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DEATHS:  1947 MARQUET — 1931 RUSIÑOL1749 VAN BLOEMEN 
BIRTHS: 1877 STELLA — 1908 VIEIRA
^ Born on 13 June 1877: Joseph Stella, Italian-born futurist US painter and collagist who died on 05 November 1946. — Not to be confused with Frank Stella [12 May 1936~]
— Born at Muro Lucano, near Naples, Stella emigrated to the US in 1902 and studied art at the Art Students' League, NY and the New York School of Art. He spent the years 1909-1912 in Italy where he was in contact with leading Futurists. He exhibited at the Armory Show and became, with Max Weber, the US's leading Futurist.
— He arrived in New York in 1896. The following year he enrolled briefly in the Art Students League and then in the New York School of Art (1898), where his ability was recognized by William Merritt Chase. The Lower East Side subject-matter of Stella’s early work was similar to that of his contemporaries of the New York Ashcan school. In place of their dark-toned Impressionism, however, Stella’s early style was academic in the manner of late 19th-century Italian painting. His first important commission was to depict the industrial workers in Pittsburgh for Survey, a social reform journal.

LINKS
Self-portrait (1940; 394x333pix, 32kb) _ In contrast with Stella's abstract paintings, this self-portrait reflects on the conflicts and contradictions of Stella's artistic and personal development. Not known as an introspective person, Stella studied his own image more intensely as he grew older and more reclusive. While his earlier self-portraits suggest an artist using himself as a model, the later images reveal his state of mind and declining physical state. Color and form add intensity to the pose, a far cry from the classical Renaissance profiles he admired. Touches of red on the lips, eyelid, nose, and cheek are unsettling. The turbulent pattern and acrid yellow highlights in the background reinforce the sense of anxiety, suggesting a malevolent alter ego that hovers nearby. Yet the concentration of his gaze, the flare of his nostril, and the set of his lips convey the spirit of a headstrong individual who persists despite emotional turmoil.
Old Brooklyn Bridge (1941, 194x174cm; 868x785pix, 159kb _ ZOOM to 1479x1339pix, 361kb) _ New York’s Brooklyn Bridge, completed in 1883 and hailed as an engineering marvel, spans the East River between Brooklyn and Manhattan. When Stella emigrated from Italy to Brooklyn in 1916, the borough’s most famous landmark became a recurrent image in his work—a symbol of the dynamism and promise of the modern US city. Here, Stella shows the bridge at night: cables soar overhead, traffic signals and headlights flash through the darkness, and the bridge’s Gothic arches rise in the background like those of a skyscraper or a church. The bridge, to Stella, was a “shrine containing all the efforts of the new civilization of AMERICA.”
The Brooklyn Bridge: Variation on an Old Theme _ another image of same (1939, 178x107cm) _ Stella first saw the Brooklyn Bridge when he arrived in New York from a small town in southern Italy. He was struck by the dazzling industry of the city. But life in New York as a recent immigrant was also a struggle. Many nights, Stella sought refuge on the vast expanse of the bridge's walkway where, he said, "I felt deeply moved, as if on the threshold of a new religion." The Brooklyn Bridge was really a ground-breaking suspension bridge. It was designed by John Roebling, the civil engineer, who wanted to connect Brooklyn and New York, which were then separate cities across the East River. Stella's perspective is essentially the impression you get as you walk along the bridge. The cables that dominate this picture are the suspension cables. The elevated walkway is cradled in these cables, so you're caught in this net of cables and wires and it's really a very spectacular setting. The Brooklyn Bridge walkway provides one of the classic walks in the world. To walk across the bridge and to approach Manhattan at a walking pace is something that is hard to reproduce anywhere else. It gives you ample time to reflect upon the magnitude of the city, the achievements of the engineers and architects who made the city what it is. The ever-changing nature of the city. The people walking on the walkway coming towards you, walking with you,also remind you of the real diversity of the city. It's just a spectacular, spectacular experience.
City Buildings, New York (1917)
Battle of Lights, Coney Island (1914, 99x75cm)
Battle of Lights, Coney Island, Mardi Gras (1914, 193x216cm; 600x657pix, 186kb)
Cactus and Tropical Foliage (1922, 46x61cm; 604x800pix, 82kb _ ZOOM to 1243x1647pix, 246kb)
— Flowers, Italy (1931) _ Although Stella is well-known for working in the style of the Italian Futurists, and his early renditions of sites in and around New York City are regarded as the most important US paintings indebted to this art movement, it is the delicate floral works, mainly in pastel, crayon and silverpoint, which most collectors treasure. It seems hard to believe that these finely wrought drawings were done by the same artist who produced the bold and meaty works celebrating the bridges and tunnels of New York. Yet today they are among the most beautiful and tender drawings of flowers and birds ever to be produced by a US artist. It is difficult to find any trace of his having studied under William Merritt Chase, yet in his search for beauty there is a link to the work of this master. Stella, like Chase, exalted the beautiful. This painting is a lush, exotic abstraction with strong contrasts in form and color and a dynamic use of the arabesque. The formal composition is divided in half vertically, with each side balancing the other in color and size of elements (minor details vary, with a central receding focal point).
Flowers (1935, 33x44cm; 476x640pix, 56kb)
Three Miners (1938, 67x47cm; 1138x800pix, 188kb _ ZOOM to 1705x1199pix, 356kb)
Roots, the Bronx (1940, 48x64cm; 601x800pix, 161kb _ ZOOM to 1239x1651pix, 572kb and admire the texture of the canvas)
Tree of Nice (800x645pix, 104kb) _ From this the pseudonymous José Lestoiles has abstracted the amazing
     _ Three Trees, Nice But No Ice (2006; screen filling, 170kb _ ZOOM to 932x1318pix, 354kb).
Telegraph Pole (1917; 800x641pix, 89kb)
Dog on a Balcony, Paris (800xpix, 77kb)
In the Jungle (1940; 480x346pix, 41kb)
Purissima (1927, 193x145cm)
Still Life With Apple (x799pix, 108kb)
Abstraction Mardi Gras (1914, 21x29cm) _ The pseudonymous Giuseppe Galaxia has exploded this into the magnificently detailed and colorful quadruplets
     _ Soustraction Mercredi Descendre (2007; 775x1096pix, 205kb _ ZOOM to 1096x1550pix, 376kb _ ZOOM+ to 1700x2404pix, 845kb _ ZOOM++ to 2636x3728pix, 1680kb)
     _ Addition Vendre Dessins (2007; 775x1096pix, 205kb _ ZOOM to 1096x1550pix, 376kb _ ZOOM+ to 1700x2404pix, 845kb _ ZOOM++ to 2636x3728pix, 1680kb)
     _ Multiplication Dimanche Opaque (2007; 775x1096pix, 252kb _ ZOOM to 1096x1550pix, 466kb _ ZOOM+ to 1700x2404pix, 1048kb _ ZOOM++ to 2636x3728pix, 2100kb)
     _ Division Pente Côte (2007; 775x1096pix, 252kb _ ZOOM to 1096x1550pix, 466kb _ ZOOM+ to 1700x2404pix, 1048kb _ ZOOM++ to 2636x3728pix, 2100kb)
—(070612)
^Died on 13 June 1947: Albert Marquet, French Fauvist painter born on 27 March 1875.
— {Il y avait un peintre du nom de Marquet / qu'à Paris on voyait par rues et par quais. / Il était souvent recherché par le Parquet. / Mais alors pour outremer il s'embarquait, / et personne ne le remarquait.}
— Albert Marquet's father worked on the railroads and his mother encouraged and supported his early artistic endeavors. He joined Gustave Moreau's studio like the other Fauves at the École des Beaux-Arts. He painted the French urban landscapes extensively. He uses color to enhance or mute the effects of sunlight in his work. One such painting is Quai du Louvre et Le Pont-Neuf a Paris in which he used contrasting light and dark shapes to depict sunlight. Marquet preferred to live a secluded life with his wife, Marcelle Matinet whom he married in 1923. He loved to travel throughout Europe and Northern Africa. Marquet painted with Dufy along beaches in Normandy and Le Havre. Despite his penchant for painting landscapes, many would attest to Marquet's talent for portraiture which was often compared to that of Van Gogh's and Toulouse-Lautrec.
— Marquet nació en Burdeos. En 1890, con el apoyo de su madre, va a París a estudiar a la Escuela Nacional de Artes Decorativas, donde conoce a Matisse, con quien entabla una gran amistad. En 1894 ambos entran en la Escuela de Bellas Artes y estudian bajo la dirección de Moreau. Entre 1894 y 1904 va al Museo del Louvre y hace copias de los grandes maestros (Chardin, Poussin, Veronés y Claude Lorraine). En estos años su círculo de amigos son Matisse, Mangin y Camoin.
      En 1898, de nuevo con Matisse, entran en la escuela de Eugène Carrière, donde conocen a Derain. En 1901 participa con diez cuadros en el Salón de los Independientes; son paisajes de Arcueil y Luxemburgo. En 1905 participa en el Salón de Otoño en la primera exposición del grupo fauvista y al año siguiente empieza a trabajar con la galería Berheim Jeune. En 1912 va por primera vez a Tánger con Matisse y Camoin, y luego viajará al norte de África, sobre todo a Argelia, repetidamente a lo largo de su vida.
      En 1925 hace una importante exposición en la galería Berheim Jeune con paisajes pintados en Marsella. Durante toda su vida viajó constantemente por Europa y el Norte de Africa y abandonó el estilo fauvista. Sus cuadros más conocidos tienen por tema los puentes de París. Muere en La Frette.

