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ART “4” “2”-DAY  11 June v.8.50
^ Died on 11 June 1956: Sir Frank William Brangwyn, Welsh painter and graphic artist born on 13 (12?) May 1867
— Largely self-taught, he helped his father, William Brangwyn, who was an ecclesiastical architect and textile designer in Bruges. After his family moved to England in 1875 Brangwyn entered the South Kensington Art Schools and, from 1882 to 1884, worked for William Morris. Harold Rathbone and Arthur Mackmurdo encouraged him to copy Raphael and Donatello in the Victoria and Albert Museum, complementing his already broad knowledge of Dutch and Flemish art.
— Frank Brangwyn, the son of an English architect, was born in Bruges, Belgium. When Frank was ten his family returned to London. He was apprenticed to William Morris for four years and afterwards traveled widely [and wildly?]. As well as working for The Graphic and The Idler, Brangwyn illustrated several books including Collingwood (1891), The Captured Cruiser (1893), The Wreck of the Golden Fleece (1893), Tales of Our Coast (1896), The History of Don Quixote (1898) and A Spiced Yarn (1899). By the early 20th century Brangwyn had a reputation for large pictures painted in a realistic style. He also designed furniture, carpets, textiles, ceramics, stained glass, metalwork and jewelry. During the First World War Brangwyn was an Official War Artist. In 1925 Brangwyn was commissioned to paint a set of wall paintings for the House of Lords. These were competed and rejected in 1930. This included the impressive war picture, Tank in Action. Offers for the murals came from all over the world but they were eventually installed in the Guildhall in Swansea.
— Brangwyn's students included Karl Albert Buehr and Bernard Leach.

