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ART “4” “2”-DAY  27 July v.9.61
BIRTHS: 1768 KOCH — 1895 HAWKINS — 1874 MORA
^ >Born on 27 July 1768: Joseph Anton Koch, Austrian painter and writer who died in Rome on 12 January 1839. — {Not a relative of Bazillus von Koch}
— Although he was born in the Tyrol, he later settled in Rome, where his son the painter August Koch [1818 – 13 Jan 1878] was born. August's son Gaetano Koch became an architect who worked extensively in Rome.
      Joseph Anton Koch was one of the most important landscape painters of the early 19th century. With his friend Johann Christian Reinhart he pioneered the ‘heroic” landscape style by heightening the grandeur and structural clarity of classical Italianate landscapes in the tradition of Nicolas Poussin, Claude Lorrain and Gaspard Dughet. His work reflects a transitional period in European art. Largely under the influence of Asmus Carstens, Koch subscribed to many Neo-classical principles, but his work also has Romantic aspects. His interest in the natural sciences and Romantic philosophy betrayed an increasingly modern world-view, but he also embraced the medievalism of the Nazarenes. His landscape style influenced that of his friends Ferdinand Olivier and Friedrich Olivier, as well as that of Carl Philipp Fohr.
— Carl Philipp Fohr was an assistant of Koch.
— The students of Koch included Franz Theobald Horny {no comment} [23 Nov 1898 – 23 Jun 1824], Friedrich Preller, Ludwig Richter.

–- Noah's Thanksgiving (1805 / .main detail, 886x1179pix, 109kb — .ZOOM to picture with full landscape, 1890x2536pix, 442kb)
–- Subiaco (1813, 869x1012pix, 85kb)
–- Heroic Landscape with Rainbow (1805; slightly cropped at bottom 960x1051pix, 110kb _ ZOOM to full picture 1628x1576pix, 282kb)
–- The Monastery of Saint Francis in the Sabine Hills near Rome (1812 / .main detail, 852x1140pix, 82kb) — .ZOOM to picture with full landscape, 1873x2536pix, 344kb)
–- The Death of Oskar near Ossian (1804; 873x818pix, 53kb)
The Lauterbrunnen Valley (1821; 668x900pix, 148kb)
The Wetterhorn with the Reichenbachtal (1824; 750x659pix, 181 kb)
^ Died on 27 July 1925: Léon~Augustin L'hermitte (or Lhermitte), French Realist draftsman, printmaker, painter, and illustrator, born on 31 July 1844.
— He was the only son of a village schoolmaster and his precocious drawing skill won him an annual grant from the state. In 1863 he went to Paris and became a student at the Petite Ecole, where one of his teachers was Horace Lecoq de Boisbaudran, famed for his method of training the visual memory. Jean-Charles Cazin, a fellow student, became a lifelong friend and Lhermitte later got to know Alphonse Legros, Henri Fantin-Latour, Jules Dalou and Rodin, who had all studied at the school. In 1864 his charcoal drawing the Banks of the Marne near Alfort (untraced) was exhibited at the Salon. By inclination and by training a meticulous draftsman, he continued to exhibit his drawings at the Salon until 1889.