LINKS
Fête populaire au Hâvre (1906; 600x757pix _ ZOOM to 1400x1767pix)
Le Hâvre (1906; 600x483pix _ ZOOM to 1400x1127pix)
Istanboul (1933; 600x483pix _ ZOOM to 1400x1127pix)
Vue d'un balcon (1945; 700x535pix, 241kb)
Vue de la Seine et du Monument à Henri IV (1906, 65x81cm; 575x719pix, 218kb)
Le Port de Hambourg (1909, 66x80cm)
Jour de Pluie à Paris (Nôtre-Dame) (1910)
Quai des Grands Augustins, Paris (1905)
Le Quai Conté, Paris (1947)
Landscape with a Bridge (1919, 24x33cm; 575x790pix, 233kb) _ In 1914, Albert Marquet went to the south, working in Collioure (1914), Marseilles and Nice (1915), and L'Estaque (1916-1918). However, Landscape with a Bridge was not painted in the south, but in the Île de France. In this picture, the light particular to that region is conveyed with rare simplicity and expressiveness. The subject of this painting and the treatment of the trees and the sky link it to several landscapes painted in Samois (1917) and Herblay (1919).
Harbor at Menton (1905, 65x82cm)
Place de la Trinité, Paris (1911, 81x65cm)
View of Saint-Jean-de-Luz (1907, 60x81cm)
Milliners (1901, 50x61cm)
Avenue in the Luxembourg Gardens (1901, 25x35cm) _ Albert Marquet painted in the Luxembourg Gardens as early as 1898. In all the pictures painted there, his love of open space is manifest. The artist shows a wide square before the palace, a path running off. Marquet focuses his attention on details: it is remarkable how he discriminates among various shades of green in the foliage while the sun is only just rising over the horizon.
 

