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ART “4” “2”-DAY  19 June v.9.50
^ Died on 19 June 1839: Joseph Paelinck, Flemish painter born on 20 March 1781.
— The son of a farmer, he studied at the Academie in Ghent. He exhibited for the first time in 1802 at the Ghent Salon, then left for Paris where he was admitted into Jacques-Louis David’s studio. In 1804 his Judgement of Paris obtained a prize at the Ghent Salon. The first of numerous commissions that followed was for Saint Colette (1806), which was in keeping with the contemporary Historicist vogue. In 1808 he was commissioned to paint a portrait of the Empress Josephine, and in the same year the town of Ghent granted him an allowance for four years of study in Rome where, with other former students of David, he took part in the decoration of the Palazzo del Quirinale; his contribution, Augustus Ordering the Adornment of Rome, is untraced. While in Italy he also painted a Neo-classical Invention of the Cross (1812; Ghent, St Michel), inspired by Raphael. In 1812 he returned to Ghent and in 1815 moved to Brussels to paint the portrait of William, Prince of Orange (1818). He painted several religious subjects, including a Crucifixion (1817) and the Disciples at Emmaus (Everghem Church), which have links with the 17th-century French tradition. Among the portraits he executed in this period is The Snoy Family (1818), a painting that attempts to create a new iconography in its reversal of traditional postures: it is the wife who stands, denoting authority, while the husband sits in a relaxed pose. In 1820 he began working on lighter mythological subjects, such as Eros and Beautiful Anthea. In a similar vein, his Toilet of Psyche (1823) was highly influenced by David. He later returned to religious subjects (e.g. Flight into Egypt, 1829), emphasizing emotional expression, even sentimentality, and in doing so he joined a populist tendency in religious art. In such late works as the Abdication of Charles V (1832) Paelinck attempted to satisfy current Romantic taste, but the painting was badly received, and his reputation continued to decline until his death.

Self~Portrait (380x299pix, 14kb)
William I, King of the Netherlands (1819, 227x156cm; 1600x1084pix, 174kb) _ King William I [24 Aug 1772 – 12 Dec 1843] is pictured here in the ceremonial dress of a general in the Dutch army. Over it he is wearing an ermine lined and trimmed cloak. On his cloak are the emblems of the Military Order of William, established by him in 1815. On the table are the sceptre, crown and general's bicorne. Over the edge of the table hangs a map showing part of the Indonesian Archipelago with the words: 'Map of the State of Bantam, Batavia and Cheribon'. The map refers to the destination of the state portrait: Batavia in the Dutch East Indies.
     William I was the eldest son of Stadholder William V [08 Mar 1748 – 09 Apr 1806] and Princess Wilhelmina of Prussia. In 1791 the 19-year-old prince married his cousin, also called Wilhelmina of Prussia [1774-1837], two years his junior. A year later their son William was born. If the French army had not brought the Republic to an end in 1795, William would have succeeded his father as stadholder. As it was, he and his family were forced into exile in England. However, William did not remain in England long. He soon left for Germany with his wife and son to fight as a general in the Prussian army. He campaigned against the French, later tried to reach a settlement with Napoleon [15 Aug 1769 – 05 May 1821], and finally returned to England. After Napoleon's defeat in 1813, William was invited to return to the Netherlands. He commissioned construction of the North Holland Canal (the Willemsluizen), which was completed in 1824, and whose entrance is shown in the background of the portrait of its chief hydraulic engineer, Blanken (1825, 79x66cm; 1600x1318pix, 222kb), by Jean-Augustin Daiwaille [06 Aug 1786 – 11 Apr 1850].
     The office of stadholder (deputy) began as the representive the monarch in a part of the realm. He was both administrator and military commander. In places far away from the monarch's seat of government it could be a powerful position. In the late sixteenth century, when the Dutch provinces rebelled (starting in 1566) against Philip II [21 May 1527 – 13 Sep 1598] of Spain, the office still existed. But now these provinces took it upon themselves to appoint their own stadholders.
The Fair Anthia Leading her Companions to the Temple of Diana in Ephesus (1820, 230x300cm; 403x532pix, 153kb)
^ Died on 19 June 1928: Maria Katarina Wiik, Helsinki painter born on 02 (03?) August 1853.
— She studied in Paris at the Académie Julian from 1875 to 1876 under Tony Robert-Fleury and continued her studies with him in the same studio between 1877 and 1880. Her paintings appeared at the Salon for the first time in 1880 (e.g. Marietta, 1880). The realist techniques Wiik absorbed in Paris came to form the basis of her work, tranquil in composition and restrained in color. Her favorite subjects were relatively small-scale portraits such as Hilda Wiik (Fröken Hilda Wiik, 1881, 34x23cm; 707x567pix, 35kb) and still-lifes (e.g. Still-life, 1880). Like many other foreign painters Wiik went to Brittany to paint. In 1883–1884 she worked in Concarneau and Pont-Aven, where her enthusiasm for plein-air painting brought immediacy to her work and greater brightness to her colors (e.g. Breton Farm, 1883). She preferred to record her impressions in portraits, although she also painted small, light-filled landscapes.
      In 1889 Wiik worked under the direction of Puvis de Chavannes in Henri Bouvet’s studio in Paris, and in the same year she visited St Ives where she painted, among others, two major works: Out in the World (Ut i världen, 1889, 69x61cm; 36kb) and the St Ives Girl. Both works show Wiik moving towards an ever more internalized and minimal mode of expression, thereby taking part in the process that led, in the 1890s, to a general abandonment of realism in favor of a greater emphasis on emotion. Out in the World, which shows an old woman’s sad parting from a young girl who is leaving home to begin work, shows a change in technique with the use of more united color surfaces and of tone painting. (This work was awarded a bronze medal at the Exposition Universelle in Paris in 1900.) During the 1890s and the early 20th century Wiik’s travels were concentrated in Scandinavia, although she visited Paris in 1905. After 1900 she turned from a realist approach to one influenced by Symbolism, taking up sombre and emotional themes, for instance in The Story (1903). She also tried to apply Impressionist ideas on color but failed to recapture the sensitivity and spontaneity of early works painted in Paris. The deterioration of her eyesight made it more difficult for her to work.

