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DEATHS: 1955 PECHSTEIN — 1779 MENGS 1940 KLEE  1886 MONTICELLI 
^ Died on 29 June 1955: Hermann Max Pechstein, German Expressionist painter and printmaker born on 31 December 1881.
— Pechstein was a leading member of the group of German Expressionist artists known as Die Brücke. Best known for his paintings of nudes and landscapes.
      He was apprenticed as a decorator in Zwickau from 1896 to 1900, when he moved to Dresden to enrol at the Kunstgewerbeschule, where he met the architect Wilhelm Kreis and the painter Otto Gussmann (1869–1926) and obtained decorative commissions. He continued his studies from 1902 until 1906 as Gussmann’s student at the Dresden Kunstakademie.
      Through Kreis, Pechstein was introduced to Erich Heckel in 1906 and was invited by him to join Die Brücke, a group founded in the previous year that was quickly to become a major force in the rise of German Expressionism. The founders of the group were all architecture students, leaving Pechstein as the only member to have received formal academic training as a painter. He remained closely involved with the group until 1910, drawing and painting in the studios of Heckel and Ernst Ludwig Kirchner in Dresden and also working communally with them en plein-air; together with Heckel and Kirchner, for example, he spent some weeks during summer 1910 painting naked bathers at the Moritzburg lakes near Dresden. Paintings produced by Pechstein at this time, such as Girl in Red at a Table (1910), are very close in style to work by other Brücke artists and are among the most important paintings of the group’s communal period.

LINKS
Self Portrait (1917 drawing, 51x55cm)
–- Dancer Reflected in a Mirror (1923, 50x40cm). _ The dramatic gestures of a seductively clad cabaret dancer, seen raising her skirt and pointing her toes, ironically clash with the bored expression on her face. The lines of her skirt and her bent right leg create strong diagonals that draw the viewer's attention to the row of men's faces, making them major protagonists in the scene. These men seem disconnected from their spatially compressed surroundings, and two of them appear overtly disinterested as they stare out with unfocused eyes. Pechstein, who himself had been a soldier at the Somme front in France, painted Dancer Reflected in a Mirror during the post–World War I years, a time of political unrest and financial insecurity in Germany. Reading this woodcut as social commentary, one senses the apathetic decadence that permeated the era. Early in his career, Pechstein was a member of Brücke, the German Expressionist group. Although he disagreed with their policy of exhibiting exclusively together and was officially expelled in 1912, he continued to create Expressionist images.
–- Strawberry Girl (1921, 57x44cm) _ Painter and printmaker Max Pechstein studied in Dresden from 1900 to 1906 at the Kunstwerbeschule. There he met and joined Die Brücke, an influential artists’ collective based in Dresden. Die Brücke included other major artists such as Erich Heckel, Karl Schmidt-Rottluff and Ernst Ludwig Kirchner, and was a major force in the rise of the German Expressionist movement. In 1908 Pechstein moved to Berlin and was joined by other Brücke artists. In 1910 he helped to form a new artists’ group, the Neue Sezession. Like Paul Gaugin, Pechstein himself traveled to the South Pacific in 1914 to gain inspiration. In Palau at the onset of World War I, he was interned in Japan and finally returned to Germany in 1916 where he served on the Western Front. Strawberry Girl was completed during one of Pechstein’s most successful periods. In 1921 he had become a member of the Preussiche Akademie der Kunste and a professor at the Hochschule für Bildende Kunste in Berlin. In the 1930s, however, the Nazi government removed him of his titles and he was forbidden to paint. His status was quickly reinstated following World War II.
Flute Playing in the Country (1908, 36x46cm; 600x770pix, 73kb)
Bathers (1917, 51x55cm)
23 images at Ciudad de la Pintura
—(060628)
^ Died on 29 June 1779: Anton Raphaël Mengs, German Neoclassical painter and writer specialized in Portraits who was born on 22 March 1728
— He was the father of Anna Maria Mengs [1751 – 29 Oct 1793]; and the brother of Juliane Charlotte Mengs [>1728 – >1789], and of Theresia Concondia Mengs [bapt. 01 Nov 1725 – 1806], who married his student Anton von Maron.
— His early career was at the Dresden court; thereafter he worked principally in Rome and Madrid, notably on the frescoes at the Villa Albani and the Palacio Real respectively. As an early exponent of Neo-classicism he produced some impressive classical and religious scenes, though he was most accomplished as a portrait painter. Under the influence of Johann Joachim Winckelmann he also wrote some theoretical works, of which the most important is the Gedanken über die Schönheit und über den Geschmack in der Malerey (1762). Although acclaimed during his lifetime, he was later regarded as an unimaginative eclectic.
— Mengs was perhaps the leading artist of early Neoclassicism.
      Mengs studied under his father Ismael Israel Mengs [1688 – 26 Dec 1764] in Dresden, Saxony, and then in Rome, where Sebastiano Conca was one of his teachers. He became painter to the Saxon court in Dresden in 1745 and executed a large number of portraits, most in brightly colored pastels. Mengs returned to Rome in the early 1750s, and about 1755 he became a close friend of the German archaeologist and art critic J.J. Winckelmann. He came to share Winckelmann's enthusiasm for classical antiquity, and upon its completion in 1761 his fresco Parnassus at the Villa Albani in Rome created a sensation and helped establish the ascendancy of Neoclassical painting. Mengs also continued to paint portraits during this period, competing with Pompeo Batoni, the leading Rococo portraitist of the Roman school. In 1761 he went to the Spanish court at Madrid, where he worked on the decoration of royal palaces. From 1769 to 1772 Mengs was in Rome, decorating the Camera dei Papiri in the Vatican, and he returned to Spain from 1773 to 1777.
      Mengs was widely regarded in his day as Europe's greatest living painter. He eschewed the dramatic illusionism and dynamism of the Baroque style in his figural compositions, preferring instead to blend quotations from ancient sculptures with stylistic elements of Raphael, Correggio, and Titian. The results are generally cold, insipid, and contrived, however, and Mengs's reputation has declined precipitously since the 18th century. Some of his portraits display a freedom and sureness of touch entirely lacking in his more ambitious works. Mengs's treatise Reflections on Beauty and Taste in Painting (1762) was also influential in his day.
— Mengs was born in Aussig, Bohemia, into an artistic family of German origin. Soon after his birth his parents returned to Saxony. Anton received his earliest training from his father in Dresden and in Rome, where he studied Italian Renaissance painters and worked in the studio of Marco Benefial. When he came back to Dresden in 1745, he became a painter to the Saxon court of Elector Augustus III, who was at the same time the King of Poland. Mengs executed for the court a large number of portraits.
      In the early 1750s, Mengs again left for Rome. About 1755, he became a close friend of the German archaeologist and art critic J. J. Winckelmann, the author of the famous A History of Ancient Art (1764). Mengs came to share Winckelmann's enthusiasm for classical antiquity, and worked to establish the dominance of Neoclassical painting. At the same time the influence of the Roman Baroque remained strong, particularly in his religious paintings.
      In Italy Mengs was commissioned to paint a series of portraits for Augustus III’s son-in-law, Charles VII, King of Naples. In October 1759, Charles VII inherited the Spanish Crown as Charles III and, as his court painter, Mengs spent several years (1761-1769) in Madrid, painting decorations in the Royal Palace and portraying the important persons belonging to the court.
From 1769 to 1772, Mengs worked in Rome, decorating the Camera dei Papiri in the Vatican, and he returned to Spain from 1773 to 1777.
      Mengs was widely regarded in his day as Europe's greatest living painter. Although he died at the early age of fifty (1779) he had a profound influence not only on his native contemporaries but also on Roman, French and Spanish artists. Mengs's treatise Reflections on Beauty and Taste in Painting (1762) was also influential in his day. Mengs died in Rome.
— Mengs's assistants included Francisco Bayeu, Ramón Bayeu, José del Castillo, Antonio Cavallucci, Alejandro González Velázquez, Hackert
— Mengs's students included JFA Tischbein, Peder Als, Richard Brompton and Giacomo Quarenghi [Venetian Architect, 1744-1817], James Byres, Juan Agustín Ceán Bermúdez, Bartolomeo Follin, Nicolas Guibal, Friedrich Rehberg, Benjamin West, Januarius Zick.

