to be his last historical painting.
      In the troubled post-war years Degas undertook his longest journey. In 1872 with his younger brother René, he traveled to New York and New Orleans, where his uncle, his mother's brother, Michel Musson, ran a cotton business. Degas stayed in Louisiana for 5 months and returned to Paris in February 1873. In America he fulfilled a number of works. Courtyard of a House in New Orleans. (1872) shows part of the Musson’s home in Esplanade avenue and possibly the room that served Degas a studio during his stay. The most important work resulting from his visit to the US was Portraits in a New Orleans Cotton office. (1873).
      After his return from the US, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term “Impressionism” unacceptable — mainly, perhaps, because he did not share the Impressionists’ over-riding interest in landscape and color. He did not care to be tied down to one method of painting. Nonetheless, Degas was to participate in all the group exhibitions except that of 1882. Degas used the group and the exhibitions high-handedly to promote himself. His strategy seems to have been to show off his own diversity at the exhibitions, for he always entered works that were thematically and technically very varied.
      Since late 1860s Degas frequently painted jockeys and race horses: Race Horses. (1867), Carriage at the Races. (1869). From 1870 he increasingly painted ballet subjects: Dance Class. (1871), Dancing Examination. (1874), The Star. (1877). Among other reasons they were easier to sell. Degas’ ballerinas have determined his popular image to his day.
      The rapid worsening of his eye condition caused him to avoid all society; he drew pastels, modeled statues in wax and extended his art collection. In 1909-1911, due to failing eyesight, he stopped work completely. After Degas’ death about 150 small sculptural works were found in his studio, and unsurprisingly his subjects tended to be race horses or dancers.
— Degas's innovative composition, skillful drawing, and perceptive analysis of movement made him one of the masters of modern art in the late 19th century.
      Degas is usually classed with the impressionists, and he exhibited with them in seven of the eight impressionist exhibitions. However, his training in classical drafting and his dislike of painting directly from nature produced a style that represented a related alternative to impressionism.
      Degas was born into a well-to-do banking family in Paris. He studied at the École des Beaux-Arts under a disciple of the famous French classicist J. A. D. Ingres, where Degas developed the great drawing ability that was to be a salient characteristic of his art. After 1865, under the influence of the budding impressionist movement, he gave up academic subjects to turn to contemporary themes. But, unlike the impressionists, he preferred to work in the studio and was uninterested in the study of natural light that fascinated them. He was attracted by theatrical subjects, and most of his works depict racecourses, theaters, cafés, music halls, or boudoirs. Degas was a keen observer of humanity — particularly of women, with whom his work is preoccupied — and in his portraits as well as in his studies of dancers, milliners, and laundresses, he cultivated a complete objectivity, attempting to catch his subjects in poses as natural and spontaneous as those recorded in action photographs.
      His study of Japanese prints led him to experiment with unusual visual angles and asymmetrical compositions. His subjects often appear cropped at the edges, as in Ballet Rehearsal (1876). In W?#>?W?*>Mme. Paul Valpinçon with Chrysanthemums (1865; 848x1069pix, 216kb), the lady is pushed into a corner of the canvas by the large central arrangement of flowers; despite the title, the flowers in this painting include yellow and red sunflowers, gaillardia, marguerites, cornflowers and dahlias, with only a few chrysanthemums. The figure was added to what had been solely a still life, and the original date, 1858, is still discernible.
      In the 1880s, when his eyesight began to fail, Degas began increasingly to work in two new media that did not require intense visual acuity: sculpture and pastel. In his sculpture, as in his paintings, he attempted to catch the action of the moment, and his ballet dancers and female nudes are depicted in poses that make no attempt to conceal their subjects' physical exertions. His pastels are usually simple compositions containing only a few figures. He was obliged to depend on vibrant colors and meaningful gestures rather than on precise lines and careful detailing, but, in spite of such limitations, these works are eloquent and expressive and have a simple grandeur unsurpassed by any of his other works.
      Degas was not well known to the public, and his true artistic stature did not become evident until after his death. He died in Paris.

