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DEATHS: 1932 FRIANT — 1963 “VILLON” — 1901 MORAN
BIRTHS: 1849 ANCHER 1597 SAENREDAM 
^ 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)
 
^ 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)
^ >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)
^ 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)

Died on a 09 June:


^2000 Jacob Lawrence, US painter born on 07 September 1917. Husband of Gwendolyn Knight [26 May 1913 – 18 Feb 2005]. Jacob Lawrence is of the best well known 20th century Black US painters, as is also Romare Bearden [1914-1988]. Lawrence's Migration Series made him nationally famous when it was featured in a 1941 issue of Fortune. The series depicts the great move north of Blacks in the Depression years. Lawrence was born in Atlantic City, New Jersey, but moved many times over the course of his life, first making his name in Harlem and finally settling in Seattle, Washington state, in 1970, to become an art professor at the University of Washington. Lawrence's work often portrayed important periods in Black US history. Among his works are a series of pieces about the abolitionist John Brown and another about Haitian revolutionary Toussaint l'Ouverture. — LINKS
Self Portrait (1977, 56x76cm; 296x400pix, 122kb)
Self Portrait (1996, B&W; 434x266pix, 24kb) _ In about 1965, when Lawrence began this self-portrait, his was the face of Negro art for Whites in the US. The 1941 exhibition of his epic painting cycle, The Migration of the Negro, had firmly established his reputation with its moving story and abstract power. Lawrence loved the color and pattern he saw in his Harlem community. Composition, color, and pattern infused his art as he began to paint the black experience. The human face was to Lawrence just another shape to be simplified or distorted for expression. Lawrence rarely attempted portraiture, which makes the small group of self-portraits that he made around 1965 even more intriguing. In 1996, Lawrence returned to this drawing and updated it by thickening the lines. Adding wide bands of black around the face, he changed its contours to a single sweeping curve, transforming a linear drawing into a muscular interplay of contrasting values. The expression of the face reflected both the strength and the new anxieties of his advancing age.
Frederick Douglass Series, No. 22 (1939; 859x560pix, 109kb)
War Series: Victory (1947, 51x41cm)
The Library (1960, 61x76cm)
Tombstones (1942, 73x52cm)
Brownstones (1958; 364x470pix, 48kb)
== The Migration Series:
— Panel 10: They were very poor (1941, 31x45cm)
— Panel 34: The Black Press Urged the People to Leave the South (1941, 46x31cm)
— Panel 57: The female worker was also one of the last groups to leave the South (1941, 46x31cm)

2000 Demetrio Salgado [1915–], Spanish expressionist painter. Destacado artista, cuya obra se inscribe en el estilo figurativo, con técnicas que en diversas ocasiones lo acercan al expresionismo. Licenciado en Bellas Artes por la Escuela de San Fernando de Madrid, fue posteriormente profesor de desnudos del Círculo de Bellas Artes de esta ciudad. En 1955 marchó a Italia pensionado para ampliar su formación y, ya de vuelta en España, obtuvo un beca de la Fundación Juan March en 1966. —(080608)

1990 Angus McBean, British photographer born on 08 Jun 1904.

^ 1984 Helen Hardin “Tsa-sah-wee-eh” (“Little Standing Spruce”), New Mexico painter born on 28 May 1943.
Early Pendleton (513x700pix, 48kb)
Listening Woman (1982, 60x45cm; 842x600pix, 62kb)
Spring Bird in Sunshine (39x29cm; 904x700pix, 133kb) _ A turquoise bird (turkey?) that appears somewhat bewildered and happy. Behind it is a large orange sun superimposed over patchwork patterns of yellow, green, and brown.
Messenger from the Sun (xcm; 763x600pix, 51kb)
Mimbres Kokopelli (round; 470x466pix, 58kb) _ The pseudonymous L. N. Softout has transformed this rather simple partially abstract picture into the complex, colorful, symmetrical, and completely abstract Remember the Cook's Opel? aka Pact Cap (2006; screen filling, 310kb _ ZOOM to 1864x2636pix, 2233kb) — (060608)

^ 1972 Tokijiro Shinsen Tokuoka, Kyoto Japanese painter born on 14 February 1896.
Camelias (1922, 85x100cm; 483x417pix, 38kb) — (060608)