Suzanna and the Elders (120x158cm)
Le marché aux esclaves (1921)
Tank in Action (1926, 366x376cm) _ The work of Brangwyn is that of an artist who made large formats and brutal realism his personal hallmark. Paying great attention to detail in his skillful stagings of attacks, he composed pictures whose dimensions and composition seek a spectacular effect. In 1924, he was commissioned to do a set of wall paintings for Westminster Palace, including this one, where his expressionism was found unacceptably morbid for the official building for which it was painted.
56 prints at FAMSF
^ Born on 11 June 1776: John Constable, English Romantic painter specialized in Landscapes, who died on 31 March 1837, assistant to Claude Lorrain.
— Constable, with J.M.W. Turner, dominated English landscape painting in the 19th century. He is famous for his precise and loving paintings of the English countryside (e.g., The Hay-Wain, 1821), which he sketched constantly from nature. After about 1828, he experimented with a freer and more colorful manner of painting (e.g., in Hadleigh Castle, 1829).
— Constable was born in East Bergholt, Suffolk, the son of a well-to-do mill owner. An early interest in drawing was encouraged by the connoisseur Sir George Beaumont and the etcher and draftsman J. T. ("Antiquity") Smith, and in 1799 Constable traveled to London and entered the Royal Academy Schools. He exhibited at the Royal Academy for the first time in 1802 and began making regular sketching and painting trips to rural parts of central and southeastern England, developing his style of plein-air sketching. Larger, more finished compositions were worked up in the studio, and in 1819 Constable exhibited at the academy the first of his sixfoot canvases showing scenes from the Stour River valley. He was elected an associate of the academy in 1819 but not a full member until 1829. Inclusion of three paintings in the Paris Salon of 1824 brought him to the excited attention of French artists, who saw in his work a new model of fidelity to nature. In later life, the vivid naturalism of his landscapes gave way to a looser, more expressionistic style. The lectures on landscape painting he presented in his last years, from 1833 to 1836, preserve a personal account of his theories and practices. One of the greatest British landscape painters, John Constable devoted his attention to the familiar scenery of his native Suffolk, Hampstead, and Salisbury. His nostalgic vision of the English countryside is for many people an ideal of rural England. His distinctive approach to landscape depended on long and close observation and study, particularly of clouds and light effects, which has been seen as an influence on the later Impressionists. Constable was strongly opposed to the setting up of a National Gallery, arguing that artists should not study the art of the past but nature itself. Although famous for his studies direct from nature, Constable's large landscapes which he called his ‘six-footers’ were all painted in his London studio.
— Constable ranks with Turner as one of the greatest British landscape artists. Although he showed an early talent for art and began painting his native Suffolk scenery before he left school, his great originality matured slowly. He committed himself to a career as an artist only in 1799, when he joined the Royal Academy Schools and it was not until 1829 that he was grudgingly made a full Academician, elected by a majority of only one vote. In 1816 he became financially secure on the death of his father and married Maria Bicknell after a seven-year courtship and in the fact of strong opposition from her family. During the 1820s he began to win recognition: The Hay Wain (1821) won a gold medal at the Paris Salon of 1824 and Constable was admired by Delacroix and Bonington among others. His wife died in 1828, however, and the remaining years of his life were clouded by despondency.
      After spending some years working in the picturesque tradition of landscape and the manner of Gainsborough, Constable developed his own original treatment from the attempt to render scenery more directly and realistically, carrying on but modifying in an individual way the tradition inherited from Ruisdael [1628 – buried 14 Mar 1682] and the Dutch 17th-century landscape painters. Just as his contemporary William Wordsworth [1770 – 23 Apr 1850] rejected what he called the ‘poetic diction’ of his predecessors, so Constable turned away from the pictorial conventions of 18th-century landscape painters, who, he said, were always ‘running after pictures and seeking the truth at second hand'. Constable thought that ‘No two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of the world', and in a then new way he represented in paint the atmospheric effects of changing light in the open air, the movement of clouds across the sky, and his excited delight at these phenomena, stemming from a profound love of the country: ‘The sound of water escaping from mill dams, willows, old rotten planks, slimy posts and brickwork, I love such things. These scenes made me a painter.’
      He never went abroad, and his finest works are of the places he knew and loved best, particularly Suffolk and Hampstead, where he lived from 1821. To render the shifting flicker of light and weather he abandoned fine traditional finish, catching the sunlight in blobs of pure white or yellow, and the drama of storms with a rapid brush. Henry Fuseli [1741 — 16 Apr 1825] was among the contemporaries who applauded the freshness of Constable's approach, for C. R. Leslie records him as saying: ‘I like de landscapes of Constable; he is always picturesque, of a fine color, and de lights always in de right places; but he makes me call for my great coat and umbrella.’
      Constable worked extensively in the open air, drawing and sketching in oils, but his finished pictures were produced in the studio. For his most ambitious works — ‘six-footers’ as he called them — he followed the unusual technical procedure of making a full-size oil sketch, and in the 20th century there has been a tendancy to praise these even more highly than the finished works because of their freedom and freshness of brushwork.
      In England Constable had no real sucessor and the many imitators (who included his son Lionel Bicknell Constable [1828-1887]) turned rather to the formal compositions than to the more direct sketches. In France, however, he was a major influence on Romantics such as Delacroix [26 Apr 1798 – 13 Aug 1863],on the painters of the Barbizon School, and ultimately on the Impressionists.
—   John Constable was one of the major European landscape artists of the XIX century, whose art was admired by Delacroix and Géricault [26 Sep 1791 – 26 Jan 1824] and influenced the masters of Barbizon and even the Impressionists, although he did not achieved much fame during his lifetime in England, his own country. John Constable was born in East Bergholt, Suffolk, the fourth child and second son of Ann and Golding Constable. His father was a prosperous local corn merchant who inherited his business from an uncle in 1764. Constable was educated at Dedham Grammar School, where he distinguished himself more by his draughtsmanship than his scholarship. In 1793 his father decided to train him as a miller and, consequently, Constable spent a year working on the family mill, which helped him to determine his course of life: he would be an artist.
        In 1796-1798 he took lessons from John Thomas Smith [1766-1833] and later from George Frost, who supported his love of landscape painting and encouraged him to study Gainsborough's works. In 1700 he entered the Royal Academy Schools. As a student he copied Old Master landscapes, especially those of Jacob van Ruisdael. Though deeply impressed by the work of Claude Lorrain [1602 – 23 Nov 1682] and the watercolors of Thomas Girtin [1775 – 1802], Constable believed the actual study of nature was more important than any artistic model. He refused to "learn the truth second-hand". To a greater degree than any other artist before him, Constable based his paintings on precisely drawn sketches made directly from nature. His most notable picture of his early works are Dedham Vale (1802), 'A Church Porch' (The Church Porch, East Bergholt) (1809), Dedham Vale: Morning (1811), Landscape: Boys Fishing (1813, 102x126cm), Boatbuilding (1814), Wivenhoe Park (1816, 56x101cm), Weymouth Bay (1816). Flatford Mill (1817, 102x127cm) was his last work of the period, created en plein-air.
        He married Maria Bicknell in 1816 and they settled in London. After 1816 he changed the method of his work turning away from realistic agrarian landscapes such as Landscape: Ploughing Scene in Suffolk (A Summerland) (1814). Now he was working mostly in his studio in London and had to work out the image from his memory, starting each picture from a full-size sketch. The sketches enabled his memory to develop gradually until everything he could remember about the scene was satisfactorily suggested. At this point he would begin the finished painting. Each of his large canvass starting with The White Horse (1819) and continuing through Landscape: Noon (The Hay-Wain) (1821), The Lock (A Boat Passing a Lock) (1824), The Leaping Horse (1824; 564x700pix, 153kb), The Cornfield (1826, 143x122cm) was fulfilled in this way.
        Although he never was popular in England, some of his works exhibited in Paris achieved instant fame. In 1829 he was finally elected a Royal Academician.  His other important works of these period were Hampstead Heath (1820), Salisbury Cathedral, from the Bishop's Grounds (1823), A Mill at Gillingham in Dorset (Parham's Mill) (1826), Dedham Vale (1828), Hadleigh Castle (1829), Old Sarum (1829), Salisbury Cathedral, from the Meadows (1831). He died working on Arundel Mill and Castle (1837).
— The artist's father, Golding Constable, was a wealthy man who owned mills. His business consisted of grinding wheat raised in the local fields and shipping it to the London market. The fact that Constable was born into the midst of the practical realities of country life has a direct bearing on his career and is reflected throughout his painting. He showed intellectual promise as a child and was brought up for the church; when this idea was abandoned, he was trained to enter his father's business. By this time he had already conceived an enthusiasm for painting. This interest was fostered by his friendship with an amateur painter, John Dunthorne, a local plumber and glazier, and was further encouraged by the landscape painter Sir George Beaumont, a patron of the arts. Constable's determination to make painting his profession was sealed by his acceptance as a probationer in the Royal Academy Schools in 1799, when he was 23.
     At this time his performance did not reveal any marked promise; his execution was labored and his drawing from life weakly academic. But he already had a clear mental image of the type of pictures he wanted to paint and worked doggedly to overcome his technical defects. Seven or eight years after he had started his formal training, he discovered how to embody his idea of the English countryside in a manner both more realistic and more spirited than his predecessors. There were some modest successes to record in this period of self-training. He exhibited at the Royal Academy shows annually from 1802, with one single exception in 1804. He went on two of the sketching expeditions that it was then the practice for landscape painters to undertake, going to the Peak District, Derbyshire, in 1801 and the Lake District in 1806. He painted portraits of the Suffolk and Essex farmers and their wives and in 1805 attempted an altarpiece of Christ Blessing the Children, in the manner of Benjamin West. When he took stock of his progress after his return from the Lake District, however, he realized that he had been attempting too wide a range of subject and style, thus dissipating his energies. He then determined to concentrate on the scenes that had delighted him as a boy: the village lanes, the fields and meadows running down to the River Stour, the slow progress of barges drawn by tow horses, the bustle of vessels passing the locks at Flatford or Dedham.
     In the years 1809 to 1816 he established his mastery and evolved his individual manner; but these were years of personal stress. He was obliged to live much of each year in London, where his professional associates were to be found and where he could participate in exhibitions. Constable was uneasy at these enforced absences from the countryside, in which he felt most at home, and tried to pay yearly visits to Suffolk. The assiduity with which he studied the landscape on these visits is shown by two pocket sketchbooks, one of 1813 and one of 1814, which are still intact. These contain between them more than 200 small sketches made in a limited area around his home village and reflect most aspects of the summer life of the fields and the river.
     Constable fell in love with Maria Bicknell in 1809 and married her on 02 October 1816. Once Constable had established himself and his wife in a London home, he set to work to show what he could achieve in his art. He was 40 years old and had painted a handful of accomplished pictures, which were original but on a small scale. These included Dedham Vale: Morning (1811); Boatbuilding near Flatford Mill (1815); The Stour Valley and Dedham Village (1815). These paintings were still products of the years of preparation, however. Most significant was the large number of small oil sketches and drawings that were to form the basis of his future and more ambitious painting. These sketches, of which he made a considerable number after 1808, were painted in the open air in front of the subject. They are most frequently in oils on paper about 30 centimeters wide, and they record the form of the landscape, the colors that predominate, and also the more evanescent qualities of atmosphere and the reflection of light on particular details. The sketches are now recognized to be among Constable's most individual achievements and to have been unique at the time they were painted. To the artist,however, they were means to an end. His main ambition was to embody his concept of the Suffolk countryside in a series of larger canvases monumental enough to make an impression in the annual summer exhibitions of the Royal Academy. The first attempt was Flatford Mill on the River Stour which he exhibited in 1817. It shows a reach of the river running up to the mill, in which Golding Constable had lived until within two years of John Constable's birth, bordered by a meadow that has just been scythed.
     This work was succeeded by a series of six paintings that are now among his best known and most highly regarded works. In order of exhibition they are The White Horse; Stratford Mill; The Hay-Wain; View on the Stour near Dedham; The Lock; The Leaping Horse. These six canvases portray scenes on the River Stour that were easily within the compass of Constable's childhood walks; between the most easterly, The Hay-Wain, and the most westerly, Stratford Mill, there is hardly more than three kilometers distance in a direct line. To this unity of place is joined a unity of subject matter. With the exception of The Hay-Wain, all show barges being maneuvered along the canals. The appearance in these works of the fruits of Constable's deep, unprecedented study of the formation of clouds, the color of meadows and trees, and the effect of light glistening on leaves and water enables them to communicate the concrete actuality of these everyday-life country scenes, as well as the feeling they evoked in him.
     This series of Stour scenes was interrupted in 1823, when Constable's chief exhibit was a view of Salisbury Cathedral from the Bishop's Grounds, which was intended to be a record of an architectural monument, transmuted into the artist's own idiom by framing the spire between overarching trees, by emphasizing the play of light and shade on the Gothic stonework, and by setting the whole under a sky in which rain is impending. This romantic treatment did not please the Bishop but was admired by the Bishop's nephew and Constable's old friend, Archdeacon John Fisher, who had already shown his faith in the artistby buying The White Horse at the exhibition of 1819.
     There is a revealing correspondence between Constable and Bishop Fisher, who commissioned the painting of the Salisbury Cathedral. In it the painter gives his most intimate thoughts on his art without concealment or false modesty. There was much he could be satisfied with at this time. He was aware that he had achieved in his art a great deal of what he had set out to do. In addition, his work had deeply impressed the painters of the French Romantic school. Théodore Géricault had admired The Hay-Wain (559x800pix, 134kb _ ZOOM to 1400x2004pix) on its first exhibition in 1821; and when this work (along with the View on the Stour near Dedham) was shown at the Paris Salon in 1824, it not only created a sensation but inspired Eugène Delacroix to repaint parts of his Massacre at Chios (1824; 600x495pix, 62kb _ ZOOM to 1501x1266pix, 2597pix)(compare the preparatory sketch; 600x544pix _ ZOOM to 1400x1270pix)
     Meanwhile the presence, from 1819, of Hampstead scenes and, from 1824, of Brighton scenes among his repertoire of subjects indicates a deepening shadow over his domestic happiness. Mrs. Constable had long been delicate, and Constable took houses in these places in search of purer air. Her death from consumption in 1828, at the age of 41, was a loss from which he never fully recovered, though he bestirred himself into activity for the sake of his seven children, in whom he delighted. His financial situation had been eased by a large legacy from his father-in-law, but from this time an increased restlessness is to be found in his paintings. Hadleigh Castle and Salisbury Cathedral from the Meadows show his growing recourse to broken accents of color, somber tones, and stormy skies. It was in 1829 also that he began his preparations for the publication of English Landscape Scenery, a selection of mezzotints executed by David Lucas from Constable's paintings and sketches in which the same dramatic qualities of light and shade are translated into a black-and-white medium. The admiration of his friend, the US-born artist C.R. Leslie, prompted the writing of the Memoirs of the Life of John Constable, R.A. This biography was first published in 1843 and still remains an indispensable source of information on Constable.
     In the 1820s the use of color by Constable's great contemporary and rival in landscape painting, J.M.W. Turner, was becoming bolder and even more uninhibited. This may have contributed to the greater readiness for change that we see in Constable's late works. His Waterloo Bridge from Whitehall Stairs is a monumental record of the opening ceremonial, painted in a high key of color. His use of watercolor became more frequent, and in 1834, after he had been seriously ill, he sent no oils at all to the Royal Academy, depending for his principal exhibit on a large and remarkable watercolor, Old Sarum. A visit to Arundel in the same summer imbued him with enthusiasm for a new type of countryside dominated by steep wooded slopes.
     In 1836 Constable sent The Cenotaph at Coleorton to the Royal Academy exhibition. It was the last painting he showed in his lifetime. When he died, the painting on which he had been working the day before, Arundel Mill and Castle (1837; 600x856pix _ ZOOM to 1400x1997pix), was sufficiently completed to be shown posthumously at the next Academy exhibition. At his death his reputation was limited, but those who admired his work did so intensely. This admiration grew slowly throughout the 19th century, becoming more widespread as his sketches became available and their freshness and spontaneity were recognized. In 1843 his first biographer, C.R. Leslie, wrote that he was “the most genuine painter of English landscape,” and that is a judgment now almost universally reaffirmed.

