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DEATH: 1986 O'KEEFFE
BIRTH: 1475 MICHELANGELO
^ Died on 06 March 1986: Georgia O'Keeffe, in Santa Fe. US painter specialized in flowers and the US West. She studied under William Merritt Chase and Frank Dumond.
—      Georgia O'Keeffe gained worldwide fame for her austere minimalist paintings of the US Southwest. Born in Sun Prairie, Wisconsin, on 15 November 1887, O'Keefe grew up in Virginia and first studied painting at the Art Institute of Chicago. Initially, she embraced a highly abstracted, urban style of art. She later moved to New York where she thrived within the growing community of abstract expressionists. Beginning in 1912, though, she began spending time in Texas and she became the head of the art department at the West Texas State Normal College in 1916. O'Keeffe's time in Texas sparked her enduring fascination with the stark and powerful western landscape. She began to paint more representational images that drew on the natural forms of the canyons and plains that surrounded her. O'Keeffe's paintings of cow skulls and calla lilies gained particular attention and won her an enthusiastic audience.
      Her marriage to the New York art dealer and photographer Alfred Stieglitz brought O'Keeffe back to the northeast. For a decade, she divided her time between New York City and the couple's home in Lake George, New York. In 1919, O'Keeffe made a brief visit to the small New Mexican village of Taos, and she returned for a longer stay in 1929. Attracted to the clear desert light and snow-capped mountains, she began returning to New Mexico every summer to paint. O'Keeffe found a vibrant and supportive community among the artists that had been flocking to Taos and Santa Fe since the 1890s.
      After Stieglitz died in 1949, O'Keeffe permanently relocated to Abiquiu, New Mexico. There she continued to produce her hauntingly simple images of the southwestern land she loved. By the time she died in 1986, O'Keeffe was considered one of the preeminent artists of the American West and had inspired legions of imitators.
— Georgia O'Keeffe was an abstract painter, famous for the purity and lucidity of her still-life compositions. She was born in Sun Prairie, Wisconsin, and studied at the school of the Art Institute of Chicago and at the Art Students League of New York. She taught art in Texas from 1913 to 1918. In 1916 the US photographer and art gallery director Alfred Stieglitz (whom she married in 1924) became interested in her abstract drawings and exhibited them at “291,” his gallery in New York City. Her work was shown annually in Stieglitz's galleries until his death and was widely exhibited in other important institutions.
      O'Keeffe, who moved to New Mexico in 1949, is best known for her large paintings of desert flowers and scenery, in which single blossoms or objects such as a cow's skull are presented in close-up views. Although O'Keeffe handles her subject matter representationally, the starkly linear quality, the thin, clear coloring, and the boldly patterned compositions produce abstract designs. A number of her works have an abstracted effect, the flower paintings in particular — such as Black Iris (1926)—in which the details of the flower are so enlarged that they become unfamiliar and surprising. In the 1960s, inspired by a series of airplane flights, O'Keeffe introduced motifs of sky and clouds, as seen from the air, into her paintings. One of her largest works is the mural Sky above Clouds (1965), which is 7.3 m wide.

LINKS

Deer's Skull with Pedernal (1936; 2400x1989pix, 2915kb)
Squash Flowers #1 (1925; 800x1067pix, 125kb _ ZOOM to 1200x1600pix, 277kb)
Jimsonweed (1936; 800x1067pix, 92kb _ ZOOM to 1200x1599pix, 162kb)

Oriental Poppies (1927; 782x1062pix, 73kb)

Horse's Skull on Blue (1930)
Cow's Skull With Calico Roses (1931)
Blue and Green Music (1919)
Red Canna (1923)
Grey Line with Black, Blue and Yellow (1923)
Light Iris (1924)
Two Jimson Weeds With Green Leaves And Blue Sky (1925)
Two Calla Lillies on Pink (1928)
Black Cross, New Mexico (1929)
Sunflower, New Mexico I (1935)
The Shell (1934)
Cebolla Church (1945)
Sky Above White Clouds I (1962)
The Lawrence Tree
Music - Pink and Blue II (1919; 70kb)
Black Iris III (1926; 750x564pix, 70kb)
The Shelton with Sunspots (1926; 41kb)
The Radiator Building at Night- New York (1927; 66kb)
Pink Dish and Green Leaves (1928; 71kb)
Jack-in-the-Pulpit #5 (1930)
Jack-in-the-Pulpit (1933)
Summer Days (1936; 72kb)
Cottonwood III (1944, 50x74cm) [with commentary]
 
