ART “4”
“2”-DAY 09 June
v.8.50 |
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Died on 09 June 1932: Émile
Friant, French realist
painter born in 1863. — Émile Friant commence sa formation à l'École des Beaux-Arts de Nancy et expose dès l'âge de quinze ans au Salon local. Il poursuit ses études à Paris dans l'atelier du peintre Alexandre Cabanel et devient à vingt ans second prix de Rome. Peintre naturaliste, Émile Friant réalise essentiellement des portraits et des scènes de la vie quotidienne. Ses toiles puisent leur caractère instantané dans le procédé photographique. Après le succès de l'Exposition universelle de 1889, qui le couronne d'une médaille d'or pour La Toussaint, Émile Friant reçoit de nombreuses commandes de portraits de personnalités nancéiennes et américaines. Son apport aux art décoratifs est plus restreint que ceux des peintres Camille Martin ou encore Victor Prouvé. Il donne à Louis Majorelle, en collaboration avec Camille Martin, un décor de mobilier sur le thème de Don Quichotte et fait réaliser chez René Wiener une reliure illustrant “La guillotine et les exécuteurs des arrêtés criminels pendant la Révolution”. Il est membre du Comité directeur de l'École de Nancy dès 1901. Il enseigne à l'École Nationale des Beaux-Arts en 1906. — LINKS — Autoportrait aka Un étudiant (1885) — Autoportrait — Les canotiers de la Meurthe (1887; 1287x1977pix, 217kb) — Les Amoureux aka Soir d'automne (111x145cm) — La Discussion politique (1889, 26x34cm;_ Zoomable) — La Lutte (1889, 180x114cm;_ Zoomable) — La Toussaint (1888, 254x325cm;_ Zoomable) almost monochrome — Douleur (1898) mourners with, in the foreground, a gray-haired woman, assisted by two other women, kneeling by an open grave into which she is looking. — Mme Petitjean (1883) — L'Expiation (1908, 166x166cm) almost monochrome. A guillotinage. — Chagrin d'Enfant — Madame Coquelin Mère — Tendresse Maternelle — Le Repas Frugal — Studio Visit (1906, 24x17cm) |
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Died on 09 June 1963: Gaston Émile Duchamp
“Jacques Villon”, French Cubist
painter, printmaker, and illustrator, born on 31 July 1875; half-brother
of the painter, sculptor, and author Marcel
Duchamp [28 Jul 1887 –
02 Oct 1968], the sculptor Raymond
Duchamp-Villon [05 Nov 1876 – 07 Oct 1918], and the painter Suzanne
Duchamp-Crotti [20 Oct 1889 – 11 Sep 1963]. — {Villon vit
long? et large?} — Gaston Duchamp learnt engraving at the age of 16 from his maternal grandfather Émile Frédéric Nicolle [1830 – 15 Aug 1894], a ship-broker who was also a much appreciated amateur artist. In January 1894, having completed his studies at the Lycée Corneille in Rouen, he was sent to study at the Faculty of Law of the University of Paris, but within a year he was devoting most of his time to art, already contributing lithographs to Parisian illustrated newspapers such as Assiette au beurre. At this time he chose his pseudonym: Jack (subsequently Jacques) in homage to Alphonse Daudet’s novel Jack (1876) and Villon in appreciation of the 15th-century French poet François Villon; soon afterwards this new surname was combined with the family name by Raymond. Marcel Duchamp and their sister Suzanne Duchamp, also a painter, retained the original name. Villon’s work as a humorous illustrator dominated the first ten years of his career, but from 1899 he also began to make serious prints, exhibiting some for the first time in 1901 at the Société Nationale des Beaux-Arts in Paris. By 1903 he had sufficient reputation in Paris to be an organizer of the first Salon d’Automne. He consciously began to expand his media in 1904, studying painting at the Académie Julian and working in a Neo-Impressionist manner. His printmaking style, formerly influencd by Toulouse-Lautrec, moved towards the fashionable elegance of Paul César Helleu. At first, Jacques Villon was influenced by Edgar Degas and Henri de Toulouse-Lautrec, but later he participated in the fauvist, cubist, and abstract impressionist movements. — André Fougeron was a student of Jacques Villon. — LINKS –- Le Petit Manège –- Magda Pach (55x46cm; 845x824pix, 62kb) — ZOOM to 2000x1648pix, 326kb) –- Walter Pach (55x46cm; 865x1095pix, 113kb — ZOOM to 1999x1644pix, 416kb) –- Le Grand Dessinateur (1934 sketch, 25x23cm; 875x773pix, 100kb) _ This preliminary study for a painting is a self-portrait of the