LINKS
–- Self-Portrait (1744, 55x42cm) _ This self-portrait, showing the influence of Venetian painting, was made by the artist at the age of 16.
–- another Self-Portrait (1779, 56x43cm).
–- Perseus and Andromeda
–- Parnassus
–- Noli Me Tangere
Ferdinand IV, King of Naples (1760, 179x130cm) _ Mengs spent his last 15 years in Spain where he became the favorite painter of King Charles III. The king commissioned the artist to execute the frescoes of the new Royal Palace and to portray the important persons belonging to the Court.
      Ferdinand I [1751-1825] king of the Two Sicilies (1816-1825) who earlier (1759-1806), as Ferdinand IV of Naples, led his kingdom in its fight against the French Revolution and its liberal ideas. A relatively weak and somewhat inept ruler, he was greatly influenced by his wife, Maria Carolina of Austria, who furthered the policy of her favorite adviser, the Englishman Sir John Acton.
      Ferdinand became king of Naples as a boy when his father ascended the Spanish throne (1759) as Charles III. A regency ruled during Ferdinand's minority and continued the liberal reforms of the previous king. In 1767 Ferdinand reached his majority, and his marriage in 1768 to Maria Carolina signaled a reversal of this policy. The birth of a male heir gave Maria Carolina the right, according to the marriage contract, to enter the council of state (1777). She brought about the downfall of the former regent Bernardo Tanucci and engaged Naples in the Austro-English coalition against the French Revolution in 1793.
      Ferdinand, encouraged by the arrival of the British fleet of Admiral Horatio Nelson, attacked the French-supported Roman republic in 1798. On 21 December of that year, however, the French invaded Naples, declaring it the Parthenopean Republic, and Ferdinand fled to Sicily. The Republic was overthrown in June 1799, and Ferdinand returned to Naples, where he put to death the Republic's supporters, violating the terms of their surrender.
      In 1806 Napoléon's army captured Naples, forcing Ferdinand's flight to Sicily, where, yielding to British pressure to mitigate his absolutist rule, he removed Maria Carolina from the court, appointed his son Francis as regent, and granted the Sicilians a constitution. With the fall of Napoléon, he returned to Naples as Ferdinand I of the united kingdom of the Two Sicilies (December 1816). His renewal of absolute rule led to the constitutionalist uprising of 1820, which forced Ferdinand to grant a constitution. Having ceded power again to his son Francis, Ferdinand, under the pretext of protecting the new constitution, obtained his parliament's permission to attend the Congress of Laibach early in 1821. Once there, he won the aid of Austria, which overthrew Naples' constitutional government in March. The subsequent reprisals against the constitutionalists were his last important official acts before his sudden death.
Maria Luisa of Parma (1765, 48x38cm) _ Maria Luisa of Parma was the wife of Charles IV, king of Spain (1788-1808) during the turbulent period of the French Revolution. Lacking qualities of leadership himself, Charles entrusted the government (1792) to Manuel de Godoy, a protégé (and lover) of the queen, Maria Luisa. The unfinished painting, showing the young princess at the age of 15, is a study, the final painting is in the Metropolitan Museum of Art in New York.
Charles III (1761)
Charles IV as Prince
The Adoration by the Shepherds (1770)
 