Adam's handGod's hand^ Born on 06 March 1475 Michelangelo Buonarroti Simoni, Italian sculptor, painter, draftsman, architect, and poet[Rime] .
— The elaborate exequies held in Florence after Michelangelo’s 18 February 1564 death celebrated him as the greatest practitioner of the three visual arts of sculpture, painting and architecture and as a respected poet. He is a central figure in the history of art: one of the chief creators of the Roman High Renaissance, and the supreme representative of the Florentine valuation of disegno. As a poet and a student of anatomy, he is often cited as an example of the ‘universal genius’ supposedly typical of the period. His professional career lasted over 70 years, during which he participated in, and often stimulated, great stylistic changes. The characteristic most closely associated with him is terribilità, a term indicative of heroic and awe-inspiring grandeur. Reproductions of The Creation of Adam from the Sistine Chapel Ceiling or the Moses from the tomb of Julius II have broadcast an image of his art as one almost exclusively expressive of superhuman power. The man himself has been assimilated to this image and represented as the archetype of the brooding, irascible, lonely, and tragic figure of the artist. This popular view is drastically oversimplified, except in one respect: the power and originality of his art have guaranteed his prominence as a historical figure for over 400 years since his death, even among those who have not liked the example he gave. For such different artists as Gianlorenzo Bernini, Eugène Delacroix, and Henry Moore, he provided a touchstone of integrity and aesthetic value. Although his reputation as a poet has not been so high, his poetry has been praised by such diverse figures as William Wordsworth [1770–1850] and Eugenio Montale [1896–1981].



Michelangelo Buonarroti, the greatest of the Italian Renaissance artists, is born in the small village of Caprese.
      The son of a government administrator, he grew up in Florence, a center of the early Renaissance movement, and became an artist's apprentice at age 13. Demonstrating obvious talent, he was taken under the wing of Lorenzo de' Medici, the ruler of the Florentine republic and a great patron of the arts. For two years beginning in 1490, he lived in the Medici palace, where he was a student of the sculptor Bertoldo di Giovanni and studied the Medici art collection, which included ancient Roman statuary.
      With the expulsion of the Medici family from Florence in 1494, Michelangelo traveled to Bologna and Rome, where he was commissioned to do several works. His most important early work was the Pietà (1498), a sculpture based on a traditional type of devotional image that showed the body of Christ in the lap of the Virgin Mary. Demonstrating masterful technical skill, he extracted the two perfectly balanced figures of the Pietà from a single block of marble.
      With the success of the Pietà, the artist was commissioned to sculpt a monumental statue of the biblical character David for the Florence cathedral. The 17-foot statue, produced in the classical style, demonstrates the artist's exhaustive knowledge of human anatomy and form. In the work, David is shown watching the approach of his foe Goliath, with every muscle tensed and a pose suggesting impending movement. Upon the completion of David in 1504, Michelangelo's reputation was firmly established.
      That year, he agreed to paint a mural for the Florence city hall to rest alongside one being painted by Leonardo da Vinci, another leading Renaissance artist and an influence on Michelangelo. These murals, which depicted military scenes, have not survived. In 1505, he began work on a planned group of 12 marble apostles for the Florence cathedral but abandoned the project when he was commissioned to design and sculpt a massive tomb for Pope Julius II in Saint Peter's Basilica in Rome. There were to have been 40 sculptures made for the tomb, but the pope soon ran out of funds for the project, and Michelangelo left Rome.
