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ART “4” “2”-DAY  07 March v.10.20
BIRTHS: 1744 or 1752 DEMARNE — 1802 LANDSEER — 1872 MONDRIAN 
^ Died on 07 March 1931: Christiaan Emil Maria Küpper “Theo Van Doesburg” or “J.K. Bonset”, Dutch Neoplasticist painter, decorator, poet, and art theorist, a leader of the de Stijl movement, born on 30 August 1883.
— Originally he intended to follow a career in the theater, but he turned to painting about 1900 and worked in Post-Impressionist and Fauvist styles until 1916, when he began to paint geometric abstractions of subjects from nature. In 1917 he was instrumental in founding the de Stijl group and founded the avant-garde art review De Stijl (a publication that was continued until 1931). His advocacy of de Stijl's geometric style influenced the modernist architects Le Corbusier, Walter Gropius, and Ludwig Mies van der Rohe. From 1921 to 1923, when he taught at the Weimar Bauhaus, Doesburg's painting style was much influenced by the aesthetic of neoplasticism of Piet Mondrian [07 Mar 1872 – 01 Feb 1944]. Using the alias J.K. Bonset, he exhibited as a Dadaist in Holland in 1923 and published another art review, Mechano. In 1926 he wrote his manifesto “De Stijl,” explaining his theory of elementarism, an aesthetic concept based on the use of inclined planes in geometric abstract paintings to increase the dynamic effect of the composition.
— In 1883 werd op 3 augustus Christian Emil Maria Küpper in Utrecht geboren. Kort na zijn geboorte verliet vader Wilhelm Küpper het gezin en vertrok naar zijn geboortestad Keulen, waar hij in 1893 overleed. Christiaan groeide op bij zijn moeder en pleegvader. Theodorus Doesburg was al jaren een vriend van de familie en vermoedelijk ook de natuurlijke vader van Cristian Emil Maria. Waarschijnlijk om deze reden wijzigde Christian op latere leeftijd zijn naam met als toevoeging het woordje "Van" als mogelijke verwijzing naar zijn afkomst. Luisterend naar de naam Theo van Doesburg bezocht hij na het lager en voortgezet onderwijs voor een korte tijd de toneelschool. Toen hij daarna de ambitie koesterde om schilder en schrijver te worden, waren zijn ouders niet erg enthousiast. Dit was voor Theo de aanleiding om op 18-jarige leeftijd het ouderlijk huis te verlaten.
      Naast de naam Theo van Doesburg gebruikte hij nog twee pseudoniemen. I.K. Bonset was waarschijnlijk een anagram van de stelling "Ik ben sot", welk pseudoniem hij gebruikte als ondertekening van zijn Dadaïstische gedichten en activiteiten. En het pseudoniem Aldo Camini gebruikte Van Doesburg ter ondertekening van zijn anti-filosofische activiteiten als criticus. Na de mobilisatie verbleef Van Doesburg van februari tot december 1916 bij zijn moeder in Haarlem waarna hij zich in Leiden vestigde.
— A Dutch artist and architect. Theo van Doesburg founded De Stijl magazine in 1917. The magazine gave its name to a group of artists and architects which included Mondrian, Huszar and Vantongerloo, Oud and Rietveld. The style was abstract. Forms were generalised from natural shapes and forms. Primary colors were used. Theo van Doesburg influenced the Bauhaus.
— Dutch painter, decorator, poet, and art theorist, a leader of the de Stijl movement. He worked in Post~Impressionist and Fauvist styles until 1916. Then he began to paint geometric abstractions of subjects from nature. His advocacy of de Stijl's geometric style influenced the modernist architects Le Corbusier, Gropius, and Mies van der Rohe. From 1921 to 1923 he taught at the Weimar Bauhaus and was influenced by Mondrian's aesthetic of neoplasticism. He exhibited in Holland in 1923 as a Dadaist, under the pseudonym J. K. Bonset. His 1926 De Stijl explains his theory of elementarism, the use of inclined planes in geometric abstract paintings to increase the dynamic effect.