Died on a 29 June:

^ 1991 Joost Baljeu, Dutch painter born on 01 November 1925. Born in Middelburg, he lived and worked in Bussum, Amsterdam, and the Hague. He studied at the Instituut voor Kunstnijverheidsonderwijs in Amsterdam. His examples were Van Gogh and Gauguin. In 1952-1953 he developed a preference for geometric abstract art. Initially he painted in oils on canvas. Distinctive features of his work are vertical lines, positioned partially at a slant. In 1955 the vertical lines became upright and he painted on panels. At the end of 1955 he changed to painting reliefs and subsequently (1958-1959) to painting relief constructions of wood. Later he created geometric constructions (sculptures) of stainless steel, painted metal and synthetic materials. He was influenced by Mondrian, Van Doesburg and Gorin. His first works (geometric) were created in 1953, 1954, and 1955, in Paris.
–- Untitled (519x960pix, 40kb) _ The pseudonymous Juste Jeux-Decartes has produced a version with much cleaner colors which is also much more economical of bandwidth:
      _ : The Title of This Picture is Not Untitled, It Is : (da capo) (2007; 519x960pix, 2kb _ ZOOM to screen-filling, 2kb) and, to outminimalize the minimalists, Jeux-Decartes has washed it out (it shrunk in the wash), resulting in the spoof
      _ The Title of This Picture is Not (2007; 148x274pix, 2kb _ ZOOM to 519x960pix, 2kb _ ZOOM+ to screen-filling, 2kb) _ Being a maximalist at heart, Jeux-Decartes applied his signature beautifying treatment and the result was this quadruplet of wonderfully detailed and colorful pictures (best appreciated at full magnification):
      _ United Nations Tightly Led (2007; 550x778pix, 154kb _ ZOOM to 778x1100pix, 315kb _ ZOOM+ to 1100x1556pix, 651kb _ ZOOM++ to 1710x2418pix, 1665kb _ ZOOM+++ to 2658x3760pix, 4350kb),
      _ Untied Lead (2007; 550x778pix, 154kb _ ZOOM to 778x1100pix, 315kb _ ZOOM+ to 1100x1556pix, 651kb _ ZOOM++ to 1710x2418pix, 1665kb _ ZOOM+++ to 2658x3760pix, 4350kb),
      _ Uncle Titus Led (2007; 550x778pix, 198kb _ ZOOM to 778x1100pix, 442kb _ ZOOM+ to 1100x1556pix, 969kb _ ZOOM++ to 1710x2418pix, 2556kb _ ZOOM+++ to 2658x3760pix, 6791kb),
      _ Unusual Tight Sled (2007; 550x778pix, 198kb _ ZOOM to 778x1100pix, 442kb _ ZOOM+ to 1100x1556pix, 969kb _ ZOOM++ to 1710x2418pix, 2556kb _ ZOOM+++ to 2658x3760pix, 6791kb)
02
03
05
Paris III (1955, 80x60cm; 400x302pix, 28kb)
Geometric-abstract composition (1954, 139x169cm; 400x482pix, 29kb) monochrome blue, but otherwise somewhat similar to the preceding.
Untitled (1954, 96x60cm; 480x294pix, 30kb) design similar to the preceding two.
Composition (1955, 55x125cm; 266x640pix, kb) —(070625)

^ >1989 Gerhard Hoehme, German painter born on 05 February 1920.
Essor en déclin (1958, 116x140cm; 998x800pix, 631kb _ ZOOM to 1437x1152pix, 1284kb)
— (Untitled?) (1890x1224pix, 875kb)
— (Untitled?) (1339x800pix, 322kb)
— (Untitled?) (992x800pix, 305kb)
— (Untitled?) (950x527pix, 510kb)
— (Untitled?) (269kb)
— (Untitled?) (248kb)
— (Untitled?) (671x515pix, 54kb)
–- (Untitled?) (875x658pix, 48kb) — (080626)