      In 1508, he was called back to Rome to paint the ceiling of the Sistine Chapel--the chief consecrated space in the Vatican. Michelangelo's epic ceiling frescoes, which took several years to complete, are among his most memorable works. Central in a complex system of decoration featuring numerous figures are nine panels devoted to biblical world history. The most famous of these is The Creation of Adam, a painting in which the arms of God and Adam are outstretched toward each other.
      In 1512, Michelangelo completed the Sistine Chapel ceiling and returned to his work on Pope Julius II's tomb. He eventually completed a total of just three statues for the tomb, which was eventually placed in the church of San Pietro in Vincoli. The most notable of the three is Moses (1515), a majestic statue made from a block of marble regarded as unmalleable by other sculptors. In Moses, as in David, Michelangelo infused the stone with a powerful sense of tension and movement.
      Having revolutionized European sculpture and painting, Michelangelo turned to architecture in the latter half of his life. His first major architectural achievement was the Medici chapel in the Church of San Lorenzo in Florence, built to house the tombs of the two young Medici family heirs who had recently died. The chapel, which he worked on until 1534, featured many innovative architectural forms based on classical models. The Laurentian Library, which he built as an annex to the same church, is notable for its stair-hall, known as the ricetto, which is regarded as the first instance of mannerism as an architectural style. Mannerism, a successor to the Renaissance artistic movement, subverted harmonious classical forms in favor of expressiveness.
      In 1534, Michelangelo left Florence for the last time and traveled to Rome, where he would work and live for the rest of his life. That year saw his painting of the The Last Judgment on a wall above the altar in the Sistine Chapel for Pope Paul III. The massive painting depicts Christ's damnation of sinners and blessing of the virtuous, and is regarded as a masterpiece of early mannerism. During the last three decades of his life, Michelangelo lent his talents to the design of numerous monuments and buildings for Rome, which the pope and city leaders were determined to restore to the grandeur of its ancient past. The Capitoline Square and the dome of St. Peter's, designed by Michelangelo but not completed in his lifetime, remain two of Rome's most famous visual landmarks.
      Michelangelo worked until his death on 18 February 1564. In addition to his major artistic works, he produced numerous other sculptures, frescoes, architectural designs, and drawings, many of which are unfinished and some of which are lost. He was also an accomplished poet, and some 300 of his poems are preserved. In his lifetime, he was celebrated as Europe's greatest living artist, and today he is held up as one of the greatest artists of all time, as exalted in the visual arts as William Shakespeare is in literature or Ludwig van Beethoven is in music.
— The assistants of Michelangelo included Marcello Venusti, Simone Mosca, Galasso Alghisi, Donato Bramante, Giuliano di Piero di Simone Bugiardini, Silvio Cosini, Giacomo del Duca, Andrea di Piero di Marco Ferrucci, Antonello Gagini, Francesco Granacci, Baccio da Montelupo, Raffaello da Montelupo, Giovanni Angelo Montorsoli, Bastiano da Sangallo, Francesco da Sangallo, Juan Bautista de Toledo. — Giorgio Vasari was a students of Michelangelo.