^ Born on 13 June 1908: Maria Elena Vieira da Silva, Portuguese French painter, engraver, stained glass and mosaic artist, who died on 06 March 1992. She painted intricate, semiabstract architectural compositions. She married Hungarian painter Arpad Szenes [1897–16 Jan 1985] in 1930. — {Vieira viellira}
— She arrived in Paris in 1928. She was impressed by the chequered tablecloths of the Bonnard paintings on display at the Galerie Petit, which influenced her later work; it was, however, sculpture that she first studied, under Émile-Antoine Bourdelle and then under Charles Despiau. She also studied from Roger Bissière. In 1929 she began engraving in S. W. Hayter’s Atelier 17 and started to design carpets for Dolly Chareau’s Art Deco interiors. The influence of Joaquín Torres García, whose work was exhibited at the Galerie Pierre Loeb in 1932, was also crucial. She exhibited in 1933 and 1937 with the Galerie Jeanne Bucher, finally achieving a distinctive style in which the diamonds and squares of Portuguese azulejos combine with metaphors of chessboards and card games (e.g. Chess Game, 1943). Receding perspectives create an impression of vertiginous, imploding spaces that progressively absorb and annihilate the human element.
— Her interest in painting flowered under the tutelage of Fernand Léger and Stanley William Hayter. Although the abstract patterning of her early paintings tended toward the decorative, her mastery of spatial manipulation became apparent. The luminous spots and intersecting lines in her paintings assumed an explicit architectural organization, culminating in the dreamlike cityscapes of such mature works as Golden City (1956). She and her husband Arpad Szenes lived in Brazil during World War II. She returned to Paris in 1947 and became a French citizen in 1956.
— Blah-blah-blah note: From the 1930s onwards, Maria-Helena Vieira da Silva gradually abandoned the figurative representation of space from a single point of view in favour of the divulgence of an inner vision – an enigmatic, dream-like world of mystic imagination. In this respect, the abolition of the centralized perspective and the single vanishing point were highly significant for da Silva’s artistic development. Influenced by Picasso and Braque, who she met upon her arrival in the French capital, da Silva wanted to reflect in her paintings the fragmented, often contradictory and arbitrary character of human perception. From the Italian Renaissance until the advent of Cubism, linear perspective as the quintessential embodiment of rationalism had reigned supreme over Western art and culture. Modernist art however sought to find new ways to reflect the fractured, time-based experience of industrial society. By returning again and again to the question of spatial construction, da Silva transformed the rational grid of the centralized perspective into an oscillating, compulsive web of horizontal and vertical lines, suggesting a multiplicity of points of view suspended between chaos and order.
      For example, the loose grid of dancing lines in La Place Ocre appears to emerge from the flatness of the picture plane, hovering within the confines of a vast, imaginary space. Vanishing lines have mutated into lines of force that create a pattern of rhythmic tensions. The notion of the maze or labyrinth is of central importance to the paintings of da Silva. Daubs of paint from a restricted palette of whites, blues and greys create countless small surfaces reminiscent of tiles or textile patterns. The spectator’s restless gaze is inevitably drawn to the hypnotic void that occupies the centre of the canvas. A large, formless patch of ochre seems to exert control over the surrounding labyrinth.
      In Vieira da Silva’s paintings, a vertiginous labyrinth of perspectives painted with hesitant, nervous dotted lines has replaced the depiction of subject matter in its traditional role as the bearer of expression. In its unrelenting complexity, da Silva’s labyrinths reveal a desire to appropriate the universe in its entirety. Every shape enters into a relationship with all others. A single brushstroke can radically alter the existing perspectives and set up new ones. Da Silva’s hand thus becomes the immediate conduit of artistic intuition.
Laplace stamp that never was
LINKS
–- Caronia (1963, 67x67cm; 801x810pix; 159kb)
–- Untitled (derelict tenements?) (1965, 26x21cm; 900x680pix; 84kb) almost monochrome
–- La Place Ocre (1954, 97x130cm; 900x1216pix; 147kb) _ Compare with Laplace ocre [>>>] by Paul-Pierre Lemagny [11 Feb 1905 – Jul 1977] (the French postal service did not use that color, so the stamp shown would be worth millions, if it existed. See the stamp in its true color) .
Ville au bord de l'eau (38x55cm; 285x400pix, 29kb) _ Indissociable de l'École de Paris, Maria-Helena Vieira da Silva occupe une place de premier plan dans les années 50. Vers 1945, l'architecture urbaine et surtout les vues de Lisbonne dominent ses recherches plastiques.

O atelier (1940, 73x92cm)
O desastre aka A guerra (1942, 81x100cm)
O incêndio II aka O fogo II (1944, 81x100cm)
Biblioteca (1949, 114x146)
Composição branca (1953, 91x130cm)
De Marte à Lua (1969, 195x91cm)
Le promeneur invisible (1951, 132x168cm)
Bataille des rouges et des bleus (1953, 130x162cm)
La gare inondée (1956, 114x146cm)
–- Chants (1168x1456pix, 360kb) monochrome blue, more texture than picture.
–- The Entrance (1200x1214pix, 1211kb) monochrome blue with a few tiny touches of other colors, more texture than picture.
+ ZOOM IN +
–- Midi y Sonne Bleu (1958, 89x116cm; 770x1008pix, 82kb) _ Auctioned at Sotheby's on 07 February 2001 for £179'500.00 and worth every penny of it, but not one single pound.
    _ Compare with
      _ Minuit y Songe Rouge (2005; _ ZOOM to 600x800pix, 128kb _ ZOOM+ to 960x1280pix, 408kb) [shown here reduced >] by the pseudonymous A. V. Lisa Darie y Vainilla, which is almost as worthless, but costs nothing and is in the public domain.

