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DEATHS:  1813 GRAFF 1678 VAN SCHRIECK
^ >Died on 22 June 1813: Anton Graff “van Dyck of Germany”, Swiss German painter specialized in portraits, born on 18 November 1736.
— Graff, born in Switzerland, was the leading German portrait painter of the 18th century. He was a younger contemporary of Reynolds, with whom he is often compared but Graff really belongs to a later generation, since most of his portraits lack the trappings of the Grand Style, and he worked almost into the Biedermeier period.
      He was in Augsburg by 1756 and removed to Dresden in 1766 to teach at the newly founded Academy. He recorded himself as having painted some 1240 portraits in his long career and his sitters included many of the most famous of his contemporaries — Lessing, Herder, Schiller (whom he records as having fidgeted the whole time). He also made some 322 portrait drawings in silver point, a very rare technique in the 18th century. Some fragments of an autobiography were posthumously published in 1815.
— Graff was a student of Johann Ulrich Schellenburg [1709–1795] in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider [1716–1762] in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764–1765) painting miniatures of clerics and town councilors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende Künste there. In 1771 he went to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der Künste in Berlin, but he remained in Dresden. He often went to Leipzig, and in summer he frequently went to Teplitz (now Teplice, Czech Republic) and Karlsbad (now Karlovy Vary, Czech Republic); he also worked in Berlin on several occasions and returned to Switzerland for visits.
— Graff's students included Heinrich Freudweiler, Johann Konrad Gessner [02 Oct 1764 – 08 May 1826], Karl August Senff, Henriette-Felicité Tassaert.

LINKS
Self-Portrait at the Age of 58 (1794, 168x105cm; 1150x709pix, 112kb) _ The artist abandoned the idealized portraiture of the Rococo period and specialized in half-length portraits with naturalistic poses and subdued tones.
–- Selbstbildnis mit pinseln und palette (78x62cm; 1184x1070pix, 56kb) a copy, cropped to half-length, of the above full-length self-portrait.
–- S*#> Friedrich August I (86x69cm; 900x722pix, 152kb) _ Friedrich August I [1750-1827] was elector and later king of Saxony. He was the son of Friedrich Christian, Elector of Saxony [1722-1763] and his wife, Maria Antonia, Princess of Bavaria. He married in 1769 Countess Amalie of the Palatine and Princess of Zweibrücken. He is shown half-length, wearing a mauve jacket and waistcoat, and the badge of the Order of the White Eagle.
–- S*#> Christoph Friedrich Nicolai (1783, 75x65cm; 510x438pix, 57kb) _ Friedrich Nicolai [1733-1811], shown here bust length, was a bookseller, writer and publisher, and friend of the other leading lights of the Aufklärung in Berlin, such as Lessing, Sulzer, Ramler, and Mendelsohn.
The Artist's Family before the Portrait of Johann Georg Sulzer (1785; 800x597pix, 93kb)
Le Comte Christophe Urbanowski (1791, 113x92cm; 512x410pix, 34kb)
George Leopold de Gogul (1796; 575x419pix, 67kb)
 
^ Died on 22 June 1678: Otto Marseus “Snuffelaer” van Schrieck, Dutch Baroque Era painter born in 1619. — {Creepy creatures in dark underbrush did not make Schrieck shriek, they made him want to take the pain to paint them}
— It is difficult to categorize van Schrieck: he made a few traditional still-lifes, but he is best known for his mysterious dark close-ups of the live undergrowth of forest floors that give detailed views of wild flowers, weeds, thistles, and mushrooms animated by phosphorescent butterflies, insects, reptiles, and snakes. These works, strictly speaking not still-lifes, have always appealed to collectors of highly finished Dutch cabinet pictures. Naturalists have a field day identifying their flora and fauna, and so do iconographers who give detailed commentaries on their content, which are generally related to the transience theme. Van Schrieck travelled to Italy in 1648. In Rome he received the nickname Snuffelaer, because he sniffed everywhere for strange creatures and plants. He returned to his homeland a few years later. After settling in Amsterdam, he acquired a parcel of land just outside the city where he kept animals and reptiles. No doubts some are portrayed in his paintings.
— Van Schrieck went to Italy and stayed in Rome and Florence with the painters Matthias Withoos and Willem van Aelst, the latter his student at the time. Among his patrons were Ferdinando II de’ Medici, Grand Duke of Tuscany (reg. 1621–1670). Van Hoogstraten claimed that he met van Schrieck in Rome as late as 1652. In Rome, van Schrieck was a member of the Schildersbent. About 1657 he returned with van Aelst to Amsterdam, where he had a small property and got married on 25 April 1664. An inventory of the contents of his house was made in July 1678, shortly after his death, in which more than 300 paintings are listed. Besides his own paintings, there were works by Cornelis van Poelenburch, Simon de Vlieger, Ludolf Bakhuizen, Jan Wijnants, Lucas van Leyden, and van Aelst.
— Van Schrieck's students included Willem van Aelst.

LINKS
Blaue Winde, Kröte und Insekten (1660, 54x68cm; 599x752pix, 63kb _ ZOOM to 2021x2536pix, 442kb)
Still Life with Lizard and Snake (1670, 63x50cm; 947x763pix, 132kb _ ZOOM to 1521x1225pix, 279kb) _ The reptiles are raging at each other. One of the flowers is bent towards them. The other flowers are gloriously unconcerned. There are two mushrooms in the lower right corner.
Still-Life with Insects and Amphibians (1662, 51x68cm) _ Among the Dutch still-life painters Otto Marseus van Schrieck has a special position. His somewhat exotic oeuvre has only come to be appreciated in more recent decades. He nearly always presents a small section of the woods with thick dark undergrowth, and a hidden microcosm in which frogs, toads, snakes and lizards crowd together, fighting for their lives. Van Schrieck knew the habits of these animals very well and is known to have bred reptiles and snakes himself. This painting also shows bizarre botanical species, such as a coral fungus on the left and thistles, under which a lizard - a so-called lacerta - is hiding, about to attack the toad. Van Schrieck has designed an idealized habitat, modeled on biological dioramas, which are illustrations with a three-dimensional effect. However, although the world of his paintings reflects the zoological and botanical interests of a well-versed science amateur, it is still not free from religious associations. Indeed, it is the religious meaning which determines the selection and composition of the animals and plants. The snake, the toad and the lizard are the 'unclean animals', the serpent had negative connotations and was regarded as an incarnation of evil, and such, was a favorite subject for depicting evil. _ detail _ This painting also shows bizarre botanical species, such as a coral fungus on the left and thistles, under which a lizard — a lacerta — is hiding, about to attack the toad.
Still-life with Plants and Reptiles (1667, 58x45cm) _ Schrieck developed a subgenre of reptile-insect-and-plant paintings. In this painting that combines animals and plants typical for August, he made an impression of butterfly wings into the paint, to achieve lifelike texture, and implanted at least one leg of a fly. Van Schrieck may have developed these interest in the lively scientific culture of Rome, where he met Samuel van Hoogstraten in 1652.
Serpents et papillons dans un sous-bois (Sep 1670, 55x70cm; 700x550pix, 45kb) _ L'artiste se spécialisa dans la production d'étranges et inquiétantes vues de sous-bois animés par des insectes, papillons ou lézards et marqués par une lumière tranchée et un jour ciselé, d'une précision virtuose qui plaît beaucoup de nos jours.
Snake, Frog, and Butterflies (61x41cm; 472x380pix, 36kb) _ Peintre de natures mortes et de scènes animalières, Van Schrieck est l'inspirateur d'une véritable école spécialisée dans le sous-bois, et l'initiateur de ces compositions étranges et funestes. Avec une précision extrême, il détaille les formes végétales et utilise une profusion de feuillages luisants, donnant à la nature un aspect inquiétant qui tranche avec la sérénité du paysage situé en arrière-plan. En exprimant la violence des luttes animales, ses sujets ont pour vocation de souligner le côté éphémère, fragile et précaire de la vie.
—(060621)

