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BIRTHS: 1615 ROSA — 1887 SCHWITTERS — 1833 BONNAT — 1958 KEMP~WELCH
^ Born on 20 June 1615: Salvator Rosa, Italian painter, draftsman, etcher, poet, and actor. who died on 15 March 1673, specialized in Landscapes.
— He was one of the most original artists and extravagant personalities of the 17th century. His most popular and influential works were his landscapes, the wild and mountainous beauty of which contrasted with the pastoral scenes of Claude Lorrain. Yet Rosa also painted macabre subjects, erudite philosophical allegories, and grand historical themes; he was, moreover, the most significant satirical poet of the Italian 17th century, and there is a close relationship between his poetry and painting. His earliest biographers, Filippo Baldinucci and Giovanni Battista Passeri, both of whom knew him well, described at length his fiery temperament, his immense ambition, his learning and vivacious wit, and his often outrageous treatment of his patrons.
— Rosa was a Baroque an artist of the Neapolitan school remembered for his wildly romantic or "sublime" landscapes, marine paintings, and battle pictures. He was also an accomplished poet, satirist, actor, and musician. Rosa studied painting in Naples, coming under the influence of the Spanish painter and engraver José de Ribera. Rosa went to Rome in 1635 to study, but he soon contracted malaria. He returned to Naples, where he painted numerous battle and marine pictures and developed his peculiar style of landscape — picturesquely wild scenes of nature with shepherds, seamen, soldiers, or bandits - the whole infused with a romantic poetic quality.
      His reputation as a painter preceded his return to Rome in 1639. Already famous as an artist, he also became a popular comic actor. During the Carnival of 1639 he rashly satirized the famous architect and sculptor Gian Lorenzo Bernini, thereby making a powerful enemy. For some years thereafter the environment of Florence was more comfortable for him than that of Rome. In Florence he enjoyed the patronage of Cardinal Giovanni Carlo de' Medici. Rosa's own house became the centre of a literary, musical, and artistic circle called the Accademia dei Percossi; here also Rosa's flamboyant personality found expression in acting. In 1649 he returned and finally settled in Rome. Rosa, who had regarded his landscapes more as recreation than as serious art, now turned largely to religious and historical painting. In 1660 he began etching and completed a number of successful prints. His satires were posthumously published in 1710.
— Salvator Rosa was a student of the Neapolitan painters Francesco Fracanzano and Aniello Falcone. Fracanzano would become his brother-in-law, and the three painters ultimately worked together in the same workshop. In 1635 Rosa left for his first sojourn in Rome, but by 1638 he had returned to Naples. In 1639 he came into conflict with the artist and papal favorite Gian Bernini, after attacking him in a literary satire. In 1640 he was summoned to the court of the Medici in Florence, where he soon found himself in the center of a group of painters, poets, and musicians called the Accademia dei Percossi. In 1649 he returned to Rome, where he would remain, with only brief interruptions, until his death. Rosa's health slowly declined, and beginning in 1664 he was often unable to work. The subjects of his painting had gradually shifted toward complicated, abstruse scenes from mythology, the Bible, literature, and history, frequently with a touch of the macabre. With these multifigured narrative paintings and allegories he hoped to attain greater recognition than gained by his landscapes and battle scenes—genres with which he had become particularly successful. In his landscapes Rosa loved "romantic," moody evocations of the sea and mountains, in contrast to the classically calm, sublime landscapes of Claude Lorrain, for example. Accordingly, he is considered a precursor and exemplar for Romantic-era Anglo-Saxon landscape painting in the late 18th and 19th centuries. He was also an important painter of portraits.
— Rosa's art students included Giovanni Ghisolfi and Pandolfo Reschi.

LINKS
Self-portrait (1641, 116x94cm) _ Rosa, who originates from southern Italy, moved to Florence in 1640 and became the court painter of the Medici. He painted here idyllic landscapes, demonic, thrilling scenes and portraits, among them this self-portrait.
— another Self-Portrait
Saint Humphrey (1660, 197x119cm; 775x457pix, 279kb _ ZOOM to 1550x914pix, 1102kb _ ZOOM+ to 2635x1554pix, 2803kb) _ Saint Humphrey, one of the Fathers of the Desert was among the most widely depicted saints of Western Christianity. Called Onuphrius in Latin, he was a royal prince, son of a King of Persia, who became a monk in a regular monastery, observing the regulations of monastic life like other monks. He wished to rise to greater heights of perfection, so he retired from the monastery, which was located near the city of Thebes, in Egypt, and lived as a hermit in a remote region of Egypt, far from the haunts of men. There for nearly 70 years, he lived a life of extreme asceticism, fasting, praying, and doing penance. A beautiful little church is dedicated to Saint Onuphrius in Rome.