1982 Gunnar Aagaard Andersen, dies in Munkerup, near Dronningmolle, Hillerod, artist born in Ordrup on 14 Jul 1919.

1981 Russell Drysdale, Australian artist born on 07 February 1912.

1974 Xavier Guerrero, Mexican artist born on 03 December 1896.

1940 Paul Klee, Swiss painter born (full coverage) on 18 December 1879. — (060628)

1916 Georges Lacombe, French artist born on 18 June 1868.

1886 Adolphe Joseph Thomas Monticelli, French painter born (full coverage) on 14 October 1824. — (050913)

1868 Giovanni Bastianini, Florentine artist born on 17 September 1830.

1859 Ludwig Wilhelm Wichmann, Prussian artist born on 10 October 1788.

1836 Jakob Christophe Miville, Basle Swiss artist born on 18 November 1786.

1818 Carl Philipp Fohr, in Rome, German artist born on 26 November 1775.

1813 Valentine Green, English artist born on 03 October 1739.

1810 Samson-Nicolas Lenoir “le Romain”, French artist born on 03 Jul 1733.

1763 Sébastien Leclerc II, Parisian painter born on 29 Sep 1676, son of Sébastien Leclerc I [bap. 26 Sep 1637 – 25 Oct 1714]

1761 (28 Jun?) Pieter Tanjé, Dutch engraver born on 15 February 1706, student of Cornelis Troost..

1752 Antonio Corradini, Italian sculptor born on 06 Sep 1668. — LINKS

^ 1701 Pieter Mulier (or de Mulieribus) II “cavalier Tempesta”, Dutch Baroque painter born in 1637, son of Pieter Mulier I [1600-1650]. — {Mulier vir erat!!!} — {He was a tempestuous womanizer} — He moved to Italy in 1656, where he traveled extensively and stayed in Rome, Genoa, Milan, Venice, Bergamo and Brescia. He painted genre and landscape scenes, specializing in painting stormy seas with smooth yet rapid brushstrokes, and intense luminous effects. — “Tempesta” was the leading landscape painter in northern Italy during the last quarter of the 17th century. He was born in Haarlem and went to Italy in 1668 in the company of a Carmelite monk. He is recorded as working in Rome, Genoa, and Milan, with trips to Piacenza, Parma, Modena, and Venice. “Tempesta” was a prolific artist who achieved great fame in his own lifetime. However his paintings were not the main cause of his notoriety. His personal life was quite sordid. He was accused and convicted of murdering his wife, Lucia Rossi, and spent eight years in prison for the crime. While in prison, he married his second wife, Anna Eleonora Beltrami. He behaved not much better in this relationship as a letter from his second wife to Count Borromeo states that, “he dissipated her fortune, defamed her in Milan and Venice in order not to have to restitute her dowry, behaved immorally, abandoned her heartlessly to poverty and took a young mistress”.— LINKS
La Tempesta (43x62cm; 550x800pix, 67kb)
Sea Storm (534x800pix, 77kb)
Stormy Sea (1640; 538x800pix, 36kb) very dark too, with blood-colored clouds.
The Deluge with Animals on a Rocky Promontory (28x34cm; 383x500pix, 16kb) _ Probably from the artist's Genoese period 1668-1684, the last eight years of which he spent in prison.
–- S*#> Shipping Off a Rocky Coast in a Storm (27x33cm; 772x900pix, 109kb) pockmarked with white dots left by flaked off paint.
–- S*#> Pastoral Landscape with Shepherds and their Sheep Resting, a Waterfall Beyond (1675, 99x73cm; 500x366pix, 43kb _ /S#*>ZOOM to 1440x1053pix, 214kb)
–- S*#> Arcadian Landscape with a shepherd and shepherdess with their flocks beside a stream (59x92cm; 510x818pix, 85kb)
–- S*#> Daphnis and Chloe in a Mountainous River Landscape (113x156cm; 360x500pix, 33kb _ /S#*>ZOOM to 1182x1641pix, 203kb) if not Daphnis and Chloe, then some anonymous sitting shepherd (playing his pipe) and shepherdess (listening), a river with a sailboat and a castle on a hill beyond.