Arithmetic Composition (1930; 1024x994pix, 275kb) 4 scaled black squares on a dirty yellow background. This dull picture has been amazingly transformed by the pseudonymous Sophie Makescamp into the colorful and highly detailed series of sixteen abstractions:
      _ Art Metric Comparation (2007; 550x778pix, 130kb _ ZOOM 1 to 778x1100pix, 278kb _ ZOOM 2 to 1100x1556pix, 600kb _ ZOOM 3 to 1710x2418pix, 1499kb _ ZOOM 4 to 2658x3760pix, 3466kb)
      _ Comparative Metric Art (2007; 550x778pix, 130kb _ ZOOM 1 to 778x1100pix, 278kb _ ZOOM 2 to 1100x1556pix, 600kb _ ZOOM 3 to 1710x2418pix, 1499kb _ ZOOM 4 to 2658x3760pix, 3466kb)
      _ Algebraic Compost (2007; 550x778pix, 138kb _ ZOOM 1 to 778x1100pix, 281kb _ ZOOM 2 to 1100x1556pix, 599kb _ ZOOM 3 to 1710x2418pix, 1534kb _ ZOOM 4 to 2658x3760pix, 3774kb)
      _ Composted Algebra (2007; 550x778pix, 138kb _ ZOOM 1 to 778x1100pix, 281kb _ ZOOM 2 to 1100x1556pix, 599kb _ ZOOM 3 to 1710x2418pix, 1534kb _ ZOOM 4 to 2658x3760pix, 3774kb)
      _ Arid Mimetic Compilation (2007; 550x778pix, 148kb _ ZOOM 1 to 778x1100pix, 348kb _ ZOOM 2 to 1100x1556pix, 829kb _ ZOOM 3 to 1710x2418pix, 2393kb _ ZOOM 4 to 2658x3760pix, 6455kb)
      _ Compiled Mimetic Aridity (2007; 550x778pix, 148kb _ ZOOM 1 to 778x1100pix, 348kb _ ZOOM 2 to 1100x1556pix, 829kb _ ZOOM 3 to 1710x2418pix, 2393kb _ ZOOM 4 to 2658x3760pix, 6455kb)
      _ Artificial Commission (2007; 550x778pix, 173kb _ ZOOM 1 to 778x1100pix, 392kb _ ZOOM 2 to 1100x1556pix, 882kb _ ZOOM 3 to 1710x2418pix, 2354kb _ ZOOM 4 to 2658x3760pix, 6634kb)
      _ Commmited Artifice (2007; 550x778pix, 173kb _ ZOOM 1 to 778x1100pix, 392kb _ ZOOM 2 to 1100x1556pix, 882kb _ ZOOM 3 to 1710x2418pix, 2354kb _ ZOOM 4 to 2658x3760pix, 6634kb)
      _ Aristocratic Commiseration (2007; 550x778pix, 134kb _ ZOOM 1 to 778x1100pix, 278kb _ ZOOM 2 to 1100x1556pix, 596kb _ ZOOM 3 to 1710x2418pix, 1518kb _ ZOOM 4 to 2658x3760pix, 3615kb)
      _ Commmiserable Aristocrat (2007; 550x778pix, 134kb _ ZOOM 1 to 778x1100pix, 278kb _ ZOOM 2 to 1100x1556pix, 596kb _ ZOOM 3 to 1710x2418pix, 1518kb _ ZOOM 4 to 2658x3760pix, 3615kb)
      _ Arty Conflagration (2007; 550x778pix, 134kb _ ZOOM 1 to 778x1100pix, 281kb _ ZOOM 2 to 1100x1556pix, 603kb _ ZOOM 3 to 1710x2418pix, 1515kb _ ZOOM 4 to 2658x3760pix, 3615kb)
      _ Conflagrated Art (2007; 550x778pix, 134kb _ ZOOM 1 to 778x1100pix, 281kb _ ZOOM 2 to 1100x1556pix, 603kb _ ZOOM 3 to 1710x2418pix, 1515kb _ ZOOM 4 to 2658x3760pix, 3615kb)
      _ Aromatic Constitution (2007; 550x778pix, 162kb _ ZOOM 1 to 778x1100pix, 370kb _ ZOOM 2 to 1100x1556pix, 856kb _ ZOOM 3 to 1710x2418pix, 2373kb _ ZOOM 4 to 2658x3760pix, 6545kb)
      _ Constituted Aroma (2007; 550x778pix, 162kb _ ZOOM 1 to 778x1100pix, 370kb _ ZOOM 2 to 1100x1556pix, 856kb _ ZOOM 3 to 1710x2418pix, 2373kb _ ZOOM 4 to 2658x3760pix, 6545kb)
      _ Arrogant Concatenation (2007; 550x778pix, 159kb _ ZOOM 1 to 778x1100pix, 370kb _ ZOOM 2 to 1100x1556pix, 857kb _ ZOOM 3 to 1710x2418pix, 2374kb _ ZOOM 4 to 2658x3760pix, 6544kb)
      _ Concatenated Arrogance (2007; 550x778pix, 159kb _ ZOOM 1 to 778x1100pix, 370kb _ ZOOM 2 to 1100x1556pix, 857kb _ ZOOM 3 to 1710x2418pix, 2374kb _ ZOOM 4 to 2658x3760pix, 6544kb)
Mouvement héroïque (1916, 136x110cm; 1489x1195pix, 253kb)
Composition XI (1918, 57x101cm)
Still Life. Composition (800x529pix, 103kb)
Café Aubette, Strasbourg. Color scheme for ceiling and short walls of ballroom (376x800pix, kb)
Composition (1920, 92x71cm; 800x560pix, 51kb)
Time-Space Composition XI (419x750pix, 76kb)
Countercomposition XIII (1926, 50x50cm)
Still Life (Composition V) (1917, 31x36cm; 2008x2278pix, 1686kb)
Countercomposition VI (600x594pix, 42kb) approximate black-and-white
Countercomposition XV
Countercomposition XVI (1925; 2499x4594pix, 765kb)
Peinture Pure (130x80cm; 800x508pix, 39kb)
Simultaneous Countercomposition
Composition XI
–- Composition XXII (1922; 665x620pix, 17kb)
–- Countercomposition V (600x591pix, 25kb _ .ZOOM to 1462x1441pix, 91kb) _ Makescamp has metamorphosed this simple geometrical design in three flat colors and grays into many complex and colorful abstractions (some symmetrical, some not), that can be reached by clicks of the mouse from the first two:
      _ Position at the Counter (2007; 550x778pix, 106kb _ ZOOM 1 to 778x1100pix, 221kb _ ZOOM 2 to 1100x1556pix, 469kb _ ZOOM 3 to 1710x2418pix, 1202kb _ ZOOM 4 to 2658x3760pix, 2492kb) and
      _ Counting Five Positions (2007; 550x778pix, 106kb _ ZOOM 1 to 778x1100pix, 221kb _ ZOOM 2 to 1100x1556pix, 469kb _ ZOOM 3 to 1710x2418pix, 1202kb _ ZOOM 4 to 2658x3760pix, 2492kb):.
–- Countercomposition (1924)
–- Simultaneous Countercomposition (1929; 1200x1186pix, 80kb)
Simultaneous Counter-Composition 2 (1929, 30x30cm; 1401x1386pix, 203kb)
Composition in Gray (Rag-time) (1919, 96x59cm)
— (Contra-Compositie XIII) (1926, 50x50cm) _ About 1924 Theo van Doesburg rebelled against Piet Mondrian’s programmatic insistence on the restriction of line to vertical and horizontal orientations, and produced his first Counter-Composition. The direction consequently taken by Neo-Plasticism was designated “Elementarism” by van Doesburg, who described its method of construction as “based on the neutralization of positive and negative directions by the diagonal and, as far as color is concerned, by the dissonant. Equilibrated relations are not an ultimate result.”1 Mondrian considered this redefinition of Neo-Plasticism heretical; he was soon to resign from the De Stijl [more] group. This canvas upholds the Neo-Plastic dictum of “peripheric” composition. The focus is decentralized and there are no empty, inactive areas. The geometric planes are emphasized equally, related by contrasts of color, scale, and direction. One’s eyes follow the trajectories of isosceles triangles and stray beyond the canvas to complete mentally the larger triangles sliced off by its edges. The placement of the vertical axis to the left of center and the barely off-square proportions of the support create a sense of shifting balance.
The Cardplayers (1917, 117x148cm; 956x1190pix, 144kb)
96 images at Wikimedia
^ Born on 07 March 1752: Jean-Louis Demarne (or de Marne), French painter who died on 24 January (24 March?) 1829. He is born on in Brussels where he will be baptized on 22 January 1754.
— He went to Paris at the age of 12 after the death of his father, who had been in Brussels as an officer in the service of the Emperor of Austria. Having spent eight years studying history painting under Gabriel Briard [1729–1777], he entered the Prix de Rome competition in 1772 and 1774 but failed to win. Thereafter he concentrated on landscape and genre painting, in which he was greatly influenced by such 17th-century Dutch masters as Aelbert Cuyp, the van Ostade brothers, Adriaen van de Velde, and Karel Dujardin, all artists enjoying a tremendous vogue and high prices in Paris at that time. Demarne was made an associate (agréé) of the Académie Royale in 1783 but did not become a full member. He seems to have cared little for official honors and later, in 1815, was unwilling to seek membership of the Institut de France. He was, however, awarded the Légion d’honneur at the Salon of 1828.
— In 1764 he came to Paris where he studied at the Académie 1769-1777 under the history painter G. Briard. He first visited Switzerland and the Dauphiné in 1776 with N.-A. Taunay, and the sight of Karel Dujardin's works in the Randon de Boisset collection (sold in 1777) confirmed his inclination to paint picturesque scenes rather than history pieces. In 1779 he exhibited a landscape 'dans le goût de Karle Du Jardin' at the exposition de la jeunesse. He was agréé in 1783 (Paysage avec animaux) and showed regularly at the Salon 1789-1827. His work, which also included village fairs and guard-room scenes, was profoundly influenced by seventeenth-century Dutch masters, such as Wouwerman, Potter, Palamedesz, and Lingelbach. He never signed or dated his pictures and the titles of his exhibited works are repetitive. In 1806 he was commissioned to paint Napoléon et Pie VII à Fontainebleau (landscape by A. Dunouy). He worked for the Sèvres porcelain factory 1809-1813 and made a number of landscape and figure etchings. He died at Batignolles, near Paris, on 24 January 1829.
— Jean-Michel Diébolt [1779–], Jules Dupré, and Auguste Forbin were students of Demarne.