He is known as San Onofre or San Onofrio in Spanish. His feast of is 12 June. There is a San Onofre near San Diego, California, with a clothing-optional state beach. The Spaniards would name places around the world for the feast day on which they arrived and took possession. They most likely named Rio San Onofre in this way on 12 June, San Onofre's Feast Day. Saint Humphrey is the patron saint of weavers, probably because in religious paintings and sculpture he was widely portrayed covered only with his beard and some leaves about his waist. In Venezuela, San Onofrio is the patron of business, negotiations, and those seeking employment. In Caracas, the church of San Francisco contains a statue of St. Onofrio and it is always ablaze with votive candles placed by the rich and poor alike. The proprietors of many shops display a small statue of San Onofrio as evidence of their devotion to this saint.
Portrait of a Man (78x64cm) _ This portrait was also known with title Portrait of a Bandit, Portrait of the Brigand. Due to the similarity to the authentic self-portraits of the artist it is also assumed to be a self-portrait painted from a mirror.
Democritus in Meditation (1650, 344x214cm) _ Democritus, the great pre-Socratic philosopher and founder of a strictly materialist concept of the world sought new explanations for birth and death, appearance and disappearance. According to his theory of "atomism", atoms are the smallest parts of all substances, uniting and dividing in eternal swirling movements. His ethical system called for a life of moderation and tranquillity foregoing most sensual joys.
      Rosa depicts him in the traditional pose of melancholy, amidst a setting of decay, destruction and desolation. Animal skulls and bones, symbols of the past greatness of antiquity (vase, altar and herm) and symbols of fallen power (the dead eagle) are featured in this wasteland overcast with heavy grey clouds. An owl high in the tree is his only living companion, both a sign of night and of wisdom. Rosa's Democritus is not the philosopher who has reached the goal of his contemplation, nor does he represent serene tranquillity or the superior cognitive powers of the analytic mind. Instead, we see a forsaken thinker contemplating the things that have been the subject of his intellectual endeavours: death, the past, turbulent disquietude, fragmentation. The vanitas symbolism of the objects does not go unanswered: in the figure of the pensive philosopher lies the germ of a response, still caught in melancholy lethargy.
Diogenes casting away his cup (218x147cm; 795x512pix, 68kb) _ Diogenes of Sinope, a fourth century Cynic philosopher who lived in Athens and Corinth, despised worldly possessions so much that he made his home in a tub. The Greek biographer Diogenes Laertius, tells (VI:38) how, in an exemplary act of renunciation, he threw away his cup as redundant on seeing a boy drinking from his cupped hands.
      Rosa's career started in Naples, where he studied with his brother-in-law, Francesco Fracanzano, and possibly with Jusepe de Ribera, whose rich and expressive brushwork and taste for naturalistic representations of philosophers clearly had a lasting influence on Rosa throughout his career. In 1640, he moved to Florence where he worked for, among others, Giovanni Carlo de' Medici, for whom he painted Cincinnatus called from the Plough and its pendant Alexander and Diogenes, underlining a growing interest in the portrayal of subjects drawn from Roman and Greek writings.
      A certain scorn for society manifested itself in an interest in Stoicism and its doctrine of contempt for worldly vanities and Rosa frequently painted scenes from the lives of the ancient philosophers as an implicit criticism of the corrupt life of the city and court. The Cynic Diogenes, whose attacks on social folly were violent and sometimes witty, was of particular appeal to him, and he painted this subject on several occasions, including (as well as the present canvas) The Philosopher's Grove. In 1649, Rosa went to Rome, where he remained for the rest of his life. In the 1650s and early 1660s, he painted the grand and rocky landscapes for which he became best-known, yet continued to explore further ways of representing classical literary subjects. It is to this period that the present picture dates. It was auctioned on 09 July 2003 at Christie's in London, the estimate being £100'000 to £150'000.
River Landscape with Apollo and the Cumean Sibyl (1655, 174x259cm) _ Ovid (Metamorphoses. 14:130-153) tells how the Sibyl of Cumae, in southern Italy, was loved by Apollo. He bribed her by offering to prolong her life for as many years as there were grains in a heap of dust, in return for her embraces. She refused him and although he kept his word he denied her perpetual youth, so she was condemned to centuries as a wizened crone. The Sibyl, a young woman, is shown standing before Apollo holding out her cupped hands which contain the heap of dust. He sits on a rock before her, one hand resting on his lyre. The subject is first seen in the 17th century.
View of the Gulf of Salerno (1645, 170x260cm) _ Salvator Rosa was a prolific artist who is best known for the creation of a new type of wild and savage landscape. His craggy cliffs, jagged, moss-laden trees, and rough bravura handling create a dank and desolate air that contrasts sharply with the serenity of Claude Lorrain or the classical grandeur of Nicolas Poussin.
Human Fragility
The Return of Astraea (1644, 138x209cm; 332x504pix, 57kb)
— and a charming picture: Jason Charming the Dragon
 
^ Born on 20 June 1887: Kurt Schwitters, German Dadaist painter, sculptor, designer, and writer, founder of the Merz Dadaist movement, who died on 08 January 1948 in England.