Portrait of the Artist´s sister Miss Hilda Wiik (Porträtt av Hilda Wiik, 1880, 23x20cm; 60kb)
In the Atelier (I ateljén, 1889, 31x42cm; 43kb)
Farewell, study for The Obstacle (Avskedet, skiss till målningen Hindret, 1883, 34x2cm; 69kb)
Hilja Tukiainen (1884; 500x401pix, 57kb) _ Helsinkiläisessä Tukiaisen perheessä oli 11 tytärtä, joista ainakin kolmea Maria Wiik käytti malleinaan. Hilja on tässä viisivuotias. Hän on ollut myös Helene Schjerfbeckin mallina Pajunkissatyttö-maalauksessa.
^ Born on 19 June 1815: Cornelius David Krieghoff, Dutch Canadian painter who died on 08 (04?) March 1872.
— He learnt the rudiments of music and painting from his father and about 1830 attended the Akademie der Bildenden Künste in Düsseldorf. He moved to the US in 1835 and enlisted in the US army. In New York he met Louise Gauthier, a French–Canadian, and settled in Montréal with her in 1840, working as a painter and a musician. In 1842–3 he had a studio in Rochester, NY; in the following year he studied in Paris, making copies in the Louvre. Returning to Canada in 1845, he painted portraits in Toronto, and from 1845 to 1853 he lived in Longueuil and then in Montreal, where he produced genre paintings, landscapes and portraits. He exhibited in Montreal and Toronto, and a series of lithographs were published after his drawings. However, he found it difficult to sell his work in Montreal and had to resort more or less completely to sign-painting for a living.
      About 1853, at the instigation of the auctioneer John Budden, Krieghoff settled in Quebec City. He lived there for 11 years, making several trips to Europe. During this period of intensive production, he achieved popularity and prosperity and painted his best-known pictures, which were scenes depicting the local townspeople and the North American Indians, and views of Quebec City and the surrounding region. About 1858 he made panoramic paintings of Canada for the Provincial Parliament buildings in Quebec. From 1864 to 1867 he lived in Paris and Munich, continuing to paint Canadian themes. He then seems to have joined his daughter in Chicago, returning in 1870 to Quebec, where Budden encouraged him to take up painting genre pictures and townscapes once again.
— Krieghoff is one of the major contributor to Canadian fine arts. Born in Amsterdam, Holland, Krieghoff arrived to New York in 1836. He spent his early years in the States as an army artist and when he left the army in 1840, he married Emilie Gauthier dit Saint-Germain and moved to Canada where the home of Emilie was. In the same year, Emilie gave birth to a son whom they named Henry (Ernest).
      After his journey to Europe in 1845, Krieghoff returned to Montreal and since then, he was considered a "Painter of Canada". Krieghoff was mainly a Canadian landscape painter, although in many of his paintings the theme of "les habitans" is woven exquisitely into his works.
      During the period of 1846 to 1853, Krieghoff stayed in Longueil, Montreal where he earned his living by selling his own paintings and reproductions of famous paintings. The sale of his own paintings are bad because Canadian, especially the French Canadian, of that time didn't like the genre of his work. Lucky for him, the paintings which he had reproduced are better in sales. However, Krieghoff hated to copy paintings, so, he did very few of these reproductions. With such limited income, Krieghoff could hardly live in the fashion that he wanted; generously and lavishly in drinking houses.
      Between 1847 and 1849, Krieghoff taught painting at a school operated by the Misses Plimsoll on Bonaventure street. In fact, Krieghoff's success in Montreal was only prominent in two art auction sales (January 1848 and February 1850) during the period of 1847-1850. In one of these auction sales, Krieghoff competed with Paul Kane who was also a famous painter at that time.
      By the year 1860, Krieghoff was a well-established painter in Quebec. After that, he traveled around in Europe and continued to paint and selling them. After his last visit to Quebec in the late 1871, the artist moved permanently to Chicago where he died few months later.