Landscape with Gothic Monument (443x600pix, 84kb)
Foire à l'Entrée d'un Village (36x50cm)
Une Route (1814, 50x61cm)
Entrevue de Napoléon et du Pape Pie VII dans la forêt de Fontainebleau, le 25 novembre 1804 (1808, 180x219cm)
Women and Soldiers Revelling (1787, 49x57cm)
The Elixir (49x60cm)
^Died on 07 March 1826: Abraham van Stry I (or Strij), Dutch painter of oils and watercolors, born on 31 December 1753. — Brother of Jacob van Stry [1756-1815], father of Abraham van Stry II [1790-1840].
— Abraham van Stry was born in Dordrecht. He studied under Joris Ponse [1723-1783], painter of decorative works and still lifes. He also studied briefly at the Antwerp academy. A versatile painter, van Stry first made still life scenes of flowers and fruit. Later, obliged to assist his father, Leendert van Stry [1728-1798], he began to make history paintings and landscapes. Van Stry painted interiors and genre scenes in the style of Gabriel Metsu and Pieter de Hooch [1629-1684], and his landscapes reveal a close study of Cuyp. Van Stry also painted illusionistic grisaille imitations of marble reliefs, a popular decor in the Netherlands since the Renaissance. These were known as "witjes" ("wit" or white) after Jacob de Wit [1695-1754], who gained international renown in this style. In 1774 Abraham van Stry founded the society "Pictura" of Dordrecht. Beginning in 1818 he was a member of the Antwerp Academy. His works earned several prizes in Paris and London. — Portrait of van Stry (1812, 64x54cm; 414x333pix, 21kb) wonderful or not, it is by Pieter Christoffel Wonder [1780-1852].