Died on a 22 June:


2007 Luciano Fabro, Italian Arte Povera sculptor born on 20 November 1936. — LINKS —(070704)

1986 Fausto Melotti, Italian sculptor born on 8 June 1901. — LINKS —(060621)

1972 Jirí John, Czech painter and printmaker born on 06 November 1923.
— (untitled) (drypoint; 600x600pix, 98kb) —(060621)

^ >1961 (23 Jun?) Werner Gilles, German painter born on 29 August 1894. After World War I Gilles studied under of Walther Klemm at the academy of Weimar, but still in 1919 he changed to the class of Lyonel Feininger at the newly found Bauhaus and stayed at this school for art and design until 1923. During this time Gilles was friends with Gerhard Marcks and Oskar Schlemmer. He decided on a stay in Italy in 1921-1922. After his studies, Gilles' life is characterized by frequent traveling: After one more trip to Italy he stayed in Düsseldorf, Paris and Berlin from 1925 to 1930. In 1932, during his first visit to the Italian island of Ischia, the artist discovered the things that stimulated his imagination for painting: the combination of antique heathen elements and components of the western Christianity, of the past and the present. Gilles found the main subject of his pictures in this southern landscape: He described the serene as well as the threatening side of this primeval landscape in his oil and watercolor paintings; he captured its essence in ever-changing variations, which he creates in the open countryside. Gilles' favorite theme came to fruition in two Orpheus-cycles (1947, 1949) and in the watercolor paintings for the Tibetan book of the dead, which were created in the fifties and combine the images of the Orpheus-cycles with elements of Christianity and Buddhism. His late work incorporated various stylistic impulses. Instead of the early southern landscapes of the twenties, using mainly bright local colors contrasted with black, oriented around the Murnau school and the Blaue Reiter, the end of the thirties is characterized by a classical use of forms in his drawings and paintings. During and after the war his works are determined by a simplifying stylization of things and figures and his compositions became more two-dimensional. Gilles spent the winter in Munich and the summer on the island of Ischia from 1951 on. Werner Gilles died in Essen.
Komposition mit Quadraten (1930 tapestry, 117x73cm; 500x340pix, 163kb) _ The pseudonymous Warmer Pierrot has thoroughly transformed this into the stunning twin abstractions
      _ Commandant Meets Quadruplets (2007; (2007; 664x940pix, 283kb _ ZOOM to 940x1328pix, 524kb _ ZOOM+ to 1329x1880pix, 999kb _ ZOOM++ to 1880x2658pix, 1794kb _ ZOOM+++ to 2658x3760pix, 3170kb) and
      _ Decomposition of Meat for a Squad of Rats (2007; 664x940pix, 283kb _ ZOOM to 940x1328pix, 524kb _ ZOOM+ to 1329x1880pix, 999kb _ ZOOM++ to 1880x2658pix, 1794kb _ ZOOM+++ to 2658x3760pix, 3170kb) _ To demonstrate what a lazy minimalist might do, Pierrot has taken a detail less than one-thousands of this picture and reduced it to
      _ Komiq (2007; (2007; 664x940pix, 20kb _ ZOOM to 940x1328pix, 36kb _ ZOOM+ to 1329x1880pix, 70kb _ ZOOM++ to 1880x2658pix, 136kb _ ZOOM+++ to 2658x3760pix, 270kb) and
      _ Kompot (2007; 664x940pix, 20kb _ ZOOM to 940x1328pix, 36kb _ ZOOM+ to 1329x1880pix, 70kb _ ZOOM++ to 1880x2658pix, 136kb _ ZOOM+++ to 2658x3760pix, 270kb) _ However from the same detail, Pierrot has produced the more interesting quadriculated
      _ Comic (2007; (2007; 664x940pix, 172kb _ ZOOM to 940x1328pix, 278kb _ ZOOM+ to 1329x1880pix, 480kb _ ZOOM++ to 1880x2658pix, 790kb _ ZOOM+++ to 2658x3760pix, 1204kb) and
      _ Compote (2007; 664x940pix, 172b _ ZOOM to 940x1328pix, 278kb _ ZOOM+ to 1329x1880pix, 480kb _ ZOOM++ to 1880x2658pix, 790kb _ ZOOM+++ to 2658x3760pix, 1204kb)
Landschaft mit Bäumen (327x450pix, 37kb)
Landschaft (323x450pix, 30kb)
Melancholie (1948; 275x365pix, 44kb) _ Pierrot has modified this picture and added small versions of several other pictures by Gilles, some of them modified, resulting in the mosaic-like
      _ Miel en colis (2006; screen filling, 198kb _ ZOOM to 1864x2636pix, 1616kb). —(070621)

^ 1955 Otto Mäkilä, Turku Finnish artist born on 09 August 1904. Otto Mäkilä emphasised in his paintings the poetry of the world, its mystery and the inner reality of man. He was the first Finnish artist whose name was mentioned in connection with Surrealism as early as 1932. The central theme of Otto Mäkilä's work in the 1930s was the unity of man and nature. He also emphasised the importance to himself of the forest and nature. The fundamental questions of life opened up to him on solitary treks in the forests on the island of Ruissalo where he grew up. He wrote: “Everything surrounding us is nature and there's nature inside us, only nature.” — Turkulaisen Otto Mäkilän maalaukset ovat runollisen surrealistisia. » Esittelyyn — {Are his works noted for their Finnish finish?} — {No es cierto que tuvo hija y le puso nombre Dora}. — Photo of Mäkilä (797x502pix, 50kb)
Caput mortuum (1947, 28x36cm; 473x590pix, 59kb)
Kesäyö (1938, 70x90cm; 555x721pix, 20kb) {No me pregunten cómo se pronuncia ¿Qué sé yo?}
Satu (1933, 33x41cm; 567x707pix, 24kb)
— Other works of Mäkilä include: Outo maa (1938), Meri (1938), Haaksirikko (1938), Poésie (1938), He näkevät, mitä me emme näe (1939), Yökulkija (1945), Omega I (1945), Omega II (1947), Seireenit I (1947), Seireenit II (1949), Elämän erämaa (1951).