^ 1666 Mateo Cerezo, Spanish painter baptized as an infant on 19 April 1637. Cerezo was a student of Carreño de Miranda. He ended in imitating the color of van Dyck, but never with much success. His best subject was The Penitent Magdalene, of which he painted several versions.
— Spanish painter. He first trained with his father, Mateo Cerezo the Elder, a painter of devotional images, and then completed his training in Madrid, where he arrived c. 1654. He is said to have studied with Juan Carreño de Miranda or possibly with Antonio de Pereda. Between 1656 and 1659 Cerezo worked in Valladolid and Burgos, returning permanently to Madrid c. 1660. His short career showed a precocious talent, and he rapidly absorbed the techniques of Carreño and of such contemporary painters as Francisco de Herrera the Younger. He was inspired by Titian and the refined elegance of Anthony van Dyck, and his varied, warm palette made him one of the most sensitive and refined colourists of the late Madrid school.
— Mateo Cerezo es integrante de la tercera generación de pintores madrileños del Barroco. Curiosamente, todos ellos murieron jóvenes. En este caso, Cerezo murió a los 40 años, por lo cual su obra es muy escasa: hemos de tener en cuenta que un joven que deseaba ser pintor en España se inscribía a los nueve años de edad en el taller de un pintor. Allí desarrollaba faenas manuales de limpieza y mantenimiento del taller. Sólo a partir de los 15 ó 16 años se le permitía empezar a pintar, rellenando fondos o partes poco importantes de los cuadros del maestro. Se conseguía la suficiente autonomía sólo hacia los 20-25 años. Eso nos deja para Cerezo tan sólo 15 años de actividad profesional; su caso no es extraño, sino de lo más frecuente entre los pintores de su generación, fallecidos todos muy jóvenes. Los temas que trató Mateo Cerezo fueron religiosos y bodegones, habiendo sido discípulo del gran Carreño de Miranda. Su estilo fue el del típico Barroco madrileño, influido por el tenebrismo y orientado a abastecer la ingente demanda que creaba en Madrid el hecho de ser Corte real y sede de las principales Órdenes religiosas.
Ecce Homo (725x536pix, 37kb) Christ alone, half length, head almost lost in shadow.
La Asunción de la Virgen (237x169cm)
–- S*#> María Magdalena (42x33cm; 400x310pix, 24kb) _ This is a head study for Cerezo's The Penitent Magdalene in a Landscape (103x83cm).
San Francisco de Asís y el Ángel (608x348, 35kb)
San Francisco entre las espinas (414x283pix, 31kb)
Santo Tomás de Villanueva repartiendo limosnas (1655, 208x246cm) _ Issu d'une pieuse famille de la bourgeoisie, Thomas fut élevé à Villanueva en Espagne. Ses parents le sensibilisèrent à la piété et la générosité envers les pauvres, les malades et tous les malheureux. C'est ainsi que Thomas offrit son déjeuner et certains de ses vêtements aux enfants pauvres de son école. Il consacra son argent de poche à l'achat d'oeufs pour les malades hospitalisés.
     Thomas fut nommé professeur de philosophie morale, puis professeur de théologie à l'université de Salamanque, après de brillantes études. Il consacra son héritage au soin des pauvres et transforma sa maison en hôpital. Il entra chez les Ermites de Saint-Augustin de Salamanque à l'âge de trente ans, le jour de la Présentation de Notre-Dame. Luther quittait cet ordre au cours de cette période et consommait son apostasie.
     Les prêches de Thomas, puisait son éloquence au pied de la croix, eurent un grand retentissement à Salamanque. "Dans l'oraison, disait-il, se forment les flèches dont les coeurs des auditeurs doivent être percés." Les plus grandes villes d'Espagne voulaient l'entendre. Charles-Quint en fit son prédicateur ordinaire et son conseiller. L'empereur lui accorda la grâce de plusieurs seigneurs de la cour condamnés à mort pour crime de haute trahison, qu'il avait refusé à son fils et à l'archevêque de Tolède. Le religieux deviendra successivement prieur des maisons de Salamanque, de Burgos, de Valladolid, provincial d'Andalousie et de Castille. Il envoya les premiers Augustins au Mexique.