1972 Rudolf Belling, German sculptor born: on 26 August 1886. “Guilty” of Entartete Kunst, he had to flee Nazi Germany.

1961 Arnstein Rynning Arneberg, Swedish architect born on 06 July 1882.

1952 Elizabeth Alice Austen, US photographer born on 17 March 1866.

^ 1948 Hector Hyppolite (or Hippolite, Hippolyte), Haitian painter and voodoo priest born on 15 September 1894. He was recognized as Haiti’s foremost painter from St-Marc, Haiti. Hyppolite was educated as an apprentice shoemaker. He also worked as a cobbler, housepainter, furniture decorator, ship builder, and innkeeper. Hyppolite is generally considered to be the most important of the untrained painters in the mid twentieth century of his country. Details of his life are sparse but Hyppolite was known as a Houngan. During a five-year sojourn to Africa Hyppolite connection to the home of his ancestors was central to his artistic expression. In the early 1940’s he began painting with an association with Le Centre d’Art in Port-au-Prince. By 1946, both André Breton and Wilfredo Lam were purchasing his work and hailing him as a master of naive art. UNESCO’s 1947 exhibition in Paris gave Hyppolite a world-wide reputation. Pierre Apraxine wrote that “Hyppolite’s psychic personality, his mediumistic abilities, as well as his thorough familiarity with the Haitian supernatural world, account for the spiritual quality which pervades each of his paintings...Hence, the subjects of his paintings transcend a literal interpretation and move toward mythical implications.” Although by trade a house painter and shoemaker, Hyppolite claimed to have traveled to New York, Dahomey, and Ethiopia during a period of five years before returning to the village of St. Marc in 1920. What followed was a brief but prolific period of creation that lasted until his death. The subjects of his work ranges from Christian themes, still life, and voodoo imagery. During the final years of his creative times, Hyppolite’s paintings attracted international attention including the Museum of Modern Art in New York City. Hyppolite is known for his aesthetically complex yet highly intuitive paintings.
Le Grand Maître (631x935pix, 90kb) _ La croyance en un Dieu suprême était présente dans les religions africaines et le vodouisant se réclame nettement du monothéisme . Ce dieu unique, que le vodouisant appelle Bondye ou Granmèt, est considéré comme le Créateur de toutes choses, le principe premier de l’univers. Cependant, pour le vodouisant, ce dieu suprême est conçu comme très éloigné du monde des êtres humains. Il est le créateur, mais non l’ordonnateur ni le régisseur de la marche quotidienne du monde. Il est respecté, invoqué, mais ne fait pas l’objet d’un culte particulier. dieu distant, peu familier, absent des affaires quotidiennes de l’être humain, il ne fait que rarement l’objet d’une iconographie. Une des rares représentations picturales que l'on connaisse de lui dans la peinture haïtienne est ce tableau. Le Grand Maître est représenté sous les traits d'un puissant monarque doté de trois yeux et deux nez, flanqué de deux acolytes et tenant entre ses mains une lampe éternelle.
Saint François et l'Enfant Jésus (519x400pix, 192kb)
La Maison Jaune (1946, 51x69cm; 429x598pix, 193kb)
Magie Noire (1948; 327x500pix, 45 kb)
Rêve (61x76cm; 289x360pix, 61kb)
Caille (46x56cm; 415x504pix, 40kb) maison grise
Vase de Fleurs (50x51cm; 494x504pix, 42kb)
Flowers on Table (1946, 62x46cm; 567x400pix, 166kb)
Chez La Gorzan Dire (76x61cm; 400x300pix, 67kb) — (060608)

1945 Antonin Prochaska (or Prochazka), Czech artist born on 05 June 1882. — {Was Prochaska a pro asker?}

1922 Albert Baertsoen, Ghent artist born on 09 January 1866.

1871 Anna Atkins, English photographer born Anna Children on 16 March 1799. She made cyanotype photograms of plant leaves, gathered in the album Cyanotypes of British and Foreign Flowering Plants.