Young Sweethearts (36x46cm) _ This is a genre scene of the type popular in eighteenth-century Holland. Middle-class patrons delighted in their status and possessions, and enjoyed painted representations of this kind.
De Tekenles (70x58cm; 571x497pix, 52kb) _ De inspiratiebron voor dit paneel was het werk van zeventiende-eeuwse genreschilders. Het thema van de leerling die werkt naar een klassieke sculptuur komt al voor bij Jan Steen (1626-1679). De compositie met de twee doorkijkjes ontleende Abraham van Strij waarschijnlijk aan Pieter de Hooch (1629-1684). De schildertrant met het heldere kleurgebruik en de tekenachtige penseelvoering is typerend voor Van Strijs eigen tijd, de periode rond 1800. Op het schilderij staat een beeldje, dat een kopie is naar een werk van de Griekse beeldhouwer Lysippus (4e eeuw v.C.). Het beeld stelt de oude Silenus voor, die als opvoeder fungeerde van de jonge god Dionysus.
— a different De Tekenles (580x461pix, 52kb)
Lezende vrouw aan het venster (70x58cm; 599x500pix, 75kb) _ In veel werken toonde Abraham van Strij zich een intelligent en inventief navolger van de Gouden Eeuw. De compositie op dit paneel doet denken aan Pieter de Hooch [1629-1684], het heldere palet heeft veel weg van Aelbert Cuyp, terwijl de lezende vrouw een bekend motief was bij Nicolaes Maes. Van Strij laat zich in dit schilderij kennen als Dordtenaar: door het half geopende raam is de Dordtse Grote Kerk te herkennen.
Stilleven met bloemen, vruchten en viskom (92x72cm; kb) also four large goldfish in a fishbowl and one tiny dog (smaller than the pineapple) outside of it, straddling a rifle, next to the bird it shot and a partly eaten pomegranate approached by a tiny snake. _ In Van Strijs oeuvre is dit een zeldzaam type stilleven. Opvallend is de combinatie van zeer uiteenlopende voorwerpen en het ongebruikelijke motief van de kom met goudvissen. In de zeventiende eeuw bevatte het stilleven vaak verwijzingen naar de vergankelijkheid van het leven. Aan het einde van de achttiende eeuw waren zulke betekenissen meestal verdwenen. De decoratieve en picturale aspecten waren toen de belangrijkste.
Woman and drinking soldier (69x60cm; 600x462pix, 52kb _ /S#*>ZOOM to 1433x1201pix, 274kb) also a dog. In an inn, an officer is drinking a glass of wine too many, and is being admonished by a serving woman holding an empty jug, there is a dog at their feet, and in the background a view of the courtyard with a fish vendor.
–- Winter Scene with a girl on a sled pulled by a goat hustled by a boy, before a woman in the door of a house (1342x1201pix, 214kb) the woman is holding a foot-warmer.
–- A Peasant Woman With Her Cattle (720x720pix, 68kb)
–- The Attentive Mother (892x731pix, 50kb) she is eavesdropping at a closed door, there's a dog.
^ Born on 07 March 1802: Sir Edwin Henry Landseer, English painter specialized in animals [why not landscapes? He wasn't named Beastseer after all.]. He died on 01 October 1873.
—  Edwin Henry Landseer was the son of engraver John Landseer [1769-1852]. Trained by his father to sketch animals from life, he began exhibiting at the Royal Academy when only 13; the same year (1815) he received a silver medal from the Society of Arts for his drawing of a hunter. Success came easily and early. By the age of 16 he was a constant and active exhibitor at the RA, already patronized by leading collectors and talked about as a rising star. His election as an Associate of the RA in 1826, when he was only 24, surprised no one but himself.
       In 1824, Landseer went to Scotland for the first time to visit Sir Walter Scott. He fell in love with the Highlands, and since then every year he used to return there for inspiration, drawing, hunting, and rest. Landseer's romantic vision of border history is reflected in his work, inspired by Scott, The Hunting of Chevy Chase (1826). Landseer was elected a full Academician in 1931; the decade that followed was the most successful and the most creative of his entire career.
       Major works, such as Hawking (1832), Scene in the Olden Time at Bolton Abbey (1834) won him critical acclaim, but it was often his smaller pictures of dogs such as The Old Shepherd's Chief Mourner (1837) and Dignity and Impudence (1839) that captured the popular imagination. Most of Landseer's pictures were well known from excellent engravings of them by his elder brother Thomas (1796-1800). The publication of numerous prints won him a vast and devoted popular audience.
       The strain of keeping up his career, of satisfying his patrons, and of maintaining his social position cost Landseer more effort than he cared to admit. In May 1840, at the height of his powers and reputation, he suffered a severe nervous breakdown. In the face of all his personal and professional problems, Landseer continued to paint pictures of high quality, which enhanced his popularity. His The Monarch of the Glen (1851) was exhibited in 1851; the bronze lions at the foot of Nelson's Monument in Trafalgar Square were modeled by him (1859-66). He was a favorite with the aristocracy, but it was his position at court, which gave him an unrivaled prestige in the eyes of the public. As well as painting a succession of royal pets Eos, A Favorite Greyhound, the Property of H.R.H. Prince Albert (1841), Macaw, Love Birds, Terrier, and Spaniel Puppies, Belonging to Her Majesty (1839), Landseer undertook major portrait commissions, including the great unfinished picture of Queen Victoria , the conversation piece Windsor Castle in Modern Times (1841-1845), and the Portrait of Queen Victoria and Prince Albert (1842-1846).
       Landseer was the most famous English artist of his generation, and he was mourned throughout the nation. He was accorded the honor of public funeral, and he was buried in St. Paul's Cathedral alongside Sir Joshua Reynolds, Sir Thomas Lawrence (1769~1830), and J.M.W. Turner.

Lady Louisa Russell, Marchioness (and later Duchess) of Abercorn Holding her Daughter, Lady Harriet Hamilton (Later Countess of Lichfield) (1834)
The Old Shepherd's Chief Mourner (1837)
Dignity and Impudence (1839)
Windsor Castle in Modern Times (Queen Victoria, Prince Albert, and Princess Victoria) (1843)
Scene in Braemar- Highland Deer (1857)
^ Died on 07 March 1957: Percy Wyndham Lewis, Canadian British Camden Town Group writer and painter, born on a yatch near Amherst, Nova Scotia, on 18 November 1882.
—     Lewis founded the abstract Vorticist movement, which, in painting and literature before WW I, sought to relate art to the industrial process. (Tarr, Apes of God). Lewis went to England and was educated at Rugby School and the Slade School of Art (1898-1901). After leaving art college Lewis spent the next seven years in Europe. When he returned to England in 1909 he began publishing stories, essays, novels and plays. In 1912 Lewis became the founder of Vorticism, a literary and artistic movement. Members of the group included Charles Nevinson, Henri Gaudier-Brzeska, William Roberts and Alvin Langdon Coburn. In his journal, Blast (1914-15), Lewis attacked the sentimentality of 19th century art and emphasized the value of violence, energy and the machine. In the visual arts Vorticism was expressed in abstract compositions of bold lines, sharp angles and planes. From 1916 to 1918 Lewis served on the Western Front as a battery officer. He was also commissioned by Lord Beaverbrook and the Canadian War Memorials Fund to paint A Canadian Gun Pit. However, his most famous war painting is A Battery Shelled. Lewis later wrote an account of his experiences in the war entitled, Blasting and Bombardiering (1937).
      After the First World War Lewis developed right-wing views and was sympathetic to the political changes taking place in Germany and Italy. On the outbreak of the Second World War returned to Canada. In 1951 Lewis went blind and was forced to give up painting. In his later years he concentrated on writing, this included the autobiographical Self-Condemned (1954) and The Human Age (1955). Percy Wyndham Lewis died in London.