^ 1949 Sasza Blonder “André Blondel”, in Paris, Polish Jewish artist born on 27 May 1909. Blonder studied architecture in École National Supérieure (1931-1932) in Paris and painting art at the Academy of Fine Arts in Cracow (1931-1934) under the tutelage of Teodor Axentowicz, Wladyslaw Jarocki and Fryderyk Pautsch. Blonder was linked with the radical left wing. Together with Jonasz Stern, Maria Jarema, Leopold Lewicki and others, he created the "Cracow Group" (1933-1937); with avantgarde artists, including Wladyslaw Strzeminski and Leon Chwistek, he participated in the exhibition of the "Modern Artists Group" in Warsaw (1933). In 1935, Blonder directed and designed stage scenery for the Jewish school theatre in Bielsko. He painted expressive landscapes of eastern Polish cities. In his paintings In prison and Houses (about 1933), Blonder segmented surfaces into areas of similar power of expression. In his zone-divided painting Quarry (around 1935), miners painted in drifts are united with their surrounding. In Figures (1933), the painting is filled with a uniform crowd having brutally deformed faces. In the same period, Blonder painted abstract compositions, including some elements of expression and allusions to the reality. In 1937, he was granted a scholarship in Paris. During the WWII, Blonder stayed in the south of France, where he collaborated with the resistance movement. He was linked with the group "Artistes Méridionaux" in Toulouse, and painted landscapes and portraits of his children.
Composition with Figures (951x750pix, 190kb)
Houses (1933, 48x60cm; 312x387pix, 45kb)

^ 1945 José Maria Veloso Salgado (or Velloso-Salgado), Portuguese painter and engraver born on 02 April 1864. He was a student of Benjamin-Constant [10 June 1845 – 26 May 1902]. Estudou na Academia de Belas-Artes de Lisboa (1888) e em Paris. Pertenceu à segunda geração do naturalismo na pintura portuguêsa, marcada por forte convencionalismo. Foi autor de Amor e Psique (1891), Jesus (1892), Vasco da Gama em Presença do Samorim (1898).
Mrs. Hirsch (1934, 203x131cm)

^ 1933 Arkady Aleksandrovich Rylov, Russian artist born on 17 January 1870. Rylov grew up in the forests of Viatka, in the Tver Region. “Campfire life in this untrodden wilderness made me take up landscape painting”, he would say later. Soon after moving to Saint-Petersburg in 1888 he was admitted to the Academy of Arts, where he studied under the landscapist Arkhip Kuinji, whose students also included N. Roerich, K. Bogayevsky and V. Purvitis.
Self-portrait with a Squirrel (1933 drawing; 257x371pix, 17kb).
Sunset (1917, 100x129cm; 419x540pix, 132kb) _ This is both an accurate painting of a cold northern sun setting above a lake and at the same time a symbol, or even a premonition, of events that have nothing to do with nature. It was generally interpred during the Soviet era as a landscape that symbolized the “fire of the revolution.” Rylov supported the Bolshevik Revolution, and was actively involved in Soviet art circles.
The Blue Expanse (1918, 109x152cm; 378x540pix, 97kb)
Wind in the Trees (1904, 107x146cm; 432x587pix, 141kb)
Landscape with River (1913; 416x568pix, 43kb)
Breeze on the River (1926, 86x122cm; 358x406pix, 43kb)
45 images at Igor Terentiev

1933 Harold Desbrowe Annear, Australian artist born on 16 August 1865.

^ 1928 Arthur Burdett Frost, US painter, illustrator, graphic artist, and comics writer, born on 17 January 1851. Father of of John Frost [14 May 1890 – 05 Jun 1937] — Relative? of John Orne Johnson Frost [02 Jan 1852 – 03 Nov 1928]? — Frost's work is well known for its dynamic representation of motion and sequence. Frost is considered one of the great illustrators in the Golden Age of US Illustration. Frost illustrated over 90 books, and produced hundreds of paintings; in addition to his work in illustrations, he is renowned for his realistic hunting and shooting prints. Frost was born in Philadelphia, the eldest of ten children; his father was a literature professor. He became a lithographer, and in 1874 he was asked by a friend to illustrate a book of humorous short stories, which was a commercial success, selling more than a million copies. In 1876, Frost joined the art department at the publisher Harper & Brothers, where he worked with such well-known illustrators as Howard Pyle, E. W. Kemble, Frederic Remington, and C. S. Reinhart. While there, he learned a wide variety of techniques, from cartooning to photorealistic painting. Frost's color blindness may have helped his excellent use of grayscale. In 1877 and 1878, Frost went to London to study with some of the great cartoonists of the time. Later, he returned to Philadelphia and studied under painters Thomas Eakins [25 Jul 1844 – 25 Jun 1916] and William Merritt Chase at the Pennsylvania Academy of the Fine Arts. Frost's illustration of Br'er Rabbit was featured on a US stamp in 2001.Soon after returning, he published several stories formed of sequential drawings with captions, pioneering the form that would later develop into comic strips and comic books. In 1884, Frost published Stuff and Nonsense, an anthology of his previous works that advanced the concept of time-stop drawings and contained several other innovations. From 1906 until May of 1914, Frost and his family lived in France, attracted by the impressionist artistic movement. Upon returning to the United States, he continued work as an illustrator and comics artist, mainly for Life magazine. — (060621)