1865 Joseph Paxton, born on 03 August 1803, British horticulturist, landscape gardener, architect and builder of glass structures, of which the most famous is the Crystal Palace.
— (/S#*>flowers) (82kb) a folding illustration from his Register of Flower Plants. — (060608)

^ 1861 Ethel Walker, English painter and sculptor who died on 02 March 1951. Inspired to become an artist after seeing a collection of oriental art in Edinburgh, she studied in London at the Putney Art School for two years (1883-1884) and at the Westminster School of Art and the Slade School of Fine Art (1892-1894) under Frederick Brown. On a visit to Spain in 1884 she was greatly impressed by Velázquez's blend of realism and myth, and in Paris she identified particularly with Manet and with the Impressionists. In 1898 she settled in Cheyne Walk, Chelsea, London, and established there a studio that she maintained for the rest of her life. She also painted regularly at Robin Hood's Bay, North Yorkshire. The somber tones of her early flower compositions and figures in interiors gave way to brighter, richer interpretations derived from Impressionism. In 1900 she was elected the first woman member of the New English Art Club. Her works displayed a vibrancy of color and spontaneity of composition without any apparent interest in the scientific aspects of Impressionist color theory. Particularly successful are her precise and uncluttered drawings and her portraits of women, such as Vanessa (1937), which often had a dominant key of brilliant color. Much the same fullness of spirit pervades her flower-pieces, such as Flowers in a Jug (1936, 61x51cm). A series of large, decorative figure paintings combined Classical themes with spiritual concerns; typical of these are The Zone of Hate (1915, 247x246cm) and The Zone of Love (1932, 244x244cm). She also produced sculptures of these themes, which were decorative in approach and inspired by her vision of a golden age. She was elected ARA in 1940 and appointed DBE in 1943.
Self-Portrait (1930, 64x77cm)
Vanessa (1937, 61x51cm) _ The painter Vanessa Bell [30 May 1879 – 07 Apr 1961] was the unafraid sister of the writer Virginia Woolf [25 Jan 1882 – 28 Mar 1941] and one of the founders of the Bloomsbury circle. Here she is placed in a domestic interior, possibly at Charleston in Sussex. Her gaze is directed away from the viewer, suggesting that we are intruding into her private space. Bell’s willingness to experiment placed her in the forefront of the avant-garde. By contrast Walker worked in a more traditional style mainly producing portraits.
Miss Jean Werner Laurie (1928, 61x51cm)
— /S#*>Still Life of Tulips and Porcelain (900x879pix, 155kb)
— /S#*>13 images at Sotheby's — (060608)

1855 Piotr Michalowski, Kraków Polish painter born (main coverage) on 02 July 1800. — (060608)

1847 Johann Christian Reinhart, German artist born on 24 January 1761.

1843 Pierre-Philippe Thomire, Parisian artist born on 05 December 1751.

1836 Guillaume Vogels, Brussels Belgian artist who died on 09 Jan 1896.

1810 Pierre Lelu, Parisian artist born on 13 August 1741.
Capriccio with Ruins (21x30cm)

1798 Johann Georg Pforr, German Rococo painter born on 04 January 1745. — Relative? of Franz Pforr [1788-1812] ?— {The artist with the pfunny name?}
Ein Dromedarius aka Trampeltier und Cameel (35x55cm; 436x560pix, 126kb)
Reiter vor einer Stadtmauer (1790, 51x70cm)