–- L'impresario
–- Portrait d'un Homme
Self-Portrait (1863)
La famille Bellelli (1882; _ ZOOMable) _ At the time of the painting, the Bellelli family was living in exile and soon headed toward divorce. Obviously this is not a happy family and Degas captures this inner dynamic through his positioning of the characters, lack of eye contact, and alliances between children and parents.
Café-Concert Singer (1878; _ ZOOMable)
Song of the Dog (1877; _ ZOOMable)
Ballet Rehearsal on Stage (1874; _ ZOOMable)
Dance Class (1874; _ ZOOMable)
In a New Orleans Cotton Office (1873; _ ZOOMable)
Dance Class (1871; _ ZOOMable)
Orchestra Musicians (1871; _ ZOOMable)
The Orchestra of the Opéra (1870; _ ZOOMable)
Woman Ironing (1869)
Henri de Gas and his Niece Lucy (1877)
Mary Cassatt (1884)
Mary Cassatt at the Louvre (1880) and study for a detail of Mary Cassatt at the Louvre (1880)
Henri Michel-Lévy (1879)
Young Spartans (1860)
Rehearsal (1879)
The Rehearsal (1873)
The Rehearsal (1874)
Rehearsal (1879)
Dancer on Stage (1878)
The Star (1876)
The Dance Examination
The Curtain (1880)
Ballet Rehearsal (1875)
Singers on Stage (1877)
Ballet Dancers in the Wings (1900)
Café-Concert, aux Ambassadeurs (1877)
Lala au Cirque Fernando, Paris (1879)
Four Dancers (1902, 65x43cm)
Les Repasseuses (1885; 1097x1001pix, 194kb) and slightly different version Les Repasseuses (1885; 1040x1105pix, 231kb)
René De Gas (1855; 1109x874pix, 109kb) with red bow tie, and slightly different version (with black bow tie) René De Gas (1855; 1063x880pix, 164kb) the artist's young brother.
Woman Trying on a Hat (1884)
Madame Camus with a Fan (1870) the kind of fan used for fanning oneself, not a fan(atic).
Roman Beggar Woman (1857)
Women on a Café Terrace in the Evening (1877)
Race Horses (1884)
Chevaux à Longchamp (1875)
Racehorses in Front of the Grandstand (1867)
Aux Courses en Province (1872)
David & Goliath (1864)
Intérieur (1869, 81x114cm)
Place de la Concorde (1875; 987x1496pix, 211kb)
In a Café (The Absinthe Drinker)
At the Beach (1876)
Woman Bathing (1898)
Woman Drying Herself (1886)
After the Bath (1883)
–- La Sortie du Bain (1895, 53x53cm; 1193x1200pix, 164kb) _ This pastel was sold for £6'728'000 at a Sotheby's auction in London on 19 June 2006. It is an example of Degas’ fascination with the female nude twisting her body in the process of drying after a bath. The range of rich, vibrant tones and the balanced and proportioned treatment of the woman’s body rank this among the most accomplished examples of his series of bathers. As in his paintings of ballet dancers, Degas preferred to show his models when they appear fully absorbed in their activity, unaware of being observed. The sense of privacy is amplified by the artist's viewpoint, depicting his subject from the back, her face hidden by her raised arm. The bather seems to have had little success in washing off the multicolored scribbling covering her back or the tangle of black hair stuck to it.
      Unlike his depictions of the ballet and the races, the bather scenes were, however, usually staged in the artist’s studio. Nevertheless, La Sortie du bain recreates the spontaneity of the act and the voyeuristic experience of watching a woman at her toilette. Degas was very concerned with the accuracy of movements and postures. He studied them endlessly. He would work with a model, trying to make her assume the gestures of a woman drying herself. You see the two shoulderblades from behind; but the right shoulder, squeezed by the weight of the body, assumes an unexpected outline that suggests a kind of acrobatic gesture, a violent effort. Indeed, the artist often applied his knowledge of the female body, attained through observing dancers, on his images of bathers, and in the present work he depicted his model with an almost balletic twist of her upper body.