–- A Woman (64x53cm)
Salisbury Cathedral from the Bishops' Grounds (1823; _ ZOOMable)
White Horse in Ferry (1819, 131x188cm)
The Stour Valley with Stratford Saint Mary (1800, 600x920pix _ ZOOM to 1400x2147pix)
View of Black Brook Over Long Meadow Toward Old Lecture House, Dedham (1800, 600x844pix _ ZOOM to 1400x1969pix)
Wivenhoe Park, Essex (1816, 56x101cm; 636x1182pix, 193kb _ ZOOM to 1400x2616pix)
Weymouth Bay (1816; 600x868pix _ ZOOM to 1400x2025pix)
Golding Constable's Flower Garden (1815, 33 x 51cm)
Golding Constable's Kitchen Garden (1815, 33x51cm)
Mill Stream (1814, 71x91cm)
A Water~Mill (1812, 64x89cm)
Stratford Mill (1820)
The Young Waltonians- Stratford Mill (50x76cm)
Cottage, Rainbow, Mill (1837, 88x112cm)
Malvern Hall (1809)
Flatford Mill (1817, 102x127cm; 818x1000pix, 237kb)
Flatford Mill from the Lock (1811, 25x30cm)
Mrs. James Pulham, Sr. (Frances Amys) (1818)
Maria Bicknell (Mrs. John Constable) (1816)
Ladies From The Family Of Mr William Mason Of Colchester (60x50cm)
Salisbury Cathedral from the Meadows (1831, 152x190cm) _ Constable painted Salisbury Cathedral many times. Here the cathedral is set against a stormy sky – the preceding rainfall has darkened the stone to an impressive and dramatic black. Painted shortly after the death of his wife the painting can be read symbolically. The passing of the storm, the rainbow, and the church’s spire - which seems to pierce through the cloud to bright sky beyond - might all suggest Constable’s faith giving him hope and support after his loss.
Hampstead Heath Looking Towards Harrow (1821, 70x56cm) _ Constable first rented a house in Hampstead in 1819, but it was in the summers of 1821 and 1822 that he made the most of the high vantage point and open spaces of Hampstead Heath to study clouds, and sketch distant views. Here he combines a panoramic view looking northwards with a dramatic and complex sky. The picture is inscribed on the back ‘5 o’ clock afternoon: August 1821 very fine bright & wind after rain slightly in the morning’ and from a study of the weather records it has been suggested it was painted on August 14th. — In a letter written to his closest friend John Fisher, John Constable famously wrote that ‘skies must and always shall with me make an effectual part of the composition. It will be difficult to name a class of Landscape in which the sky is not the “key note” the standard of “Scale” and the chief “Organ of Sentiment”… the sky is the source of light in nature – and governs everything.’ Constable wrote these words at the end of the Summer of 1821 after he had spent the previous four months producing an extraordinary series of cloud studies painted on the hills of Hampstead Heath, which he was to continue the following year. The earliest studies included landscape elements but he soon turned his attention to the sky alone carefully recording the time of day and prevailing weather conditions on the back of his sketches. Constable’s cloud studies would have been used as raw material for his large-scale finished landscapes, but he appears to have relished the challenge of capturing the fleeting appearance of clouds for its own sake. He sometimes looks straight up at the clouds above his head – a viewpoint that could hardly be included in a conventional landscape.
Landscape with Clouds (1822, 48x58cm) _ This vigorously painted sketch of a stormy sky over a darkened landscape was probably painted at the same time that Constable was painting his cloud studies on Hampstead Heath. But here there are no notes on the back to record time of day or weather conditions and the sketch itself has less of the feeling of a ‘scientific’ study than an attempt to capture a mood. It may even have been painted from memory – the landscape recalls a view from Constable’s father’s house in East Bergholt, Suffolk.
30 ZOOMable images at Wikimedia
84 images at Ciudad de la Pintura
56 images at ARC
44 images at ABC
^Died on 11 June 1722: Abraham Pieterszoon van Calraet (or Kalraet, Kalraat), [buried on 12 June 1722], Dordrecht painter baptized as an infant on 12 October 1642.
— Abraham van Calraet, the son of a woodcarver, one of six artist brothers, of whom Barendt [1649-1737], and possibly Abraham himself, studied under Cuyp. He was first the student of the Huppe brothers, sculptors in Dordrecht, and subsequently practiced as a wood-carver and as a painter of still-life, stable scenes, landscapes with horses, and some portraits. In 1680 he married in Dordrecht a daughter of the painter C. Bisschop.
     Abraham van Calraet was the principal seventeenth century follower of Aelbert Cuyp. Confusion between the two is compounded by the signature 'A.C.' found on van Calraet's views of Dordrecht, pictures of horsemen, and still-lifes; it is sometimes erroneously accepted as Aelbert Cuyp's own monogram. Abraham was the eldest son of Pieter Janszoon van Calraet [1620–1681], a sculptor from Utrecht. Abraham was taught by the Dordrecht sculptors Aemilius and Samuel Huppe, although nothing is known of his activity as a sculptor. Abraham learnt to paint figures and fruit. His brother Barent van Calraet [1649–1737], who specialized at first in horse paintings but later imitated the Rhine landscapes of Herman Saftleven, was a student of Aelbert Cuyp. A painting of Two Horses in a Stable, initialed APK, indicates that Abraham, too, must have been well acquainted with Cuyp and provides the basis for identifying Abraham’s painting style. A large number of landscapes with horses, paintings of livestock in stables and still-lifes, all initialled A.C. and formerly attributed to Aelbert Cuyp, are now generally considered to be the work of van Calraet, although many of these are in fact copies after him.