1772 Pietro Monaco, Italian artist born on 22 September 1707.

1705 Philipp Tidemann, Dutch artist born on 22 September 1657.

^ 1676 Hendrik-Jacobszoon Dubbels, Dutch marine painter active in Amsterdam, born in 1620 or 1621. — {Did Dubbels paint doubles?} — Little is known about his life. Dubbels worked chiefly within the tradition established by his master, Simon de Vlieger, and with other marine artists. He is thought to have worked in the studio of the van de Veldes, before they moved to London. His earliest known work, a moonlight seascape, dates from 1645. He painted calm scenes and shipwrecks, beach scenes and inland estuary views. Paintings of shipwrecks were commonly interpreted in the 17th century as metaphors of the perils of life and Dubbels confirmed this in his Wreck of De Liefde by painting on the frame of this picture an illusionistic cartellino inscribed with the words ‘the violence of the furious sea destroys lives’. His seascapes show the influence of Simon de Vlieger, while some of his rare winter scenes are indebted to Jan van de Capelle. It has been suggested that Dubbels worked with Ludolf Bakhuizen who may have been his student. If this indeed was the case, the reputation of the student today overshadows that of the teacher.
A “Smalschip” with Two Dutch East Indiamen Coming to Anchor (102x137cm; 515x700pix, 73kb) _ This seascape portrays a smalship passing under the bows of a Dutch East Indiaman, and other vessels; it shows Dubbels’s confident treatment of the composition and his bold modeling of decoratively arranged clouds, as well as his subtle glazes of the shadow cast on the water by the sail of the smalship. It is a dramatic portrayal of two Dutch East Indiamen who may have returned from a journey overseas. The ship on the left, in distant port-quarter view, has a scene painted on its stern depicting a pavilion with trees, possibly palm trees and thus a reference to its exotic trade associations. Men are portrayed in the rigging, working on the sails. In the center foreground, a smalschip sails into wind and six men can be seen in her stern. A smalschip, meaning narrow ship, took its name from its ability to negotiate locks on inland waterways. One of the men gestures towards the ship on the far right, seen in port-bow view with a carved figurehead of a lion. The deck is laden with men busy on various tasks as it prepares to anchor. The two ships are flying Dutch flags and a plain red jack. In the far distance, a landscape can be seen on either side of the picture. To the far left, this includes a skyline of church towers, and to the right, the curved shape of dunes, suggesting this is an estuary scene or a channel between islands on the Dutch coast. Strong contrasts of light and dark dominate both sea and sky, and the striking formation of the clouds dominates the top-half of the image. The artist has signed his name on the buoy in the center foreground.
A calm sea with States' yachts, hay barges, and other shipping (1655, 90x71cm; 650x884pix, 100kb) _ detail 1 (599x545pix, 55kb) _ detail 2 (600x595pix, 56kb) _ The painting shows much ships at the entrance to a busy port. At least two of them, the one at the far left and the one at right with sails lowered, are heavily loaded with hay.
–- S*#> Dutch Shipping Offshore in a Calm, with a Dignitary Being Conveyed in a Rowing Boat to a States Yacht (72x94cm)

1624 Antonio Susini, Florentine sculptor active since 1580.


Born on a 09 June:


1956 Luigi Stornaiolo Pimentel, Ecuatorian painter. Hijo de padre napolitano y madre ecuatoriana de Quito. Realizó sus primeros estudios en el colegio cardenal Spellman de su ciudad natal. Tras graduarse en Bachillerato, cursó tres años en la facultad de Arquitectura, pero en 1977 abandonó los estudios y viajó a Italia. Allí visitó museos y se empapó del arte de los grandes maestros, formándose ya una idea de lo que realmente sería en su vida. A su regreso montó con algunos amigos una fábrica artesanal de juguetes de corcho, que pronto fracasó por falta de experiencia comercial. Dotado de extraordinarias dotes para el dibujo, vivió por aquellos años de la venta de retratos al carboncillo. —(080608)

1924 John Colin Scott, New Zealand architect who died on 30 July 1992. He is best known for the Futuna Chapel.
–- S*#> Skipper Eric Caldow makes certain of Scotland's first victory in 25 years at Hampden Park with a penalty against England / S = SCOTLAND 2  ENGLAND 0 (1962, 102x208cm; 510x1046pix, 91kb) soccer picture almost certainly by a different John Scott. Caldow [14 May 1934~] was captain of the Rangers.

1916 Jean Philippe Dallaire, Canadian artist who died on 27 November 1965.

1914 Gerd Leufert, in 1914 in Memel, Germany, (now Kláipeda, Lithuania), artist who studied under F. H. Ehmcke, moved to Caracas, Venezuela, in 1951. He married the artist Gego. He died in 1998.

1900 Joaquín Vaquero Palacios [–28 Oct 1998], Spanish painter and architect. Cursó la carrera de Arquitectura en la Escuela Superior de Madrid pero pronto su vocación artística le hizo dedicarse también a la pintura. Realizó sus primeros estudios con el pintor asturiano Manuel Arboleya en Oviedo. Aquí y en Gijón entabló amistad con Evaristo Valle y Nicanor Piñole y, en 1916, tomó parte en la exposición de artistas asturianos en la Universidad de Oviedo junto con los pintores Luis Menéndez Pidal, José Ramón Zaragoza y Álvarez Sala. —(080608)

^ 1893 Édouard Goerg, in Sydney, Australia, French painter, draftsman, and engraver, who died in 1969. –- S*#> L'Amoureux (Sep 1957, 65x54cm; 51043383kb)