artist as he sits at his tilted drafting table, a pencil held loosely in his hands. Behind him are three sculptures by his deceased brother, Raymond Duchamp-Villon, including Decorative Basin on the left, and a head of the poet Charles Baudelaire on the table at the right. Villon had been particularly close to his brother, who together with a third brother, the artist Marcel Duchamp, made up one of the most famous families in the history of modern art. The importance given in this drawing to the sculptures of Duchamp-Villon, who died from typhoid fever in 1918, show how his artistic legacy continued to inspire and support his older brother. — L'entonnoir en Champagne (371x482ydb. 91kb) _ Craters blown open by mines or by large-calibre shells were a characteristic feature of any battlefield. In them, soldiers were crushed to death by shells or sought shelter once the artillery had changed targets. On the edge of this one, drawn by Villon, there are little dugouts in which the soldiers waited and rested. Such views abound in the photographs of the period, which deliberately linger over the human and material debris strewn around the crater. For Villon, it is sufficient to depict the depth of the cavity and its steeply sloping walls by means of oblique lines, in the manner of a draftsman. His aim is rather documentary than artistic, he establishes facts with a careful survey of the artificial contours caused by the explosion and leaves the spectator to imagine the power needed to open up the earth in such a way. — Les Cartes (1903, 35x45cm; 362x468pix, 115kb gif) — L'Ombrelle Rouge (1901, 49x39cm; 375x300pix, 36kb) — The Dining Table (1912; 550x700pix, 114kb) scribbly. —(080608) |
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>Born on 09 June 1849: Michael-Peter
Ancher, Danish painter who died on 19 September 1927. —
{Was Michael-Peter Ancher my kelp-eater rancher's equal?} — He studied at the Kongelige Akademi for de Skønne Kunster, Copenhagen (1871–1875), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. Ancher first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament. In Will he Manage to Weather the Point? (1880) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher’s skill at grouping large numbers of figures with heroic monumentality compensates for his lackluster color sense. A change in his use of color is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883), a subject he repeated three times. — Michael Ancher was 25 years old in July 1874 when he went to Skagen, which is the northernmost part of Denmark. He was from the southmost part of the country. He could not get into the National Art Academy, because he was not born in the right place or time. At the time he came to Skagen, the village was already known for the properties of its light. But it was Michael Ancher that invited most of the other artist to come on holiday in the village. In Skagen he invited artist like Oscar Bjørck, Viggo Johansen, P.S. Krøyer, Christian Krohg. It was no doubt because his work for the most time was about the fishermen and their family that he got to be an artist. He worked much with the poor people in Skagen, almost every painting he made, was a story from these people's daily lives. Ancher did not paint “happy pictures”, but he had a understanding for the color in Skagen, and in almost every painting he used this light to give his pictures that feeling of the land. In the painting Lunch in the Garden, there is a party, but the people are not happy, they are just there, but on the trees in the background Ancher used the light and shadow in an elegant way. No other painter has used his talent on the fishermen and their lives like Ancher did. In 1880 he married Anna Kirstine Brøndum, who thus became Anna Ancher [18 August 1859 – 15 Apr 1935], who is considered to be more important as a painter than he is. Their daughter Helga Ancher [1881–1964] also became a painter. — Ancher, a native Bornholmer, first visited Skagen, then an unspoilt fishing community at Jutland's northern tip, in 1874. Upon settling there later in the decade he lodged at an inn run by the Brøndums, a local merchant family, before marrying his host's step-sister Anna in 1880. The Anchers' painting played a major role in generating a myth of Skagen which continues to exercise a powerful emotive pull in Denmark. Focusing