Still-life with Peaches and Grapes (1680; 800x652pix, 75kb)
A Boy holding a Grey Horse (420x365pix, 34kb) _ This picture is attributed to Calraet because of its closeness in style to signed paintings by him. It does, however, bear a false Cuyp signature and in the past has been catalogued as his work. The horse in particular appears in pictures by both artists. It is not unusual for paintings by Calraet to be mistaken for works by Cuyp. There are several versions of this subject, including another one which is also falsely signed as the work of Cuyp.
Scene on the Ice outside Dordrecht (1665, 34x58cm; 394x640pix, 41kb) _ Dordrecht is seen here from the north, across the river Maas. In the left background is the Groothoofdspoort, a watergate which still survives, although it was altered in the late 17th century. To the right of it is the Grote Kerk which is largely unchanged today. This painting perhaps derives from a view of Dordrecht in the background of a work by Aelbert Cuyp which was probably painted in the 1650s. Although the costumes in the painting are of the 1660s, the picture may have been painted later. Partly because of the parallels between the city views in this picture and in works by Cuyp, the painting has in the past been attributed to him.
Fishing on the Ice (39x51cm; 533x700pix, 71kb)
Two Horses (29x40cm; 433x600pix, 60kb) _ formerly attributed to Cuyp.
^ Born on 11 June (July?) 1902: Ernst Wilhelm Nay, German artist who died on 08 April 1968. — {Did he ask people to “just say Nay”?}{Did he know how to talk to horses? Could Nay neigh?}
— 1902 Ernst Wilhelm Nay wird am 11. Juni als zweites von sechs Kindern in Berlin geboren. Eltern: Johannes Nay, Regierungsrat, später Vortragender Rat im Reichsschatzamt, Berlin, und Elisabeth Nay geb. Westphal. {any German councilor is a Rat... let me clarify that: rat in French is rat if it's a male, but a female rat is ratte; while a German female councilor is a Rat just as much as a male councilor, and a male rat is a Ratte just as much as a female rat. To keep that straight, remember that it's a Frenchman who said: “Vive la différence !”. In the case of Nay, was his father, who was a male, a rat because he was a Rat? Nay! And his mother, who was a female (they didn't have single-sex marriages in Germany in those days, and they still don't at this writing) ... his mother, as I was saying, was not a French rat of course, not even a ratte, and, though German, was neither a Rat nor a Ratte, but she was an utter Mutter, which is not in any way to imply that she would utter a mutter, even at an explanation like this.}
  • 1912 Besuch des Humanistischen Gymnasiums in Berlin-Steglitz {No conclusions as to the importance of sports in the German educational system should be drawn from the fact that their schools are called Gymnasiums. Nor does the fact that Germans call a gymnasium a Turnhalle mean that their favorite physical exercise is spinning in place, or that they are so crowded that participants in sports have to take turns.}
  • 1914 Nays Vater fällt im Alter von 52 Jahren als Hauptmann in Belgien. {You probably have already figured out that this means that Nay's father fell and was altered from a live 52-year-old headman to a dead 52-year-old headman in Belgium. Need I add that this must have happened on or shortly after 03 August 1914, when Germany suddenly invaded Belgium whose neutrality it was bound by treaty to respect? If instead Germany had attacked directly France, which was much better defended, its armies might have been beaten back and Nay's Vater could have had the satisfaction of dying in the heart of the Vaterland.}
  • 1915 Nay kommt auf das Internat Schulpforta in Thüringen. {Do not confuse Internat with Internet, which did not yet exist.}
  • 1921 Abitur in Schulpforta. Rückkehr nach Berlin, Tätigkeiten u.a. in der Buchhandlung Gsellius, im Kaufhaus des Westens, als Architekt beim Film. Erste Landschaften und Portraits. {I know how valuable my helpful comments must be to those of you who, like me, are not fluent in German, but it's getting late and I must go on to more mundane tasks. However you may want the help of some translation site such as the output of which I give you a sample in the next paragraph}.
  • 1923 Teilnahme am Abendakt der Berliner Kunstgewerbeschule. {Wordlingo says that this means: Participation in the evening act of the citizens of Berlin college of arts and crafts. Isn't it wonderful how German only needs 6 words to say what English puts into 15 words?}
  • 1925 Besuch einer Hofer-Ausstellung in der Berliner Akademie der Künste. Nay setzt sich mit den Werken von C.D. Friedrich, mit Picasso, Braque, Gris, Matisse, Chagall, Kandinsky, Klee sowie den Malern des "Sturm" auseinander. Er malt Bildnisse seiner Mutter, der Freundin seiner Schwester und eines jungen Mannes und zeigt seine Arbeiten Carl Hofer, der ihn als Stipendiaten in seine Malklasse an der Berliner Akademie aufnimmt. {Want a sample of another translation site? Here is was good old Google makes of this paragraph: Visits a yard he exhibition in the citizens of Berlin academy of the arts. Nay argues with the works of C.D. Friedrich, with Picasso, Braque, Gris, Matisse, Chagall, Kandinsky, Klee as well as the painters "storm". It paints portraits of his nut/mother, the friend of its sister and a young man and shows his work Carl Hofer, which accepts it as a scholarship holder to its mark class at the citizens of Berlin academy. I don't think that his mother would have liked that.}
  • 1927 Paul Westheim berichtet erstmals ausführlich über Nay in der von ihm herausgegebenen Zeitschrift "Das Kunstblatt". Beteiligung an der Berliner Akademie-Ausstellung und der "Ausstellung der jungen Maler" in der Deutschen Kunstgemeinschaft, Berlin. {One more? O.K., here is what gives us: Paul Westheim reports for the first time in detail on Nay in the magazine published by him "Das Kunstblatt". Participation in the citizens of Berlin academy exhibition and "Ausstellung the young Maler" in the German art community, Berlin.}
  • 1928 Kurze Reise nach Paris. Nay begeistert sich für Poussin.
  • 1930 Carl Georg Heise vermittelt einen Aufenthalt auf Bornholm. Dort entstehen Strandbilder, von denen die Nationalgalerie Berlin eines erwirbt.
  • 1931 Nay erhält die Prämie des Staatspreises der Preußischen Akademie der Künste, Berlin - und damit verbunden - ein neunmonatiges Stipendium für die Villa Massimo in Rom, wo er sich bis
  • 1932 aufhät.
  • 1932 Mystisch ornamentale Tierbilder entstehen
  • 1932-1935. Eheschließung mit Helene (Elly) Kirchner in Berlin. Erste Begegnung mit dem Kunsthändler Günther Franke in München, der später fast alljährlich Nays Arbeiten in seiner Galerie zeigt.
  • 1933 Beteiligung an der Ausstellung "Lebendige deutsche Kunst" in der Galerie Flechtheim in Berlin
  • 1934-1936 Nay hält sich in den Sommermonaten an der Ostsee auf, wo die mit der Rohrfeder gezeichneten "Fischerzeichnungen entstehen. Später arbeitet er im Berliner Atelier. Es entstehen die "Dünen- und Fischerbilder" und die ersten Holzschnitte. Nay macht Bekanntschaft mit Erich Meyer und Alfred Hentzen, die beide an Berliner Museen tätig sind.
  • 1937 Durch Vermittlung von C.G. Heise reist Nay nach Norwegen als Gast von Edvard Munch; Besuch bei Munch in dessen Atelier in Skoein bei Oslo; dreimonatiger Aufenthalt auf den Lofoteninseln. Dort entstehen Aquarell, zurück in Berlin die "Lofotenbilder".
  • 1937-1938 In der Ausstellung "Entartete Kunst", die in München, Berlin, Leipzig, Düsseldorf und Dortmund gezeigt wird, ist Nay mit zwei Werken vertreten. Nay wird in Deutschland mit Ausstellungsverbot belegt. Zehn Bilder aus öffentlichen Museen werden beschlagnahmt.
  • 1938 Aquarellausstellung in Oslo, veranstaltet von dem Kunsthändler Holst Halvorsen. Im Sommer Reise nach Norwegen, auf die Lofoten und nach Romsdalen bei Trondheim; es entstehen Aquarelle, später in Berlin vorwiegend figurale "Lofotenbilder".
  • 1939 Kurze Reise nach Bulgarien, Aquarelle.
  • 1940 Eingezogen zum Kriegsdienst; Soldat in der Bretagne. Nay malt in seiner Freizeit kleine Aquarelle.
  • 1942-1944 Durch Vermittlung von Hans Lühdorf Kartenzeichner in Le Mans. Auslagerung des grössten Teils seiner Arbeiten bei Erich Meyer in Berlin, Günther Franke in München und bei einem Onkel Nays in Muskau, Niederlausitz.
  • 1943 In Berlin ausgebombt
  • 1944 Rückzug über Amiens in die Eifel.
  • 1945 Als Obergefreiter von den Amerikanern entlassen. Da sein Atelier in Berlin zerstört ist, geht Nay nach Hofheim im Taunus, wo er von Hanna Bekker vom Rath ein kleines Atelierhaus beziehen kann. Bekanntschaft mit Ernst Holzinger, Direktor des Städelschen Kunstinstituts in Frankfurt am Main, dem Politiker Adolf Arndt und dessen Frau, dem Ethnologen Adolf Friedrich und dem Schriftsteller Fritz Usinger.
  • 1945-1948 In Hofheim im Taunus entstehen die mythisch-magischen "Hekatebilder"
  • 1946 Erste Nachkriegsausstellung bei Günther Franke in München und Gerd Rosen in Berlin.
  • 1947 Ausstellungen in den Galerien Alex Vömel, Düsseldorf, Werner Rusche, Köln, bei Franz in Berlin, im Hamburger Kunstverein und der Overbeck-Gesellschaft in Lübeck.