–- Le Lavoir près de la Ferme d'Erlan (Pas-de-Calais) (1913, 47x55cm; 3/5 size, 175kb)
La paye des moissoneurs (1892, 215x272cm; 600x800pix, 218kb _ ZOOM to 1400x1867pix, 1085kb _ ZOOM+ not recommended to patterned 1935x2580pix, 2955kb, unless you are interested in examining closely what is probably the texture of the canvas)
Harvesters' Country (1882, 215x272cm; 170kb)
A la Fontaine (1895)
La Moisson (77x99cm)
La Famille (1908)
Maternité ou L'Heureuse Famille (1899)
La Fenaison (1887)
La Fenaison à la ferme de Rue Chailly (655x800pix, 112kb)
60 images at ARC
^ Born on 27 July 1895: William L. Hawkins, self-taught US painter who died in 1989.
— Born in rural Kentucky, Hawkins came north to Columbus, Ohio, in 1916. His early years in Kentucky provided him with his knowledge and love of animals, an awareness that informs even his most fantastic dinosaur paintings. In Columbus, Hawkins held an assortment of unskilled jobs, drove a truck, and even ran a small brothel. He was married twice and claimed to have fathered some twenty children. Although Hawkins was drawing and selling his work as early as the 1930s, he did not begin painting in the style for which he is best known until the mid-to late 1970s. He worked almost without letup thereafter, in spite of illness and advancing age.
     To accompany William Hawkins on his walks through the streets of his Columbus, Ohio, neighborhood was like following an experienced prospector in search of gold. Hawkins's selective eye seized images from newspapers, magazines, and advertisements for a suitcase archive he kept in his bedroom. He combined these images with his own recollections and impressions to create a vivid picture gallery of animals, American icons such as the Statue of Liberty, and historic events. And although Hawkins could barely read and write, he transformed words themselves, usually represented by his signature and birth date and often his place of birth, into powerful visual elements.
     At first, Hawkins used inexpensive and readily available materials: semi-gloss and enamel paints in primary colors tossed out by a local hardware store, and a single blunt brush. Later, when he could afford it, he painted on Masonite, which he preferred because it didn't “suck up the paint” like cardboard or plywood. Sometimes he dripped paint or let it flow across the surface as he tilted it so he could, as he put it, “watch the painting make itself.” He often painted elaborate borders around his pictures and attached such materials as wood, gravel, newspaper photos, or found objects. - Hawkins suffered a stroke in 1989, from which he only partly recovered, and he died several months later. He once summed up his aspirations as an artist by remarking, “You have to do something wonderful, so people know who you are.”

–- Untitled (1970, 128x189cm; 494x728pix, 34kb) _ it could be a moose or perhaps a hippopotamus, so let's call it a hippopotamoose. _ Compare with the anonymous
      _ .Hippopotamoose (954x1338pix, 284kb),
      _ .Blushing Hippopotamoose (491x859pix, 35kb), and the more realistic
      _ Hippopotamoose (600x800pix, 84kb),
      _ .Pope-toothed Hippopotamoose (434x490pix, 19kb).
R.J. Building (1984, 99x122cm)
Acrobats (1988, 183x122cm)
Last Supper #7 (1987, 140x107cm)
Arch Park with Nationwide 2 (1986, 122x122cm)
Blue Vertical Buildings (1981, 142x143cm)
Franklin County Hall Justice (1983)
Columbus Buildings (1985)
Robotech A-Team Collage (1987)
Rearing Stud Horse (1987, 122x144cm)
Ohio State University Stadium (1984, 118x122cm) _ This image of the stadium at Ohio State University is based on an aerial photograph that William Hawkins found in a history of the city of Columbus. It is typical of his use of photographs and illustrations for inspiration. His buildings and other urban views focus primarily on the city's local structures, a sort of personal history book of Columbus. Hawkins painted his earliest large works on scavenged board, such as this piece of interior paneling, which he found on construction sites near his home.
^ Born on 27 July 1874: Francis Luis Mora, Uruguayan US painter who died in 1940.
— Francis Luis Mora was the son of the Spanish sculptor Domingo Mora and studied under his father before attending the Boston Museum of Fine Arts School and the Art Students League. Mora was an illustrator and muralist whose work reflected a blend of Spanish and Modern US influence. By the age of 18 Mora was illustrating leading periodicals. Two years later he began exhibiting his work, and in 1900 he was commissioned to paint a mural for the public library in Lynn, MA. Mora also painted a mural of the Michigan State Building for the St. Louis Exposition.
      His paintings usually depicted leisurely life, interiors and seascapes. Mora worked in oil, watercolor, charcoal and pastel. He painted the portrait of President Warren Harding which still hangs in the White House. He had a very successful career as an artist and teacher. He taught classes at the ASL, Grand Central School of Art and the New York School of Art.
— A portraitist, muralist, and illustrator, Francis Mora created work that reflected both his Spanish background and modern US life. He was born in Montevideo, Uruguay, where he was the son of Domingo Mora, a famed Spanish painter and sculptor. He spent most of his career in New York City and Gaylordsville, Connecticut. During his childhood, he lived in South America and came to the United States where his father taught art at Perth Amboy, New Jersey, Boston and in New York City. Mora attended the Boston Museum School of Fine Art, a student of Frank Benson and Edmund Tarbell. He also studied Old Masters abroad and took lessons at the Art Students League from H. Siddons Mowbray.
      By the time he was 18, he had commissions illustrating magazines, and two years later he began regular exhibitions. He spent most of his career, primarily as an illustrator, in New York City, and in Gaylordsville, Connecticut, but he also painted murals, including the public library in Lynn, Massachusetts and a mural for the Missouri State Building at the Louisiana Purchase Exposition of 1904. Portrait commission subjects included Andrew Carnegie and President Warren Harding. Usually his subjects were interiors, seascapes, and landscapes with figures engaged in leisurely activities. Occasionally he went West to paint Navajo and other Indians as did his brother Joseph Jacinto Mora. He taught at the Art Students League, the Grand Central School of Art and the New York School of Art. In 1904, he became an Associate member of the National Academy of design and two years later was elected a full member.