     Ces derniers s'engageaient à respecter la célébration dévote et attentive des divins offices, la méditation et la lecture spirituelle faite avec assiduité, l'union de la charité fraternelle, et enfin la fuite de la paresse qui est un grand obstacle à la vertu. Nommé archevêque de Grenade, il refusa cette dignité mais ne put, sous peine d'excommunication, désobéir à Charles-Quint, qui le désigna à la tête de l'évêché de Valence en 1544. Saint Thomas quitta sa cellule en pleurant et se rendra dans la ville épiscopale à pied. Au moment de son arrivée, la pluie tomba en abondance après une longue période de sécheresse. Ses chanoines lui offrirent quatre mille ducats pour son ameublement. Il les fit distribuer en aumônes.
     Durant son existence, Thomas observa les jeûnes de son Ordre et de l'Eglise. Il couchait sur des sarments dissimulés sous une couverture de laine. Trois jours avant sa mort, le saint offrit aux pauvres ce qui lui restait d'argent et fit don de ses meubles au collège de Valence. Il donna son lit de malade au geôlier de ses prisons, le priant de bien vouloir le lui prêter jusqu'à sa mort. Saint Thomas de Villeneuve commença la récitation du psaume : "In Te, Domine, speravi". Rendu au verset : "In manus Tuas, Domine, commendo spiritum meum", le saint pontife expira. Ses reliques sont conservées à Valence.
    _ Compare: Santo Tomás de Villanueva repartiendo limosnas by Bartolomé Esteban Murillo.
Desposorios de Santa Catalina (1660, 207x163cm; 909x712pix, 29kb). Santa Catalina de Alejandría fue una santa mártir, condición que aparece indicada en este lienzo por la rueda de martirio que aparece a sus pies, en un fragmento. El tema del lienzo es una recreación devocional sobre la vida de la santa, quien se casó místicamente con la figura del Niño Jesús. Ésta es la escena que vemos, en la cual el Niño, sostenido por la Virgen, pone la alianza a la doncella. Ésta se ha aproximado al conjunto que forma la Sagrada Familia, con un San José en la sombra, debido al escaso protagonismo que se le concedía a su participación en la infancia de Jesús. Por un lado de la escalinata se acerca también el primo de Jesús, San Juanito, llevando el cordero que hace alusión a la muerte en la cruz. La escena se desarrolla bajo un dosel rojo, con angelitos revoloteando, en un clima apacible con un paisaje al fondo de estilo italianizante. El pintor se muestra además como un prodigioso bodegonista en los diversos objetos secundarios que adornan la escena principal, como el cesto de frutas que está a los pies de la Virgen. Es un rasgo típico del Barroco español.
_ Compare:
    _ by Barna da Siena: The Mystical Marriage of St. Catherine (1340)
    _ by Veneziano: Marriage of St. Catherine (1359)
    _ by Besozzo: Mystic Marriage of St. Catherine, witnessed by St. John the Baptist and St. Anthony Abbot (1420)
    _ by Memling: Mystic Marriage of St. Catherine of Alexandria (1470, 25x15cm; 460x250pix, 40kb) one panel of a diptych, of which the other one, now lost, probably represented the donor _ Mystical Marriage of St. Catherine Triptych of St. John the Baptist and St. John the Evangelist, central panel (1479, 172x172cm; 757x750pix, 80kb) _ Mystical Marriage of St. Catherine, 3rd version detail (800x516pix, 157kb)
    _ by Piero di Cosimo: Mystical Marriage of St. Catherine of Alexandria
    _ by Correggio: Mystic Marriage of St. Catherine (1515; 800x557pix, 119kb) _ Mystic Marriage of St. Catherine (1520, 105x102cm; 450x472pix, 28kb)
    _ by Cranach: Mystic Marriage of St. Catherine (1516)
    _ by Beccafumi: The Mystical Marriage of St Catherine (1521)
    _ by Procaccini: The Mystical Marriage of St. Catherine
    _ by Lotto: Mystic Marriage of St. Catherine (1524)
    _ by Veronese: Marriage of St. Catherine (1575)
    _ by Carracci: Dream of St. Catherine of Alexandria (1593)
    _ by Mignard: Le Marriage Mystique de Sainte Catherine (1669)
    _ by Sanseverino: The Marriage of Saint Catherine of Siena
    _ by Calvaert: The Mystic Marriage of Saint Catherine (1490)
    _ by Campi: The Mystic Marriage of Saint Catherine (1547)
    _ by Giovanni del Biondo: Mystic Marriage of Saint Catherine (1379)
    _ by Parmigianino: The Mystic Marriage of Saint Catherine (1527)
    _ by Pignoni: The Mystic Marriage of Saint Catherine
    _ by Rubens: The Mystic Marriage of Saint Catherine
    _ by Sassoferrato: The Mystic Marriage of Saint Catherine (1650)
    _ by Van Dyck: The Mystic Marriage of Saint Catherine (drawing, 1620)
    _ by Teniers the Younger: The Mystic Marriage of Saint Catherine (after Fetti)
    _ by Giovanni di Paolo: The Mystic Marriage of Saint Catherine of Siena
    _ by a Hungarian master: Marriage of St. Catherine (1500)