–- Tête d'habitant (708x654pix, 39kb)
The Game of Cards (1848, 25x30cm) _ detail
Game of Cards, Playing for Apple (1847, 28x34cm) _ detail
No Money, No Water (1852, 23x29cm) _ detail
Après le bal chez Jolifou (61x91cm)
Bilking the Toll (1859, 42x62cm ; 460x637pix, 33kb) _ detail (480x640pix, 53kb) _ In the early 19th century tollgates were established on major routes into Montreal and Quebec City to fund road maintenance. The largely francophone rural population resented paying the fees to the anglophone government, and young habitants (as the French-speaking people were sometimes called) in particular sometimes tried to run the gates. This painting by a non-francophone artist makes light of the situation and depicts the habitants as mischievous yet harmless. Such stereotypical images confirmed the misguided impressions that many anglophones held of habitants as simple and frivolous people, ignoring the fact that they contended with serious social and political issues.
Tracking the Moose on the Lake Famine, South of Quebec (1863, 36x53cm) _ detail
Death of the Moose, South of Quebec (1859, 46x61cm) _ detail
Habitant in Winter (1858, 43x61cm) _ detail
Chief Tanaghte, Delegate to Lord Elgin of Montreal (1849, 33x25cm)
The Basket Seller (1850, 25x19 cm; 539x400pix, 43kb)
Ships on the North Coast of Holland (70x92cm) _ detail
Quebec Farm (1856, 57x81cm) _ detail
Falls of the Little Shawinigan (1859, 49x60cm) _ detail
Winter Landscape, Laval (1862, 57x89cm; 319x500pix, 36kb)
^ Died on 19 June 1805: Louis-Jean-François Lagrenée l'aîné, Parisian Neoclassical painter born on 21 January 1725.
— Louis Lagrenée was the brother and teacher of Jean-Jacques Lagrenée [18 Sep 1739 – 13 Feb 1821]. From 1760 to 1762 the brothers were together in Russia, Louis having been invited there by Empress Elizabeth. Each brother also spent time at the Académie de France at Rome, before returning to France to pursue a career as a painter. Louis’s son François Lagrenée [1774–1832] was also a painter, who worked in a style much influenced by that of his father and his uncle.
— Louis Lagrenée was a student of Carle Vanloo and won the Prix de Rome in 1749. He stayed for only one year at the Académie de France in Rome (1754). On his return to Paris in 1755 he was received (reçu) as a member by the Académie Royale on presentation of the Rape of Dejanira (Paris, Louvre), a work inspired by Guido Reni’s painting of the same subject in the French royal collection. There followed a career filled with success and honors: from 1760 to 1762 he was Director of the St Petersburg Academy. In 1762 he was appointed a professor at the Académie Royale in Paris. Later, from 1781 to 1785, he was Director of the Académie de France in Rome, and in the latter year he became Recteur of the Académie Royale. From 1804 he was appointed a curator of the new national museums.
— Lagrenée l'aîné was a winner of the Rome Prize, academician, director of the St. Petersburg Academy, then the French Academy in Rome, he specialized in historical scenes or scenes from Antiquity.
— As a student, Louis Lagrenée won the Grand Prix at the Académie Royale de Peinture et de Sculpture in 1749. Following a brief stay in Rome, he was received into the Académie in 1755 with the completion of a painting that earned him favorable comparisons to Guido Reni. From 1760 until 1762, he directed the Saint Petersburg Academy at the Russian court. Upon his return to Paris, Lagrenée became a professor at the Académie and received a range of important public commissions, excelling at medium-size and small paintings.
      A virtuoso of fine craftsmanship, Lagrenée was one of three painters responsible for the transformation of French painting away from the Rococo style towards a more restrained, classicizing idiom. He deliberately rejected the exuberant, artificial aesthetic of the mid-1700s, reviving instead the previous century's taste for an elegant, polished style.
— The students of Lagrenée l'aîné included, besides Lagrenée le jeune, Dmitry Levitsky, Pierre Peyron, L. M. A. Bilcoq.