LINKS
The Sick Bacchus aka Satyr With Grapes (1593; 600x475pix, 94kb _ ZOOM to 1400x1109pix, 281kb)
— The whole ceiling of the Sistine Chapel (1719x603pix, 197kb)
More than 100 images of Sistine Chapel frescoes at Web Gallery of Art.
16 images of paintings at Web Gallery of Art.
156 images at Art Renewal Center (mostly photos of sculptures, and some drawings)

^ —     Nato da genitori fiorentini, a 13 anni fu a Firenze nella bottega del Ghirlandaio, poi nella scuola di S. Marco con Bertoldo, l'allievo di Donatello. Prima dei vent'anni sperimentò nel marmo ogni tecnica antica e contemporanea. http://www.wga.hu/art/m/michelan/1sculptu/1/1stairs.jpg In due opere giovanili, la Madonna della Scala e la Lotta dei Centauri coi Lapiti, manifestò già i caratteri del suo stile: il creare nel marmo —per via di levare—, il concepire in grande, il contrapporre a masse in ombra altre in vivida luce.
      Dopo aver visto opere di J. della Quercia a Bologna, scolpisce a Roma, nel 1497, la "Pietà". Con il "David", il tondo del Bargello e il "S. Matteo" (1504), di cui -il non finito- accresce la suggestività, termina il periodo giovanile. A 30 anni Giulio II lo incaricò del suo Mausoleo in S. Pietro. Quest'opera, che gli era carissima e che mai ebbe modo di realizzare, costituì un motivo di tormento per tutta la vita di Michelangelo.
      I contrasti con i Della Rovere ebbero termine soltanto con Paolo III, quando si collocò la tomba in S. Pietro in Vincoli, con una sola statua realizzata dall'artista: il Mosè. Gli "Schiavi", sono le cariatidi realizzate per il Mausoleo. Riconciliatosi con Papa Giulio, a Michelangelo, che poco aveva operato nella pittura ("Madonna Doni", cartoni per la Battaglia di Cascina) fu richiesto di dipingere in affresco la volta della Cappella Sistina. Si accinse all'opera di mala voglia, e in 4 anni (1508-1512) realizzò questo capolavoro composto da 9 riquadri (dal "Caos" alla "Creazione dell'uomo", dal "Peccato" al "Diluvio" e al "Noè ebbro") e da 8 timpani posti tra le 12 nicchie monumentali, con le figure dei Profeti e delle Sibille, dei Pargoli e degli Ignudi.
      Dopo questa grande fatica, un insieme di eventi (la tomba di Giulio, mai fatta; la facciata di S. Lorenzo in Firenze, mai posta in opera, l'incomprensione di Leone X, le mura apprestate per la difesa di Firenze, rese vane dal tradimento) incupì l'animo dell'artista. Ne sono visibili testimonianze le statue de "L'Aurora" e del "Crepuscolo" (1525), del "Giorno" e della "Notte" (1526) poste sulle arche di Giuliano e Lorenzo de' Medici. Tali statue, risolte nell'architettura della Sacrestia Nuova di S. Lorenzo da M. stesso attuata per volere di Clemente VII, mostrano l'apice raggiunto nella espressione plastica, e la sfiducia nell'umano operare.
      Finì con lo scolpire soltanto per sé. Le tre "Pietà", quella di Palestrina (Palazzo Strozzi, Firenze), di Firenze (Duomo) e Rondanini (Milano, Castello), realizzate per la sua tomba, nel silenzio della casa a Macel de' Corvi presso la colonna Traiana, quelle "Pietà" che non lo accontentarono mai, sulle quali lavorò sino a poco prima di morire, dimostrano quanto la sua scultura maturasse e cambiasse insieme a lui, con gli eventi della vita, con il passare degli anni. Solo nella "Madonna dei Medici" il reclinarsi e il risolversi di ogni atto della mesta Madre per la vita del Pargolo, di un gagliardo freschissimo modellato, ci riporta alla speranza.
Michelangelo      Nel 1534, esule volontario dalla patria asservita, Michelangelo si stabilisce a Roma e vi rimane fino alla morte (1564). Nell' "Epistolario" si rammarica continuamente di così lunga vita, ma quello che fa e dice è un preludio all'arte del domani, in una essenzialità romantica che ritroviamo nelle fabbriche del Borromini, nelle sculture di A. Rodin e, prosegue quella pittoricità plastica di cui si sostanziano il cielo e il suolo di Roma, dalle Fondamenta alla Cupola di S. Pietro, dal cornicione del Palazzo Farnese alla Piazza del Campidoglio, da S. Maria degli Angeli a Porta Pia.
      Il Maderno, il Bernini e particolarmente il Borromini s'ispireranno alla sua opera per legarvi il meglio del barocco. Anche nella poesia, quando l'istinto lo libera di forza dal petrarchismo, il suo verso si fa di plastico vigore, si sostanzia di sillabe che dicono oltre il cantato e il disporre metrico. Oggi si parla di Michelangelo come del maggior poeta lirico del Cinquecento. Si spense a 89 anni, all'Avemaria del 18 febbraio 1564. Un mese dopo, la salma, rapita dai concittadini, come avveniva nel Medioevo per le reliquie dei santi, entrava a Firenze e con solenni esequie la si poneva in Santa Croce.
      I recenti restauri della volta della Sistina (1989-1991) e del "Giudizio Universale" (1990-1994), hanno fatto emergere nuovi ed inaspettati elementi che hanno posto in una luce totalmente diversa la pittura michelangiolesca. Se la plasticità dei corpi, così simili a figure scolpite più che dipinte, è stata ulteriormente evidenziata dall'opera di pulitura, la rimozione dello strato secolare che ricopriva l'affresco, (polvere, condensazione del fumo delle candele, e, soprattutto, le diverse mani di colla che sono state stese nel tempo per ravvivare i colori ma che, col tempo, hanno ottenuto solo il risultato di formare una patina scura sull'opera), ha rivelato una luminosità ed un cromatismo inaspettati e del tutto differenti da quelli da sempre attribuiti al maestro fiorentino.
      Il tripudio di colori acidi e chiari, la drastica rimozione delle ombre, hanno infatti avvicinato la pittura di M. a quella manierista, facendo così dell'artista, a dispetto della tradizione, il primo di quei pittori -di maniera- che, negli anni immediatamente successivi, avrebbero dato vita al fenomeno del Manierismo.
 