–- Composition Bleue (648x1511pix, 170kb) _ Again Darie y Vainilla has come up with something almost as+ ZOOM IN + worthless,
      _ Décomposition Jaune (2005; _ ZOOM to 600x800pix, 119kb _ ZOOM+ to 960x1280pix, 365kb) [< shown here reduced ]

BIOGRAFIA
1908 - 13 de Junho, nascimento de Maria Helena, filha única de Marcos e de Maria Graça Vieira da Silva.
1913 - Estadia em Londres e em Hastings onde assiste a uma representação do «Sonho de uma noite de Verão».
1919-1927- Estuda desenho com Emília Santos Braga, e pintura com Armando Lucena, professor na Escola de Belas Artes de Lisboa. Pratica também a escultura.
1928 - Vem trabalhar para Paris, inscreve-se na «Academie de la Grande Chaumiére» onde tira o curso de escultura de Bourdelle. A Exposição Bonnard na Galeria Bernheim Jeune é uma revelação. Visita a Itália onde se entusiasma pela pintura de Sena.
1929 - Estuda na academia escandinava com o escultor Despiau. Abandona definitivamente a escultura. Estuda pintura com Dufresne, Waroquier, Friesz. Pratica gravura no atelier de Hayter. Frequenta a academia de Fernand Léger e segue os cursos de Bissiére.
1930 - Casa com o pintor hungaro Arpad Szenes.
1932 - Encontro com Jeanne Bucher. Vieira da Silva descobre a obra de Torres Garcia.
1933 -Organização da primeira exposição individual de Jeanne Bucher na qual é apresentado KÔ e KÔ, livro para crianças, com texto de Pierre Guéguen e ilustrações de Vieira da Silva.
1935 - António Pedro - escritor, pintor, encenador - organiza a sua primeira exposição na Galeria UP, em Lisboa. Vieira da Silva deixa Paris para se instalar temporariamente em Portugal.
1936 - Em Janeiro, no seu atelier de Lisboa, Vieira da Silva e Arpad Szenes, expoem as suas pinturas abstractas. O jornal Paris Soir inicia a publicação dos seus desenhos em simultâneo com Madame la Grammaire de Pierre Guéguen. No princípio de Outubro regressa a Paris.
1937 - Em Janeiro, expõe de novo na galeria Jeanne Bucher. Hilla Rebay adquire um dos seus quadros para a colecção Guggenheim.
1939 - Vieira da Silva e Arpad Szenes decidem viver em Portugal.
1940 - Em Junho, o casal parte para o Brasil e instala-se no Rio de Janeiro. Rapidamente estabelecem contacto com poetas e escritores brasileiros, particularmente com Murilo Mendes e Cecília Meireles.
1942 - O seu atelier torna-se um centro onde se reúnem jovens artistas (exemplo: Ruben Navarra), que são fortemente influenciados por Vieira da Silva e Arpad Szenes. O Museu de Belas Artes do Rio de Janeiro expõe as suas obras.
1943 - Decora com azulejos a sala do restaurante da Escola Nacional de Agronomia, Quilómetro 44.
1944 - Vieira da Silva expõe na Galeria Askanasy, Rio de Janeiro.
1946 - M. Kubitscheck, Presidente da Câmara de Belo Horizonte, convida Vieira da Silva e Arpad Szenes a exporem as suas obras no Palácio Municipal. A Galeria Marian Willard apresenta a sua primeira exposição individual em Nova Iorque, com a organização de Jeanne Bucher.
1947 - Em Março, Vieira da Silva retorna a França. Em Junho decorre uma exposição na Galeria Jeanne Bucher. Pierre Loeb visita o seu atelier e fica interessado pela sua obra. Permanência em Lisboa nos meses de Dezembro e Janeiro.
1948 - Aquisição do Estado Francês de La Partie d'échecs (1948).
1949 - Exposição individual na Galeria Pierre, Paris. Guy Weelen, jovem crítico, organizador de exposições em museus estrangeiros, requer uma autorização para visitar o seu atelier. Fica profundamente interessado pela obra de Vieira da Silva e de Arpad Szenes, que conhecerá uns meses mais tarde. Pierre Descargues publica o primeiro livro sobre a sua pintura, (Les Presses Littéraires de France, Paris).
1950 - Exposição individual na Galeria Blanche (Estocolmo). Exposição de guaches com Reichel na Livraria-Galeria La Hune, Paris.
1951 - O Estado françês adquire La Bibliothèque (1949), depositado no Museu Nacional da Arte Moderna, Paris.
1952 - Em França, na região de Lille realiza a primeira exposição individual na Galeria Dupont.
1952/53 - Exposição individual na Galeria Redfern, Londres.
1953 - Prémio de aquisição na Bienal de S. Paulo.
1954 - Primeiro prémio de tapeçaria para Universidade Basileia. Para dedicar-se à pintura, sem quaisquer perturbações e preocupações do dia a dia, pede Guy Weelen que, amigo do casal, seja o elo entre eles e o mundo.
1955 - Terceiro prémio na Bienal de Caracas. No atelier de René Bertholo e Maria de Lurdes, efectua uma série de serigrafias.
1956 - Por decreto de 15 de Maio, Vieira da Silva e Arpad Szenes adquirem nacionalidade francesa. O estado adquire Jardins Suspendus (1955), depositado no Museu Nacional de Arte Moderna, Paris.
1957 - Exposição na Galeria Pórtico-Lisboa. A mãe de Viera da Silva, instala-se definitivamente em Paris. Exposição individual em Genebra.
1958 - Quarto prémio do Instituto Carnegie, de Pittsburgh. José Augusto França publica a primeira monografia em Portugal, Artis, Lisboa.
1959 - Trabalha nas gravuras destinadas à L'Inclémence lointaine, poemas de René Char.
1960 - Em Março é condecorada com o grau de Cavaleiro e da Ordem das Artes e de Letras. Exposição individual em Paris na Galeria Jeanne Bucher.
1961 - Primeira estada em Nova Iorque. O Estado adquire L'été ou Composition grise (1960).
1963 - Em Janeiro, Vieira da Silva é distinguida com o grau de comentador da Ordem das Artes e das Letras. Grande Prémio Internacional de Pintura Bienal de S. Paulo.
1964 - A 7 de Fevereiro morre a sua mãe. É apresentada numa retrospectiva da sua obra pela Galeria de Arte Moderna do Museu Cívico de Turim e pelo Museu de Pintura e de Escultura de Grenobla.
1965 - Exposição individual na Galeria Albert Loeb, Nova Iorque.
1966 - A Academia de Amadores de Música de Lisboa dedica-lhe uma exposição constituída por obras existentes nas colecções Portuguesas. Recebe a encomenda para a igreja de Saint-Jacques, em Reims.
1967 - O Estado adquire La Bibliothèque (1955). Exposição individual na Galeria Jeanne Bucher, Paris.
1968 - A Fundação Calouste Gulbenkian, Lisboa, adquire: Les Degrés (1964), Landgrave (1966) e L'Air du Vent (1966). Os vitrais realizados em colaboração com Charles Marq, no Atelier J.Simon, são colocados na Igreja de Saint-Jacques.
1969 - A Museu Cantini (Marselha) adquire Le Satellite , um desenho (1955). O Estado Francês adquire as maquetes para os vitrais da igreja Saint-Jacques de Reims.
1969/70- Exposição na Galeria S.Mamede e Galeria 111- Lisboa. Retrospectiva da sua obra exibida em alguns museus da Europa e na Fundação Calouste Gulbenkian.
1971 - Exposição na galeria ZEN, Porto — Museu Fabre, Montpelier.
1972 - Ilustrações de «O Banquete» de Platão, edição Hermann.
1973 - Desenho de homenagem a Pablo Neruda.
1978 - Documentário biográfico "Ma Femme Chamado Bicho".
1982 - Biografia por Augustina Bessa-Luís.
1985 - Morte de Arpad Szenes no seu Atelier.
1986 - Cartaz para a UNESCO.
1988 - Medalha da cidade de Lisboa. Ordem do Mérito em França. Grande Cruz da Ordem da Liberdade.
1989 - Inauguração do painel de azulejos no Metropolitano Lisboeta (Cidade Universitária). Protocolo para a criação da Fundação Arpad Szenes-Vieira da Silva. Medelha de Ouro da Cidade do Porto.
1990 - Apresentação do projecto do Catálogo Raisonné.
1991 - Exposição Vieira da Silva na Fundação Juan March em Madrid. Vieira da Silva é promovida ao grau de Cavaleiro da Legião de Honra.
1992- Morte de Maria Helena Vieira da Silva em Paris no dia 06 de Março.
—(070612)