      The extraordinary energy and modern quality of the present work are derived from the highly abstracted treatment of the surface, blending the fabric of the wall-paper, curtains, robes and towels into a continuous decorative pattern. From the 1880s on, Degas’s pastel technique evolved into a vocabulary of intense color applied in a bewildering array of marks: squiggles, zigzags, striations and zébrures. Here Degas employs a vast repertoire of strokes, and the entire surface of the composition has become a complex network of vibrating color, made more vibrant by the use of fixative that isolates each pastel layer from the next, preventing the colors from becoming a murky mess of smudges. The bather's skin is composed of several layers of color over a preliminary charcoal drawing, the edges of which can be observed in the upraised arm. The saturated burgundy strokes of pastel against the rich salmon pink fabric on the chair equate the dry brushwork of the late oils. The added strip of paper along the top of the support accommodates the top of the hand, and the bottom strip - only a few centimeters wide - allows more of the slippered foot to be seen. With the additions, the support becomes an unusual perfect square.
      In his pastels of the 1890s, Degas' focus moved away from the linear, towards a new interest in color, and the present work is a magnificent example of his new found freedom of expression, allowing the artist to transform an everyday scene into a firework of strong, bright colors. This sense of spontaneity in execution is also reflected in his technique of adding strips of paper to the top and bottom of the sheet. Degas often employed this practice in his mature works, adapting the size and shape of his support in such a way as to suit the emerging composition. For all their daring modernity and an often shocking effect they had on their contemporary nineteenth-century audience, Degas’ images of bathers were greatly admired at the time.
513 images at the Athenaeum
^ Died on 19 July 1664: Egbert Lievenszoon van der Poel, Dutch Baroque painter born on 09 March 1621, son of a Delft goldsmith.
— He may have resided during 1648 in the coastal town of Scheveningen, outside The Hague. He registered with the Guild of Saint Luke in Delft on 17 October 1650 as a landscape painter. A year later he married Aeltgen Willems van Linschooten in Maasluis, near Rotterdam. The couple were living on the Doelenstraat in Delft at the time of the gunpowder explosion on 12 October 1654, which may have killed one of their daughters who was buried in the Nieuwe Kerk there on 14 October. The couple had three daughters who were baptized in Delft. The baptismal records of a son indicate that the artist was living on the Rotte next to the Saint Joris House in Rotterdam by November 1655. He died in Rotterdam.
— Van der Poel was a painter of landscapes and townscapes, specializing in scenes of nocturnal fires and brandjes en maneschijntjes. When he married in 1651 he moved from (Nieuwe) Doelenstraat to Nieuwe Langendijk. In 1652 he was again living on Doelenstraat near Carel Fabritius. He is also known for nocturnal scenes , possibly under the influence of Bramer. In and after 1654 he painted scenes of destruction in Delft. Two days after the gunpowder explosion one of Egbert's children was buried from Oosteinde, possibly a temporary address.