Self-Portrait (1921, 76x68cm; 705x634pix, 60kb) Stylized three-quarter right side head and chest portrait of the artist in his studio. He is seated wearing a brown jacket and hat, with a canvas and mantelpiece in the background to left. On the mantelpiece is a pink clock, and the background is painted red.
A Canadian Gun-Pit (1918, 305x362cm) _ A Battery Shelled (1918, 183x318cm) — Despite the difference in format and the - less obvious - difference in style, these two works may be considered as being two moments from the same story. Through his training, Wyndham Lewis (1882-1957) belonged to the Vorticists, the London branch of the Cubo-Futurists. Along with the poet Ezra Pound, he edited the magazine Blast and stood out as a leader of that movement, if only because of his provocative stances and his taste for controversy. In March 1916, he signed up in the artillery. In May 1917, he met Orpen and, paradoxically modeling his style on this painter whose art he considered outmoded, he in turn became "official army painter" with the Canadian and later British troops. This took him to the Vimy sector, before he transcribed his observations onto monumental formats. A Canadian Gun-Pit and A Battery shelled are examples of this original enterprise - at the risk of disconcerting, Lewis combined the geometrical stylization of Vorticism and more immediately figurative elements, close to the portrait for instance. The former offers a wealth of detail, with the sheet metal of the dugouts, the mechanisms of the gun, the uniforms and camouflage nets. The latter is more elliptical; a group on the left observes impassively the devastation caused by the bombing as a dead gunner is buried by his comrades. More deliberately modernist in tone, it is based on a plastic language of angles, lines, changes of scale and schematization of silhouettes. These paintings are thus the product of one of the rare attempts at inventing a modern style of war painting._ Wyndham Lewis endeavors to show the war in terms of energy - Battery Shelled - in which the symbolism dominates, in which men lose their human form in action; chimneys wave and bend, and the very shells zigzag in lumps and masses across the sky.
— /S#*>Elizabeth (900x679pix, 88kb) her left arm is unfinished and looks like a flat strip of material.
Baghdad (1928, 183x79cm; 800x338pix, 61kb) _ This is one of the decorations which Lewis made for one or more cupboards at his studio in Ossington Street, London in the late 1920s. The wood panel is composed of several strips joined together. The title may be connected with Lewis's story The Caliph's Design, published in 1919, which is set in Baghdad. Here the idols, architectures and gardens make up a structure clearly designed for humans, a city which is the preposterous Baghdad of The Caliph's Design. The imagery, such as the spiral staircase, seems to be a development from abstract drawings which Lewis made in 1927.
Dancing Figures (319x800pix, 82kb)
Composition in Red and Mauve (800x556pix, 122kb)
— /S#*>Marine Fiesta (603x900pix, 77kb) sketchy.

Died on a 07 March:

2006 Gordon Parks, 93, Black US photographer for Life, then movie director. —(060308)

^ 1997 Martin Kippenberger, German-born (1953) Austrian painter and sculptor. He studied at the Hochschule für Bildende Kunst in Hamburg, where Sigmar Polke, despite not teaching him directly, influenced him. Having worked first with painting, he also took up the media of sculpture, collage and photography, also producing installations. In 1979 Kippenberger exhibited at the Kunsthaus, Hamburg, titling his show Kommen, Kucken, Kaufen. In 1985 Kippenberger exhibited Buying America and Selling El Salvador at Metro Pictures Ltd. in New York, a large installation comprising numerous sculptural works. In his crazy concoction of objects and images he called into question notions of order, rationality and the need for unity. Kippenberger’s strategy was to create works that are shocking, distasteful, embarrassing and disturbing. While at times they appear humorous or superficial, underneath this thin veneer lie serious questions regarding the moral responsibility of the artist, the values and beliefs of Western cultures and the nature of human destruction. In 1987 Kippenberger integrated a painting by Gerhard Richter, which he himself had purchased, into the top of a coffee table of particularly insipid design. Questions as to the social function of art, its value and status in comparison with the table were clearly being presented. Utilizing the original painting might also be interpreted as Kippenberger’s use of Richter merely as fodder for his own artistic pursuit, a joke at Richter’s expense— LINKS
–- Self-Portrait (Yellow) (657x1040pix, 59kb) a faint picture with very low contrast; worthless (except to greater fools perhaps).
–- Self With Michel Würthle (1992, in four pieces each 80x92cm; 1157x1400pix, 112kb) 3 of the 4 pieces look sketchy and unfinished; but a greater fool paid $512'000 for it at a Sotheby's auction on 12 May 2004. _ Martin Kippenberger and Michel Würthle met in 1979, the year after Kippenberger moved from Hamburg to Berlin and founded Kippenberger’s Office with Gisela Capitain as an exhibition space. Würthle was the owner of the Paris Bar, one of Berlin’s most well-known restaurants even today. In 1979, Kippenberger donated works of his own to his friend’s restaurant for permanent loan. In 1991, the year before this painting in homage to his friend, Kippenberger added works by other artists to the Paris Bar exhibition, including Louise Lawler, Laurie Simmons, Barbara Ess and Zoe Leonard. .
–- Music Chairs (1996, 157x197cm; 1200x1507pix, 168kb) painted jointly with Maria Papadimitriou [1957~]. _ The pseudonymous Dmitri Mamapastor has metamorphosed this picture into a splendid series of 64 related abstractions which can be accessed by clics of the mouse from any of them, for example the asymmetrical
      _ Sick Muse's Charm (2008; 564x798pix, 200kb _ ZOOM 1 to 798x1128pix, 420kb _ ZOOM 2 to 1128x1596pix, 905kb _ ZOOM 3 to 1880x2658pix, 2476kb _ ZOOM 4 to 2658x3760pix, 3480kb _ ZOOM 5 to 3760x5316pix, 5735kb) and the symmetrical
      _ Dim Usage Airs (2008; 564x798pix, 200kb _ ZOOM 1 to 798x1128pix, 248kb _ ZOOM 2 to 1128x1596pix, 952kb _ ZOOM 3 to 1880x2658pix, 2496kb _ ZOOM 4 to 2658x3760pix, 3596kb _ ZOOM 5 to 3760x5316pix, 5862kb)
–- Untitled (870x727pix, 68kb)
–- Untitled (662x794pix, 49kb) four quadrants, a warship, an upside-down parrot
–- Untitled (986x814pix, 108kb) almost monochrome black
–- Kellner (1991; 200x240cm; 892x1069pix, 79kb) _ Martin Kippenberger's tragic premature death in 1997 removed from the world one of the great artistic talents of his generation. The consummate artist of his times, he moved effortlessly between a large variety of mediums, all of which were given equal importance, in order to attempt to portray his complex view of the world. By its many turns deeply intellectual, consciously provocative and cheekily evasive, Martin Kippenberger's multifaceted art was deliberately pre-occupied with the mechanics of style in society as a reference to society itself. Coming to prominence in the early 1980s, Kippenberger became one of the initiators of the so-called "wild painting" movement. Contesting the pre-dominant Neo-Expressionist belief in the meaningfulness of the spontaneous action of painting, Kippenberger developed an elaborate concept of aesthetics based on bad taste, where the trivial and the subcultural became as influential on his working practice as the masterpieces of art history. In his ongoing de-construction of accepted, fixed positions in art, Kippenberger's development of emphatically "banal" subjects in his oeuvre allowed him to pursue a programmatic and inter-contextual "stylelessness". Often sparked off by the resoundingly normal in life, for Kippenberger there was no subject which could not be turned into art.
     Within this context, a few of his favorite motifs lived and grew alongside him as his career and viewpoint matured. He repeatedly returned to them and altered their guises in the most diverse manifestations. These motifs were his signs, his alter egos and, like him, they constantly changed their identity, migrating through other forms or multiplying into the themes for whole exhibitions. Alongside his self portraits, the street lamps were arguably his most prominent sign and between 1987 and 1992, Martin Kippenberger developed an obsession with the motif of the street lamp which culminated with his exhibition of a major lantern sculpture at Documenta IX in 1992 and several other exhibitions devoted to the subject.
      When he had his first "drunken street lamp" built in 1987, there was no way of foreseeing how versatile this motif would prove to be. Derived from a stereotype cartoon image of the bent street lamp without the figure of the drunkard leaning on it, the image became a metaphor for the terror of physical dependency and existential need. Taking such a "real" form with its direct relationship to human scale, its objectival innocence somehow compounded its threat turning the sculpture and its metaphor into a complex joke.
      Although he made many sculptures, photographs, posters and drawings on the subject, very few paintings about the street lamp exist. Kellner Des... would therefore appear to represent one of his most significant works of this period. Its grand, almost life size scale continues the notion of the re-created readymade, an archetypal local Austrian street scene which the viewer can virtually walk into. However, despite the size of this painting, the street scene has no distinguishing features. Depicted with traditional perspective, the scene is completely empty of human life, save for the car in the street and the standard bar chairs and table which sit on the pavement. Into this average local scene, Kippenberger has injected a cartoon street lamp at its forefront which bows down to human height to greet the viewer. This is a painting of a photograph (Fig. 1) of a sculpture which Kippenberger placed onto the street and by subjecting the image to this voyage through the mediums he has created a lamp which is almost naturally cartoonesque and, by extension, exaggeratedly "expressive" against the deadpan background. With its red head glowing against the moonlight backdrop one can almost sense the street lamp lending itself to us to lean on, a gesture which is confirmed by the title.
      As if to re-confirm the painterly-ness of the image and the dysfunctionality of the lamp, Kippenberger has placed two real wall lights either side of the painted street lamp These "bad taste" objects light up the painting in a way that the painted image never could and provide a warmth and comfort to an otherwise cold and deserted scene. [Ab]using the virtuous, painterly language of Expressionism, the magnificent fluidity and eloquence of the depiction and the imposing dedication to style and image, only serve to heighten this witty deconstruction of modern-day innocence, honesty and trust. —(080307)

1993 Albert Crommelynck [1902–], Belgian painter of portraits and frescoes, engraver, and theater decorator. —(100306)

^ 1950 Hugo Scheiber, Budapest Hungarian painter born on 29 Sepember 1873. He was a student of Henrik Papp at the School of Design. He visted Berlin, the US, and Rome. In his early period, he painted impressionistic plein air pictures, and futuristic expressionistic pictures in his later period. — LINKS
Self-portrait with Military Cap (1917, 66x50cm; 1008x756pix, 124kb).
Self-portrait (40x34cm; 950x825pix, 158kb).
Self-portrait (1925, 67x50cm; 1000x742pix, 135kb).
Self-portrait with Cigar (1925, 48x42cm; 1056x898pix, 167kb).
–- S*#> Woman (1920, 98x78cm; 1531x1200pix, 247kb) _ This semi-abstraction has been transformed by the pseudonymous Victor Shybear into the gloriously colored full abstractions with the silly titles
      _ Woe To No Woman (2006; screen filling, 310kb _ ZOOM to 1414x2000pix, 1509kb),
      _ No To Woe aka Past Sap (2006; screen filling, 310kb _ ZOOM to 1414x2000pix, 1452kb), and
      _ Woe To Worms aka Palm Lap (2006; screen filling, 285kb _ ZOOM to 1414x2000pix, 1102kb).
Roses in a Green Vase (1900, 50x34cm; 1200x818pix, 152kb).
Trees on the Waterfront (1920, 27x47cm; 458x800pix, 92kb).
Fire (1922, 66x97cm; 545x798pix, 91kb).
Bending Boy (1923, 45x32cm; 1015x710pix 175kb).
In the Park (1923, 45x57cm; 636x798pix, 133kb).
Road Maintenance on the Bank of Danube (1922, 50x73cm; 540x802pix, 116kb).
Lights in the Park (48x65cm; 708x950pix, 167kb).
Bridge at the Railway Station (45x57cm; 694x945pix, 136kb).
Bridge at the Railway Station (69x100cm; 652x945pix, 139kb).
A Boy before Green Background (27x25cm; 829x750pix, 186kb).
Village Street (35x48cm; 705x961pix, 147kb).
Road with Mounds (1926, 49x70cm; 553x800pix, 101kb).
Circus (1925, 96x64cm; 1170x780pix, 171kb).
A Woman (1926, 60x40cm; 880x680pix, 144kb).
Nudes (1926, 53x57cm; 680x726pix, 97kb).
The Charleston (1928, 50x55cm; 738x558pix, 70kb).
Streak of Light (66x100cm; 631x950pix, 105kb).
Young Woman (1930, 48x64cm; 1002x748pix, 130kb). —(060214)