— Kurt Schwitters was born Herman Edward Karl Julius Schwitters, in Hannover. He attended the Kunstgewerbeschule in Hannover from 1908 to 1909 and from 1909 to 1914 studied at the Kunstakademie Dresden. After serving as a draftsman in the military in 1917, Schwitters experimented with Cubist and Expressionist styles. In 1918, he made his first collages and in 1919 invented the term “Merz,” which he was to apply to all his creative activities: poetry as well as collage and constructions. This year also marked the beginning of his friendships with Jean Arp and Raoul Hausmann. Schwitters’s earliest Merzbilder date from 1919, the year of his first exhibition at Der Sturm gallery, Berlin, and the first publication of his writings in the periodical Der Sturm. Schwitters showed at the Société Anonyme in New York in 1920.
      With Arp, Schwitters attended the Kongress der Konstructivisten in Weimar in 1922. There Schwitters met Theo van Doesburg, whose De Stijl principles influenced his work. Schwitters’s Dada activities included his Merz-Matineen and Merz-Abende at which he presented his poetry. From 1923 to 1932, he published the magazine Merz. About 1923, the artist started to make his first Merzbau, a fantastic structure he built over a number of years; the Merzbau grew to occupy much of his Hannover studio. During this period, he also worked in typography. Schwitters was included in the exhibition Abstrakte und surrealistische Malerei und Plastik at the Kunsthaus Zürich in 1929. The artist contributed to the Parisian review Cercle et Carré in 1930. In 1932, he joined the Paris-based Abstraction-Création group and wrote for their organ of the same name. He participated in the Cubism and Abstract Art and Fantastic Art, Dada, Surrealism exhibitions of 1936 at the Museum of Modern Art, New York.
      The Nazi regime banned Schwitters’s work as “degenerate art” in 1937. This year, the artist fled to Lysaker, Norway, where he constructed a second Merzbau. After the German invasion of Norway in 1940, Schwitters escaped to Great Britain, where he was interned for over a year. He settled in London following his release, but moved to Little Langdale in the Lake District in 1945. There, helped by a stipend from the Museum of Modern Art, he began work on a third Merzbau in 1947. The project was left unfinished when Schwitters died in Kendal, England.
— Schwitters studied at the Kunstakademie in Dresden (1909–1914) and served as a clerical officer and mechanical draftsman during World War I. At first his painting was naturalistic and then Impressionistic, until he came into contact with Expressionist art, particularly the art associated with Der Sturm, in 1918. He painted mystical and apocalyptic landscapes, such as Mountain Graveyard (1912), and also wrote Expressionist poetry for Der Sturm magazine.
      He became associated with the Dada movement in Berlin after meeting Hans Arp, Raoul Hausmann, Hannah Höch and Richard Huelsenbeck, and he began to make collages that he called Merzbilder. These were made from waste materials picked up in the streets and parks of Hannover, and in them he saw the creation of a fragile new beauty out of the ruins of German culture. Similarly he began to compose his poetry from snatches of overheard conversations and randomly derived phrases from newspapers and magazines. His mock-romantic poem An Anna Blume, published in Der Sturm in August 1919, was a popular success in Germany. From this time ‘Merz’ became the name of Schwitters’s one-man movement and philosophy. The word derives from a fragment of the word Kommerz, used in an early assemblage (Merzbild, 1919; since destroyed), for which Schwitters subsequently gave a number of meanings, the most frequent being that of ‘refuse’ or ‘rejects’. In 1919 he wrote: ‘The word Merz denotes essentially the combination, for artistic purposes, of all conceivable materials, and, technically, the principle of the equal distribution of the individual materials .... A perambulator wheel, wire-netting, string and cotton wool are factors having equal rights with paint’; such materials were indeed incorporated in Schwitters’s large assemblages and painted collages of this period, for example Construction for Noble Ladies (1919).
      Schwitters’s essential aestheticism and formalism alienated him from the political wing of German Dada led by Huelsenbeck, and he was ridiculed as ‘the Caspar David Friedrich of the Dadaist Revolution’. Although his work of this period is full of hints and allusions to contemporary political and cultural conditions, unlike the work of George Grosz or John Heartfield it was not polemical or bitterly satirical. Schwitters’s ironic response to what he saw as Huelsenbeck’s political posturing was the extraordinary absurd story Franz Mullers Drahtfrühling, Ersters Kapitel: Ursachen und Beginn der grossen glorreichen Revolution in Revon published in Der Sturm (xiii/11, 1922), in which an innocent bystander starts a revolution merely by being there. Another more macabre story, Die Zwiebel (Der Sturm, x/7, 1919), underlines Schwitters’s romantic view of the artist as sacrificial victim and spiritual leader, a notion likewise quite antipathetic to Huelsenbeck’s dialectical materialism and scorn of bourgeois categories.
— Florence Henri was a student of Schwitters.