The Fair (1661, 98x158cm)
A Skating Scene (1656, 36x48cm; 467x618pix, 106kb)
Farmyard (24x28cm; 600x667pix, 67kb) _ Van der Poel often produced series of paintings of the same topic, all very much alike. Other paintings of this series are a.o. in the Louvre and in the Gemäldegalerie in Dresden.
Celebration by Torchlight on the Oude Delft (1654, 55x43cm) _ In this nocturnal scene Van der Poel takes us to one of the best-known buildings in Delft: the Gemeenlandshuis of Delfland, illuminated by torches, with rich ornamentation and coats of arms above the entrance. This Late Gothic house was built in 1505 as a residence for the dikereeve and bailiff Jan de Huyter. In 1645 it became the seat of the board of the Hoogheemraadschap of Delfland. The building occupies a prominent place on Delft's oldest canal, the Oude Delft, just south of the Prinsenhof, the erstwhile Convent of Saint Agatha and residence of William the Silent until his assassination in 1584. On the right in the painting, behind the bridge, one can make out the tower of the Oude Kerk. In front of the Gemeenlandshuis a crowd has gathered, captivated by the spectacle of the blazing torches and the fireworks in the night sky. The torches are made from barrels filled with pitch or tar and mounted on poles. They were usually paid for by the town or by private individuals on the occasion of a festivity. The painting is undated and contains no unambiguous indications of the nature of the event represented. Traditionally the picture has been interpreted as a depiction of the celebrations of the conclusion of the Treaty of Münster, which was signed on 15 May 1648. In honor of this momentous event the States General ordered a day of thanksgiving and rejoicing on 05 June, the day of the official announcement. Alternatively, it has been suggested that he scene shows the festivities on the occasion of the Hoogheemraadschap's installation in the Gemeenlandshuis in 1645. This interpretation explains the building's prominence in the painting, though such a well-known edifice may simply have provided Van der Poel with a readily identifiable Delft setting.
The Explosion of the Delft magazine (1654; 755x965pix, 81kb) _ After his earlier, peaceful farmyards, landscapes, and moonlit beaches, Van der Poel seems to have developed a penchant for the depiction of catastrophic events. Not only did he paint numerous views of Delft during and after the explosion of 1654 that devastated large parts of the city but, possibly inspired by the event, he also made a specialty of nocturnes showing burning houses and people desperately trying to fight the fire and save their possessions — or loot other people's. These "brandjes", as they were known in contemporary inventories, were evidently popular and gained Van der Poel the accolade of being 'the best painter of fire in all of the Netherlands."
      “'t Sekreet van Hollandt” secret gun powder storage was the site of the gunpowder explosion of 12 October 1654 at 10:30, the sonic boom of which reverberated to the island Texel in the far north of Holland. The blast killed Carel Fabritius but for other painters such as Daniel Vosmaer and Egbert van der Poel it yielded a new market for many townscape views of the devastated areas. They and others earned a livelihood in a new branch of townscape views.
      This gunpowder storage bunker, which was hidden from view with bushes, was hard to reach by foot and it was therefore virtually unknown to the Delft population. It was built on the grounds of the former Clarisse convent, to the west of the Oude Doelen building. Hundreds of buildings were razed to the ground, including the Nieuwe Doelen, where the schutterij trained, and the Oude Doelen. Large trees were sheared at the bottom.
Fire in a Village (38x32cm; 527x435pix; 30kb) _ Sujet éminemment propice à des effets de pittoresque et de virtuosité picturale très prisé par l'artiste qui s'en fit une spécialité en marge des Van Ostade et de Teniers.
View of Delft after the Explosion of 1654 (1654, 36x50cm; 802x1056pix, 126kb) _ On Monday 12 October 1654, shortly after half past eleven in the morning (or at 10:30?), one of Delft's powder magazines exploded and devastated a large part of the city. The "Delfische Donderslag" was said to have been heard as far away as the island of Texel, 110 km north of Delft.
     This painting shows the terrible damage caused by the explosion. In the distance against the horizon the two major churches of the city, the Oude and the Niewe Kerk, stand relatively intact. Between them is the Town Hall tower. The church on the extreme right is the chapel of the Hospital of Saint George in Noordeinde.To the right of the picture is the area where the gunpowder had been stored; all that remains are a crater filled with water, some burnt trees, roofless houses, and piles of rubble. In the foreground, people are busy helping the wounded and comforting one another. Two men crossing a bridge on the left of the picture carry a basket containing the few belongings they have managed to salvage.