^ Died on 13 June (July?) 1931: Santiago Rusiñol i Prats, Catalan painter and writer born on 25 February 1861.
— Santiago Rusiñol i Prats nasqué a Barcelona el 25 de febrer del 1861 a la casa número 37 del carrer de la Princesa i va morir a Aranjuez vora els jardins reials que tant havia pintat, el dia 13 de juliol de 1931.
— He studied under Tomás Moragas [1837–1906] and exhibited as early as 1878, when he was still working in a conventional realist style. He went to Paris in 1889 with Miguel Utrillo [1862–1934] and other artists. There he and his close friend Ramón Casas, who lived with him in the Moulin de la Galette, began to paint suburban views of Paris, mainly of Montmartre, and interior scenes with figures. The pictures of Paris that they exhibited in Barcelona in 1890 and 1891 opened Catalan art to a new wave of Impressionism influenced by Edgar Degas and James Abbot McNeill Whistler, a form of modernism that was symptomatic of the cultural renewal in Catalonia, and of which Rusiñol, not only a painter but also an active intellectual, was the undisputed leader. In the small seaside town of Sitges, near Barcelona, he created an important cultural center closely bound to other European developments. Reference to Botticelli and the Pre-Raphaelites can be detected in the Symbolist style which he adopted in his three large canvases, Music, Painting, and Poetry (1894).
— Santiago Rusiñol encarna la personalitat més complexa de tots els artistes catalans de la segona meitat del segle XIX i començament del segle XX. Ell és, sens dubte, l'artista total, sempre present a les iniciatives artístiques importants d'aquell període. Fou membre fundador del grup renovador Els Quatre Gats. També fundà, a Sitges, el Cau Ferrat, un taller-museu que fou l'escenari de les famoses Festes Modernistes, en les quals s'aplegaven els joves artistes, escriptors i músics de l'època.
      Com a pintor, i malgrat l'oposició familiar aferrissada que el volia apartar del camí de l'art (fins als vint-i-cinc anys hagué de treballar a la filatura familiar), va ser alumne del pintor gironí Tomàs Moragas, fundador del Centre d'Aquarellistes i de l'Acadèmia de Dibuix i Pintura de Barcelona. De ben jove se sentí particularment atret pel naturalisme plàcid de Joaquim Vayreda.
      El 1889 s'establí a Montmartre, a París, i esdevingué amic inseparable de Ramon Casas. Visqué una bohèmia daurada a la capital francesa amb Ramon Casas, Utrillo i amb l'escultor Enric Clarasó, nascut a Sant Feliu del Racó, i tots tres introduïren a Catalunya un art nou, inspirat en l'impressionisme d'Edgar Degas i que a causa de la seva modernitat va ser designat per la crítica d'aleshores, encapçalada per Raimon Casellas, amb el nom de modernisme. Les figures, les coses quotidianes i el paisatge urbà del barri parisenc on residien eren els seus temes habituals.
      Cap a l'any 1894, la pintura de Santiago Rusiñol derivà vers el simbolisme, molt especialment en la temàtica dels jardins, especialment d'Andalusia, Castella i Catalunya, que li donaren tanta fama i èxits, amb obres plenes de poesia, riquesa d'acolorit i lluminositat. Morí pintant els jardins d'Aranjuez el 1931. Té obres en tots els museus importants del món. Es dedicà, amb molta intensitat també, a l'obra literària i destacà enormement com a comediògraf amb abundor d'obres teatrals de gran difusió i lluïment.