Died on a 06 March:


^ >2002 Ralph Rumney, of cancer, English avant-garde untalented artist born on 05 June 1934. — Not to be confused with Rhumney nor with Romney [15 Dec 1734 – 15 Nov 1802]. — He wrote his autobiography in French: Le Consul (1999). His meandering dialogues with Alan Woods make them co-authors of The Map is Not the Territory (2001) — obituaryLINKS
The Change (1957, 152x198cm) _ Art collector Peggy Guggenheim [26 Aug 1898 – 23 Dec 1979] had wanted to buy this painting in 1957, but Rumney gave it to her daughter Pegeen, whom he married a few years later (she committed suicide in 1967, and as a result Rumney lost custody of their son, Sandro). _ From the 1950s onwards Ralph Rumney was involved with a number of different European avant-garde movements. In July 1957 he co-founded the Situationist International, an anarchist group that sought to overthrow capitalism through subversive cultural acts. The Change, painted early in 1957, is constructed from randomly applied dabs of paint and a loose grid of black lines. The combination of chance marks and the ordering device of a grid has been interpreted as a visual metaphor for the interaction of the subconscious and conscious, as well as the spiritual and material.
Untitled (1990; 316x208pix, 10kb) Yellow and purple blotches. _ The pseudonymous Phlare Odmurat has undertaken to change The Change by combining it with this Untitled, enhancing colors and shapes, and introducing symmetry. The result is something of which Rumney was quite incapable:
      _ Pour un rhume mûr, un rhum mûr aka Ramp Mar (2006; screen filling, 290kb _ ZOOM to 1000x1414pix, 846kb).
Head on a Floor (1961; 334x283pix, 21kb) _ This miserable almost monochrome abstract image which has little or nothing to do with its title, has provoked Odmurat into metamorphosing it to the gloriously multicolored pictures:
      _ Read on a Door aka Été Tête (2006; screen filling, 192kb),
      _ Dead in a Roar aka Dad Edad (2006; screen filling, 188kb _ ZOOM to 1000x1414pix, 399kb)
      _ Bread on a Sore aka Ban Nab (2006; screen filling, 220kb _ ZOOM to 1414x2000pix, 900kb)
      _ Red Dinosaur aka Dinosaurius Dinosauriorum (2007; 724x1024pix, 240kb _ ZOOM to 1024x1448pix, 457kb _ ZOOM+ to 2636x3728pix, 1992kb) , and
      _ Dinosaur Raid (2007; 724x1024pix, 240kb _ ZOOM to 1024x1448pix, 457kb _ ZOOM+ to 2636x3728pix, 1992kb). —(070305)

^ 1992 Maria Elena Vieira da Silva, Portuguese-born (13 June 1908) French painter of intricate, semiabstract architectural compositions. She studied sculpture first with Antoine Bourdelle at Paris in 1928 and later with Charles Despiau. Her interest in painting flowered under the tutelage of Fernand Léger and Stanley William Hayter. Although the abstract patterning of her early paintings tended toward the decorative, her mastery of spatial manipulation became apparent. The luminous spots and intersecting lines in her paintings assumed an explicit architectural organization, culminating in the dreamlike cityscapes of such mature works as Golden City (1956). She and her husband (the Hungarian artist Arpad Szenes) lived in Brazil during World War II. She returned to Paris in 1947 and became a French citizen in 1956. — LINKS
Ville au bord de l'eau (38x55cm; 285x400pix, 29kb) _ Indissociable de l'Ecole de Paris, Maria-Helena Vieira da Silva occupe une place de premier plan dans les années 50. Autour de 1945, l'architecture urbaine et surtout les vues de Lisbonne dominent ses recherches plastiques.