^ 1926 Pedro Blanes Viale, Uruguayan artist born on 19 May 1878. Nace en 1878 en Mercedes, capital del departamento de Soriano. Hijo de Rosa Viale Carvajal, oriunda de Mercedes, y del Dr. Pedro Blanes Mestre, médico mallorquín. El pintor nace en una época de grandes transformaciones en todos los órdenes de la vida nacional, conocido con el nombre de impulso modernizador. En Uruguay recibe sus primeras clases del maestro Juan Mestre, y concurre posteriormente al taller del mallorquín Miguel Jaume y Bosch.
     En 1893 la familia abandona el Uruguay y se instala definitivamente en Mallorca. Pedro Blanes Viale viajará frecuentemente a Uruguay formando una doble residencia europea y americana, significando también en su obra un cíclico carácter itinerante. Luego de su partida familiar retornará por dos años en 1899, ganará una beca de estudios y permanecerá en Europa de 1902 a 1907, volverá al país hasta 1910, se abrirá un quinquenio europeo hasta 1915, permanecerá en Uruguay de 1916 a 1925 y tras un último y breve viaje a Europa, morirá en Uruguay al año siguiente. Cada uno de sus períodos uruguayos se abre con muestras individuales y colectivas donde se aprecia mayor madurez de sus medios expresivos y también una aceptación creciente del público que se extiende a las esferas oficiales, de donde provendrán propuestas laborales y encargos de trabajos.
     De su formación se destaca en 1894 los cursos en la Academia de San Fernando en Madrid, donde también frecuenta el taller del pintor Manuel Arroyo. Al año siguiente continúa sus estudios en París en la academia de Benjamín Constant. Concluye este período de aprendizaje con unos meses en Barcelona. Cabe destacar que elige lugares de inclinación academicista que no guardan relación con la convulsión vanguardista que se vive al menos en París.
     A comienzos de siglo con la llegada de pintores catalanes a Mallorca: Santiago Rusiñol, Joaquín Mir y después de 1913, Anglada Camarasa, se pruduce un cambio radical en el imperante clima academicista. Blanes Viale se incorpora al grupo, practicando con ellos pintura al aire libre.
Su producción temática abarca casi todos los géneros: pintura religiosa y costumbrista en sus inicios, algunos desnudos (gran parte de los cuales han desaparecido), retratos, paisajes y en la última etapa de su vida el género histórico. De todos los géneros, es el paisajístico el preferido por el artista.
     Técnicamente la mayor parte de su producción está realizada al óleo con soporte en tela. Dependiendo del género elegido, lo utiliza en forma fluida o en empaste yuxtapuesto lo que otorga a sus obras una sensación casi táctil.
Desde el punto de vista estilístico es de difícil clasificación; los críticos han visto en él un plenairista , un impresionista ortodoxo, un intérprete del impresionismo, un modernista, un ecléctico que emplea diferentes soluciones incluso las académicas. En su paleta prevalecen lilas y rosas, emplea el claroscuro pero también los colores complementarios mezclados o no.
     Muere en Montevideo. Su influencia ha sido importante en el descubrimiento del paisaje uruguayo y su obra ineludible al analizar las primeras décadas del siglo.
— /S#*>Sol y Sombra (1924, 131x115cm; 800x688pix, 153kb) trees in a forest
Las Manolas (747x500pix, 90kb) in a flower garden, two women seen from the back, one of them with her head turned.
Jardín mallorquino (1906, 122x144cm; 500x450pix, 119kb) with mountains beyond
Ema de Castro de Figari (1907, 170x187cm) sitting on a sofa, holding a fan.
Recuerdo de Isla Madeira, (1915, 124x176cm; 353x500pix, 111kb) woman carried through a flower garden.
Las Glicinas (1923, 130x120cm; 500x454pix, 124kb) the flowers almost completely cover a house.

1926 Norman Garstin, Irish artist born on 28 August 1847.

^ 1917 Peder Henrik Kristian Zahrtmann, Danish painter born on 31 March 1843.— {Zahrtmann was art man.}— Zahrtmann studied in Copenhagen at the Kongelige Akademi for de Skønne Kunster in 1864–8 under Wilhelm Marstrand, Jørgen Roed, Niels Simonsen [1807–1885] and Frederik Vermehren. He worked as a teacher and as Head of the Kunstnernes Studieskoler in Copenhagen from 1885 to 1908. His works can be divided roughly into history and genre paintings. From the outset he was attracted to the great figures of 17th-century Danish history, especially Princess Eleanor Christine, whose autobiography Jammers-Minde, first published in 1869, provided Zahrtmann with subject-matter for 18 large paintings (1870–1916). The Princess fell from grace because of her husband’s alleged high treason and was imprisoned for 22 years. In Eleanor Christine is Undressed and Searched by the Servants of Queen Sofie Amalie (3 versions: 1886, 1888, 1894) he experimented with light effects in the manner of the Utrecht Caravaggisti, possibly inspired by Gerrit van Honthorst the portrayal of The Princess (1647) by Gerrit van Honthorst [1590-1656]. When Zahrtmann first visited Italy (1875–1878) he concentrated on genre painting, using ripe and heavy local color to develop a personal style, which was often criticized for being over gaudy. Although the narratives of his pictures are imaginary, he never painted without a model, which often makes his compositions overcrowded. His portraits are among his best works; the Self-portrait of 1913 displays his gift for the broad, monumental figure style.
— As a teacher, Zahrtmann influenced a whole generation of Scandinavian painters, most notably the ‘Fynboerne’: Peter Hansen, Johannes Larsen, Fritz Christian Friedrich Wilhelm Heinrich baron von Syberg, Karl Oskar Isaksson, Viggo Thorvald Edvard Weie; and also other students, including Gösta Adrian-Nilsson, Poul Simon Christiansen, Halfdan Egedius [1877-1899] [midget son of Dan Egedius?], August Eiebakke, Thorvald Erichsen, Ludvig Frederik Find, Harald Giersing, Niels Larsen-Stevns, Ejnar August Nielsen, Niels William Scharff, Harald Oskar Sohlberg, Henrik Ingvar Sørensen, Jón Stefánsson, Sigurd Swane.
Once upon a time there were a king and a queen (1887; 500x384pix, 45kb)

^ 1900 Jasper Francis Cropsey, US Hudson River School architect and painter, specialized in landscapes, born on 18 February 1823. Born in Rossville, Staten Island, he showed an early interest in drawing and architecture. At the age of fourteen, he was awarded diplomas from the New York Mechanics’ Institute and the American Institute of the City of New York. The architect Joseph Trench offered Cropsey a five-year apprenticeship in his New York office and encouraged his talent for drawing and painting by supplying him with artist's materials. In l840, Trench hired Edward Maury, a now obscure British painter, to give the young architect watercolor lessons. That instruction, along with several classes in life drawing at the National Academy of Design, constitute Cropsey's formal artistic education. He opened his own architectural practice in New York in 1843, the same year he first exhibited at the National Academy of Design, but by late 1845, he was devoting himself entirely to landscape views of the Catskills, the White Mountains, and the region around Greenwood Lake, New Jersey. Newly married in l847, Cropsey and his wife left for a two-year stay in Italy. On their return to New York, the artist began to produce paintings from sketches he had made on his travels. He soon turned to US scenery, however, emulating the style and technique of his predecessors, Thomas Cole and Asher B. Durand, whom he greatly admired. Cropsey returned to Europe in l856, this time to spend eight years in England. The crisp, detailed style that he began to show there owes much to the Pre-Raphaelite "truth-to-nature" concepts then in vogue and won him accolades from the foreign press as well as the English royalty. When he exhibited Autumn - On the Hudson River (1860) at a London gallery, Cropsey gained on both sides of the Atlantic Ocean a renown that endured throughout the 1860s. The financial success Cropsey received enabled him to begin to design and build his dream house, Aladdin, in Warwick, New York. By the 1870s, however, his painting career, along with those of his Hudson River School colleagues, was becoming progressively less lucrative, and he returned to architecture to support his family. His work from the last fifteen years of his life, much of it in watercolor, is evidence that Cropsey maintained his lifelong enthusiasm for the idealized, optimistic view of US landscape. — LINKS
Catskill Mountain House (1855, H.29 x W.44 in.; 400x596pix, 58kb _ ZOOM to 800x1192pix, 739kb _ ZOOM+ to 1658x2470pix, 3191kb)
–- October (1887, 82x120cm; 786x1162pix, 230kb _ .ZOOM to 1572x2324pix, 897kb _ .ZOOM+ to 3144x4648pix, 3393kb)
Under the Palisades, in October (1895, 152x122cm)
–- Under the Palisades (1891, 37x56cm; 644x1052pix, 65kb _ .ZOOM to 964x1474pix, 258kb)
–- The Gates of the Hudson (1891, 46x68cm; 692x1071pix, 69kb _ .ZOOM to 971x1449pix, 243kb)
— a different Gates of the Hudson (1897, 46x76cm; 579x952pix, 124kb)
–- Autumn on the Hudson (56x96cm; 506x892pix, 45kb _ .ZOOM to 676x1190pix, 213kb) with cattle, a dog, and a boy.
— different Autumn on the Hudson (1884, 35x53cm; 615x934pix, 46kb) with sheep.
View of Greenwood Lake, New Jersey (1845, 78x103cm; 755x1101pix, 164kb)
128 images at the Athenaeum —(060610)