LINKS
Hitler
Quadrate
–- Santa Claus
–- Das Schwein niest zum Herzen
–- Graveyard
–- Difficult
–- Rainbow
–- Cross PHR
–- Pino Antonin — (the titles are not descriptive: they are almost all collages).
Merz 1926 Nr. 8 (572x456pix _ ZOOM to 1335x1065pix, 310kb)
Black Collage (1928; 574x474pix _ ZOOM to 1339x1105pix, 336kb)
Carola Gedeon-Welcker, ein fertig gemachter Poët (1947; 891x733pix, 309kb)
Untitled aka The Three White Scythes (800x789pix, 128kb) _ This has been transformed by the pseudonymous Snippy Swetters into More Than Three Colored Scythian Commoners aka Tuck Cut (2006; screen filling, 157kb _ ZOOM to 1864x2636pix, 1393kb).
Merz 410
Merzbild 5B (Picture-Red-Heart-Church) (26 Apr 1919, 83x60cm)
Merz 163, with Woman Sweating (1920)
Merz 199 (1921)
Maraak, Variation I (Merzbild) (1930)
click for complete picture (lithograph, 19x11cm) _ not much more than what is shown here in the thumbnail, which click for the complete picture, which includes much blank space. If you are looking for something a little more colorful, you might click on click for WEbS-8 and click for WEbS-9, and admire WEbS~8 (840x1200pix, 429kb) and WEbS~9 (840x1200pix, 481kb), computer images, not by Schwitters of course, but, quite the opposite, by pseudonymous artist Suldran “Turk” Sretti (not related to cyclist Edoardo Sretti).
133 images at Ciudad de la Pintura
—(060610)
^ >Born on 20 June 1833: Léon-Joseph-Florentin Bonnat, French painter, collector, and teacher, who died on 08 September 1922. — {Est-ce que son slogan était: “du beau, du bon, du Bonnat!”?}
— He lived in Madrid from 1846 to 1853, where his father owned a bookshop, and there he studied under both José de Madrazo y Agudo and Federico de Madrazo y Küntz. After moving to Paris in 1854, he entered Léon Cogniet’s atelier at the École des Beaux-Arts and competed for the Prix de Rome in 1854, 1855 and 1857. He won second prize in 1857 with The Resurrection of Lazarus, a painting characterized by the jury as frank, firm and powerful, terms applied to his art throughout his career. His early paintings of historical and religious subjects gave way in the late 1860s to the less esteemed field of genre, scenes of Italian life and the Near East, based on sketches made during visits to Italy (1858–1860) and the Near East and Greece (1868–1870).
— During their overseas trips, wealthy men from the US often had their portrait made by Bonnat. Women usually preferred Alexandre Cabanel. Bonnat's portraits were usually three-quarter length, somber, and dignified. Their format, dark palette, and brushwork were inspired by the works of Spanish artists such as Velázquez and Ribera, and led many to consider him a “manly” painter. Bonnat was, thus, a natural choice for male sitters, such as William T. Walters. He became popular with wealthy US men in the late 1870s, following the enthusiastic reception of his portrait of the celebrated French actress Madame Pasca at the Salon of 1875. His reputation as a portraitist of men was solidified the following year by the success of his portrait of Adolphe Thiers, the first of several French presidents he painted. Cabanel's portraits were lighter in palette, more carefully modeled and smoothly finished; features that were especially suitable for women's portraits. Patrons did not often approach artists directly to commission paintings. Instead, dealers such as George A. Lucas and Samuel P. Avery, both from the US, usually acted as liaisons between US clients and Bonnat, Cabanel, and other European artists. Lucas was originally from Baltimore and worked in Paris, and Avery was based in New York but made frequent trips to Paris. Both men kept diaries in which they recorded their business arrangements. Lucas negotiated with Bonnat and Cabanel on behalf of Baltimoreans Robert Garrett and his wife Mary Frick Garrett, later Mrs. Henry Barton Jacobs, to have their portraits painted in Paris, and accompanied them to the artists' studios. Robert sat for Bonnat, and Mary sat for Cabanel.