Horatius after Striking his Sister (1754, 95x134cm). The companion piece is A War Offering Made the Day Before Battle by the Samnites who Swore to Sacrifice Themselves for their Homeland. The episode depicted is taken from Livy's History of Rome (Bk. 1, XXVI): After defeating the Curiatii, the last of the three Horatii brothers meets his sister, who had been betrothed to one of the dead champions. The young woman is "in tears [...] The proud young man is overcome by anger at his sister's lamentations amid the crowd's transports of joy celebrating his victory. He draws his sword and as he strikes the young woman, he showers her with reproach: "Take your scandalous love away! Go and join your fiancé [...] you who have forgotten your homeland! So dies any Roman woman who would mourn an enemy."
Mars & Venus, an Allegory of Peace (1770, 64x54cm) _ Mars, the god of War, throws back the rich green bed curtains that frame this gentle allegory of peace. As the drapery parts, the morning light spills in to reveal the form of the sleeping Venus, the Roman goddess of love. Mars gazes at her, utterly captivated by her beauty. Her love has tempered his fierce character, and his shield and sword lie abandoned on the floor. Echoing the lovers' bliss, a pair of white doves, symbolizing Peace, build a nest in Mars's helmet. Lagrenée created his finest works, including this small, jewel-like painting, around 1770. The lavish folds of drapery, the delicate play of light over fabric and skin, and the rich, restrained palette combine to create a captivatingly beautiful image.
Pygmalion and Galatea (1781, oval 58x48cm; 923x760pix, 58kb) _ Ovid, in his Metamorphoses (translation), says that Greek mythological king Pygmalion, who was also a sculptor, made an ivory statue representing his ideal of womanhood and then fell in love with his own creation (which, according to later retelling of the story, he named Galatea); the goddess Venus brought the statue to life in answer to his prayer.
      The story was the inspiration for many artists besides Lagrenée. Jean-Léon Gérôme [11 May 1824 – 10 Jan 1904] made at least two different paintings of the moment of transformation: Pygmalion and Galatea (1890, 89x69cm; 507x420pix, 40kb) and Pygmalion and Galatea (1890, 89x69cm; 327x225pix, 25kb). Le Moyne painted Pygmalion Seeing His Statue Come to Life (954x760pix, 72kb). Burne-Jones painted two versions (1870 and 1878) of a Pygmalion Series of four paintings: The Heart Desires (1870), The Hand Refrains (1870; 652x490pix, 33kb), The Godhead Fires (1870; 646x491pix, 36kb), The Soul Attains (1870, 645x491pix, 19kb), The Soul Attains (1878, 99x76cm; 853x636pix, 99kb). Watts [1817-1904] painted The Wife of Pygmalion (1868, 66x53cm; 700x577pix, 112kb). Boucher painted Pygmalion and Galatea (1767; 483x700pix, 92kb). Eoin de Leastar painted Pygmalion (374x302pix, 30kb).
      The play Pygmalion (1912), by George Bernard Shaw [26 Jul 1856 – 02 Nov 1950], inspired the musical My Fair Lady (1956) of librettist Alan Jay Lerner [31 Aug 1918 – 14 Jun 1986] and composer Frederick Loewe [10 Jun 1901 – 14 Feb 1988].