1898 Sergey L'vovich Levitsky, Russian artist born in 1819.

1896 August Jernberg, German artist born on 16 September 1826.

1884 William Henry Haines, British artist born on 25 December 1812. — {Est-il vrai que des haines de Haines, William en rit?}

1871 Aristodemo Costoli, Florentine sculptor born on 06 September 1803.

1853 Costanzo Angelini, Italian painter born on 22 September 1760.

>1850 Vicente López Portaña
[19 Sep 1772–], Spanish painter. — LINKSWikipedia bio
Self-Portrait (2816x2112pix, 950kb)
Fernando VII a Caballo (1829; 2816x2112pix, 2573kb)
Francisco de Goya (1826, 93x75cm; 2482x2024pix, 1927kb)
Don Juan Francisco Ximénez del Rio, Archbishop of Valencia (1800, 123x89cm; 883x710pix, kb) —(090621)

^ 1846 Benjamin Robert Haydon, suicide, English Romantic painter, teacher, and writer, born on 25 January 1786. He aspired to bring a new seriousness to British art through historical and religious work in the Grand Manner preached by Reynolds. His life was a story of bombastic frustration and intransigent opposition to the establishment (particularly the Royal Academy), fighting continuously for personal recognition and arguing for the social purpose of art. As a painter, however, his talents fell far short of his ambitions, his multi-figure compositions degenerating into turgid melodrama. His great monument, rather, is the massive collection of autobiographical writings he left behind him (various editions have been published), which gives fascinating insights into the contemporary artistic scene and paints a vividly detailed picture of his disturbed mind and tragicomical life. He was closely linked with the Romantic movement in literature, particularly with William Wordsworth, who wrote a sonnet to him, and with John Keats, doing portraits of both of them, and but for his lack of talent he would exemplify all the traits traditionally ascribed to the Romantic concept of genius.
— The son of a printer and publisher, Haydon was educated at grammar schools in Plymouth and Plympton. Joshua Reynolds's Discourses fired his passion for history painting, while a Neapolitan employee of his father fostered his talent for drawing. After an unhappy apprenticeship to his father, he entered the Royal Academy, London, in 1805. He was an enthusiastic student who, like his friend David Wilkie, became interested in anatomy, attending lectures given by the anatomist and surgeon Charles Bell in 1806.
     Haydon's first experiment in high art, Joseph and Mary Resting on the Road to Egypt, was exhibited at the Royal Academy in 1807. It was admired by the patrons George Beaumont and Henry Phipps, 1st Earl of Mulgrave, and bought the following year by Thomas Hope. Mulgrave commissioned Haydon's first major picture, The Assassination of Dentatus (1809). Haydon despised the ‘Low, Dutch taste' spread by Wilkie's genre paintings, and Dentatus was a heroic if inflated attempt to revive the historical tradition of Reynolds and Benjamin West. Chosen by Mulgrave because it had never been painted before, the subject of a hero cast down by a jealous establishment was prophetic of Haydon's life and artistic career, and its sublimity inspired him to a characteristically awkward combination of noble conception and cumbersome design. Typically also, the picture proved controversial. Haydon considered it ‘an epoch in English art', while a Quarterly reviewer criticized its ‘forced abortive grandeur'. Its removal to a rather less prominent position in the Academy in 1809 unleashed Haydon's lifelong mistrust of patrons and colleagues. Although the picture won a premium at the British Institution in 1810, Haydon almost always exhibited privately thereafter, with an admission charge.
     While preparing Dentatus Haydon was greatly impressed by the Elgin Marbles from the Parthenon frieze, of which he made drawings in 1808. He championed them vociferously against the disparaging opinions of such connoisseurs as Richard Payne Knight, and the poses of some of the Dentatus figures were based on the Parthenon metopes. Unfortunately the marbles encouraged Haydon's injudicious preference for working on a vast scale. A painting for Beaumont of a subject from Macbeth (1809) was the object of protracted disputes over its size before the patron reluctantly accepted a picture almost too large to fit into his house. Haydon pursued this tendency in The Judgement of Solomon (1814) and Christ's Entry into Jerusalem (1820). These ventures into the traditions of Sebastiano del Piombo and Raphael drained time and resources: Christ's Entry took six years, during which Haydon refused other work and was effectively without income. Their lack of compositional integration was exacerbated by the long time span and by an eye defect that enabled Haydon to see only one part of a canvas at a time. Nevertheless both pictures show him at his best as a history painter; they were much admired by contemporaries and possess undeniable grandeur.
      Haydon's exclusive concentration on these paintings put him heavily into debt, and in 1823 he suffered the first of a series of bankruptcies and imprisonments. His disputes with the Academy had alienated him from his colleagues and his journalistic activities had made him many enemies. The bite of his opinions, even when patently correct, gave considerable offence. His pamphlet of 1815, On the Judgement of Connoisseurs Being Preferred to that of Professional Men: The Elgin Marbles etc., contained undeniable truths, informed as it was by a study of the marbles involving new techniques (including a comparison of the sculpture with dissected human specimens) and a deeper perception of the psychological relationships between the carved figures. But Haydon had also vilified Knight, whose disdain for the marbles sprang from the blander view of Antiquity nurtured by Johann Joachim Winckelmann and Anton Raphael Mengs. He had thus alienated the very class from whom a painter could hope for support in the absence of the State patronage he so earnestly desired. Disputes with patrons like Beaumont, which he paranoiacally exaggerated in his diary, isolated him further. But he refused to modify his historical ambitions, continuing to produce such uncompromising and enormous works as The Raising of Lazarus (1823) and Marcus Curtius Leaping into the Gulf (1842). He did not pursue the more lucrative avenues of portraiture or genre painting, although his highly Romantic Wordsworth on Helvellyn (1842) and occasional humorous narrative scenes, such as the Mock Election and Punch or May Day, show considerable talent and express his passionate and impressionable temperament more clearly than the pictures on which he staked his reputation.
      In 1812 Haydon had proposed decorating the Houses of Parliament with historical subjects. After the building's destruction by fire in 1834 he advocated frescoes for the decoration of its replacement. He studied fresco techniques and submitted Adam and Eve to the competition for cartoon drawings held in 1843. But his rhetorical classical style involving vast figures and artificially dramatic gestures now seemed old-fashioned. His defeat by the rising generation of William Dyce and Daniel Maclise, the ignominious failure of an exhibition in 1845 of two huge pictures, Nero and Aristides, and his crushing debts, all contributed to his decision to commit suicide. He shot himself before cutting his throat.
       By opening discussion on the role of the State in artistic patronage and education, by setting new standards of aesthetic criticism in his defence of the Elgin Marbles and by his private activities between 1816 and 1823 as a teacher in his own school of design, guiding such pupils as William Bewick and Edwin Landseer, Haydon contributed to English cultural life in a manner as innovative as his painting was outmoded. His diary and autobiography are major documents in English Romanticism, indispensable for the study of the period. The last major English painter in the historical grand style of Reynolds, he was as much the victim of his overweening ambition and combative personality as of changing tastes, and his sense of his own genius—a Romantic concept wholly in keeping with the period—was regrettably greater than his genius itself.
LINKS
William Wordsworth (1842, 124x99cm; 599x489pix, 41kb _ ZOOM to 2481x2024pix, 313kb)
Christ's Entry into Jerusalem (1820, 396x457cm; 764x958pix, 91kb) _ Haydon was impelled by strong personal faith to undertake his uncommissioned religious canvases. The years of labor he expended on them helped to ruin him. It was his aim to cast out doubt as well as win fame, and in Christ's Entry into Jerusalem, he addressed the issue of doubt directly, assembling past rationalists and sceptics like Voltaire and his own more devout friends like Wordsworth among the watching crowd. Their varied reactions to Christ's appearance amount to a debate on faith.
Wordsworth on Helvellyn (1842, 125x99cm, 1064x850pix, 107kb) _ William Wordsworth [1770-1850] was an English poet who with Samuel Taylor Coleridge launched the Romantic Age in English literature with the 1798 publication of Lyrical Ballads. His masterpiece is generally considered to be The Prelude, an autobiographical poem of his early years. Wordsworth, the supreme Romantic poet of nature, addressed Haydon in a sonnet in 1815:
HIGH is our calling, Friend!--Creative Art
(Whether the instrument of words she use,
Or pencil pregnant with ethereal hues,)
Demands the service of a mind and heart,
Though sensitive, yet, in their weakest part,
Heroically fashioned--to infuse
Faith in the whispers of the lonely Muse,
While the whole world seems adverse to desert.
And, oh! when Nature sinks, as oft she may,
Through long-lived pressure of obscure distress,
Still to be strenuous for the bright reward,
And in the soul admit of no decay,
Brook no continuance of weak-mindedness--
Great is the glory, for the strife is hard!
  Haydon was to repay the compliment later, with this painting, one of the most memorable portraits of Romantic inspiration, showing Wordsworth musing among the clouds, high up on the Lake District peak of Helvellyn. —(060123)