      The magazine, known as the Secreet van Hollandt, had been established in the former Clarissenklooster in the northeastern corner of Delft in 1572. When the magazine, large parts of which were underground, exploded, it contained about 40 tons of gunpowder. The force of the blast was so great that most houses in the immediate vicinity were destroyed and buildings throughout the city were damaged. The two major churches, the Oude and the Nieuwe Kerk, were also damaged.
      Although the number of people killed is not known, it has been estimated that deaths were in the hundreds. Among the casualties was one of Delft's most famous painters, Carel Fabritius. News of the event spread rapidly throughout the country. The States General sent a note of condolence; Elizabeth, queen of Bohemia, paid a visit; and many other people came to survey the devastation.
     While we do not know whether Van der Poel witnessed the explosion, it is possible that he was personally touched by it: one of his children may have died in the catastrophe. Certainly, the event had a great effect on his work. About twenty versions of the present composition survive, showing either the explosion itself or the devastated townscape that was left in its wake. Toward the right of the picture is the area of the former magazine. All that is left are a crater filled with water, some charred trees, remnants of houses, and piles of rubble. In the foreground people are busy helping the wounded, consoling one another, and trying to salvage whatever belongings may have survived. The low vantage point accentuates the depth of the space and the extent of the devastated area. Van der Poel unifies the space with a diagonal line that starts at the bridge on the left and reaches into the far background.
     Although the depiction is devoid of much of the atmospheric quality for which Delft painting has been known since the late 1640s - a quality present in the works of Fabritius, Paulus Potter, Adam Pynacker and Daniel Vosmaer - Van der Poel employs pronounced light effects to counteract the plunging perspective. The receding space is carefully structured as alternating areas of light and shade, with some of the most brightly illuminated walls placed immediately behind the looming remnants of former houses in the left foreground. The rather dense mass of buildings on the left, accentuated by the two churches rising at the horizon, is balanced by the wide-open area on the right, to which the eye is automatically drawn. The canal running parallel to the picture plane creates a stage-like area in the foreground upon which the figures display the human dimension of the tragedy.
     Most of Van der Poel's paintings of the event bear the precise date of the explosion. Having discovered a market for these pictures, Van der Poel seems to have continued painting them for several years, despite his departure for Rotterdam in 1654 or early 1655. The experience of the explosion may have inspired his choice of "brandjes", paintings of blazing fires dramatically set against a nocturnal sky, as the principal undertaking of his Rotterdam period.
^ Born on 19 July 1636: Jean-Baptiste Monnoyer, Franco-Flemish flower-painter who died on 16 February 1699.
— At an early age he studied history painting in Antwerp but had arrived in Paris by 1650, when he worked on the decoration of the Hôtel Lambert. He collaborated with Charles Le Brun on decorations for the royal châteaux of Marly (Yvelines) and Meudon (Seine-et-Oise) and the Grand Trianon at Versailles. He was presented to the Académie Royale in 1663 and received (reçu) in 1665. His morceau de réception was the painting now known as Flowers, Fruit and Objets d’Art. Originally entitled A Sphinx on a Pedestal, a Clock, a Carpet, a Globe, Two Vases of Flowers, it displays objects associated with the artist’s trade with a high degree of verisimilitude. Monnoyer sent four still-lifes of flowers to his first Salon in 1673, and it was with this genre that he quickly became associated. He rose to prominence in the Académie and was made Conseiller in 1679.
— Born in Lille, Monnoyer was trained in Antwerp, but became a member of the Academy in Paris in 1665 and worked for Louis XIV. It is said that he was annoyed because his son Antoine, an inferior flower-painter, was allowed to alter some of his works, and in a fit of pique he went to London c. 1685. There he worked for the Duke of Montagu's new (and very French) town house and he remained in London until his death [and afterwards?]. His flower-pieces are rich and splendid, yet painted with the greatest regard for botanical accuracy: they frequently appear in English sale-rooms under his nickname 'Baptiste'. He also published books of engravings of flowers. Many pictures have been wrongly attributed to him, and his oeuvre is difficult to define because of the lack of signed and dated pictures.
— Jean Vauquer was a student of Monnoyer.