^ 1618 Adriaen Collaert, Antwerp Flemish engraver born in 1560. — LINKS
— F#>Jesus washing Peter's feet (engraving 18x22cm; 2/3 size, 80kb _ F#>ZOOM to 4/3 size, kb) _ Venit ergo ad Simonem Petrum.Et dicit ei Petrus;tu Domine lauas mihi pedes?Respondit ei Iesus,Quod ego facio,tu nescis modò,scies enim postea.
The Annunciation to the Shepherds (drawing; 972x1297pix, 558kb)
36 engravings at FAMSF
Kalina

Born on a 29 June:


^ 1955 Robert Kalina, Austrian artist. He studied and attended masterclasses at the Höhere Graphische Bundes-, Lehr- und Versuchsanstalt in Vienna, graduating in 1975. Has worked as a banknote designer at the Oesterreichische Nationalbank and Oesterreichische Banknoten- und Sicherheitsdruck GmbH since 1976; designed all the Austrian schilling banknotes issued after 1982. In 1996 he won the European Monetary Institute’s euro banknote design competition (his best known works). He designed the highest-denomination banknote for Bosnia-Herzegovina in 2002.
[Kalina at work at the Oesterreichische Nationalbank in Vienna >].
— Design of the Euro banknotes: On the front, the banknotes show windows and gateways. They symbolize the European spirit of openness and cooperation. The 12 stars of the European Union represent the dynamism and harmony of contemporary Europe. The bridges on the back symbolize communication between the people of Europe and between Europe and the rest of the world. The other design elements are: the name EURO in both the Latin and the Greek (EYPO) alphabets; the initials of the European Central Bank in five linguistic variants (BCE, ECB, EZB, EKT and EKP) covering the then 11 official languages of the European Union (EU); the symbol © indicating copyright protection; the flag and the map of the European Union.
BCE Banque Centrale Européenne, Banco Central Europeo, Banca Centrale Europea, Banco Central Europeu, Europese Centrale Bank (French; Spanish; Italian; Portuguese)
ECB European Central Bank, Europæiske Centralbank, Europese Centrale Bank, Europeiska Centralbanken (English, Danish, Dutch, Swedish)
EZB Europäische Zentralbank (German)
EKT Eurôpaikê Kentrikê Trapeza (Greek)
EKP Euroopan Keskuspankista (Finnish)
     Various security features have been incorporated into the euro banknotes. One can feel the "raised" print (which also benefits the visually impaired). By holding a banknote against the light, one can see the watermark, the security thread and, the see-through register; all three features can be seen from the front and the reverse side. By tilting a banknote: on the front, one can see the shifting image on the hologram stripe (on the €5, €10 and €20 banknotes) or on the hologram patch (on the €50, €100, €200 and €500 banknotes); on the reverse side, one can see the glossy stripe (on the €5, €10 and €20 banknotes) or the color-shifting ink (on the €50, €100, €200 and €500 banknotes).
5 Euro (front) (ZOOM to 398x787pix, 114kb) — 5 Euro (back) (ZOOM to 408x787pix, 59kb) gray, 62x120mm, featuring classical architecture
10 Euro (front) (ZOOM to 460x866pix, 152kb) — 10 Euro (back) (ZOOM to 452x866pix, 116kb) Architecture romane 127 x 67 rouge
20 Euro (front) (ZOOM to 503x945pix, 186kb) — 20 Euro (back) (ZOOM to 516x945pix, 132kb) Architecture gothique 133 x 72 bleu
50 Euro (front) (ZOOM to 568x1024pix, 221kb) — 50 Euro (back) (ZOOM to 568x1024pix, 209kb) Architecture de la renaissance 140 x 77 orange
100 Euro (front) (ZOOM to 581x996pix, 157kb) — 100 Euro (back) (ZOOM to 621x1102pix, 143kb) Architecture baroque 147 x 82 vert
200 Euro (front) (ZOOM to 809x1457pix, 83kb) — 200 Euro (back) (ZOOM to 655x1181pix, 251kb) Architecture du fer et du verre 153 x 82 jaune
500 Euro (front) (ZOOM to 657x1260pix, 231kb) — 500 Euro (back) (ZOOM to 640x1260pix, 154kb) Architecture moderne 160 x 82 violet

1943 Douglas Donald Michels, US architect and “artist”, one of the founders of Ant Farm, a radical art and design collective of the late 1960's and 70's. He died on 12 June 2003, falling while climbing alone to a whale observation point at Eden Bay near Sydney, Australia. Ant Farm's two most famous productions were Cadillac Ranch (1974) a monumental outdoor “sculpture” consisting of 10 used Cadillacs planted nose-first in the ground. and a 04 July 1975 performance Media Burn in which Michels drove a white Cadillac through a pyramid of burning television sets.
A photo of Cadillac Ranch _ Close-up of one of the Cadillacs

1937 Ronald Davis, US artist.

1927 Kenneth Snelson, US artist.

1927 Piero Dorazio, Italian artist.

1916 John Maclane Johansen, US artist.

1909 Fritz Henle, German artist.

^ 1900 Richard Oelze, German painter and draftsman who died on 27 May 1980. He studied at the Bauhaus in Weimar under Johannes Itten (1921–1925). His early work was influenced by Constructivism, but Oelze was soon impressed by Neue Sachlichkeit, with which he became familiar while living in Dresden (1926–1929). At this time he also became acquainted with Otto Dix and his work. His pictures from the late 1920s, for example Still-life with White Plate and Colored Balls (1929), show a clear concreteness and strong composition and reflect the trance-like state found in works of Magic Realism. During this period he also visited the Bauhaus in Dessau for several months. On a trip to Ascona in 1929 he saw reproductions of the works of Max Ernst and Hans Arp for the first time. In 1933 he moved to Paris, where he remained until 1936 and made contact with the Surrealists, such as Breton, Dali, Eluard, Max Ernst.
     By the 1930s dreams and premonitions were becoming themes in his work, and his paintings increasingly featured dream-creatures, combinations of animal and plant, plant and human, human and animal. In the painting Daily Tribulations (1934) the fears and difficulties experienced by Oelze one year after the Nazis had taken power in Germany were given visual form. Morbid forms in a river dominate the picture and block, like a hedge, any view into depth. In the same year that it was painted this work was enthusiastically taken up by the Surrealists at an exhibition in the Porte de Versailles. In 1936 it was shown in New York at the Fantastic Art, Dada, Surrealism exhibition at MOMA. Expectation (1936), probably Oelze’s best-known work, conveys like no other picture of its time the mood in Europe in those years, in all its oppressiveness and apprehension. The clarity of the realism of the human figures is contrasted with the dark forms of vegetal growth; both dissolve in the cool and utterly alien coloration cast over them by the deep sky. The deep perspective of this picture is unusual in Oelze’s work. — Richard Oelze mit rotem Frosch by Roland
Foto-Selbstporträt mit Freundin (1923)
Portrait on cover of book about Oelze