1845 Joseph Moessmer, Austrian artist born on 20 March 1780.

1837 Anton (or Antonie; Antonio) Sminck (or Smink) van Pitloo (or Pitlo), artist born in Arnhem on 21 April 1791

^ 1786 Claude Arnulphy, French painter, specialized in portraits, born in 1697. He was trained by his father, Charles Arnulphy (fl 1688), and, apart from the traditional study visit to Rome, whence he returned in 1722, he spent his life in Aix-en-Provence (where he died). Among his earliest works was a Crucifixion (1722), which was his only historical subject, except for an altarpiece of Christ Showing his Heart to the Blessed Margaret Mary Alacoque (1742) for the chapel of the Visitation in the church at Meyreuil, near Aix. Otherwise, Arnulphy worked exclusively as a portrait painter; his clients were the haute bourgeoisie and aristocracy of Provence. In 1783 he was appointed a Peintre du Roi. In 1765 he established in Aix an art school, in which he played a leading role. Arnulphy’s works, such as the informal portrait of Mme Simiane and her Granddaughter (1735) and the more official Portrait of a Magistrate (1745), are realistically detailed and employ a virtuoso technique but also have a certain stiffness and provincial quality. — LINKS
Admiral Thomas Mathews [1676-1751] (1743, 127x102cm; 700x885pix) _ Three-quarter-length, almost full-face, in a blue coat with mariner's cuffs and a red waistcoat, both frogged with gold. He wears a short, white full-bottomed wig and holds a telescope in his right hand, his left hand resting on a cannon. The background shows the fleet at anchor in Hyères Bay, Toulon, with Lestock's flagship Neptune, 90 guns, and units of his squadron on the right; the stern of Mathews's flagship Namur, 90 guns, on the extreme left of the picture. The portrait was painted when Mathews was Vice-Admiral of the Red and Commander-in-Chief of the English Mediterranean fleet (1742-1744), just before his unfortunate February 1744 battle against the Franco-Spanish fleet off Toulon in which only one enemy ship was taken. Mathews was hindered by the disobedience of his second-in-command, Lestock. At the subsequent court martial, Mathews was held to be chiefly responsible for the failure of the action, and was fired.
Captain Arthur Scott [1718-1756] (1744, 92x71cm; 914x700pix, 109kb) _ Half-length, slightly to the right, in a blue coat and buff waistcoat, both edged with gold lace, the coat having a mariner's cuff. He wears a tie-wig. Scott was promoted by Admiral Thomas Mathews in August 1743, to be Captain of the Rochester, 50 guns, in Mathew's Mediterranean fleet. He was sent off on an independent service, and so missed the main action off Toulon in February 1744. Later in the year, he moved to the Essex, 70 guns, after its Captain, Norris, had been relieved to face a court martial.
Union JackCaptain Henry Osborn [1697-1771] (1744, 92x71cm; 889x700pix, 160kb) _ Half-length, slightly to right, in a blue coat edged with gold lace, and with a gold-laced mariner's cuffs and a red waistcoat, also laced, and a grey tie-wig. Osborn's right hand rests on a box compass, while his left hand lacks cuffs and appears unfinished as does the background of sea, which has no shipping. The portrait was probably painted on board his ship Princess Caroline, 80 guns, in Hyères Bay, when the fleet was blockading Toulon. At the ensuing but indecisive Battle of Toulon in February 1744, Osborn commanded the Princess Caroline in the main division, and nobly supported Captain William Rowley. The fact that the fleet left after the action probably explains why Arnulphy was unable to finish this picture. Later Osborn became an Admiral of the White (the 18th century UK naval rank immediately above “Admiral of the Blue” and below “Admiral of the Red”, because in the Union Jack [image >] the red is on the white, which is on the overall blue background).