Died on a 19 June:

>1984 (1982?) Lee (or Lenore) Krasner (or Krassner), New York painter born on 27 October 1908.
— (untitled?) (2193x2897pix, 5942kb) monochrome red dripped blobs. _ The pseudonymous Windward Crasser has transformed this finely detailed but boringly monochrome picture into the colorful quadruplet abstractions
      _ Titled (2007; 940x1330pix, 530kb _ ZOOM to 1330x1880pix, 1084kb _ ZOOM+ to 1880x2660pix, 2018kb _ ZOOM++ to 2659x3760pix, 3585kb)
      _ Title D (2007; 940x1330pix, 530kb _ ZOOM to 1330x1880pix, 1084kb _ ZOOM+ to 1880x2660pix, 2018kb _ ZOOM++ to 2659x3760pix, 3585kb)
      _ Stilted (2007; 940x1330pix, 503kb _ ZOOM to 1330x1880pix, 1134kb _ ZOOM+ to 1880x2660pix, 2224kb _ ZOOM++ to 2659x3760pix, 5141kb) and
      _ Still Ted (2007; 940x1330pix, 503kb _ ZOOM to 1330x1880pix, 1134kb _ ZOOM+ to 1880x2660pix, 2224kb _ ZOOM++ to 2659x3760pix, 5141kb)
–- untitled (584x800pix, 126kb) green, off-white, and reddish brown approximately repetitive small pattern without any large scale design; suitable for wallpaper or background. —(070618)

1972 Elizabeth Whitworth Scott, Bournemouth (Hampshire) English artist born in 1898.

1955 Hermann Max Pechstein, German artist born on 31 December 1881.

1954 Martin Bloch, German British painter born (main coverage) on 16 November 1883. —(061115)

^ 1954 Sven Birger Sandzen, Swedish-born (05 Feb 1871) US painter, engraver, etcher, lithographer, designer, and teacher. He studied at the Stockholm Art League under Zorn, Bergh, and Erlandsson; and in Paris, under Aman-Jean. He came to the US in 1894.
— Sandzen was born in the village of Blidsberg, Sweden. His father was the local rector, which afforded the family a comfortable and cultured lifestyle. Sandzen began to paint at the age of ten when he was sent to the Swiss equivalent of a US preparatory school. Upon graduation, he continued his studies at Lund University in 1890. However, soon Sandzen decided to become a professional painter. He went to Stockholm where he joined a group of young artists who became the first students of The Artist's League, an organization whose members rejected the academic manner and, in turn, introduced the modern movement in art to Sweden. Here, Sandzen adopted a method that was influenced by the French Impressionists, emphasizing light, color and visible brushwork. He went to Paris in 1894 to study Old Master paintings and contemporary works by the Post-Impressionists. While there, he also spent much time discussing the latest developments in art with other art students of various nations. As the result on an invitation to join the faculty of Bethany College in Lindsborg, Kansas, Sandzen arrived in the United States in September of 1894. Even at this early point in his career he felt it unnecessary to work in a major art center like Paris, as he believed that particular urban environment was a considerable hinderance to the development of his own painting style. Throughout the years, Sandzen had a rigorous schedule teaching languages, art history and all the school's drawing and painting classes. He was also in great demand as a guest artist, and refused many permanent positions at other outstanding institutions because he loved the town of Lindsborg and was dedicated to Bethany College. Sandzen was committed to creating an improved climate for art in the Midwest. He gave talks on art in high schools, universities, churches, grade schools and woman's clubs. He sent out a great number of exhibitions, and many schools in Kansas were first exposed to art through his tireless efforts. After teaching for fifty-two years, Sandzen retired in 1946. He was declared Professor Emeritus in art and continued as Bethany's offical Artist in Residence. He died at his home nearly sixty years after arriving in Kansas to begin his career as a teacher and artist.
Autumn Chord, Smoky River, Kansas (1932, 34x30cm; 600x518pix, 100kb) auctioned for $18'400 at Shannon's in October 2002.
[Trees by the River] (1924; 343x450pix, 239kb)
–- Rocks and Pines, Garden of the Gods, Manitou, Colorado (1919, 75x101cm; 1045x1397pix, 188kb). By transforming this, the pseudonymous Swoon Burger Surfyoga has produced the nonsensically-titled symmetrical abstractions
      _ Le Grand Manie-Tout, Couleur Rat d'Eau aka Gird Rig (2006; screen filling, 199kb _ ZOOM to 990x1400pix, 451kb) and
      _ Eve Rocks and Pines After the Lost Garden of God aka Girl Rig (2006; screen filling, 199kb _ ZOOM to 990x1400pix, 457kb) _ One year later Surfyoga has completely reversed Sandzen's picture into
      _ Pins and Crocks, God of the Gardens, Color I Do, Man in Tow (2007; 1045x1397pix, 282kb) —(070618)