on the region's fishermen, Michael evolved a monumental iconography of virility, quiet fortitude, and truth, whose political significance ran deep. The newly potent veneration of folk spirit and culture dovetailed precisely with the tenor of increasingly assertive Nordic nationalism. Whether depicted in their courageous daily battle with the elements or looking out to sea and enjoying a moment of respite, his noble characters were understood to embody a primordial ideal of authentic Danish identity unchallenged by the trade, communication, and transport links rapidly encroaching on the area during the period. — Portrait of Ancher (350x300pix, 13kb) by Krøyer — LINKS — Den Syge Pige (1882; 80x85cm; 1938x2024pix, 299kb) The title does NOT mean The Den of the Singed Pig but The Sick Girl. –- På Stranden, Skagen: study of Anna Holst and a friend (1896, 46x37cm; 892x717pix, 41kb) _ Although Ancher is best known for his monumental and heroic depictions of the fishermen of Skagen, he was receptive to all aspects of daily life in the fishing village for the subject-matter of his paintings. He also had to keep an eye open for opportunities to earn money swiftly in order to support not only his wife and daughter Helga, but his extended family in his native Bornholm. The Anchers' means were often modest, and so when opportunities arose to paint portraits he gladly accepted them. The present work is a study for two elegant horizontal group portraits of the same title depicting, from left to right, Ida Holst, Anna Holst and a friend (these two the only ones shown in this study), and Minna and Sophie Holst, the four daughters of the merchant and magistrate Holst of Skagen. One of these works (1895 or 1896, 81x163cm) is in a private collection; the second (1896, 69x161cm) is in the Skagens Museum. The precise identity of Anna's friend, seen in the present work on the right, is unknown. It has been suggested that she is Elisabeth Bang, or else Sophie Bang. Whichever of the two, Ancher has left her facial features deliberately vague even in the finished paintings, so as to place the focus on the four Holst sisters. On the Beach, Skagen can be compared to similar compositions painted by fellow artist Peter Severin Krøyer in Skagen. The two painters had met in Vienna, and on Ancher's invitation Krøyer moved to the artists' colony to paint. In the event, Krøyer aroused some resentment in Ancher, who came to see the successful and worldly painter as a competitor in what had hitherto been his and his wife Anna's territory. But despite this disagreements, Ancher and Krøyer enjoyed a warm friendship, influencing each other's work. After Krøyer's wife Marie left him in 1903, he never recovered his mental health, dying in 1909 with the Anchers by his bedside. — On the Beach at Skagen (1914, 58x37cm; 1000x604pix, 137kb) _ just one woman, pensative, as if she is revisiting a place where she had been years earlier with long-lost friends. — Pigen med solsikkerne (1889, 101x95cm; 494x462pix, 35kb) — Syngende børn (1899, 56x48cm; 537x451pix, 37kb) — The Lifeboat is Taken through the Dunes (1883, 171x221cm; 448x582pix, 45kb) Redningsbåden køres gennem klitterne. — Stormvejr. Skagens Gren (576x768pix, 456kb) —(070609) |
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Died on 09 June 1901: Edward Moran,
US painter born on 19 August 1829. — {That's Moran, NOT Moron} — Edward Moran, the oldest of the artistic Moran brothers, was acknowledged as the impetus behind the family's entry into the art world. "He taught the rest of us Morans all we know about art," stated his famous younger brother Thomas Moran [12 Feb 1837 – 26 Aug 1926]. The other brothers were Peter Moran [1841-1914], who specialized in painting animals in landscapes, and John Moran [1831-1902], a landscape photographer. Two of Edward's children, Percy Moran and Leon Moran, were artists also. During a long and successful career, Edward Moran became a member of the Philadelphia Academy of the Fine Arts and an Associate of the National Academy of Design. After working at a variety of trades, he turned to painting in the early 1850s. The first twenty-seven years of his artistic career were spent in Philadelphia, where he studied painting under the marine painter James Hamilton and under the landscapist Paul Weber. In 1861, Moran-traveled to London for additional