1890 Robert Laurent, French artist who died on 20 April 1970.

1886 James Van Der Zee, US artist who died on 15 May 1983.

1873 Petre Antonescu, Romanian artist who died on 22 Apr 1965.

^ 1871 Paul Gustav Rudolf Bosselt, German medal artist who died on 02 Jan 1938. Bosselt absolvierte ab 1885 eine Lehre als Ziseleur in einer Bronzegießerei in Berlin, war ab 1889 bei der Königlichen Porzellanmanufaktur in Charlottenburg beschäftigt und belegte nebenbei Abendkurse an der Königlichen Kunstgewerbeschule. Ab 1891 studierte er an der Frankfurter Kunstgewerbeschule bei Joseph Kowarzik und 1897/98 ergänzend an der Académie Julian in Paris. Bosselt war von 1899 bis 1903 Gründungsmitglied der Darmstädter Künstlerkolonie und übernahm 1903 auf Vermittlung von Peter Behrens eine Professur an der Düsseldorfer Kunstgewerbeschule. Von 1911 bis 1924 war Bosselt Direktor der Kunstgewerbe- und Handwerkerschule Magdeburg und reformierte deren Lehrprogramm im Sinne des Deutschen Werkbundes zugunsten von Naturstudium, Individualität und Handwerklichkeit. Das Ausbildungsprofil wurde mit neuen Fachklassen in Entwurf und Ausführung untergliedert, um der Arbeitsteilung in der Industrie Rechnung zu tragen. Nach Kritik des Magdeburger Stadtbaurates Bruno Taut an Lehrprogramm und -praxis verließ Bosselt Magdeburg, war ab 1928 Direktor der Braunschweiger Kunstgewerbeschule und kehrte im September 1931 nach Berlin zurück, um die Nachfolge von Otto Marcus im Generalsekretariat des Reichsverbands bildender Künstler Deutschlands zu übernehmen. Im Juli 1933 von Max Kutschmann im Amt abgelöst, übernahm er die Leitung der Zeitschrift Kunst und Wissenschaft, nachdem er bereits seit 1927 als Mitarbeiter der Deutschen Korrespondenz, dem Organ der Deutschen Kunstgesellschaft, tätig gewesen war. Bosselt schuf zahlreiche Grab- und Brunnenfiguren, Tierplastiken, Porträtbüsten, Gruppen und Köpfe, u. a. den Roland vor dem Magdeburger Rathaus. Insbesondere als Medailleur ausgewiesen und bedeutungsvoll, wich der Jugendstil seines Frühwerkes in den Magdeburger Jahren zunehmend einer konservativen neoklassizistischen Grundhaltung, die sich der Moderne nach dem I. Weltkrieg verschließt.

1870 Frederick William Elwell, British artist who died on 03 January 1958. — {Not to be confused with FWL Well No.1, No.2, No.3, or No.4 in the North Square Lake Unit Waterflood Project Area in New Mexico}

1866 Seiki Kuroda (or Kiyoteru), Japanese artist who died on 15 July 1924.

1861 Pedro Figari, Montevideo Urugayan artist who died on 24 July 1938.

^ 1849 (1846?) Francesco Gioli, Italian painter who died in 1922. Brother of Luigi Gioli. Studiò all'Accademia di Pisa con Annibale Mariani e a Firenze con Pollastrini. Esordì nel1869, prima con dipinti dalle forme schiette e dalle basse tonalità, poi con un certo mestiere acquisito a svantaggio dell'insieme .A Londra nel 1885 è premiata l'opera Ai campi in giugno. Con il 1910 il soggetto agreste che realizza come macchiaiolo,si addice al livello della sua pittura, anche se rivela tonalità un po' buie ed oppresse.
–- S*#> Self-Portrait (1883, 49x39cm; 900x713pix, 47kb)
–- S*#> Paesaggio Toscano (1883, 31x44cm; 628x900pix, 153kb)
Gregge (566x800pix, 169kb)
La Boscaiuole di San Rossore (190x335cm)
Acquaiola (1891; 490x252pix, 34kb)

1830 John Quincy Adams Ward, US artist who died on 01 May 1910.

^ 1800 William Boxall, English painter who died on 06 December 1879. — LINKS
Self-Portrait (1819, 83x42cm; 400x320pix, 18kb)
–- S*#> A Young Girl (25x20cm; 741x573pix, 125kb) half-length, wearing a white dress.
Geraldine (1850, 116x84cm semicircular top)

1776 Frantisek Horcicka, Prague Czech artist who died on 05 Apr 1856.

1756 Gerrit Jan van Leeuwen, Dutch artist who died on 28 April 1825.

1672 Pietro Nelli, Italian artist who died in February 1740.
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