^ 1914 Arthur B. Parton, US painter born on 26 March 1842 in Hudson NY. He studied in Philadelphia under William Trost Richards. Parton traveled in northern Europe in 1869. — {On the Internet? Part on, part off? Well, I find only a very small Parton part on the Internet.}
Cattle Watering Along the Mountainside (1890, 56x81cm; 401x600pix, 44kb)
River Landscape (31x36cm; 436x600pix , 32kb)
The Green Arch (36x51cm; 312x450pix, 41kb)

1750 Cornelis Troost, Dutch painter born (full coverage) on 08 October 1697. —(060612)

Born on a 07 March:

^ 1903 Bernarda Bryson Shahn, who died on 12 December 2004, US writer, printmaker, illustrator, and best known, late in life, as a painter with a style both realistic and mysterious. She was the widow of the social realist painter Ben Shahn [12 Sep 1898 – 14 Mar 1969]; the mother of Jonathan Shahn, a sculptor, and of Abby Shahn, a painter; and the stepmother of Judith Shahn Dugan, a painter.Bernarda Bryson was born in Athens, Ohio. From her family, she inherited both an interest in writing (her father owned The Athens Morning Journal) and the progressive social conscience that informed much of her work (her maternal grandfather's home had been a stop on the underground railroad). She studied printmaking at several schools, including Ohio University, Ohio State and the Cleveland School of Art. After an early marriage that ended in divorce, she went to work as a newspaper journalist. In 1933, she went to New York to interview the muralist Diego Rivera. There, she met Rivera's assistant, Ben Shahn, who became her mate (they married shortly before Shahn's death). In the mid-1930's, the couple drove across the country, documenting rural life for the Resettlement Administration. Bernarda Shahn's series of lithographs from that trip was published in 1995 as The Vanishing American Frontier. She collaborated with her husband on two of his New Deal-era murals, one in what is now the Roosevelt Public School in Roosevelt, N.J., and the other in the Bronx General Post Office. Both still exist. In midcareer, Bernarda Shahn turned primarily to illustration. She wrote and illustrated several children's books, including The Zoo of Zeus (1964) and Gilgamesh (1967). She also wrote a 1972 monograph on Ben Shahn's work. — Portrait of Bernarda Bryson Shahn, at 99, in her studio (2001; 621x761pix, 767kb) by Mel Leipzig. //
Reflection (1977; 380x380pix, 68kb)
The Twenty Miracles of Saint Nicholas (450x336pix, 74kb) _ cover of book by Bryson.

^ 1900 Albert Carel Willink, Amsterdam Dutch painter who died on 19 October 1983. After studying architecture at the Technische Hogeschool in Delft (1918–20), he decided to become a painter. In 1920 he went to Berlin where he had lessons from Hans Baluschek [1870–1935]. He followed the activities of the artists associated with Der Sturm and in 1922 joined the Novembergruppe, with whom he exhibited some abstract work at Die grosse Berliner Kunstausstellung in the Glaspalast. He was also in touch with avant-garde groups and publications, such as Zenith in Belgrade and Het Overzicht (‘The survey’), later called De Driehoek (‘The triangle’) in Antwerp.
Girl in renaissance Costume (1945)

1872 Pieter Cornelis Mondriaan “Piet Mondrian”, Dutch painter who died (full coverage) on 01 February 1944.

1841 Carl Kronberger, Austrian artist who died on 27 October 1921.

1820 Ferdinand Mallitsch (or Malitsch), Austrian artist who died on 10 November 1900.

^1786 Michel-Martin Drölling, Parisian painter who died on 09 January 1851; son and student of Martin Drölling [bap. 19 Sep 1752 – 16 Apr 1817]. They both were portrait painters. But whereas the father expanded his range by concentrating on bourgeois domestic interiors, the son produced a number of history paintings on mythological and religious subjects. Another of Martin Drölling’s three children by his second wife, Louise-Elisabeth (née Belot), was painter Louise-Adéone Drölling [29 May 1797 – <1831], otherwise known as Mme Joubert. Michel-Martin Drölling also studied in David’s studio, in 1806. He obtained the Prix de Rome in 1810 with La Colère d'Achille. After his stay in Rome he exhibited La Mort d'Abel in the Salon of 1817. He decorated two ceilings in the Musée Charles X in the Louvre and obtained two commissions from the Musée d’Histoire at Versailles: Les États-Généraux de Tours (1836) and La Convention d'Alexandrie (1837). His genre scenes show that while his style was generally colder, he inherited his father’s love of Dutch art and use of thinly applied, porcelain-like paint, contrasting effects of light and meticulous detail. His figures were either half-length with a landscape background in the English manner (Portrait de Manuel, 1819) or full-length and set in countryside, with the charming naivety of Pierre Duval Le Camus. — The students of Michel-Martin Drölling included Theodor Aman, Jacques-Aimé-Paul Baudry, Bertall, Jules Breton, Paul-Alfred de Curzon, Pierre Victor Galland, Jean-Jacques Henner, Charles Nègre, John Charles Robinson, William Strutt [03 Jul 1825 – 03 Jan 1915].