instruction at the Royal Academy, and in 1871 he relocated to the New York area, where he remained for the rest of his life. Seascapes were Morans forte. By the 1880s, the artist was considered such an expert on the subject that his "hints for practical study' of marine painting were published in the September and November, 1888, issues of The Art Amateur. After his death, an admirer wrote that "As a painter of the sea in its many moods and phases, Edward Moran ... had no superior in America." — Edward Moran, brother of artist Thomas Moran, was born in Bolton, Lancashire, England. He began his professional life there as a weaver. In 1844 his family immigrated to Maryland, and soon thereafter Edward, the eldest of twelve children, left to work in a cotton factory in Philadelphia. His employer was impressed with Moran's sketches, which covered the factory walls and machine frames, and advised him to pursue an art career. First studying in Philadelphia, both Edward and Thomas returned to England in 1847 for further study. Edward began his formal career back in Philadelphia in the mid-1850s, a time when that city was experiencing the height of the United States' clipper ship production. The artist finally settled in New York City in 1872, where he spent the remainder of his life. It was in Philadelphia in the 1850s that Moran came under the influence of James Hamilton [1819-1878], a prominent Irish-born marine painter known for his silvery tones and loose accents of light. In 1861 Moran returned to England with his brother and made sketches along the Channel coast. Through Hamilton and his own trips abroad, Moran developed a style based primarily upon English painting of the seventeenth and eighteenth centuries and seventeenth-century Dutch painting. Moran saw a distinction between decorative and scientific marine painters and aligned himself with the latter. Believing the decorative painter achieved handsome effects at the expense of fidelity, Moran advocated gaining scientific knowledge as a tool in art and even suggested the use of a portable camera. Moran was also a history painter, yet most closely identified himself as a marine painter. He chose a marine painting to represent his work in a portfolio published by the Artists Fund Society. In 1894 The Art Amateur proclaimed Moran "the best known painter of the sea in the United States." Upon his death in 1901, it was commonly admitted that Moran "had no superior [in marine painting] in America." Yet he was not mentioned in major texts of the early twentieth century, and his name makes only a brief appearance in more recent studies of marine painting. His obscurity may be attributed to the fact that he has been and remains today in the shadow of his more famous brother, Thomas. — LINKS — Shipwreck (1862, 76x102cm) — Half-Way Up Mount Washington (1868, 76x128cm) — Unveiling the Statue of Liberty (1886; 857x580pix, 223kb) — Good Morning (1889; 107kb) — Shipping in New York Harbor (539x790pix, 108kb) — New York Harbor (484x797pix, 111kb) — Ships at Sea (56kb) — Burning of the Frigate Philadelphia (966x650pix, 142kb) _ On 16 February 1804, US Marines under Lieutenant Stephen Decatur [05 Jan 1779 – 22 Mar 1820] made an expedition into Tripoli harbor to destroy the captured US frigate Philadelphia; a mission that British Admiral Horatio Nelson [29 Sep 1758 – 21 Oct 1805] later called the “most daring act of the age.” –- Red Light, Green Light (51x76cm; 980x1400pix, 58kb) sailing ship with positions lights lit. —(070608) |
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1672 (30 May Julian) Pyotr Alekseyevich, who would
be Peter I “the Great”, tsar of Russia, jointly with
his half-brother Ivan V from 1682 to 1696, then alone until his 08 February (28
Jan Julian) 1725 death, after having greatly modernized and expanded Russia, and
having been proclaimed imperator in 1721, quite fittingly, as Russia has been
an imperialist power ever since. — He was not a painter, of course, but his
portrait was painted by Paul
Delaroche [17 Jul 1797 – 04 Nov 1859] in 1838
(119x88cm) , Aleksei
Petrovich Antropov [14 Mar 1716 – 12
Jun 1795] in 1772,
Andrey
Matveyev [1702 – 04 May 1739] in 1725,
Ivan
Nikitin [1680-1742+] in 1717,
Nikitin again in 1726,
Grigoriy
Musikiysky [1670-1740] in 1723.
— MORE ON PETER
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