— The students of Bonnat included Edwin Howland Blashfield [15 Dec 1848 – 12 Oct 1936], James Harwood, Siddons Mowbray, Charles Sprague Pearce [13 Oct 1851 – 18 May 1914], Frederick Vinton, Harry Watrous, Irving R. Wiles, Franklin Brownell, Edwin Lord Weeks, Thomas Cowperthwaite Eakins [25 Jul 1844 – 25 Jun 1916], Harriet Backer [21 Jan 1845 – 25 Mar 1932], Jean Béraud [31 Dec 1849 – 1935], Eugen Napoleon Nicolaus Bernadotte prince of Sweden [1865-1947], Wilhelm Bernatzik, Georges Braque [13 May 1882 – 31 Aug 1963], Václav Brozík [5 May 1851 – 15 Apr 1901], Gustave Caillebotte [19 Aug 1848 – 21 Feb 1894], Gustaf Olof Cederström [12 Apr 1845 – 20 Aug 1933], Raoul Dufy [03 Jun 1877 – 23 Mar 1953], John Joseph Enneking [04 Oct 1841 – 17 Nov 1916], Louis Eysen [23 Nov 1843 – 21 Jul 1899], Stanhope Alexander Forbes, Nils Forsberg I [17 Dec 1842 – 08 Nov 1934], Émile Othon Friesz [06 Feb 1879 – 10 Jan 1949], Walter Gay [22 Jan 1856 – 13 Jul 1937], Robert Harris, Axel Theophilus Helsted [11 Apr 1847 – 17 Feb 1907], Hans Olaf Halvor Heyerdahl [08 Jul 1857 – 10 Oct 1913], George William Joy, Wojciech Kossak, Peder Severin Krøyer, Roberto Gerónimo Lewis, Berndt Adolf Lindholm, Jean Hippolyte Marchand, Józef Mehoffer, Edvard Munch [12 Dec 1863 – 23 Jan 1944], Alphonse Osbert, Theodor Esbern Philipsen, Carlos Reis, Helene Sofia Schjerfbeck, Joakim Frederik Skovgaard, Christian Skredsvig, Marc-Aurèle de Foy Suzor-Coté, Henri Marie Raymond de Toulouse-Lautrec Montfa [24 Nov 1864 – 09 Sep 1901], Laurits Regner Tuxen, Nils Gustav Wentzel, Erik Theodor Werenskiold.

LINKS
Self Portrait (1858 monochrome; 92kb)
Jules Grévy (1880, 152x116cm _ ZOOMable) _ Grévy [15 Aug 1807 – 19 Sep 1891], was President of the Republic of France from 30 January 1879 to 02 December 1887. He was remarkable in that he sought to limit the powers of the presidency while enhancing those of the legislature, opposed revanchism against Germany, and opposed colonialism. Émile Oustalet [24 Aug 1844 – 23 Oct 1905] attached in 1882 his name to a species of zebra, Grévy's zebra [photo], after Abyssinia gave one to Grévy.
The First Mourning
Jeune Fille Italienne (93x72cm)
Italian Girl with a Jug (1875, 46x32cm)
An Arab removing a thorn from his foot
Prince Vyacheslav Nikolayevich Tenishev (1896) _ Tenishev was an ethnographer and sociologist.
In the Mountains (1870)
Fountain by the Cathedral of Saint Peter In Rome (1868)
–- Méditation (1884, 146x104cm; 1200x992pix, 80kb) _ Compare:
      Meditation (1893) by Perrault.
Madame Pasca (1874, 222x132cm; 700x411pix, 130kb _ ZOOM to 1268x750pix, 115kb) and a smaller copy Madame Pasca (104x61cm; 600x347, 92kb) _ Madame Pasca [1835-1914] was a famous actress. Bonnat a exposé ce portrait au Salon de 1875 où il a été très remarqué. La grande artiste, dans une robe de satin blanc bordée de fourrure, est debout, la tête relevée. Le bras droit, nu, pend le long du corps, la main gauche s'appuie sur une chaise de bois doré. Elle est superbe, énergique, triomphante. La tête de Mme Pasca me semble un peu lourde. En réalité il y avait plus de feu, plus d'animation, plus d'esprit dans les traits de sa physionomie. La robe de satin blanc est également trop lourde; on reconnaît à peine l'étoffe. Mais ce qu'il convient de louer sans réserve, c'est ce bras droit, ce bras nu qui tombe si noble ment et donne tant de caractère à toute la figure; il est fait de main de maître. À part cela, certains détails sont remarquables, la bague, l'agrafe de la ceinture, rendue avec tant de vérité qu'on pourrait s'y tromper et les prendre pour réelles. Enfin la facture de la chaise est admirable, inimitable. Mme Pasca était très à la mode à l'époque. Elle passait ses vacances d'été à Paris et avait reparu depuis peu dans le rôle créé par elle en 1868 de Fanny Lear dans la pièce de Meilhac et Halévy. La pièce est médiocre; une aventurière s'empare d'un vieux baron et, bien entendu, reçoit son châtiment au dénouement. Mais le talent de Mme Pasca avait insufflé la vie à cette production. L'actrice excella surtout dans le troisième acte. Paris, qui la regrettait depuis que Saint-Pétersbourg la lui avait ravie, la combla d'ovations frénétiques. Elle retourna l'hiver suivant à Saint-Pétersbourg, grandie de ce triomphe. La foule qui s'attardait devant son portrait se composait de spectateurs qui l'avaient applaudie au Vaudeville.
The Dilemma
—(080620)
^ >Born on 20 June 1869: Lucy Elizabeth Kemp~Welch, British painter specialized in horses, who died on 27 November 1958.