Flowers of the Field (1913; 800x714pix, 174kb) _ 2 girls, ages about 9 and 11, with flowers.
–- John Taylor Arms as a Boy (77x64cm; 1400x1165pix, 144kb) age about 12, 3/4 length, seated facing the viewer, in sailor clothes, holding a toy sailboat on his knees, with an actual sailboat on the ocean in the background. Arms [19 Apr 1887 – 1953] became a US printmaker.
–- Five Kids Arriving at School in the Snow (597x447pix, 21kb)
–- Food for France, a World War I lithograph poster (1916,76x51cm; 638x420pix, 43kb _ .ZOOM to 1277x841pix, 170kb) _ .detail (864x1152pix, 180kb), half-length of armless French soldier and ragged girl spoon-feeding him hot soup.
–- Don't Let Up, Keep On Saving Food, a World War I lithograph poster (1918, 52x34cm; 689x452pix, 59kb)
A Family Party, Triana, Sevilla (1908, 64x76cm)
–- Young Girl, Seated (1908; 614x472pix, 27kb)
–- Flower Market (1908; 562x464pix, 22kb)
–- Landscape with Bare Trees, Village Beyond (1908; 614x464pix, 29kb)
–- At the Garden Gate (1908; 564x469pix, 20kb)
The Artist’s Studio (1915, 41x31cm; 500x371pix, 29kb)
Private Recital (sketch)

Died on a 27 July:

^ >2007 Fannie Hillsmith, US Cubist painter, printmaker, assemblagist, and collagist, born in 1911 in Boston, Massachusetts. She grew up as an only child in a middle class New England family. Her grandfather Frank Hill Smith was a painter and one of the founders of the Boston Museum School. Fannie’s parents, Clarence and Clara Huston Hillsmith, encouraged and supported her artistic endeavors at an early age. Hillsmith graduated from Windsor School of Boston in 1930. That same year, she enrolled in the Boston School of Fine Art of which her grandfather was a founder. In 1934, Hillsmith received a scholarship to study at the Art Students League of New York. Under the instruction of Alexander Brook [1898-1980], Yasuo Kuniyoshi [1892-1953], John Sloan [1871-1951], and William Zorach [1887-1966], she expanded her artistic repertoire.
     Hillsmith returned to Boston for a few years but went back to live in New York with her mother in 1939. In 1943 she had her first solo exhibition at the Norlyst Gallery. in 1944 she showed paintings along with some of the most well known artists of the time in Sydney Janis’s Abstract and Surrealist Art exhibition as well as Peggy Guggenheim’s Art of This Century Gallery. Her pieces gained critical acclaim from art critic Clement Greenberg. He called her work entitled Imprisoned at Guggenheim’s Spring Salon, and perhaps the best thing shown. In 1944, Hillsmith joined the American Abstract Artists; an artist run organization intended to promote their work. Hillsmith taught a summer session at Black Mountain College in North Carolina in 1945, an invitation that she received from Joseph Albers [1888-1976]. Between 1946 and 1950 she worked in Atelier 17, a print shop established by the artist Stanley Hayter [1901-1988]. This opportunity enabled Hillsmith to work alongside artists such as Salvador Dali [1904-1989], Marc Chagall [1887-1985], Joan Miró [1883-1983], and Yves Tanguy [1900-1955]. During her stay at Atelier 17, the Museum of Modern Art bought Liquor Store Window (1946) an oil, tempera and sand painting on canvas.
     In 1958, Hillsmith received an Alumni Scholarship from the Boston Museum of Fine Art, allowing her to travel for a year in Europe, where she met British mathematician Gordon Welchman [15 Jun 1906 – 08 Oct 1985], who went with her to the US, where they married that same year; he became a US naturalized citizen in 1962. For the next ten years Hillsmith split her time between her husband’s home in Massachusetts and her two homes in New York and New Hampshire. In 1963 she taught at Cornell University, in Ithaca NY, for the fall session. Although this mobility stimulated her creative output it proved taxing on her marriage; she divorced Welchman in 1970. In her later years she lived in New York while spending her summers in New Hampshire. She painted almost daily until six months before her death.
     Fannie Hillsmith has enjoyed over an eight-decade career working in a variety of mediums including oil, acrylic, printmaking, gouache, mixed media, watercolor, and ceramic. Hillsmith has often incorporated elements of traditional craftsmanship together with the knowledge that comes from her education in fine arts. Throughout her career, she has chosen to paint abstracted still life, while neglecting figurative work. Her primary subjects are everyday household objects rendered in a raw, unapologetic manner. Her oeuvre resembles the cubist work of Pablo Picasso [1881-1973], Georges Braque [1882-1963], and especially Juan Gris [1887-1927], substituting he name of The New York Times for that of French newspapers or martinis for glasses of wine. Unlike that of her predecessors, Hillsmith’s work has a unique quilt-like quality due the large geometrical shapes, which bifurcate her paintings.
     Hillsmith’s early work of the 1940s used a the subdued palette of tans and browns that was characteristic of the wider cultural preference for earth tones and the artistic community’s preference for Braques’ early palette. These compositions tend to be simpler than those found in her later work. Many of these pieces incorporate a solid border, which acts to frame the composition. In the mid to late 1940s, Hillsmith moved away from a dull color palate to a brighter palette of primary colors. Her compositions became increasingly abstract. Some of the paintings seem as if they are puzzles, consisting of fragmented geometric pieces that have been reassembled in an order that is more aesthetically interesting than the organic subject.
     In the early 1950s, Hillsmith focused on solitary subjects that were representational but that lacked fine detail or the full spectrum of color. Later in the decade, she returned to a complex style featuring a new color cycle of pastels and floral motifs, an element that reoccurs in paintings throughout the rest of her career. Starting in the 1970s, Hillsmith produceed a new type of art – three-dimensional sculpture and collage. Initially, she crafted most of her sculptures out of wood but later she experimented with ceramic and even bronze. Echoing similar experiments by Claes Oldenburg, these sculptures are still lifes of everyday objects, much like her two dimensional work. Concerned with capturing the essence of traditional still life elements, Hillsmith provided a refreshing perspective on traditional still life through the integration of quilt-like compositions with a cubist flair.
Imprisoned (1944; 400x350pix, 42kb)
Rose (1063x454pix, 423kb) painted flat wood cutout.
The Rose (663x497pix, 254kb) very dull low contrast monochrome dirty tan sketch, which the pseudonymous Funnie Valewright has fantastically transformed into the very colorful and richly detailed
      _ _ A Rose Arose (2007; 550x778pix, 215kb _ ZOOM 1 to 778x1100pix, 416kb _ ZOOM 2 to 1100x1556pix, 813kb _ ZOOM 3 to 1710x2418pix, 1910kb _ ZOOM 4 to 2658x3760pix, 4496kb) and
      _ Essora Essor (2007; 550x778pix, 215kb _ ZOOM 1 to 778x1100pix, 416kb _ ZOOM 2 to 1100x1556pix, 813kb _ ZOOM 3 to 1710x2418pix, 1910kb _ ZOOM 4 to 2658x3760pix, 4496kb) and
      _ Pink Tea (2007; 550x778pix, 216kb _ ZOOM 1 to 778x1100pix, 416kb _ ZOOM 2 to 1100x1556pix, 812kb _ ZOOM 3 to 1710x2418pix, 1910kb _ ZOOM 4 to 2658x3760pix, 4496kb)
Molasses Jug (748x622pix, 143kb) which replaces the usual wine bottle of other Cubists. Hillsmith gives to the wood grain the look of New England farm furnitures. She flattens the Cubist grid into prismatic colors reminiscent of quilts (and Synchronism) and adds patterns of pink roses that evoke wallpaper typical of the US.
Red Interior by the Sea (530x400pix, 52kb)
Olive Room, Blue Window (443x373pix, 43kb)
Raspberry, Chocolate, Pistachio, and Peach
Vino Vigil (2003, 20x20cm; 592x589pix, 98kb)
Vino a La Mode (2002, 20x20cm; 598x589pix, 92kb)
Practical Pudding (2003, 20x20cm; 541x544pix, 56kb)
Better Beaujolais (2003, 20x20cm; 600x586pix, 99kb)
Vino Vincible (2003, 20x20cm; 530x542pix, 95kb)
Ravishing Rose (2002, 20x20cm; 603x589pix, 96kb)
Perfect Parfait (2003, 20x20cm; 594x589pix, 97kb)
Strawberry and Pistachio (2003, 20x20cm; 555x555pix, 95kb)
Merely Mocha (2003, 20x20cm; 579x582pix, 99kb)
Double Martini #2 (2003, 20x20cm; 5360x537pix, 93kb)
Queen of Hearts (2003, 127x91cm; 789x571pix, 93kb)
Blue Sofa (2003, 30x30cm; 610x551pix, 95kb)
The Violet Sofa (2003, 61x127cm; 589x597pix, 98kb)
Rasberry, Chocolate, Pistachio, and Peach (2003, 30x30cm; 491x489pix, 93kb)
Positively Pudding (2003, 23x20cm; 605x541pix, 96kb)
Field of Olives (2003, 23x20cm; 604x554pix, 97kb)
Compari Compared (2003, 23x20cm; 610x551pix, 95kb)
Encore Honfleur (2003 diptych, 61x127cm; 312x788pix, 94kb)
Marbella Una Vez Más (2003 tripych, each panel 127x53cm; together 512x769pix, 94kb) —(070806)