1889 Frits Adolf Eschauzier, Dutch architect who died on 07 August 1957.

1868 Robert Smith “Robin Dods”, in Dunedin, New Zealand, architect who died in Sydney on 23 Jul 1920.

1864 Floris Arntzenius, Duch artist who died on his 61st birthday. — {Did anyone ever tell him: “Arntzenius, you arn't zerious!”? Or was it: “Arntzenius, you arn't genius!”?}— He is also called “Arttzenius”, “Flor”, or “Pieter Florentius Nicolaas Jacobus”

1862 Herbert Baker, English architect who died on 04 February 1946. — Portrait of Herbert Baker (1925 drawing, 32x35cm; 225x181pix, 8kb) by William Rothenstein [1872-1945]

1861 Floris Henric Verster, Leiden Dutch artist who died on 12 January 1927. Floris Verster (eigenlijk Floris Verster van Wulverhorst) kreeg lessen van George Hendrik Breitner en was leerling aan de Haagse academie. Hij woonde en werkte in Den Haag (1879-1881), Brussel (1882) en daarna in Leiden. In 1891 introduceerde Jan Toorop hem bij de avant-gardistische kunstenaarsgroepering Les Vingts in Brussel. Hij exposeerde daar nog in hetzelfde jaar. Na 1893 is de Toorops invloed zichtbaar in Versters schilderijen. Verster schilderde landschappen, mensen en vooral stillevens. Zijn vroege werk is beïnvloed door Haagse School. Rond 1886 werd zijn verfgebruik ruwer en het werk kleurrijker. Tussen 1880 en 1890 schilderde hij grote stillevens van tere bloemen op donkere achtergrond. In zijn werk was verval een vaak terugkerend thema. In 1892 maakte Verster kennis met kunstpedagoog H.P. Bremmer [1871-1956]. Vanaf die tijd zou hij bijna al zijn werk verkopen via Bremmer, die optrad als adviseur voor verzamelaars. — LINKS
Still Life with Bottles (1892; 99kb)
Stilleven met witte rozen (1913, 30x25cm)
Dode kraai (1907, 55x37cm) _ Als leerling van George Hendrik Breitner was Verster sterk beïnvloed door het impressionisme. Maar in tegenstelling tot zijn leermeester vermeed hij het rumoer en de vitaliteit van de moderne wereld. De laatste jaren van zijn leven stond hij zelfs bekend als 'de kluizenaar van Groenoord'. Zijn onderwerpen ademen een sfeer van bezonkenheid en melancholie.

1858 Otto Rieth, Stuttgart German sculptor who died on 10 September 1911.

1847 Alajos Hauszmann, Hungarian architect who died on 31 July 1926.

^ 1846 Charles-Pierre “Karl” Daubigny, French painter who died on 25 May 1886. Son and student of Charles-François Daubigny [15 Feb 1817 – 19 Feb 1878] Like his father he specialized in landscape painting. He made his début at the Salon in 1863 and continued to exhibit there until the year of his death, winning medals in 1868 and 1874. His earliest works are obviously influenced by his father, but he soon came to develop a more personal and sombre style. The forest of Fontainebleau or the coastline and landscape of Brittany and Normandy provided most of his subjects (e.g. the Return of the Fishing Fleet to Trouville, 1872; and The Banks of the Seine, 1880). He also produced a number of landscape etchings, including several after his father’s paintings, two of which appeared in Frédéric Henriet’s C. Daubigny et son oeuvre gravée (1875). Despite his considerable ability, Karl’s reputation has been rather eclipsed by that of his father, though he was nonetheless one of the most pleasing French landscape artists of the second half of the 19th century.
–- S*#> Edge of the River near Yport (1873, 27x60cm; 442x799pix, kb)
–- S*#> Rue de Village (1873, 27x60cm; 641x530pix, kb)
Paysage de Rivière (26x19cm; 475x680pix, 135kb)
–- S*#> Passage du Gué par un Troupeau (27x52cm; 442x900pix, kb)
Paysage de bord de mer aka Honfleur : ferme Saint-Siméon, aka l'Estuaire de la Seine (1873, 148x245cm; 464x768pix, 66kb) _ Paysage avec à gauche, une colline avec des arbres et à droite au second plan, la mer où l'on aperçoit des voiliers.