— Kemp-Welsh was born in Bournemouth, the daughter of Edwin Bueldand Kemp-Welsh. She demonstrated an early excellence in art — exhibiting for the first time when aged 14. At the age of 19 she went to study art at the school run by Hubert von Herkomer in Bushey, Hertfordshire. She has left a vivid record of Herkomer's rather extreme behavior, his irascibility, sarcasm, and severity. Happily she also records another facet of his character — his unstinting encouragement of what he regarded as promising work Lucy Kemp-Welsh regarded Herkomer as her mentor, and when his health started to deteriorate shortly before the First World War, she became principal of his school (1905-1926). She was an animal painter, largely of horses, and exhibited at the Royal Academy from 1894. From the standpoint of the early 21" century it appears incomprehensible that Lucy Kemp-Welsh, like a number of other highly-talented women painters was not elected even an Associate of the Royal Academy. One of her pictures Colt hunting in the New Forest was purchased by the Chantrey Bequest for the nation. She became the first president of the Society of Animal Painters, formed in 1914, was a member of The Pastel Society from 1917, and a member of the Royal and British Colonial Society from 1920. Following the First World War in 1921 Kemp-Welch exhibited at the Paris Salon, and was awarded a bronze medal, in the following year exhibiting again at the Salon, and was awarded 5 silver medal. In 1938 she had a one-woman exhibition in Bond Street. As well as pictures of horses, including battle scenes, she painted other animals, flowers, and landscapes.
— Photo of .Kemp-Welch.

–- Cart Horses on the Downs (1917, 46x61cm; 813x1000pix, 102kb)
Colt Hunting in the New Forest (1897, 154x306cm) _ This became her best-known picture after being purchased for the Chantrey Collection for 500 guineas.
Study of a Colt for Colt Hunting in the New Forest.
Forward the Guns! (1917, 152x306cm)
–- Skylark (1913, 76x102cm; 900x1209pix, 152kb)
–- Mare and Foal (64x76cm; 510x781pix, 113kb)
—(080619)

Died on a 20 June:


^ 1882 François-Auguste-André Biard, French artist born on 30 June 1799. — {Jouait-il au billard, Biard?}— LINKS
Les Naufragées (637x800pix, 95kb)
On Ferme (46x60cm)
Le Sermon (90x117cm) —(060617)

^ >1840 (19?) Pierre Joseph Redouté, French illustrator born on 10 July 1759, in Saint-Hubert, Luxembourg, in a Flemish family. He specialized in Still Life and Flowers. — {Était-il redouté, Redouté? Par qui? Pourquoi?}— His great-grandfather, grandfather, father and two brothers all earned their living as artists. His father, Charles-Joseph Redouté [1715–1776], worked as an interior decorator at the Abbey of Saint-Hubert in the Ardennes and for wealthy Luxembourg clients. His elder brother, Antoine-Ferdinand Redouté [1756–1805], became an interior decorator and designer of stage scenery in Paris. In lasting achievement, however, Pierre-Joseph Redouté was the most distinguished. He studied under Gerard van Spaendonck. Redouté worked with great industry and skill during a period in France particularly favorable for the publication of sumptuous and important botanical books. The engraved botanical plates, often colored, in such books displayed his mastery of plant illustration and stipple engraving. He published in all about 2100 plates, distinguished for their elegance and accuracy, and portrayed at least 1800 species, as well as garden forms. — LINKS
–- Still Life with Roses and an Anemone (1387x1047pix, 154kb _ .ZOOM to 2427x1832pix, 341kb)
–- S*#> Still Life of Flowers (800x724pix, 89kb)
Paeonia moutan var. B (46x33cm; 760x540pix, 50kb) _ Paeonia suffruticosa is the scientific name for the moutan. A Chinese source as early as 536 AD gave the original habitat as Eastern Szechuan and Shensi in Western China. The large flowers appealed to Chinese taste and by 700 a great many varieties were known. The plant was exported to Japan about 734. The first variety to reach Europe was planted at Kew Gardens in London by Sir Joseph Banks in 1789. This was said to be very double, magenta at the center, fading to a lighter tint at the outside, and by 1829 was reported as eight feet high and ten feet across. This was destroyed in 1842, but it is likely that the plant drawn by Redouté came from this stock. A small grayscale detail shows a well formed seed head before the seed has reached full maturity.
A bunch of flowers including a peony, roses, hibiscus, asters, gentian; and an imaginary butterfly (45x37cm; 760x612pix, 61kb) _ Somewhat faded. This is a late picture. The flowers show the repertoire of Redouté's Choix des plus belles fleurs ( 1827-1833). A certain mechanical handling to the forms suggests that the artist may have been tired. Compared with the superlative achievement of the pictures done for Joséphine they are a little flat. Nonetheless the picture bears witness to Audubon's comment after he met Redouté in 1828: “His flowers are grouped with peculier taste, well drawn and precise in the outlines and coloured with a pure brilliancy that depicts nature incomparably better than I ever saw it before.”