1941 Alfred Henry O'Keeffe, New Zealand painter born (main coverage) on 21 July 1858. —(080726)

^ 1937 Hans Dahl, Norwegian landscape and genre painter born on 19 February 1849. — Relative? of Johan Christian Dahl [1788-1857]? — Hans Dahl was born in Hardanger. He originally had military aspirations and in 1871 took ten exams for the position of Lieutenant in the Norwegian Infantry. He began his career as an artist whilst attending the Military Academy in Christiania, Norway where he worked under Nalern, J.F. Eckersberg and K. Bergslien. He continued his education at the Christiania Polytechnic where he was taught by the sculptor Middlethun. From 1872 he studied drawing at the Art Academy in Karlsruhe, under the tuition of Riefstahls and Hans Gude before moving to the Academy in Dusseldorf where he was taught by Gebhardts. In 1874 he left the Norwegian army for good to concentrate on painting. In 1876 Dahf held his first exhibitions in Dusseldorf and Philadelia, USA. From this period be began to paint exclusively Norwegian landscapes, in particular images of figures on water bathed in sunshine or strolling through rugged mountainous regions. These paintings portrayed Bergen, the region where Dahl spent most of his summers, whose landscape he studied and loved. Dahl moved to Berlin in 1888 where he was to spend the rest of his life. — He married Helene Maria Franzista Bewer [18 Apr 1862 – 25 Apr 1927] and they were the parents of Hans Andreas Dahl [01 Aug 1881 – 27 Mar 1919] and of Eline Jacobena Dahl [1886-1958] who married Ludvig Wiese [18 Jun 1868 – 29 Jul 1932], on 01 Jun 1907.
Rowing Ashore (65x98cm; 287x460pix, 35kb _ ZOOM to 749x1200pix, 194kb)
Bondepige paa Fjellet (1900; 812x566pix, 45kb).
By the Water's Edge (1880, 74x112cm; 427x640pix, 61kb)
Johanne Thue, Balestrandjente i bunad (1893, 67x50cm; 500x387pix, 27kb)
Gjennom dørsprekken (42x57cm; 400x526pix, 132kb)
Bunadskledd Sognejente (375x500pix, 27kb)
— (Woman in Mountain Landscape) (520x489pix, 45kb)
Mangerpiken (23x39cm; 346x550pix, 32kb)
Aften ved bredden (22x28cm; 436x550pix, 32kb)
In the Mountains (66x99cm)
Returning From the Fields (66x100cm)
Returning from Harvesting (1881, 84x145cm)
Sailing in a Fjord
A Summer's Day (86x146cm)
An Alpine Landscape with a Shepherdess and Goats (86x147cm)
By the Fjord (49x67cm)
The Daughters Of Ran (92x144cm; 661x1000pix, 416kb) _ In the ancient nordic mythology Atla, Eistla and Gjalp are ocean giantesses taking the shape of ocean waves, who simultaneously gave birth to the God Helmdel (or Heimdall), Guardian of the Bifrost, the rainbrow bridge between Asgaard (realm of the Aesir, the war gods) and Midgaard (realm of Humans). Atla, Eistla, and Gjalp are three of Ran and Ägir's nine daughters, of which the others are Angeya, Eyrgjafa, Greip, Iarnsaxe, Imd, and Ulfrun. Ran is an ocean giantess as well and mother of all ocean waves. She reigns the realm of those died by drowning. Her husband, Ägir (similar to Poseidon) is the giant of the calm seas, king of all ocean giants and a rich and usually kind god.
The Fjord (93x147cm) —(050918)