1954 Josef Fanta, Czech artist born on 07 December 1856. — {He did NOT invent any soft drink}

1953 Harold Pierce Cazneaux (or Cazneau), New Zealand artist born on 30 March 1878.

1951 Jozsef Egry, in Badacsonytomaj, Lake Balaton, artist born at Ujlak, Zala, on 15 March 1883.

1940 Luo Zhenyu (or Lo Chen-yu, Xuetang, Chensuntang), Chinese artist born on 03 August 1866.

1935 Harald Oskar Sohlberg, Oslo Norwegian artist born on 29 November 1869.

1928 Maria Catharina (or Katarina) Wiik, Helsinki Finnish artist born on 02 August 1853.

1923 Johan Carl Christian Petersen, Copenhagen Danish artist born on 17 January 1871.

1919 J. Jurriaan Kok, Dutch artist born on 06 April 1861.

1886 Rudolf Kremlicka, Czech artist who died on 03 Jun 1932

1884 Adrian Ludwig Richter, Dresden German painter, printmaker, and illustrator, born on 28 September 1803. He ranks with Moritz von Schwind as the most important representative of late Romantic painting and printmaking in Germany. In contrast to the work of such leading masters of early Romanticism as Philipp Otto Runge and Caspar David Friedrich, which was ambitious in content and innovative in form, Richter’s art was more modest in its aims, in line with the restrained intellectual climate of the Biedermeier period. — Heinrich Dreber was a student of Richter.

1871 Johann Fischbach, Austrian landscapist born on 05 April 1797. — {Is it true that he died on a fishing trip after he caught a tiny fish well below the legal limit, and the irate captain ordered a sailor: “Throw that fish back into the water immediately!”?} — About the middle of the 19th century, Fischbach designed for himself, in Salzburg, a Swiss-style villa, the architectural style considered at the time ideal for living in harmony with nature. An important co-founder of the Salzburg Kunstverein, Fischbach had a stimulating and lasting influence on the Salzburg art scene, and his series of steel engravings showing views of Salzburg and Upper Austria enjoyed great success. After the death of his son, Fischbach moved to Munich.

1839 Joseph Paelinck, Belgian artist born on 20 March 1781.

1835 Jean-Etienne (or John Elie) Chaponnière, Geneva Swiss artist born on 11 July 1801.

1652 Claes Janszoon Visscher, Amsterdam Dutch artist born in 1587.

1650 Matthaus Merian I, Swiss artist baptized as an infant on 25 Sep 1593. Father of Matthaus Merian II [bap. 25 Mar 1621 – 15 Feb 1687 bur.]