1820 Georg Wilhelm (Vasily Fyodorovich) Timm, Latvian-born German artist who died on 07 April 1895.

1786 Ridolfo Schadow, Roman artist who died on 31 January 1822.

^ 1774 Pierre-Athanase Chauvin, French artist who died in Rome on 07 October 1832. He was a close friend of Ingres and studied under the landscape artist Pierre-Henri Valenciennes [1750-1819]. Throughout his career, he remained faithful to the principles of Classical art. Chauvin's paintings are all constructed in very similar fashion: the picture framed by hills, trees or architectural monuments, the space - with rare exceptions - built up of layers of horizontal planes. In terms of style and execution they also reveal little variety: a static composition, calligraphically precise drawing and a cold, light colour scheme dominated by light blue skies, dark blue sea and rich green vegetation, constrasting with the warm, sandy-brown tones of the earth and buildings. — LINKS
–- S*#> View of the Convent of San Antonio Near Posilippo, Naples (1810, 63x85cm; 579x800pix, 116kb) _ Chauvin painted several views of this convent; next one of the others.
View of the Convent of San Antonio (round 31cm diameter; 575x577pix, 170kb).
Paysage Italien (round 31cm diameter; 575x572pix, 139kb) with a river in the foreground and a mountain (Vesuvius?) in the background.
Entrée de Charles VIII dans Acquapendente.7 Décembre 1494 (1837, 82x107cm; 396x512pix, 50kb)

1737 Henri-Joseph Antonissen, Flemish artist who died on 04 April 1794. — {Is it true that Anthony sends Antonissens out of New York state to avoid the sales tax?}

click for portraits^ 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 THE GREAT AT HISTORY “4” TODAY

^ 1573 Hendrik Hondius I, in Duffel, Brabant, printmaker who was buried in The Hague on 25 or 29 Oct 1650 (1649?). Father? of The Hague artist Hendrik Hondius II [1615 – between 27 Oct 1676 and 12 Jan 1677]? He studied in Brussels under the goldsmith G. van Gelder, and in Antwerp under J. Wierix and Vredeman de Vries, with whom he published a treatise on perspective in 1605. In 1597 he was received into the guild in The Hague where he stayed except for short trips to Cologne, Paris, and London. He worked as a draftsman, publisher, and engraver of landscapes, genre scenes, portraits, architectural subjects (Les cinq rangs d'architecture, 1617) and technical treatises (Géometrie, contenant La Théorie et Practique ...à la Fortification, 1616). He is last recorded in The Hague in 1649, when his self-portrait was published in. J. Meyssens' Ikonographie. His son Willem Hondius [1597-1652] was also a draftsman and engraver. — LINKS
Vanitas Still Life (1626 engraving, 42x28cm) _ Books and artists' requisites, such as a pallette, brushes and an easel fill the room in this still life. Various vanitas symbols are also featured, referring to the transience of earthly existence. A skull on a pile of books is a traditional symbol of mortality; the hourglass is quickly drained, the candle soon burned. In short, life on this earth is fleeting. A lengthy inscription beneath the still life explains the picture. The motto of the print is 'Finis coronat opus', referring to the serene happiness that awaits the pious in afterlife. It is symbolized by the laurel crown resting on the skull. Hendrick Hondius, who made prints of his own designs and published those by other artists. This is one of the few examples of a still life made in the form of a print. In 1626 the genre was first emerging in painting. Numerous still life paintings of vanitas themes were made. There was a huge market in Calvinist Holland for this kind of moralizing painting. Some fifty years later Wallerant Vaillant produced another Vanitas Still Life (1675) print, more simply composed, although all the same symbols are included: a book, a skull and the snuffed candle.
55 images of engravings at Bildindex (51 of them are portraits)

1909 Pieter Janszoon Saenredam, Dutch painter who died (full coverage) on 16 August 1665.

^ 1514 Philibert de l'Orme (or Delorme), French architect who died on 08 Jan 1570 (born between 03 and 09 June 1514). He was the son of a mason. He spent three years in Rome (probably 1533-1536), and developed an enthusiasm for antique architecture. His most important surviving work is the Chateau at Anet (1549ff), and this work, together with his publications, makes him the father of French classical architecture. His Nouvelles Inventions pour bien bastir et a petits fraiz (1561) is a how-to-do-it handbook, which could be used on site. His Architecture (1567) is more theoretical, in the tradition of humanist handbooks.
Design for a Railroad Station (could not be used for several centuries, since railroads had not been invented) _ detail
Cupola
Section of an Antique Viaduct with weeds growing out of the cracks.


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