–- Ramon Casas a Paris (165x96cm; 802x463pix, 46kb)
–- S. Rusiñol i R. Casas retratant-se (1890; 650x800pix, 29kb)
–- La font (114x76cm; 802x520, 56kb)
–- Montserrat (339x400pix, 25kb)
–- La noia de la clavellina (1894; 820x375pix, 23kb)
 

Died on a 13 June:


1958 Moisey (Solomonovich) Nappel'baum, dies in Moscow, artist born in Minsk on 26 December 1869 (or, if this is the Julian date, on 07 January 1870 Gregorian). —(060609)

^ 1876 Anton Schiffer, Austrian painter born on 18 August 1811. Der Sohn des Theatermalers Franz Joseph Schiffer lernte zuerst bei seinem Vater und war von 1833 bis 1835 Schüler an der Wiener Akademie unter Leopold Kupelwieser. Er spezialisierte sich auf Landschaftsmalerei und bereiste die Österreichischen und Schweizer Alpenländer. Ab 1835 nahm Schiffer regelmäßig an Ausstellungen der Wiener Akademie teil, deren Mitglied er 1848 wurde. Seine stimmungsvollen Landschaften – die zum Besten der österreichischen Biedermeiermalerei zählen – zeichnen sich durch besondere Liebe zum Detail aus und sind gleichzeitig wichtige kulturhistorische und siedlungsgeschichtliche Zeugnisse ihrer Entstehungszeit. Anton Schiffer zählt zu den bedeutendsten Landschaftsmalern seiner Zeit in Österreich.
Berchtesgaden with the Watzmann Mountain in the distance (1869, 96x126cm)
Sommertag am Grundlsee (1859, 26x31cm; 379x450pix, 77kb) _ Unser stimmungsvolles Gemälde zeigt einen Blick über das westliche Ende des Grundlsees mit den Bergmassiven des Sarstein und des Zinkenkogel im Hintergrund. Mit liebevollem Detailreichtum hat der Künstler die lichtdurchflutete Atmosphäre der idyllischen sommerlichen Landschaft wiedergegeben: am See gleitet ein Stehruderer mit seinem Boot über das ruhige, spiegelglatte Wasser; dahinter schmiegen sich einige Gebäude – darunter der „Kaiserliche Stall“ und die „Seeklause“ – ans Ufer. Im Vordergrund – ein Hinweis auf die Holzwirtschaft dieser Gegend – rollen zwei Holzknechte einen Stamm auf einen „Trauner“, dahinter kommt eine Sennerin mit ihren Ziegen und dem „Almfahrtl“ auf dem Kopf aus dem Hochwald. Das äußerst qualitätsvolle und sehr fein gemalte Landschaftsbild stellt nicht nur eine künstlerische Bestleistung Anton Schiffers dar, sondern ist auch ein wichtiges topographisches Dokument des Ausseerlandes aus der Mitte des 19. Jahrhunderts.
Blick auf Lienz (1874, 36x48cm; 344x450pix, 44kb) _ Nebenstehende seltene Ansicht zeigt einen Blick auf Lienz und das Drautal gegen Osten. Die markanten Gebäude der Stadt sind erkennbar, so die St. Michaels-Kirche und die Spitalskirche, das Schloß der Grafen Wolkenstein-Rodeneck (das heutige Rathaus), der Glöckelturm sowie zahlreiche umliegende Häuser, idyllisch eingebettet zwischen Wiesen, Feldern und Baumgruppen. Im Vordergrund schildert Schiffer ein bäuerliches Paar plaudernd vor einer Mühle; im Hintergrund wird das Gemälde eingefaßt durch das mächtige Massiv der Lienzer Dolomiten - an dessen Fuß die Ortschaft Tristach liegt - unter einem stimmungsvollen Himmel, dessen zartes Blau durch ziehende Wolken unterbrochen wird. — (060609)