^ >1769 Johann Christian Vollerdt (or Vollaert), German aertist ... er ... erdtist ... painter born in 1708. — {C'est Vollerdt, PAS “Voller D. T.” NI “Voler d'Été” NI “Voler des Thés}
–- Landscape with travelers on a road near a village (1764; 1200x1532pix, 202kb) _ The pseudonymous Jo-Annn Pagan Robareu has thoroughly transformed this picture into a strictly abstract series of interrelated compositions whose images can be reached by clicks of the mouse from any one of them, such as the symmetrical
      _ Escape With Revelers (2009; 928x1312pix, 638kb _ .ZOOM to 1856x2624pix,2252 kb) or the asymmetrical
      _ A Rogue Near a Vile Age (2009; 928x1312pix, 632kb _ .ZOOM to 1856x2624pix,2208kb)
–- S#> River Landscape with castle and travelers (29x39cm; 600x800pix, 60kb) discolored
–- S#> Frozen Lake in a Mountainous Landscape with skaters near a village (40x55cm; 510x696pix, 95kb) monochrome

Born on a 27 July:

1899 Werner Drewes, German-born US abstract painter and printmaker who died on 21 June 1985. He was considered one of the best printmakers of the 20th century. His early training as an artist was interrupted by WWI; he later said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. After the war, Drewes began to earn his living selling his woodcuts, and in 1921 he enrolled in the Bauhaus, where he studied under Paul Klee and Vasily Kandinsky. After a year there, he left for five years of travel around the world, primarily studying the works of the masters. He emigrated to the US in 1930 and was naturalized a citizen in 1936; this showed great foresight as it put him beyond the reach of the Nazis' persecution of “Entartete Kunst“. He was a professor at Columbia University, Brooklyn College, the University of Chicago, and Washington University in St. Louis. — LINKS
–- Self-Portrait (1959 woodcut, 52x29cm; 635x364pix, 15kb _ .ZOOM to 1269x727pix, 44kb)
Woman on a Balcony (1947, 81x55cm; 870x600pix, 91kb _ ZOOM to 1159x800pix, 144kb _ ZOOM+ to 1722x1188pix, 262kb)
Who Visits My Peaceful Garden (1949; 618x800pix, 99kb _ ZOOM to 900x1165pix, 185kb _ ZOOM+ to 1257x1628pix, 310kb)
–- In the Birch Forest (1961 color woodcut, 398x872pix, 112kb _ .ZOOM to 563x1233pix, 233kb)
–- Calm Morning (1959 woodcut, 52x29cm; 404x1002pix, 85kb _ .ZOOM to 571x1417pix, 180kb) _ The pseudonymous Vert-Nerf des Sinass has put together this picture and the preceding one, then transformed them thoroughly into the abstractions with the nonsensical titles In the Mooring Furthest (2006; screen filling, 283kb _ ZOOM to 2000x1414pix, 1154kb), Birth For Rest in the Calm Mourning aka Bur Rub (2006; screen filling, 294kb _ ZOOM to 2000x1414pix, 1045kb), and Belch Unrest in the Frantic Evening aka Birch Crib (2006; screen filling 295kb _ ZOOM to 2000x1414pix, 1044kb).
Composition 186 (1938, 87x107cm; flash) _ Out of a detail of this Sinass has developed the much more complex abstractions Contraposition 31x6 aka Tame Mat (2006; screen filling, 200kb _ ZOOM to 1000x1414pix, 444kb) and Décomposition 3x227 aka Tome Mot (2006; screen filling, 204kb _ ZOOM to 1000x1414pix, 455kb) — (060723)