^ 1923 Sir James Jebusa Shannon, British US painter, specialized in portraits, born in 1862. — LINKS
In the Springtime (1896, 127x102cm)
A Lady (1894, 91x71cm)
Iris (1891, 206x106cm)
Ruby Miller
Bridget, Daughter of Harold Nickols, Esq. (183x94cm) Michealmas (113x80cm) _ a woman with flowers
Two Ladies
White Lilies aka Baroness Alfred De Meyer (127x90cm)
Young Woman In Blue -- Miss H. Strom (63x52cm)

1907 John Frederick Herring II, British painter born in 1815, son of John Frederick Herring [1795 – 23 Sep 1863].

1895 Francesco Filippini, Italian artist born in 1853.

^ 1797 William Hodges, English painter born on 28 October 1744. He first attended classes at William Shipley’s Academy in the Strand, London, and from 1758 to 1765 was apprenticed to Richard Wilson (about whom he published a short biographical essay in 1790). Hodges followed Wilson’s classical landscape style periodically throughout his career, but, particularly during his travels, he also occasionally abandoned it in favor of freer handling, bolder juxtapositions of color, and a more empirical response to the natural world.LINKS
Tahiti Revisited (1773; 600x910pix, 146kb _ ZOOM not recommended to fuzzy 1400x2122pix, 327kb)
Seven Dials, Covent Garden (100x125cm)
Tomb and Distant View of Rajmahal Hills (1782,: 62x72cm) _ The alien landscapes and ancient buildings of India were made more familiar to Western eyes by drawing analogies with ancient Greece and Rome. In its form and style, Hodges’ picture is very like a conventional view of an Italian landscape with its antique ruins. Such scenes were the speciality of the painter Richard Wilson, who had been Hodges’ teacher. Like a number of painters facing an ever more competitive art market at home, Hodges looked further afield for work. He visited India in the early 1780s.

^ 1673 Daniel de Blieck, Dutch painter born in 1630.
A church interior by candlelight with figures conversing (1652, 85x115cm; _ ZOOMable)
A Church Interior (1654, 480x443pix, 32kb)
Interior of a palace (1652, 75x73cm; 340x331pix, 84kb)


Born on a 06 March:


^ 1933 Rallis Georghakis, Greek-Cypriot-born US painter.
I Am the Way (1998, 61x91cm; 1118x718pix, 58kb) _ preliminary study (1998, 61x91cm; 1142x718pix, 61kb)
Archbishop Makarios (1980, 91x61cm; 986x718pix, 58kb) _ Makarios III [13 Aug 1913 – 03 Aug 1977], archbishop and primate of the Orthodox Church of Cyprus, was a leaderin the struggle for enosis with Greece during the postwar British occupation, and, from 1959 until his death in 1977, he was the president of independent Cyprus.
Young Vendor (1995, 61x91cm; 484x718pix, 36kb) in a village street, a boy on a loaded donkey precedes a man on another loaded donkey; a younger loaded donkey goes ahead of them both.
Little Shop (1995, 46x61cm; 1006x718pix, 65kb) in a village street; the tops of palm trees are seen in the background.
Village Scene (1999, 16x11; 1085x718pix, 81kb) a door in a wall, with flowers at the top of a barrel on one side, and a chicken on the other. _ This has been the starting point for the pseudonymous George Raulhabite in his creation of the colorful symmetric abstractions with the irrelevant titles Village Seen aka Ports Trop (2006; screen filling, 277kb _ ZOOM to 990x1400pix, 564kb) and Villains Seen aka Porte Trop (2006; screen filling, kb _ ZOOM to 990x1400pix, kb)
Gateway (1999, 11x16cm; 1136x742pix, 41kb)
Billy (2000, 61x76cm; 784x552pix, 80kb) a smiling man, head and shoulders.
101 images at his site —(060223)
CECI
N'EST PAS
BILLE