1749 Jan Frans van Bloemen “Orizonte”, Flemish painter baptized as an infant (full coverage) on 12 May 1662. —(060609)

^ 1664 Michel Corneille I, French painter born in 1602. Originally from Orléans, he established himself in Paris as a painter of religious pictures, although he also carried out some interior decorations as well as cartoons for tapestries. He was a founder-member of the Académie Royale in 1648. He studied in the studio of Simon Vouet [1590-1649] in Paris. Corneille became friends with Eustache Le Sueur, François Perrier, and other leading artists in Paris. By his marriage in 1636 he became son-in-law to the sculptor Jacques Sarazin. Michel’s first signed painting, however, Esau Yielding his Birthright to Jacob (1630), shows no signs of Vouet’s influence. On the contrary, the realism of what is in effect a genre scene with an entirely imaginative basis relates it to the Flemish followers of Caravaggio, for example Pieter Lastman or the Pynas family, although as a whole the work recalls that of the Le Nain brothers. By turns attributed to Jacques Blanchard, Joachim Wtewael, and an anonymous Flemish artist, this odd and disconcerting work is an unusual example of an artist in search of a personal style. The other paintings attributed to Michel show, however, unmistakable signs of Vouet’s influence. This can be seen in the two Mays (the altarpieces commissioned annually by the goldsmiths’ corporation of Paris) he painted for Notre-Dame, Paris: SS Paul and Barnabas at Lystra (1644) and St Peter Baptizing the Centurion (1658). Together with a Visitation, all these works are well-balanced compositions in which architecture plays a large part, with full forms and light tonality, features that testify to Michel’s admiration for Raphael. Attribution of his other pictures is often contested: the father’s work is frequently confused with that of his sons, of which he was the first art teacher: Michel Corneille II [02 Oct 1642 – 16 Aug 1708] and Jean-Baptiste Corneille [02 Nov 1649 – 12 Apr 1695].


Born on a 13 June:


Segal^ 1875 (13 July?) Arthur Segal, Romanian painter, printmaker, sculptor, and teacher, who died on 23 June 1944 in London. — {Is it true that a visitor at an art gallery pointed out a stormy beach scene to his daughter and mistakenly said: “See, gal, a Segal seagull in a sea gale.”?}
— Born in Romania, the son of a Jewish banker, Segal set out as a free-lance artist at the age of twenty-four. Having studied throughout Europe, he embarked upon a life of artistic experimentation, exhibiting with the Secession as well as the Zurich Dadists while continually investigating new styles. Growing German anti-Semitism encouraged Segal to participate in exhibitions of Jewish communities and organizations. In 1933, he immigrated to Spain and, soon after, to London. There, Segal opened an art school, which his daughter maintained after his death in 1944. [< Self-Portrait, 53x42cm]
— He went to Berlin in 1890, training at the Staatliche Hochschule für Bildende Künste, and in 1895 attended the Académie Julian in Paris. For a time he stayed in Munich, and then Dachau, but spent summers in Botosani, Romania, until 1924. Between 1900 and 1910 he produced landscapes, portraits and interiors, influenced above all by Pointillism, and exhibited at the Tinerimea Artistica society between 1905 and 1913. In 1904 he settled in Berlin, where he co-founded the Neue Sezession (1910) with Max Pechstein and others. In this period the influence of van Gogh began to dominate his work. Through his connections with the Blaue Reiter, Segal exhibited at the Sturm-Galerie in Berlin, publishing a series of Expressionist woodcuts and linocuts between 1911 and 1913 in Der Sturm.
— Arthur Segal was born in 1875 in Jassy, Rumania. Artistic studies led him to Munich, Paris and Italy, and by 1904 Segal had emigrated to Berlin where he exhibited with members of the two leading German Expressionist groups; Die Brucke and Der Blaue Reiter.
     With the outbreak of World War I in 1914, Segal’s life and art took a radical turn. To avoid returning to Rumania to fight, Segal moved with his family to neutral Switzerland where he remained until 1919, exhibiting with Arp and the Dada circle in Zurich’s infamous Cabaret Voltaire. Segal returned to Berlin in 1920 and subsequently became director of the Novembergruppe with whom he exhibited until 1932. Because of his Jewish heritage and his "degenerate" artistic sensibilities, the artist was prevented from exhibiting in Germany and left in 1933, emigrating first to Spain, then settling in London where he died in 1944.
     Primarily a painter, Segal began experimenting with the woodcut medium in 1910. His woodcuts produced between 1912 and 1919 span a range of subjects and styles. The prints incorporate anti-war, landscape, figure, and religious themes and stylistic variation is apparent within each theme. Segal’s earliest prints are expressionistic, but they are calmer than the term tends to imply. The early works in the Figure and Landscape groups reflect the Expressionist’s concern with black and white contrast. For Segal, the balance of light and dark is of primary importance. The series of anti-war woodcuts produced in 1915 are Segal’s most expressionistic, dramatizing the violence of hand-to-hand combat. In one of these works, a horse rears as its rider fires a pistol into a crowd of onrushing infantry. The rider’s terror is suggested in his mask-like face by a gaping mouth and single wide eye. His enemies attack him without emotion; their bayonets are extensions of their bodies. Segal achieves his powerful statement by utilizing an aggressive line and stark contrasts of black against white. A major stylistic shift in Segal’s work in 1916 reflects his greatest contribution to modern art. Termed by the artist "equi-balance," each area of the picture space is given equal pictorial value. Segal achieves "equi-balance" in his woodcuts is by using a non-hierarchical grid format containing images of equal visual importance. Segal’s desire for harmony and balance came from the belief that "in nature everything is of equal importance and interest."
— Arthur Segal was born in Romania but worked mainly in Germany and Switzerland, where he was a prominent member of the Dadaist movement. He went to Berlin in 1890, being trained at the Staatliche Hochschule für Bildende Künste, and in 1895 attended the Académie Julian in Paris. For a time he stayed in Munich, and then Dachau, but spent summers in Botosani, Romania, until 1924. Between 1900 and 1910 he produced landscapes, portraits and interiors, influenced above all by Pointillism, and exhibited at the Artistic Youth (Tinerimea Artistica) society between 1905 and 1913. In 1904 he settled in Berlin, where he co-founded the Neue Sezession (1910) with Max Pechstein and others. In this period the influence of van Gogh began to dominate his work. Through his connections with the Blaue Reiter, Segal exhibited at the Sturm-Galerie in Berlin, publishing a series of Expressionist woodcuts and linocuts between 1911 and 1913 in Der Sturm.
— Born in Jassy, Romania, of Jewish parents. Began to study at the Berlin Academy 1892. Moved to Munich in 1896 to become a pupil of Schmid-Reutte, and later of Hoelzel; afterwards studied in Paris and Italy 1902-3. Settled in Berlin in 1904 and exhibited with the Berlin Secession; helped in 1910 to found the Neue Secession and exhibited there with Nolde, Kirchner and the other Brücke artists. Made oils and woodcuts in an Expressionist style. Lived 1914-1920 in Ascona, Switzerland, where he began in 1916 to experiment with optical equi-balance and episodic narrative painting. Met Jawlensky and Arp, and was in contact with the Dada group. In 1920 returned to Berlin, where he became a director of the Novembergruppe with which he exhibited until 1931. First one-man exhibition at the Galerie Altmann there in 1920. Ran his own painting school in Berlin 1923-1933; declined in 1925 the offer of a teaching post at the Bauhaus in Dessau. Made pictures with prismatic light or a Cubist structure, and relief sculptures, then in 1927 turned again to a naturalistic style. Emigrated in 1933 to Palma, Majorca, then settled in 1936 in London. Founded in London in 1936 the Arthur Segal Painting School for Professionals and Non-Professionals, which still exists.
–- Self-Portrait in the Studio (1940, 34x28cm; 900x734pix, 45kb) _ only the top left quarter of him, in deep shadow.
–- Sunflower (1940, 25x21cm; 900x725pix, 54kb)
–- Narcissen (1908, 50x29cm; 1200x680pix, 78kb) daffodils
–- Femme au Piano (1918; _ .ZOOM to 1777x900pix, 189kb)
Hafen von Bornholm (1928, 60x81cm)
Interieur mit Blickpunkt Stuhl I (1928, 62x85cm; 480x630pix, 33kb)
Case Rosse II (1918; 400x478pix, 28kb) —(070613)
by Hartinger