Flowers _ Monnoyer was the most successful specialist in flower painting of his period. His flower-pieces are rich and splendid, yet painted with the greatest regard for botanical accuracy.
— other Flowers _ Monnoyer's flower pieces are characterized by his ability to subordinate each flower to a complete ensemble. Each one is perfectly drawn, exactly like those of his Dutch and Flemish contemporaries, but Monnoyer managed to envelop them in deep-toned shadow that emanates from the background. The result is both mysterious and luxuriant.
Still-Life of Flowers and Fruits (1665, 146x190cm) _ Monnoyer was, in his prime in the 1670s, the foremost still-life painter in Europe, but his skill has been much underestimated in recent years, due to the proliferation of incorrect attributions to him. He specialized in flower pieces of the most elaborate design, although in the early part of his career he produced more conventional still-life paintings, such as this one, executed in 1665 and submitted to the Academy at the time of the painter's admission in the same year.

Died on a 19 July:

2005 James N. Aparo, of cancer, US illustrator for DC Comics, born on 24 August 1932. He drew Batman, the Green Arrow, Aquaman, and other action heroes.

1929 Fausto Zonaro, Italian painter born (main coverage) on 18 September 1854. —(080718)

1907 Theodor Pixis, German artist born (main coverage) on 01 July 1831. —(080718)

1821 William Pether, British artist and miniaturist born in 1738. — Cousin of Abraham Pether [1756 – 13 Apr 1812], who was the father of Sebastien Pether [1790 – 18 Mar 1844] and Henry Pether (fl.1828-1865). —(070411)

1817 Jean-Antoine-Théodore Giroust, French artist born (main coverage) on on 10 November 1753. —(080718)

1770 Francis Cotes, English painter born (full coverage) on 20 May 1726.

Born on a 19 July:

1895 Xu Beihong [–26 Sep 1953], Chinese painter.
Madam Cheng (1941, 80x65cm; 679x558pix, 83kb) _ This portrait was painted by Xu in Ipoh in 1941, when Madam Cheng was 92 years old. She was the mother of Cheong Chee [1885-1954], a wealthy Chinese tin miner and philanthropist in Malaya.
–- Ms Jenny (1939; 950x708pix, 55kb) _ Portrait of a Cantonese dance hostess from Singapore, painted by Xu with the commission from the then-vice-consul of Belgium to Singapore.
Lim Loh (1927, 116x77cm) _ In 1927, Xu was introduced by his good friend, Huang Manshi to well-known Singaporean businessman Lim Cheng Gee, also known as Lim Loh. Xu was commissioned to paint the portraits for Lim and his family who ran successful businesses in brick and biscuit manufacturing in Singapore. Lim was better known as the father of war hero Lim Bo Seng, who was his eleventh child.
Young Lady (1940, 82x54cm) _ This portrait, completed in JiangXia Tang in Singapore, was of Ms Christina Li HuiWang, who later became the first wife of Asian movie mogul Dato Loke Wan Tho.
Magpie on Maple Branch (1944; 438x279pix)—(080718)

^ 1879 Alfred Justitz, Czech German artist who died in 1934. Having studied at the Academy in Prague and in Berlin, Alfred Justitz went to Paris in 1910, where he studied the art of Courbet [10 Jun 1819 – 31 Dec 1877 ] and Cézanne [19 Jan 1839 – 23 Oct 1906]. His later works were influenced by Cubist works of Picasso [25 Oct 1881 – 08 Apr 1973] and Braque [13 May 1882 – 31 Aug 1963], as can be seen in Still Life With Bowl of Fruit. — {How can justice be done to Justitz, if so few and so inadequate images of his artwork are to be found on the internet?}
–- Stilleben mit Obstschale (1931, 47x56cm; 612x737pix, 51kb) and slightly different version (400x533pix, 53kb).
–- Zátiší s bílou vázou a hruškami (1928, 35x25cm; 539x382pix, 29kb)
–- Still life with white jug (1930, 63x53cm; 840x682pix, 51kb)
–- Stillleben mit Früchten und Gläsern (1931, 55x77cm; 780x1120pix, 64kb)
–-. Still life with basket of fruit and bottle (1931, 130x66cm; 840x413pix, 33kb) —(080718)

1827 Johann Till, Austrian painter who died (main coverage) on 21 November 1894. —(080718)

^ 1792 (31 Jul?) Jean Louis Florent Polydore Roux, French naturalist and painter who died on 12 April 1833. — Related? to: Ange-Joseph Antoine Roux [1765-1835], François Geoffroi Roux [1811-1882], François Joseph Frédéric Roux [1805-1870], Joseph Roux [1725-1793], Louis Roux [1817-1903], Mathieu Antoine Roux [1799-1872]? — In 1831 Roux accompanied the Austrian botanist and traveler Karl Alexander Anselm Freiherr von Hügel [23 Apr 1795 – 02 Jun 1870] on an expedition to the Far East, going through Greece, Egypt, Cyprus, Syria, Lebanon, Tripoli, Palestine, but, after reaching India, quarreled with him and parted company, and not long thereafter died in Bombay of the plague, under mysterious circumstances. Author and illustrator of Ornithologie Provençale.
Alouette Colombe (300x219pix, 39kb)

1789 John “Mad” Martin, British painter who died (full coverage) on 17 February 1854. —(070216)

1748 Pierre-Alexandre Wille, French painter who died (full coverage) on 09 January 1821. —(060620)

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