1651 Pieter Janszoon van Ruijven (or Reuver), Dutch artist who died on 17 May 1716.

1481 Baldassare Tommaso Peruzzi, Italian painter who died (main coverage) on 06 January 1537. —(090305)

Happened on a 07 March:

     Every year, despite continued grumbling about the dwindling supply of great paintings, furniture and decorative objects available today, thousands of collectors, curators, scholars and auction house experts flock to this Dutch city and the European Fine Art Fair, where some 200 dealers from 13 countries offer their best.
      Although there are fewer blockbuster paintings and objects than before, this remains the largest art fair in the world, with everything from a $40 million Rembrandt to first-rate examples of classical antiquities, modern art, diamonds, Oriental ceramics and 18th-century furniture.
      From the minute the doors to the fair opened here this afternoon, museum directors could be seen shepherding trustees, while scholars hovered around art in deep debate and collectors inspected the offerings.
      During the customary two days before the fair opens, when a committee of experts authenticates the works on display and the Art Loss Register checks for stolen pieces, a complement of Italian police officers arrived, taking digital photographs of artworks that they suspected might have been illegally exported from Italy.
      In February 200, Frederick Schultz, a New York antiquities dealer, who was convicted in a federal courtroom in Manhattan of conspiring to sell ancient artifacts that had been illegally taken out of Egypt.
Minerva at her Study      More than 50 people at a time were gathering behind a black rope to see the star of the show: Rembrandt's Minerva in Her Study (1635) [image >], which depicts a regally dressed Minerva, goddess of wisdom, with long blond hair, seated at a table, apparently distracted from a book she is reading. [a different 1635 Rembrandt Minerva]
      "This is the last history painting by Rembrandt that will ever change hands," said Otto Naumann, the Manhattan dealer who wants to sell it for $40 million. It was last exhibited in 1956 at the National Museum in Stockholm for the 350th anniversary of Rembrandt's birth. Mr. Naumann bought the painting last year from an unidentified Japanese company and is asking $40 million for it. "At least four museums are trying to raise the money to buy it," he said, emphasizing that many American museums have no Rembrandts. "Most of the big ones only have his portraits," he said.
      By the time the fair ends on 10 March 2002, nearly 80'000 visitors have come through the Maastricht Convention Center for an event vastly larger than any New York art fair.
      The show boasts many exceptional artworks. One painting, A Young Turk Cutting Up Tobacco With a Gentleman Smoking in the Background, is by the Italian artist Mattia Preti (1613 – 13 Jan 1699), and shows a slave with a shaved head cutting tobacco. Jean- Luc Baroni, a London dealer, bought it at Sotheby's in London in December. "They had dated it to the 1630's and people were uncertain about its attribution," he said. His own research concluded that the work was painted during the artist's time in Malta, around 1660.
      He has another painting, circa 1640, Lorenzo Lippi's Creation of Music, a portrait of Music, personified by a pretty girl, with her score resting on a spinet while she dips her quill pen into an ink pot. Her hand rests on an anvil and hammer, a reference to Pythagoras' ideas about the origin of music.
      Among the old master dealers is Charles Beddington, whose three-month-old gallery, Beddington & Blackman, brought a pair of panel paintings by Johannes Hispanus, who worked in Italy from 1495 to 1528, which tell the story of the early life of Achilles.
      This year modern art can be found in many guises. One of the most interesting works is Birds in Flight, a 1928 stone fresco by Brancusi (1876-1957) that is hanging at Dickinson Roundell of New York and London. James Roundell discovered it unrecognized in a London collection. The theme of birds in flight was a fundamental one in Brancusi's work. While few frescoes by Brancusi are known, several works relate to this work, including Birds in Flight, a watercolor. [Brancusi's sculptures Bird in Space (1923), Golden Bird (1920)]
      One of the most talked about booths at the fair belongs to Kunstkammer Georg Laue, a Munich dealer, which is showing more than 100 memento mori, or reminders of man's mortality. They depict the fascination with the transitory nature of life and human frailty from the 16th to the 20th centuries. The works include a 17th-century watch in the form of a skull, a pair of early 17th- century Italian boxwood skeletons, a Japanese ivory skull with a snake tightly woven around it and a series of 1920's photographs of a young woman seduced by a skeleton. One of the show's most popular pieces is a wooden sculpture, circa 1520, of a monk standing with a skeleton.

— Other examples of Memento Mori or Vanitas (unrelated to the fair):
Giovanni Martinelli, Memento Mori (Death Comes to the Banquet Table)
Master M.Z., Vanitas (Memento Mori) (1503)
Pieter Boel:: Large Vanitas Still-Life (1663)
Abraham Mignon:: The Nature as a symbol of Vanitas (1675) [pas un sujet très mignon!]
David Bailly:: Self-Portrait with Vanitas Symbols (1651)
Gregor Erhart:: Vanitas (1500)
Harmen Steenwijck:: Vanitas (1640)
Nicolaes van Verandael:: Vanitas
Willem van Aelst::Vanitas Flower Still Life (1656)
Barthel Bruyn the Elder:: Vanitas Still-Life
Jacques de Gheyn II:: Vanitas Still Life (1603)
Jan van Kessel:: Vanitas Still Life (1665
Jan Lievens:: Vanitas Still Life (1630)
Jan Davidszoon de Heem:: Vanitas
Cornelis de Heem:: Vanitas Still-Life with Musical Instruments (1661
Pieter Claesz:: Vanitas Still-Life (1630) — Vanitas Still Life with the Spinario
Frans Hals:: Young Man with a Skull (Vanitas) (1628)

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