^ 1910 Kristian Torbensen “Ejler Bille”, Danish sculptor, painter, and writer. He was trained at the Kunsthåndværkerskole in Copenhagen by Bizzie Høyer from 1930 to 1932 and at the Kongelige Danske Kunstakademi (1933). Bille made his début as a sculptor at the Kunstnernes Efterårsundstilling (Artists’ Autumn Exhibition) in Copenhagen in 1931. He became interested in abstract art very early in his career; in 1933, with the artist Vilhelm Bjerke-Petersen, he was one of the first artists in Denmark to exhibit abstract sculptures and paintings. In 1934 Bille was a founder-member with Richard Mortensen and Bjerke-Petersen of the artists’ group Linien, whose journal of the same name he also co-edited. During Bille’s many trips abroad in the 1930s he was particularly stimulated by the work of Alberto Giacometti, Hans Arp, and Max Ernst. His originality was nevertheless clearly apparent in the early sculptures, which often used animals as subjects, for example Marten (1931) and Walking Form (1936). — LINKS
Komposition Gudhjem (1940, 102x84cm; 1633x1304pix, 263kb) _ Komposition. Gudhjem er malet under et af kunstnerens mange ophold på Bornholm. Den abstrakte komposition er bygget op af trekanter, firkanter og stjerneformer, som spreder sig over næsten hele billedfladen i en stor centrifugal bevægelse. Ejler Bille var 1934-37 medlem af sammenslutningen linien, som i 1934 introducerede surrealismen i dansk kunst. I 1940 var han blevet optaget af det rent abstrakte formsprog, hvor rytme, flader, punkter, linjer og farver alene udgør maleriets indholdsside. Titlen Komposition. Gudhjem henviser dels til maleriets abstrakte værdi, som kan ses som en parallel til en musikkomposition, dels til det bornholmske landskabs farver, som ses i maleriet. En mulig inspiration kan være synet ud over Gudhjems røde tegltage fra udsigtspunktet Bokul. _ The pseudonymous Benneseine Beurneure Rouleman has transformed this picture into an extraordinary series of 64 related abstractions which can be accessed by clics of the mouse from any of them, for example the asymmetrical
      _ Compote Good Jam (2008; 564x798pix, 131kb _ ZOOM 1 to 798x1128pix, 252kb _ ZOOM 2 to 1128x1596pix, 524kb _ ZOOM 3 to 1880x2658pix, 1385kb _ ZOOM 4 to 2658x3760pix, 2644kb _ ZOOM 5 to 3760x5316pix, 4155kb) and the symmetrical
      _ Decomposition Got Him (2008; 564x798pix, 130kb _ ZOOM 1 to 798x1128pix, 248kb _ ZOOM 2 to 1128x1596pix, 492kb _ ZOOM 3 to 1880x2658pix, 1314kb _ ZOOM 4 to 2658x3760pix, 2196kb _ ZOOM 5 to 3760x5316pix, 3462kb)
Figurer i magisk landskab (1939,. 92x65cm; 1404x1010pix, 202kb) _ Billedet består af både geometriske figurer og organiske former. Hvert element har sin egen lokalfarve og er afgrænset fra den næste af en kontur. Nogle steder ophobes formerne, så de danner maskefigurer. Som mange af sine samtidige var Ejler Bille blevet inspireret af såkaldt primitiv kunst i Afrika og Sydøstasien og havde opdaget masken som et magisk symbol.
Untitled (color lithograph with wide margins which make the 199 kb image 1357x1016pix while the picture fits comfortably in 800x580pix) mostly rough triangles with much off-white background.._ The pseudonymous Pagan Estorben, who has a phobia of empty spaces (the technical term is kenophobia), has filled them in with elements from this and other worthless (except to greater fools) pictures of the pseudonymous Bille, and, after an utter transformation (which avoids copyright disputes besides tremendously improving the picture), has produced
      _ This Is Not an Untitled Picture aka Pile Lip (2006; screen filling, 261kb _ ZOOM to 1400x1980pix, 1035kb). But Estorben wants to please everybody, so, for those who just love empty space, he has created the completely original and nowhere else to be found
      _ This Picture Deserves To Be Untitled, But, As You Can See, It Is Not; And I Hope Kenophiliacs Enjoy It Because I Do Not And In Fact I Had To Make It With My Eyes Closed Because Of My Kenophobia aka 040 (2006; screen filling, 9kb) and if this is not enough empty space he has even made
      _ O.K. So You Want More Empty Space, Well Here You've Got More Empty Space! Yech! aka 0400 (2006; screen filling, 9kb)
Grønt - Rødt - Orange (1962, 74x64cm; 412x354pix, 39kb) _ Der er i billedet genkendelige former, og betragteren tænker på måske fugle og masker. Og der er farver, som kunne minde om efterårets lidt vemodige klange. Men dybest set er det en forestillingsløs billedsymfoni, hvor farve, strøg og linie i sit samspil former et stemningsmættet og lysfyldt billedrum. Det er tale om et mentalt landskab, hvor selve processen at male, at komponere og at skabe former er både middel og mål. "Jeg har altid kredset om ornamentet, men ikke det gentagne døde mønster. Det skal netop være et levende ornament, en organisk figur". Med andre ord billedet er de åbne muligheders land fyldt af legende bevægelse og strømme af energi.
Komposition i grønt (1947; 265x232pix, 29kb).
Untitled (408x354pix, 50kb) —(080302)