1777 Johann Joseph Christian, Riedlingen an der Donau German sculptor born on 12 February 1706.

1771 Nicholas Sprimont, silversmith baptized as an infant on 23 January 1716. He was a Huguenot, born in Liège, who moved to England where he established the Chelsea porcelain factory in 1745. — Portrait of Sprimont with his wife and sister-in-law (900x750pix, 83kb) amongst finished and unfinished Chelsea porcelain.

1719 Guillielmus (or Willem) Kerricx, in Antwerp, Flemish artist born in Dendermonde on 02 July 1652.

1713 Carlo Andrea Marcellini, Florentine artist born in 1644.

1669 Zacharie Heince (or Haentz; Hainsse; Heins; Heintze; Hinse; Hintz), Parisian artist born in 1611.

1667 David Heschler, German artist baptized as an infant on 24 Sep 1611.

^ 1645 (1646?) Daniel Dumonstier (or du Monstier; Dumontier; Dumoustier; du Moustier), French portrait painter and draftsman baptized as an infant on 11 May 1574. — He was the father of artists Étienne Dumonstier and of Nicolas Dumonstier (whose son Louis Dumonstier [25 Nov 1641–] became an engraver), and son of portrait draftsman Cosme Dumonstier II [1547-1605], and nephew of portrait draftsmen Pierre Dumonstier the Elder [1542-1610 or 1625] and Étienne Dumonstier II [1540 – 23 Oct 1603] (whose son Pierre Dumonstier II [1585 – 26 April 1656] became a portrait draftsman), and grandson of Geoffroy Dumonstier [1510 – 15 Oct 1573], and grandnephew of goldsmith Meston Dumonstier, and great-grandson of Jean Dumonstier [–1535]. Other relatives include painter-engraver Charles Dumonstier in the 18th century; and, in the 16th century, illuminator Etienne Dumonstier I, goldsmith Cosme Dumonstier [–1552], sculptor Cardin (or Carentin) Dumonstier.
— Daniel Dumonstier was appointed, in 1601, painter to the Dauphin (later Louis XIII) [] and, in 1603, Peintre et Valet de Chambre to Henri IV []. He enjoyed great favor at court; in 1622 he was granted accommodation in the Louvre, and, in 1626, he was appointed Peintre et Valet de Chambre to Gaston, Duc d’Orléans, the King’s brother. His witty and satirical spirit brought him the friendship of men of letters such as François de Malherbe, Nicolas-Claude Fabri de Peiresc and Gédéon Tallemant des Réaux. His collection of natural history curiosities, medals, objets d’art, books, and manuscripts was famous: Jules, Cardinal Mazarin, acquired some of it after his death, while another part of it, judged ‘licentious and indecorous’, was destroyed on the orders of Anne of Austria.
Le Seigneur de Montaigne (900x683pix, 807kb) _ Michel de Montaigne [] —(080621)


Born on a 22 June:


^ 1951 Elvira Bach, German painter.
Ein Blatt für UNICEF (2004, 100x70cm; 1384x1032pix, 164kb)
— (Queen of Hearts?) (1002x692pix, 144kb)
Portrait (color lithograph 30x21cm)
Kartoffelschälerin (color lithograph 54x37cm; 731x501pix, 123kb)
Messer (576x466pix)
Der Spiegel (618x486pix) not a newspaper.
— (The Wine Woman?) (584x466pix, 268kb)
Afrika (118x90cm; 500x377pix, 36kb)
Eiszeit (2003, 190x230cm; 429x500pix, 61kb)
Mask (2001 color lithograph, 76x56cm; 522x397pix, 31kb)
Untitled (mother holding baby) (2004, 104x78cm; 480x359pix, 23kb)
Flower Power III (1997, 103x73cm; 476x350pix, 51kb)

1941 Kijo Masahiro Rokkaku, Japanese architect and author.

1939 Edward Paschke, US painter who died (main coverage) on 25 November 2004. —(080621)

1933 Dimitar Kazakov “Neron”, Bulgarian artist who died in 1992.
— (untitled?) (1982, 70x70cm; 1336x1300pix, 161kb _ .ZOOM to 2228x2167pix, 315kb) colorful semi-abstraction .—(080621)

1917 Peder Henrik Kristian (or Christian) Zahrtmann, in Frederiksberg, artist born in Ronne on 31 Mar 1843.

1915 Marta Colvin Andrade, Chilean sculptor born in Chillan, which was at the epicenter of the 24 January 1939 earthquake, of magnitude 8.3, which caused some 28'000 deaths, completely destroyed the city (which had 50'000 inhabitants), and devastated an area of some 45'000 square kilometers including several other towns and cities. She was probably in Santiago, unaffected by the earthquake, where she had entered into the Escuela de Bellas Artes two years earlier. In any case, she had to live in Santiago from the time of the earthquake. — LINKS

^ 1911 Émile Grau-Sala, Catalan French painter who died on 21 June 1975. — {C'est Grau-Sala, PAS Gros-Salaud}.
Figuras
Paddock

1903 Hiromu Hara, Japanese artist who died on 26 March 1986.

1900 Oskar W. Fischinger, German artist who died in Los Angeles on 31 January 1967.

1897 Albert Renger-Patzsch, German photographer who died on 27 September 1966.

1894 Lucien François, Brussels Belgian artist who died on 23 March 1983.

1876 Gwendolen Mary John, English artist who died on 03 September 1939.

1873 Thomas Wallis, Londoner artist who died on 04 May 1953.

1869 William McGregor Paxton, US artist who died in 1941.

1857 Max Gaisser, German artist who died in 1922. — {Il it true that a man once asked him: “Are you gay, sir?” and, misunderstanding, answered: “Yes, I am Gaisser.”}

1838 Ferdinand Carl Emmanuel Hartzer, German artist who died on 27 October 1906.

1837 Ernst (or Ernestos) Moritz Theodor Ziller, at Oberlossnitz, nearr Zwickau, artist who died in Athens on 09 Jul 1923.