Born on a 19 June:

1946 Neculai Paduraru, Romanian sculptor and painter. He studied at the Institute of Fine Art 'N. Grigorescu' in Bucharest under Paul Vasilescu, graduating in 1975. He belonged to a generation of sculptors that reacted to the work of Brancusi [19 Feb 1876 – 16 Mar 1957] with a figurative vision inspired by ancient Mediterranean sculpture. Paduraru drew upon mythological literature and folklore for his subject-matter, creating a personal universe of monsters and fabulous creatures that were subjected to torture, destruction and resurrection in dynamic narratives. The works, most of them in bronze, are generally small and intimate, although he also created ensembles on a monumental scale for urban settings. He was a modeller of great refinement, who avoided spectacular effects in favour of subtly coloured surfaces. From the late 1970s he also concentrated on painting, producing expressive works that relate to the sculptures both thematically and stylistically. From 1988 some of his works were influenced by abstract and conceptual art. —(080618)

1938 Charles Gwathmey, US architect.
^ 1937 Derek Boshier, in Portsmouth, painter.
–- Untitled (1964, 76x56cm; 824x490pix, 58kb) _ a very boring picture compared with, for example
      _ Delta Tune (2005; _ ZOOM to 480x640pix, 101kb _ ZOOM+ to 960x1280pix, 530kb) [image >>>] by “Rich Red Beak”. —(070618)

1922 Alvaro Delgado Ramos, Spanish painter.Formado en la Escuela de Bellas Artes de Madrid, es un firme seguidor de Benjamín Palencia dentro de la escuela de Vallecas. Su pintura, en la que predominan los retratos, los bodegones, los paisajes y los animales, oscila entre la tradición y la vanguardia.
El niño de los naipes (1951, 92x74 cm; 480x375pix, 46kb)
Viejo con Pipa (1964, 92x67cm; 480x346pix, 45kb)
Cura Rural (400x394pix, 16kb) a dull monochrome little image which the pseudonymous Avaro Gordo Tronco has brilliantly colored and enlarged as
      _ Cura Sion (2009; 1200x1182pix, 431kb) —(090619)

1920 Robert Klippel, Australian sculptor.

>1891 Helmut Herzfelde “John Heartfield”, Berlin artist who died on 26 April 1968.

>1889 Vera Ignat'yevna Mukhina [–06 Oct 1953], Latvian-born Russian sculptor and decorative artist. —(080618)

1884 Georges Ribemont-Dessaignes [–09 Jul 1974], French Dada painter and writer.
— Silence. c. 1915. Oil on canvas, 36 1/4 x 28 7/8" (92.1 x 73.3 cm). In Georges Ribemont-Dessaignes’s machine pictures, painted gears, shafts, and wires create obscure contraptions suggesting that the forces of production have run amok. The words included compound the enigma: the phrases "liquid love" and "surface of soluble hopes" appear on Oceanic Spirit. The name of a Hungarian city, "Szegedin" appears on Silence. Ribemont-Dessaignes’s sensational performances at a number of Paris Dada events revealed his combative side: he hurled insults at the audience, promising to "rip out your spoiled teeth, your pummeled ears, your tongue full of sores." —(080618)

>1872 Charles D. Ward [–1935], British painter. — Relative? of Leslie “Spy” Ward [1851-1922]?
A pretty corner of a garden (1907, 24x19cm; 600x490pix, kb)

>1872 Beatrix Jones, who would become Mrs. Farrand, US landscape architect who died on 27 February 1959.

1862 Paul Pierre Jean Saintenoy [18 Jul 1952], Elsene Belgian architect and decorator.

1856 Elbert Hubbard, US writer, publisher, and philosopher, who founded the Roycroft Arts and Crafts community in 1895. Together with his second wife Alice Moore Hubbard [07 Jun 1861–], he died on 07 May 1915 in the sinking of the SS Lusitania, without having attempted to escape. —(080618)

1854 Jacob Simon Hendrik Kever, Dutch painter who died in 1922.
–- Mother and Child (55x46cm; 1146x955pix, 57kb _ ZOOM to 2865x2389pix, 387kb; or with the empty spaces cropped off zoom to 1185x1365pix, 86kb) —(080618)

^ 1838 Charles Joseph Staniland, British artist who died in 1916. Primarily an illustrator for the Graphic and the Illustrated London News.
The Emigrant Ship (1913; 336x350pix, 15kb)

>1838 Julijs Voldemars (or Yuly Ivanovich; Yuly Bogdanovich) Feders (or Fedders; Feder), Latvian-born landscape painter who died in the Ukraine on 14 February (or 19 January?) 1909.