35 images at the Fitzwilliam Museum —(080619)

^ >1705 Michiel van Musscher, Dutch painter and printmaker born on 27 January 1645. He received his eclectic artistic training in Amsterdam, studying first with the history painter Martinus Zaagmolen [1620–1669] in 1660, then with Abraham van den Tempel in 1661, followed by lessons with Gabriel Metsu in 1665. He completed his studies in 1667 in the studio of Adriaen van Ostade. The following year van Musscher returned briefly to Rotterdam before settling permanently in Amsterdam. Elliger was a student of van Musscher. — LINKS
–- Gerard Pieterszoon Hulft (1677, 491x397cm; 1792x1440pix, 334kb) _ charged with the coat-of-arms of the sitter's family upper left. Gerard Pieterszoon Hulft was the first councillor and director-general of the Dutch East India Company (V.O.C.) in 1654. He perished, as commander-in-chief, at a young age in 1656 in the Siege of Colombo the capital of former Ceylon. His heroic death inspired Joost van den Vondel [1587-1679] to a poem, and this work appears to be a posthumous portrait made 21 years after his death. There is a 1654 portrait of Hulft by Govert Flinck [1615-1660].
Doctor Taking a Young Woman's Pulse (1680; 116kb) —(080619)


Born on a 20 June:


^ >1861 (29 Jun?) Pedro Figari, Montevideo Uruguayan painter, writer, lawyer and politician who died on 24 June (July?) 1938. He showed artistic inclinations from childhood but completed a degree in law in 1886; his appointment as a defense counsel for the poor brought him into contact with social issues that later informed his art. In the same year he studied briefly with the academy-trained Italian painter Godofredo Sommavilla [1850–1944], married and left for Europe, where he came into contact with Post-Impressionism. On his return to Uruguay he became actively involved in journalism, law and politics as well as fostering the creation of the Escuela de Bellas Artes. During the course of his life he published a number of books that reflected his broad interests in art, art education and legal matters. He was a member of the Uruguayan Parliament, president of the Ateneo of Montevideo (1901) and director of the Escuela Nacional de Artes y Oficios (1915). His paintings are sloppy. — LINKS
–- S*#> La Pica (xcm; 569x798pix, 73kb)
–- S*#> Corrida de Toros, Carrasco (1922, 40x50cm; 636x799pix, 99kb)
–- S*#> Rosarito (Río de la Plata) (35x50cm; 564x799pix, 96kb)
–- S*#> Baile Frente al Rancho (25x35cm; 581x799pix, 76kb)
–- S*#> Alto en el Campo (60x80cm; 588x799pix, 87kb)
–- S*#> La Plaza del Pueblo (69x99cm; 562x799pix, 95kb)
–- S*#> Los Pasteles (40x31cm; 800x585pix, 94kb)
–- S*#> Un Cuento (30x40cm; 645x800pix, 104kb)
–- S*#> Negros y Mulatas (1930, 35x50cm; 569x800pix, 137kb)

^ 1832 Léon Jean Bazile (or Basile) Perrault (or Perrauld), French genre, portrait, and historical painter who died in 1908. Perrault received his formal training at the Beaux Arts Academy under François Edouard Picot [1786-1868] and his good friend William A. Bouguereau [1825-1905]. Perrrault had his debut in the Paris Salon of 1861 and was awarded metals in 1864, 1876 and 1878. He exhibited Give for My Little Chapel in 1868 at the Boston Anthenaeum.
— Was he a descendant of Charles Perrault [12 Jan 1628 – 16 May 1703] who, under the name of his son Pierre, published in 1697 Histoires ou contes du temps passé, avec des moralités: Contes de ma mère l'Oye (1697) which include Cendrillon ou la petite pantoufle de verre. [he ought to have written “pantoufle de vair” vair, same word in English (also “miniver” for “mini-vair”), is a squirrel fur highly prized by Medieval nobility]?. (English translation: Cinderella)
–- Son Favori (1867; 56x46cm; 828x667pix, 49kb — ZOOM to 1605x1361pix, 121kb)
–- Cupid's Arrows (1882, 102x83cm; 840x667pix, 51kb — ZOOM to 1708x1291pix, 122kb)
–- Sleeping Putto (1882, 46x53cm; 759x900pix, 41kb)
–- En Pénitence (1876; 848x502pix, 25kb)
Meditation (1893) _ Compare:
      .Meditation (1893) by bonnat.