1801 Ernst Fries, German artist who died on 11 October 1833.

^ 1777 (infant baptism) John Thirtle (or Thurtle but NOT Turtle), English painter who died on 30 September 1839. He was one of the better known artists of the Norwich School. He was born in Norwich, became an apprentice frame-maker in London, and about 1800 established himself back in Norwich as a printmaker and framer. He married the sister in law of John Sell Cotman [1782-1843], and was influenced by him and by John Crome [1768-1821], becoming a significant watercolorist. From 1805 he sent pictures to the Norwich Society of Artists, and became President of that body in 1814. However, in 1816, along with other artists, he broke away to form a rival group, which survived until 1818. He resumed exhibiting at the Society only belatedly in 1828. He also exhibited a single picture at the Royal Academy, in 1808. Thirtle's output consisted of rustic and river scenes in watercolor, set in the vicinity of Norwich. Unfortunately, his much-favored indigo blue paint turned red over time, leaving some of his pictures with a rather ruddy tint.(read The Story of Indigo)
A Norfolk Church (632x1000pix, 68kb) _ It is Saint. Margaret's Church, Old Catton, viewed from the north side. The roofless barn-like building to the right of the church is in the position of the present north wing of the Manor House in Church Street. The wing was a late addition (about 1900), either replacing the barn, or converted from it.
Norwich River Scene (39x54cm; 462x640pix, 29kb)
Old Lynn (36x53cm)
–- S*#> People by a river with cottages on the banks (20x28cm; 440x622pix, 72kb)
–- S*#> Saint Benet's Abbey, Norfolk (45x61cm; 440x629pix, 47kb) almost monochrome _ The abbey is situated close to the north bank of the River Bure, about 5 km south of Horning, Norfolk. By the early nineteenth century only a portion of its gateway remained and this was partly obscured by the tower draining mill built inside it. This was a popular subject with almost every Norwich school artist. The picture shows the remains of the Abbey and the windmill in the center, with a group of three horses and a pool of water in the foreground.

1760 (infant baptism) Thomas Sautell Roberts, British artist who died in 1826.

^ 1700 Christophe Huet, French painter, specialized in animals, who died on 02 May 1759. In 1734 he was admitted to the Académie de Saint-Luc; he later exhibited in the first Salons that this Académie mounted, in 1751, 1752, and 1756, showing animal paintings. In his own lifetime he was known chiefly as an animal painter, but few works by him in this genre have been identified, probably because they have been confused with those of his nephew Jean-Baptiste Huet [15 Oct 1745 – 27 Jan 1811]. However, his Dog Pointing at Partridges (1740) shows the influence of François Desportes. Huet’s reputation now rests entirely on the attractive interiors that he designed for various houses in and around Paris. He was responsible for the décor of a salon in the château of Champs (Seine-et-Marne), which he painted for Mme de Pompadour, and the ‘Cabinet des Singes’ at the Hôtel de Rohan, Paris. In 1733 he worked with Claude Audran III on the décor of the château of Anet for the Duchesse du Maine (a gilded salon, now destroyed). Huet is also credited with two rooms decorated with painted singeries in the château of Chantilly, which Edmond de Goncourt attributed to Antoine Watteau. In all these décors Huet featured conventional Chinese characters busily engaged in very Occidental pastimes and accompanied by monkeys imitating men. These witty scenes, painted in an alert style, without constraint and with great elegance, put Huet in the ranks of the best ornamental painters of the first half of the 18th century.

^ 1637 (infant baptism) Joseph Werner II, Berne Swiss painter who died in 1710.He was trained first in Basel and then under Matthäus Merian II [bape 25 Mar 1621 – 15 Feb 1687 bur.] in Frankfurt-am-Main. About 1654 he went to Rome where he made a name for himself as a fashionable painter of miniature portraits and allegories. He was invitated to various European courts. Werner was summoned by Louis XIV to Paris where he continued to work as a portraitist. Later he worked in Augsburg, Vienna, Berlin, and once again in his native Berne. He often portrayed his sitters in the guise of gods and goddesses, such as in A Lady as Diana. He made a Portrait of Louis XIV as Apollo in his Chariot. In addition to his allegorical portraits, Werner also painted purely mythological scenes in miniature.
full size image !!!–- S*#> Two Bacchantes (14x11cm; 800x592pix, 126kb)
–- S*#> Therese Kunigunde of Poland as Diana (2.4x1.6cm; triple size, 52kb) _ Therese Kunigunde Caroline Sobieska [04 March 1676 – 10 Mar 1730] was the daughter of the Polish King Jan III Sobieski [17 Aug 1629 – 17 Jun 1696] and his French wife Maria Casimiera de la Grange d'Arquien [28 Jun 1641 – 30 Jan 1716]. On 12 January 1694, Therese married the Bavarian Archduke Max Emanuel [11 Jul 1662 – 26 Feb 1726], and this miniscule locket portrait [shown here full size >] may well have been made in celebration of the wedding. There is a companion portrait of her husband. See a more reasonably sized, and non-mythological Portrait of Therese Kunigunde by someone else..
–- S*#> A Lady as Diana (29x20cm; 1542x1143pix, 141kb) Compare:
      _ The Countess of Montsoreau and her Sister as Diana and an Attendant (1714) by Nicolas de Largillière [] —(080621)

^ 1636 Jan van de Venne (or van der Vinnen), Dutch artist who died after 1672. (or born in 1590, died by 1651 ??? or are there two with that name?) — Relative? of Adriaen Pieterszoon van de Venne [1589 – 12 Nov 1662]?
–- The Bagpiper (48x43 cm; 1488x1320pix, 225kb)
Gevecht in herberg (52x68cm; 759x1009pix, 56kb)
Satyr bij de boer (38x54cm; 704x1001pix, 67kb)
De liereman (60x75cm; 600x731pix, 52kb) The hurdy-gurdy man
Rieuse (536x402pix, 80kb) _ On voit ici le visage d'une personne marquée par le temps. Ce faciès qui émerge de l'obscurité impressionne au premier regard par ses déformations : nez crochu et rouge, bouche édentée et "baveuse", joues flasques, yeux enfoncés dans leurs orbites, large menton proéminent et en galoche. Le visage est d'une couleur jaunâtre, le regard est assez vague avec une pointe de malice. Le cou, à la fois massif et en forme d'entonnoir, présente des contours assez flous, seulement délimités par les éléments du costume (à peine visibles). La "rieuse" porte un capuchon très sombre dont seules les arêtes accrochent la lumière. Le visage éclairé ressort de la masse sombre l'environnant ; la touche picturale laisse évoquer une peau vieillie. Le visage est tout en déformations : du menton en galoche aux yeux profondément enfoncés, aux bajoues flasques, en passant par le nez crochu et la bouche édentée.
Allegory of the 1609 Truce between the Archiduke of Austria, gouvernor of the southern Netherlands, and the provinces of the northern Netherlands (62x125cm)
–- S*#> Rabbi Reading the Torah (47x40cm; 510x411pix, 32kb)
–- S*#> Boy Wearing Turban (29x22cm oval; 449x347, 45kb) —(070621)

1605 Andrea Bolgi “il Carrarino”, in Carrara, Italy, sculptor who died in Naples in 1656.
 
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