>1825 Armand-Desiré Gautier [–29 Jan 1894], French painter and lithographer. He was a student of Léon Cogniet [29 Aug 1794 – 20 Nov 1880]. Gautier was known as "the Painter of the Sisters of Charity". —(080618).

^ 1824 Adolf Stademann, Munich German artist who died on 30 October 1895.
A winter's day in the village (20x30cm; 367x529pix, gif 90kb) _ a snowy landscape of a country village with thached roof houses and a church in the background.
Wintervergnügen (22x36cm; 312x500pix, 56kb)

>1824 Jan Hendrik (or Hendrik Johannes) Weissenbruch, The Hague Dutch painter who died on 24 March 1903. At sixteen he took drawing-lessons and later followed evening classes at the Hague Academy. His father was an amateur painter and collected work by artists such as Andreas Schelfhout. Schelfhout's influence can be seen in Weissenbruch's early, vast landscapes, painted in precise detail. His magnificent, cloudy skies show his admiration for the seventeenth-century artist Jacob van Ruisdael, whose work he saw at an early age in the Mauritshuis in The Hague. An impressive portrayal of sky and light was one of Weissenbruch's strongest points. He painted in the open air and let himself be guided as far as possible by nature itself. What I really want is to get nature itself on the canvas,' Weissenbruch once said. 'Sometimes nature can make a real impact. If I can get that same impact later, I can draw and paint what I have seen. I make a sketch with a few charcoal scribbles. At home I conjure it up in paints.'. — Cousin of Jan Weissenbruch. [1822-1880] — LINKS
The Shipping Canal at Rijswijk, known as The View at Geestbrug (1868, 31x50cm; 966x1600pix, 179kb) _ a typically Dutch sky with grey-white clouds, is the largest and most remarkable feature of this painting. Hendrik Weissenbruch was a true sky painter, just like the seventeenth-century landscape painter Jacob van Ruisdael. The artist had seen Ruisdael's work as a youngster at the Mauritshuis museum, in The Hague. Weissenbruch was especially concerned with the accurate portrayal of the (sun)light in the sky. As he himself said: 'Light and sky, that's art! I can never get enough light in my paintings, particularly in the sky. The sky in a painting, that's it. It's a key aspect! Sky and light are magical.'
Forest View near Barbizon (1900, 48x64cm; 1169x1600pix, 388kb) _ An explosion of sunlight in a forest with a glade. Colour and patches of light playfully dance across the tree trunks and the rocks in the foreground. The foliage and the forest floor have been sketchily depicted using rough brushstrokes. The harmony of brown, green, beige and yellow (ochre) are only briefly interrupted by a seated figure dressed in black in the center. This was painted in the forest of Fontainebleau.
Beach at Scheveningue (1894, 61x91cm; 951x1472pix, 380kb gif) —(080618)

1805 Carl Leistler, Viennese artist who died on 25 September 1857.

1790 (infant baptism) John Gibson Sr., Welsh artist who died in Rome on 27 January 1866.

1783 Thomas Sully, US painter who died (full coverage) on 05 November 1872. —(051019)

1758 Raffaele Morghen, Italian artist who died on 08 Apr 1833.

1705 José Galván, Spanish artist who died on 21 February 1766.

1700 Ivan (or Johann) Krstitelj Ranger (or Rangger), Tyrolese-born artist who died in Lepoglava on 27 January 1753.

1640 Johann Heiß, Schwäbischer Meister Barocker Pracht. He was apprenticed first to Johann Friedrich Sichelbein [1625–1690], then in Augsburg to Johann Heinrich Schönfeld, whose style fundamentally determined his own. He was also influenced by Joseph Werner and French Baroque painters, and the knowledge of Italian landscape and architecture evident in his pictures suggests an Italian journey or the influence of an artist recently returned from Italy. He died in 1704.

1631 Otto Gall von Stubenberg, Nuremberg German artist who died on 01 May 1688.

1580 Emilio Savonanzi, Italian artist who died in 1660.

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updated Saturday 20-Jun-2009 0:55 UT
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