  • 1948 Beteiligung an der Biennale in Venedig. Bekanntschaft mit dem Sammlerehepaar Günther und Carola Peill.
  • 1949 In beiderseitigem Einverständnis Scheidung von Elly Nay. Eheschließung mit Elisabeth Kerschbaumer. - In Worpswede entsteht seine erste grosse Graphikserie. Zehn Farblithografien verlegt bei Michael Hertz, Bremen.
  • 1949-1951 Abstrakt-figurale Bilder
  • 1950 Retrospektive Ausstellung in der Kestner-Gesellschaft, Hannover
  • 1951 Übersiedlung nach Köln
  • 1952 Im Kölner Atelier entstehen im Handdruck vier Farbholzschnitte. Retrospektivausstellung anlässlich seines 50. Geburtstags im Haus Waldsee, Berlin. Kunstpreis der Stadt Köln; Karl Ströher Preis, Darmstadt
  • 1952-1953 Gegenstandslose, rhytmisch intonierte Bilder
  • 1953 Für zwei Monate Gastdozent an der Landeskunstschule in Hamburg. Es entsteht die theoretische Schrift Nays "Vom Gestaltwert der Farbe". Goldmedaille des "Premio Lissone" Italien. Beteiligung an der Ausstellung "Europäische Kunst des 20. Jahrhunderts" in den Museen Luzern und Basel.
  • 1954 Im Sommer in Lökken, Dänemark entstehen grossformatige Aquarelle.
  • 1955 Beginn der Scheibenbilder-Periode; Bilder und Aquarelle, in denen die Scheibe in Abwandlungen das Hauptthema des Bildes ist. Ausstellung in der Kleemann Gallery, New York. Lichtwark-Preis der Freien und Hansestadt Hamburg. Grosse retrospektive Ausstellungen in der Hamburger Kunsthalle, Ausstellung in der Kestner-Gesellschaft, Hannover. Beteiligung an der "documenta I" in Kassel.
  • 1955-1956 Im Winter in Crans sur Sierre, Schweiz, Aquarelle.
  • 1956 Einzelausstellung im Deutschen Pavillon auf der Biennale in Venedig. Grosses Wandbild für das Chemische Institut der Universität Freiburg. Ernennung zum Mitglied der Akademie der Künste, Berlin. Grosser Preis des Landes Nordrhein-Westfalen für Malerei. Beteiligung an der Ausstellung " A century of german Art" in der Tate Gallery in London.
  • 1957 Nay mietet in Paris ein Atelier und druckt dort bei Georges Visat fünf farbige Aquatinten. Beteiligung an der Ausstellung deutscher Kunst im Museum of Modern Art in New York.
  • 1958 Erneut in Paris; Gemälde und vier Aquatinten. Einzelausstellung in der Galerie Les Contemporaines, Brüssel. Teilnahme an der Ausstellung "50 Jahre moderne Kunst" im Rahmen der Weltausstellung in Brüssel.
  • 1959 Ausstellung in der Kleemann Gallery, New York. Reise nach New York. In den Sommermonaten auf Mykonos; Aquarelle. Beteiligung an der "documenta II" in Kassel. Retrospektivausstellung im Kunstverein für die Rheinlande und Westfalen, Düsseldorf.
  • 1960 Guggenheim-Preis, New York, deutsche Sektion. In den Sommermonaten auf Sizilien, Aquarelle. Retrospektive Ausstellungen in der Kunsthalle Basel "Baumeister und Nay" und in der Marlborough New London Gallery. Beteiligung an der Biennale in Sao Paolo.
  • 1961 Ausstellung in der Knoedler Gallery, New York. Nay malt mehrere grossformatige Bilder, eines wird für die Deutsche Oper Berlin erworben. Reise nach New York, Washington, Boston, Los Angeles, San Francisco, Chicago.
  • 1962 Zum 60. Geburtstag grosse retrospektive Ausstellung im Museum Folkwang, Essen. Ausstellung in der Knoedler Gallery, New York. In der Ausstellung "Entartete Kunst - Bildersturm vor 25 Jahren" in München ist Nay mit 3 Bildern vertreten.
  • 1963 Reise nach USA und Mexico; in Mexico-City besucht Nay Paul Westheim. Ende der Scheibenbilder-Periode. Es entstehen Bilder mit durchstrichenen Scheiben, daraus resultiert eine augenähnliche Form.
  • 1964 Mit den sogenannten dramatischen oder "Augenbildern" beginnt eine neue Periode. Im Kölner Atelier entstehen die drei grossen Deckenbilder für die "Documenta III" in Kassel. Ausstellungen in der Knoedler Gallery, New York und Paris, im Kunstverein Münster und Retrospektivausstellungen in den Kunstvereinen Hamburg und Karlsruhe. Sonderausstellung von Zeichnungen und Aquarellen in der I. Internationalen der Zeichnung in Darmstadt. Berliner Kunstpreis. Im Sommer auf Mykonos, Aquarelle.
  • 1965 Ausstellung im Kunstverein Frankfurt am Main. Im Sommer auf Kreta, Aquarelle. Ausstellung bei Holst Halvorsen in Oslo
  • 1966 Übergang zum Spätstil; Vereinfachung der Formen, Reduzierung der Farben. Einzelausstellung innerhalb der Ausstellung "Salon International des Galeries Pilotes" in Lausanne durch die Galerie Spiegel, Köln. Reise nach New York, Los Angeles, Hawaii, Hong Kong und Japan. Grosse retrospektive Ausstellung im Württembergischen Kunstverein, Stuttgart.
  • 1967 Grosse Retrospektiven in der Städtischen Kunsthalle Mannheim, in der Akademie der Künste, Berlin, und im Museum des 20. Jahrhunderts, Wien. Im Sommer in Ronchi, Italien; Aquarelle. Im Herbst Einzelausstellung der neuesten Bilder in der Galerie im Erker, St.Gallen (Schweiz). Im Winter in Bayern, grossformatige Bilder, Gouachen und Aquarelle. - Grosses Verdienstkreuz der Bundesrepublik Deutschland.
  • 1968 Im Februar letzte Reise nach Berlin zur Uhlmann-Ausstellung. Im März entstehen die Gemälde "Rotfiguration", "Blaufiguration", "Gelb-Schwarz", und das letzte Bild des Künstlers, "Weiss-Schwarz-Gelb", in drei Varianten. Letzte abgeschlossene Arbeit: Entwürfe für die Wandkeramik (3x9 m) des Kernforschungszentrums in Karlsruhe.
  • 1968 Am 8. April stirbt Ernst Wilhelm Nay an Herzversagen in seinem Haus in Köln.
— Der deutsche Maler Ernst Wilhelm Nay gilt als Vermittler zwischen der abstrakten Malkunst der Vorkriegszeit und den Malern der Nachkriegszeit in Deutschland. Bekannt wurde er mit seinen „Kreischeibenkompositionen“ (1955). Künstlerisch debütierte er im Stil des deutschen Expressionismus und Kubismus. Nay entwickelte dann seine Malerei zu einer flächigen Abstraktion mit einer rhythmischen Farbgestaltung, bei der die Farbe gestaltende Kraft besitzt.
      Ernst Wilhem Nay wurde am 11. Juli 1902 in Berlin geboren. Ernst Wilhem Nay absolvierte zunächst eine Lehre als Buchbinder. In der Bildenden Kunst war er ein Autodidakt. Schon früh malte er Landschaften und Portraits wie zum Beispiel der Titel „Franz Reuter“ (1925). Sein Talent wurde von dem Maler Karl Hofer entdeckt. Nay wurde in den Jahren von 1925 bis 1928 an der Berliner Akademie sein Schüler. In dieser Zeit malte er im Stil der realistischen Naturwiedergabe.
      Ab dem Jahr 1928 hielt er sich mehrere Male in Paris auf. Zu seinem anfänglich figurativen Stil fand er Vorbilder bei den deutschen Expressionisten wie zum Beispiel bei den beiden Malern und Grafikern Ernst Ludwig Kirchner und Emil Nolde. In der Raumkonzeption seiner Bilder ließ er sich vom Werk des spanischen Malers José Victoriano González Pérez, besser bekannt unter seinem Künstlernamen Juan Gris, anregen.
      Es entstanden Figurenbilder, mit dem zentralen Thema des Menschen in der kosmischen Natur, in eigenständiger Form. Schon im Jahr 1931 erhielt er den Staatspreis der Preußischen Akademie, der mit einen einjährigen Aufenthalt in der Villa Massima in Rom verbunden war. Anfang der dreißiger Jahre löste er sich von seinem bisherigen Stil und fertigte Tierbilder, die er als Kleinformat im magisch-surrealen Malduktus gestaltete. Vom Surrealismus ausgehend entwickelte sich der Künstler immer mehr zur abstrakten Stilaussage.
      Im Jahr 1937 stuften ihn die Nationalsozialisten als entarteten Künstler ein. Mehrere seiner Bilder wurden beschlagnahmt, und er wurde mit einem Ausstellungverbot belegt. In dieser Zeit hielt er sich oft in Norwegen auf. In den Jahren 1937 und 1938 lud ihn der norwegische Maler und Grafiker Edvard Munch auf die Lofoten ein. Dort schuf er Landschaftbilder in einem formal vereinfachten Stil, die aber durch die rhythmische Farbgebung über das Abbildhafte hinausweisen. Während des Zweiten Weltkrieges war er als Kartenleser tätig.
      In ähnlicher Weise entstanden Landschafts- und Figurenbilder von der Ostsee. Eines seiner zentralen Werke aus dieser Zeit trägt den Titel „Ausfahrt der Fischer“, das im Jahr 1936 entstand. Heute hängt es in der Niedersächsischen Staatsgalerie in Hannover. Nach dem Ende des Zweiten Weltkrieges befasste sich Ernst Wilhelm Nay mit dichterischen, legendenhaften, biblischen und mythologischen Motiven. Seine Einzelfiguren und Liebespaare realisierte er in dieser Zeit mit einer intensiven Farbgebung.
      Als gestalterisches Element gewann die Farbe in den Bilder dieser Zeit einen immer höheren Stellenwert. In den Fünfzigern begann Nay in der gegenstandslosen Malerei mit der gleichen ausgeprägten Auswahl an Kolorierung. Es entstanden flächig-abstraktive Bilder wie „Mit blauer Dominante“ (1951) oder „Akkord in Rot und Blau“ (1958), wobei bereits die Titel auf die Farbbilder verweisen. Im Jahr 1951 siedelte er als freier Maler nach Köln über.
      Sein praktisches Kunstwerk wird begleitet von der kunsttheoretischen Schrift „Vom Gestaltwert der Farbe: Fläche, Zahl, Rhythmus“, die im Jahr 1955 publiziert wurde. Im Jahr 1956 wurde er mit dem Großen Kunstpreis für Malerei des Landes Nordrhein-Westfalen geehrt. 1960 erhielt Ernst Wilhelm Nay den Guggenheim-Preis der deutschen Sektion. Und 1964 zeichnete ihn Berlin mit dem Kunstpreis der Stadt aus. Ab dem Jahr 1965 wurden Nays Bilder in der Farbe greller. Sie erinnerten in ihrer ornamental-flächigen Komposition an die Werke von Henri Matisse. Ernst Wilhelm Nay starb in Köln.