^ 1869 Charles Sydney Hopkinson, US portrait painter and landscape watercolorist, who died on 16 October 1962. Among his sitters were Oliver Wendell Holmes, Jr. [08 Mar 1841 – 06 Mar 1935] (1930, 241x151cm), Calvin Coolidge [04 Jul 1872 – 05 Jan 1933], and John Masefield [01 Jun 1878 – 12 May 1967]. He began to draw for the Lampoon upon his entrance to Harvard in 1888, and in 1891, he moved to New York to study at the Art Students' League where he worked with John Twachtman and H. Siddons Mowbray. Hopkinson studied at the Academie Julian in Paris, and exhibited in the 1895 Paris Salon. He exhibited regularly in the national annuals and at several Boston and New York galleries. Instead of allying himself with the local established painters, Hopkinson showed his work with the "Boston Five", a group of young watercolorists though he continued to paint in oil for an elite clientele.
Self-Portrait (1899, 35x25cm; 550x405pix, 28kb)
Self-Portrait (1920, 33x24cm; 550x405pix, 28kb)
Self-Portrait (1951, 38x28cm; 550x405pix, 28kb)
Self-Portrait (March 1961, 41x31cm; 550x405pix, 28kb)
Hopkinson Family Portrait (1924, 131x164cm)
Three Dancing Girls (1923, 65x77cm; 525x637pix, 48kb)
Young Girl in a Yellow Dress (51x41cm; 137kb)
Colored Woods (48x43cm)
Early Morning (84x89cm)
Hopkinson House West Piazza (1935, 51x53cm)
Berkshires (1900, 58x71cm; 440x516pix, 19kb)
Arthur and Charles Shurcliff, Ages 7 and 6 (1949)
130 images at the Hopkinson web site

^ 1856 Arturo Faldi, Italian artist who died on 30 May 1911.

^ 1826 Gerardina Jacoba van de Sande Bakhuyzen (alternate spellings: Gerardine or Geraldine; Bakhuijzen or Backhuijzen), Dutch Romantic still life and landscape painter, who died on 19 September 1895. She belonged to a family of painters and received her formal art education from her father, Hendrik Van de Sande Bakhuyzen [1795-1860]. She was awarded medals in 1870 and in 1880 for her still life watercolors.
Stilleven met bloemen en vruchten (585x800pix)

1809 Johann Gottfried Pulian, German painter who died on 04 March 1875.

^ 1683 Jan-Pieter van Bredael II (or Breda II), Flemish artist who died in 1735. — Presumably a relative (son? nephew?) of Jan-Peter van Bredael I [1654 - 1745], and probably also a relative (brother? cousin?) of Joseph van Bredael [1688-1739] and (nephew?) of Alexander van Bredael [01 Apr 1663 – 14 Jul 1720] and (grandson?) of Pieter van Bredael [29 Jul 1629 – 09 Mar 1719]
Cavalry Battle (1722, 38x49cm; 825x1110pix, 93kb) _ detail (527x1101pix, 83kb) _ formerly incorrectly believed to be by Wouverman

Happened on a 27 July:

1890 Feeling that he is a burden on his brother Théo and others, Vincent Van Gogh (evidencing that there is PAIN in PAINting) shoots himself in the chest. He would die two days later.

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