1861 Friedrich Eckenfelder, German artist who died in 1938.

1861 Carlo Brancaccio, Italian artist who died in 1920.

^ 1847 Federico Andreotti, Italian painter who died in 1930. Andreotti received his artistic training at the Academy in his native Florence. There he studied under Enrico Pollastrini [1817-1876], the President of the Academy, and Angiolo Tricca [1817-1884]. His academic studies prepared him well for his chosen subject matter, historical figurative works set in the 16th and 17th centuries. The late 19th century saw a resurgence of interest in this period of elegance and many artists sought to satisfy the growing demand for works of that kind; they included Toudouze and Moreau in France, Marcus Stone in England, and Madrazo in Spain.. Andreotti’s paintings were sought after by US and European collectors alike and during the late 19th century he received an important commission from the King of Italy. While little is known about his exhibition history in Florence, he did show a number of paintings at the Royal Academy in London from 1879 to 1883; including: Her First Exhibit (1879); A Happy Father of Twins (1881); A Village Maestro (1882), and From the Wrong Cask (1883). Andreotti combined his technical precision, learned in his anatomy classes at the Academy, with the new theories on color and technique that were being explored by the Impressionists. His paintings often feature large figures created with a colorful palette and open brush stroke, while keeping true to the academic traditions of anatomical correctness.
A Day's Outing (500x708pix, 195kb)
Spring Blossoms (47x37cm; 600x759pix, 523kb)
Discretion, the Better Part of Valor (500x672pix, 139kb)
The Serenade (550x415pix, 110kb)
The Dance (500x689pix, 116kb)
A Tender Moment in the Garden (450x554pix, 100kb)
Flirtation (550x413pix, 79kb)
Straw Hat with Poppies (550x401pix, 73kb)
The Music Lesson (550x447pix, 68kb)
Flirtation in the Wine Cellar (542x419pix, 55kb)
Courting Couple (480x366pix, 59kb)
A Girl with Roses (420x308pix, 49kb)
Precious Keepsakes (408x339pix, 22kb)
Ragazze nello studio (1885; 340x400pix, 22kb)

1817 Nikolai Grigorevich Sverchkov (or Svertchkoff, Svertschkoff), Russian artist who died on 25 June 1898. — {Was there a Swede who would swear Svertschkoff coughs could be caught just by pronouncing that name?}

^ 1722 Johann-Christian Brand, Austrian painter who died on 12 June 1795 Son of Christian Hilfgott Brand [16 Mar 1694 – 22 Jul 1756], from whom he received his first instruction in landscape painting. In 1736 he became a student at the Akademie der Bildenden Künste, Vienna. In 1751–1756 he was in the service of Nikolaus VIII, Graf Palffy, on his estates in Hungary and at his residence in Bratislava (now Slovakia). During this period he painted his earliest-known veduta, Landscape near Devin Castle, at the Confluence of the Morava and the Danube. After returning to Vienna, Brand was commissioned in 1758 by the imperial family to paint a series of four scenes of A Heron Hunt in the Region of Laxenburg. These were the first great studies from nature of the area around Vienna, recognizable in its topographical features and characteristic atmosphere. They are bird’s-eye views, whereas in the two large vedute Lake of Neusiedl (1764) and Bruck Castle (1765), the observer’s standpoint is a hill with a view of the wide plain, so that the horizon is lowered. — {So that's what the Brand brand of art was like.}
–- Niederösterreichische Landschaft südlich von Wien (1790; 400x573pix, 44kb)

1658 Franz Werner von Tamm “Dapper”, German painter, active in Italy and Austria, who died on 10 July 1724. He was first trained in Hamburg by Dietrich von Sosten [–1695] and Johann Joachim Pfeiffer [1662–1701]. Although he initially leant towards historical painting, later he painted only still-lifes. Resident in Rome from 1685 to 1695, he was introduced into the city’s Flemish/Italian circle of artists by Gaspar van Wittel. He worked occasionally with Pieter van Bloemen and Carel van Vogelaer [1653–1695], then became a follower of Carlo Maratti, who painted the figures in his still-lifes. Through Maratti he gained commissions from the Roman patrician families, and their patronage made him known in Spain, France, England, and Germany.

1610 Simon Luttichuys (or Lutkenhuysen), Dutch artist who died in 1662. — Relative? of Isaac Luttichuys [1616-1673]?


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