Selbstbildnis (1922; 600x478pix)
Symphonie (1958; 600x970pix _ ZOOM to 1400x2263pix, 737kb) _ The pseudonymous Spenst Wilhelp Yeah has transformed this, combined with two other Nay pictures, into the finely detailed and richly colored
      _ Simple Knee (2007; 775x1096pix, 230kb _ ZOOM to 1096x1550pix, 468kb _ ZOOM+ to 1700x2404pix, 1262kb _ ZOOM++ to 2636x3728pix, 3053kb) and
      _ Phony Sin (2007; 775x1096pix, 230kb _ ZOOM to 1096x1550pix, 468kb _ ZOOM+ to 1700x2404pix, 1262kb _ ZOOM++ to 2636x3728pix, 3053kb)
Hirte 2 (1948; 552x490pix _ ZOOM to 1288x1144pix)
Lofotenlandschaft (1937; 600x777pix _ ZOOM to 1400x1812pix)
Fischer in der Brandung (1937; 600x784pix)
Figurale Jota (1950; 600x775pix, 173kb)
Der Clown zeigt sich (1951; 600x870pix, 191kb)
Ocker, Gelb und dunkles Blau (1968; 600x680pix)
Purpurklang (1957; 600x784pix)
Fischer in der Brandung (1937; 600x784pix
Fischer in der Brandung (1937; 600x784pix
–- Vom Purpur und blauen Spitzen (1952, 100x120cm; 966x1200pix, 90kb)
–- Purpurmelodie (558x800pix, 44kb)
Composition (1953)
Abstract Composition (1957)
Komposition In Blue (1954)
Sphaerisch Blau (1962)
Blaue Bahn (1957, 391x500pix, 56kb) _ Öl auf Leinwand Die Farbscheiben, die seit 1954 Nays Gemälde bestimmten, verwandeln die neutrale Bildfläche in einen bewegten pulsierenden Farbraum.
48 images at Bildindex (most are B&W)
Died on a 11 June:

^ >1970 Camille Bombois, French painter born on 03 February 1883. As a child he lived on a barge. After working in various rural trades, he became a fairground wrestler in order to live near Paris, moving there to work as a typographer by night so that he could paint by day. In 1922 he exhibited for the first time at the Foire aux Croûtes in the open air at Montmartre. His work was noticed in 1924 by Wilhelm Uhde, who bought nearly all his production and who exhibited his work in the Galeries des Quatre Chemins in 1927. Bombois’s pictures were included in the important exhibition Les Maîtres populaires de la réalité (1937) and in 1944 he was given his first one-man show at the Galerie Pétridès; by the 1960s he had an international reputation as a naive artist. — LINKS
L'Homme Fort (600x408pix _ ZOOM to 1400x952pix)
–- Le Leveur de Poids (687x800pix, 39kb)
Chartres (600x464pix _ ZOOM to 1400x1083pix)
Les Lavandières (600x748pix _ ZOOM to 1400x1745pix)
Jour d'été (600x888pix _ ZOOM to 1400x2072pix)
Le Pont de Chablis (1922; 600x796pix _ ZOOM to 1400x1857pix)
Allée au Tapis Vert aka Au Parc de Marly (1922; 600x456pix)
–- Rue dans la Campagne (547x800pix, 135kb)
–- Le Vase de Fleurs (800x623pix, 60kb)
–- Paysage de Tuziers (507x800pix, 49kb)
–- Le Parc des Buttes Chaumont (618x800pix, 147kb) —(070610)