1844 Edouard Frédéric Wilhelm Richter, French academic classicist painter who died on 04 March 1913. Richter was born in Paris, of a Dutch mother. He began his studies at the Hague Academy of Fine Art, before entering the Beaux-Arts School in Paris as a student of Hébert and Bonnat. He first exhibited at the Paris Salon in 1866. He later became a full member of the Society of the Salon of French Artists receiving an honorable mention in 1881, a third-place medal in 1901 and a second place medal in 1902. Richter is best known for his genre scenes and portraits.
The Fugitives (131x99cm; ZOOMable)
La Favorite du Sultan (1875; 504x700pix, 344kb)
L' Offrande (1876, 107x81cm)
In the Harem
The Fortune Teller (1875, 81x62cm; 1309x1000pix, 180kb)
The Winter Bride (65x54cm)
A Jewish Money Changer (1877, 35x47cm; 513x700pix, 60kb)
Shéhérazade (151x212cm; 450x640pix, 31kb)
The Harem Beauties (x799pix, 115kb) Two idle women and one bird of paradise. —(060609)

^ 1839 Modesto Urgell e Inglada, Spanish landscapist who died on 03 April 1919.
Barcas contraluz (26x54cm; 388x800pix, 34kb)
— (Iglesia abandonada?) (312x573pix, 12kb) —(060609)

>1806 Anton Hartinger, Austrian artist who died on 24 January 1890. — {Do you feel bitter heart anger at not finding better Hartinger artwork on the Internet?}
Still Life with Fruit [above, right].
Rosen und Tulpen in blau-weisser Vase (1856; 95x79cm; 480x392pix, 42kb)
Flowers in an urn on a ledge (1871; 61x47cm; 480x376pix, 38kb) —(080612)
Foglar
^ 1805 Magnus von Wright, Finnish painter and illustrator who died on 05 July 1868. He was descended from a Scottish family who moved to Sweden in the 17th century. He and his brothers, Wilhelm von Wright [05 Apr 1810 – 02 Jul 1887] and Ferdinand von Wright [19 Mar 1822 – 31 Jul 1906] were brought up in a remote region in central Finland and were almost entirely self-taught. They were among the finest Finnish artists of the first half of the 19th century.Fiskar In 1826 Magnus moved to Stockholm, and, in 1828, he and Wilhelm began publishing Svenska Foglar, the series of bird illustrations that rapidly established the brothers’ reputation in Finland and Sweden. The work, completed in 1838, consists of 180 hand-tinted lithographs. Similarly they did the 500 or so handcolored lithographs of Skandinaviens Fiskar (1834-1857). Magnus also painted landscapes.
Helsinki


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