Love and Innocence (1884)
The Apple Picker (1879, 103x76cm)
The Bird Charmer (1873)
The Mirror (1866, 107x120cm)
Out In The Cold (1890, 114x90cm)
Vanitas (1886, 108x128cm) aka A Beautiful Reflection
La Tarantella (1879, 144x108cm; 1000x764pix, 128kb)
Vénus à la Colombe (1902, 80x43cm)
A Mother with her Sleeping Child (1896, 46x55cm)
La Baigneuse (1875, 140x198cm)
An Interesting Story (60x46cm; 1000x713pix, 174kb)
Le Miroir De La Nature (126x84cm; 1000x659pix, 123kb)
–- S*#> Maternité (1870, 55x46cm; 900x768pix, 107kb)
–- S*#> Petite Fille au Bouquet de Fleurs (1896, 55x46cm; 800x649pix, 87kb)
–- S*#> Petite Fille aux Raisins (1868, 46x38cm; 800x664pix, 76kb) —(080620)

^ 1797 Mme Sophie (Frémiet) Rude, French artist who died on 04 December 1867. — {She wasn't Rude as a child, and when she grew up she would not have become Rude if she hadn't, in 1821, married Realist sculptor François Rude [04 Jan 1784 – 03 Nov 1855], from whom there is plenty of Rude artwork on the internet, though I cannot find as much from her, and none of it seems rude.} — Sophie Frémiet studied initially with the founder of the Dijon School, François Devosge; she then followed her family into exile in Brussels in 1815 and there established herself as one of the most prominent of David's students, making copies under his supervision of two of his late masterpieces, Télémaque et Eucharis and La Colère d'Achille. After marrying François Rude, she collaborated with him on the decoration of the castle of Tervueren, a former summer residence of the Dukes of Brabant. In the late 1820's, Sophie and her husband settled in Paris, where she was a frequent exhibitor at the Salon.
— François Rude a été présent à chaque instant dans la vie de Sophie dès son enfance car il était un ami de son père et nettement plus âgé qu'elle. Elle laissa plusieurs portraits de son époux, inoubliable avec sa longue barbe de patriarche.
     Elève d'Anatole Devosge à Dijon, elle resta toujours attachée à sa ville natale, même si les événements politiques forcèrent sa famille à l'exil et si la carrière de son mari l'amena à habiter Paris lors de leur retour en France. Le retour des Bourbons qui força son père, bonapartiste, à partir pour Bruxelles fut une chance pour la carrière de la jeune femme: elle put ainsi entrer dans l'atelier de David [1748-1825] qui manifesta un grand intérêt pour son élève. Peignant dans la manière du maître, elle fit également des copies d'après ses compositions. Elle est l'auteur du Portrait de Wolf dit Bernard qui passa longtemps pour être de David, avant de lui être rendu en 1985. Car si l'artiste doit être, assurément, classée dans l'école française, elle fut fortement marquée par les années qu'elle passa à Bruxelles jusqu'en 1827, date de son retour en France et de l'installation à Paris.
     Un tableau comme La Sainte Lecture (1819, 68x85cm _ B&W image) doit autant au David des dernières années qu'à l'interprétation de sa manière par Navez : figures vues en gros plan, juxtaposées sans un sens bien maîtrisé de l'espace, ce tableau est très proche de ce dernier peintre comme le souligne Monique Geiger.
     Elle ne fut cependant pas qu'une émule de David ou de Navez. Elle s'éloigna très rapidement de la manière de ce dernier, et La Sainte Lecture est presque un unicum dans son oeuvre. Si elle produisit essentiellement des portraits, elle fut également l'auteur de peintures d'histoire proches d'Eugène Devéria ou de Tony Johannot. Bien que ses tableaux soient de qualité inégale, certains sont de très belles réussites, comme le mélancolique Portrait de jeune femme (1849, 82x65cm; 597x449pix, 35kb) ou le tendre Portrait d'Amédé Rude (46x38cm; 650x586pix, 38kb), le fils unique du couple qui mourut à l'âge de 8 ans, plongeant son père dans une profonde dépression.
François Rude (1842, 100x81cm; 650x536pix, 18kb)
La Duchesse de Bourgogne arrêtée aux portes de Bruges (183x150cm; 650x515pix, 42kb) _ L'Histoire des ducs de Bourgogne de Prosper de Barante relate comment la duchesse Isabelle de Portugal, épouse de Philippe le Bon, quitte la ville de Bruges avec son fils Charles, alors que leur voiture est arrêtée par les émeutiers hostiles. Sophie Rude démontre dans cette composition lyrique et romanesque quel enseignement elle tira des oeuvres contemporaines de Delacroix.
Mort de Cenchrée, fils de Neptune, à l'instant ou Pirène soutenant son fils mourant, supplie la déese Diane de le sauver (1823, 206x254cm; 811x1000pix, 171kb _ .ZOOM to 1622x2000pix, 233kb) _ The nymph Peirene is lamenting the death of her son Cenchirias, who has been killed accidentally by an arrow from the quiver of the goddess Diana. Diana, clad in a panther-skin, is followed by her entourage and two dogs on the left of the composition; on the right stand two women presumed to be relatives of the slain boy and a servant-girl. The legend has it that a spring was formed by the tears of Peirine in Corinth, where a port was named after Cenchirias.
Wolf, dit Bernard (1823, 125x85cm; 650x504pix, 56kb) [1778-1850] auteur, acteur, directeur du théâtre de la monnaie à Bruxelles. —(070619)


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