1907 Charles Wilda, Austrian painter born (main coverage) on 20 December 1854. —(080610)

^ 1882 Ludwig Mecklenburg, German painter born on 15 September 1820.
The Piazetta, Venice (1862, 23x31cm)

^ >1842 Jean-Victor Bertin, French painter and lithographer born on 20 March 1767. — Relative? of Édouard Bertin [1797-1871]? — In 1785 Jean-Victor Bertin entered the Académie Royale de Peinture as a student of the history painter Gabriel-François Doyen. By 1788 he had become a student of the landscape painter Pierre-Henri de Valenciennes who directed him towards idealized Italianate landscape. Between 1785 and 1793 Bertin participated unsuccessfully in academic competitions and his official début came only in 1793 when he exhibited in the ‘open’ Salon. After 1793 he contributed consistently to the Salon until his death. In 1801 he received a Prix d’Encouragement for the Town of Pheneos. Like many of his early Salon works, it is now known only through engravings. Among his early extant Salon works are The Statue, or Interior of a Park (1800), Vue de Ronciglione (1808) and Arrivée de Napoléon à Ettlingen (1812) — Bertin began painting idealized Italianate landscapes under the tutelage of Pierre-Henri de Valenciennes, whose student he was by 1788, but it was not until 1793 that he made his official debut in this genre, when he first exhibited at the Salon. He became a champion of the Classical tradition and his suggestion that the Académie create a Prix de Rome for historical landscape painting was eventually implemented in 1817. His most successful compositions generally date from the second and third decades of the 19th Century and, as in, for example, Marius fuyant de Rome, usually employ the device of a path set on a diagonal within an elongated horizontal scheme, illuminated by a lateral light source. From circa 1830 onwards, Bertin endeavored to bring a greater degree of naturalism to his depiction of landscape and it was this direction that was most successfully embraced by his student Jean-Baptiste-Camille Corot [1796-1875]. That he also served as master to Jules Coignet [1798-1860] and Achille Michallon [1796-1822], demonstrates his pivotal position in the development of the classical landscape tradition in France. — Bertin's students included also Daubigny, Alexandre-Jean-Baptiste Hesse, Anton Sminck Pitloo, Philippe Rousseau, Johann Jakob Ulrich. — LINKS
–- Mountainous Landscape with People and a Roman Temple Beyond (1812, 114x162cm; 871x1285pix, 90kb _ .ZOOM to 1525x2249pix, 188kb)
Paysage Classique (142.x175cm)
Vue prise à Essonnes (1805, 41x35cm; 700x560pix, 173kb)
–- Paysage Boisé (97x130cm; 1060x1386pix, 74kb) with two persons beside a stream.
–- Marius fuyant de Rome à l'approche de Sylla (1827, 81x114cm; 892x1250pix, 144kb) “Vue prise a dix milles de Rome, route de Salonine.”.
–- Cloître avec un personnage (1809, 32x41cm; 891x1110pix, 87kb) —(080610)

^ 1837 Jean-François Garneray, French painter born in 1755. A student of Jacques Louis David, he is remembered for his portrait of Charlotte Corday at her trial for the murder of Marat. He was a versatile artist who prepared governmental portraits, designed uniforms, and recorded interiors as well as displaying creative works at the annual salons. Garneray taught all of his children to be painters: Ambroise Louis Garneray [1783-1857], Auguste Siméon Garneray [1785-1824], Hippolyte-Jean-Baptiste Garneray [23 Feb 1787 – 07 Jan 1858], and Pauline Garneray Cabanne. Although Madame Cabanne painted flowers, as was expected of women at that time, she also contributed to the production of her father and brother Auguste by finishing their paintings and making copies for them. Sometimes it is difficult to attribute works to a single member of the Garneray family. — Jean-François Garneray was above all a history painter. He exhibited regularly at the Paris Salons from 1791 to 1835, and also produced a certain number of more intimist or genre scenes and some portraits. A large number of his paintings can be related to the Troubadour movement which arose in the circle of the Duchesse de Berry, whose taste for scenes of chivalry or piety were much in vogue during the period 1815-1820. Some examples of his work in this domain are Madame de Maintenon dans son oratoire, Louis XVI au Temple, Diane de Poitiers demandant à François Ier la grâce de son père, Marie Stuart reine d’Ecosse. — Article on the Garneray-Texas connection
Ambroise Louis Garneray (1793; 464x374pix, 21kb)
Le Duc de Montausier Conduisant le Grand Dauphin dans une Chaumière (1827, 113x147cm; FLASH 468x597pix) _ Louis de France [01 Nov 1661 – 14 Apr 1711], the “Grand Dauphin”, elder son of Louis XIV [05 Sep 1638 – 01 Sep 1715] and Marie-Thérèse d’Autriche [10 Sep 1638 – 30 Jul 1683] was meant to succeed his father as King of France but died four years before him. Charles de Saint-Maure [06 Oct 1610 – 17 Nov 1690], marquis de Salles later duc de Montausier, was elected Governor of Normandy in 1663 and became Duc and Pair de France in 1665. From 1668 to 1679 he was gouverneur (chief tutor) of the young Dauphin (shown here as of that time), for which he enlisted the help of Bossuet [25 Sep 1627 – 12 Apr 1704] and Huet [08 Feb 1630 – 26 Jan 1721].

^ 1818 Pieter (or Piat) Joseph Sauvage, Flemish artist born on 19 January 1744, whose specialty was monochrome oil paintings made to look like bas-relief.
–- S*#> Bonaparte as First Consul (round 52cm diameter)
–- S*#> Summer (42x122cm) five putti harvesters, four of them resting or sleeping.

1794 Christian Friedrich Reinhold Liszeweski (or Friedrich Reinhold Christian Liszewski), German painter born in 1725.

^ 1757 Matthäus (or Mattheus) Arent Terwesten, Dutch painter born on 23 February 1670. Mattheus Terwesten, son of an Augsburg gold- and silversmith, was taught by his elder brother Augustinus [1649-1711], Willem Doudijns, and Daniel Mijtens the Younger. He (Terwesten, not necessarily Mijtens) fulfilled a need for decorative painters in early-18th Century The Hague (Mittens, on the other hand, or rather on both hands, fulfill the need for keeping them warm in winter). Terwesten's style varied little throughout his career. — {There was more than one Terwesten, but why not any Tereasten, Ternorthen, Tersouthen, Biswesten, etc.?}
–- S*#> Ceres Holding a Silver-Gilt Bowl Surrounded by Putti aka Een Ceres met Kindertjes en meer Bijwerk door denzelven (1732, 65x55cm; 1029x841pix, 115kb) _ the putto in the foreground seems to be poking out his left eye with the point of a scythe, possibly because he was the one sleeping in the painting by Sauvage. The other two putti have only minimal amounts of wheat stalks to offer Ceres, which indicates that they must be among those who were resting instead of working in the Sauvage faux bas-relief painting of Summer. Otherwise the Ceres painting is similar to Terwesten's Andromeda (1697).
–- S*#> Susana and the Elders (1719, 53x44cm; 800x678pix, 77kb)
Cupid (1050x682pix, 140kb) by one Terwesten or another.

Born on a 11 June:

1912 William A. Baziotes, US painter who died (full coverage) on 04 June 1963. — (060604)

1838 Mariano José María Bernardo Fortuny y Marsal, Spanish painter who died (full coverage) on 21 November 1874. — (051120)

^ 1812 Wouter Verschuur, Dutch artist who died on 04 July 1874.
An Inn {Was it for sure Verschuur who painted it?}

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