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ART “4” “2”-DAY  09 March v.9.20
^ Born on 09 March 1856: Thomas William “Tom” Roberts, English-born Australian painter who died on 14 September 1931.
— A leader of the Heidelberg School and pioneer of plein-air Impressionism in Australia, he has been described as ‘the father of Australian landscape painting’. Having moved to Melbourne in 1869, he studied at the East Collingwood and Carlton Schools of Design and the National Gallery of Victoria’s School of Art (1874–1881) while working as a photographic assistant. He led sketching expeditions with Frederick McCubbin and initiated student requests for reforms at the school. Returning to England, he enrolled in the Royal Academy Schools, London, on 06 December 1881, officially recommended by Edwin Long. In the summer of 1883 he toured Spain with the painter John Peter Russell. He learnt something of French Impressionism from Spanish art students Ramon Casas and Loreano Barrau [1864–], and then followed the latter’s advice to visit the Académie Julian in Paris.
      He returned to Melbourne in 1885 and the following year established the first summer camp at Box Hill with McCubbin and Louis Abrahams [1852–1903], portrayed in his painting The Artists’ Camp (1886). According to the painter Arthur Streeton, it was Roberts’s ‘quick perception and expression of the principles of Impressionism in the year 1886, from which sprang the first national school of painting in Australia’. Charles Conder later wrote to Roberts, who was his teacher: ‘If there is any distinct school in Melbourne (I wouldn’t say Sydney) it’s entirely due to you’. His Heidelberg school nickname was ‘Bulldog’.

A Break Away! (1891, 137x168cm; 804x1000pix, 504 kb _ ZOOMable {not recommended} to 1990x2475pix, 2029kb) _ a horse-mounted shepherd waves his hat in a vain attempt to stop a flock of sheep stampeding to freedom. A mostly almost monochrome picture, where reddish-brown is the color even of most of the tree leaves and other vegetation, and not much more than the dark grayish blue sky is of a contrasting color.
Winter Morning after Rain, The Old Bridge, Gardiner's Creek
Bourke Street, Allegro Con Brio (35x45cm)
Slumbering Sea, Mentone (1887, 51x76cm)
A Summer Morning Tiff (1886, 76x51cm)
The Sculptor's Studio
Bailed Up (1927, 135x183cm) _ Tom Roberts was fascinated by pastoral life and found his greatest fulfillment in a series of bush-life paintings begun in 1888-1890 with Shearing the rams and continued after his shift in 1891 from Melbourne to Sydney. Whilst staying at Duncan Anderson's Newstead sheep station, near Inverell in the New England tableland of northern New South Wales, Roberts conceived the idea of a bushranging picture. In it he would present an imaginary incident from the disorderly past, within an artistically modern portrayal of the Australian landscape in its highest key. Such was the beginning of Bailed up.
      At Newstead at the end of 1893 Roberts was already planning his second sheep-shearing painting, The Golden Fleece, which he would complete during the following year. Walking along the road between Newstead and Paradise, a neighboring station owned by Russell Hughes, he found a setting for his bushranging picture. It was an isolated spot among grass trees and a forest of tall gums, a level bend on a long steep ascent, the last bad hill for travellers following the Macintyre River on their way to Inverell. This back road was not in fact a coaching route, but here was a good setting for Roberts's 'sham stick-up': a coach would have been well and truly trapped by the great log placed across the narrow climbing road; mounted bushrangers could have waited well camouflaged in the steep forest above, and a spare horse left lurking in the shadows. It was highland country, not far from where the region's last bushranger, 'Captain Thunderbolt', had died a quarter of a century earlier.
      At this ideal spot for a robbery under arms, the artist, helped by the Anderson family, built a platform of timber, bark and wire in a stringy-bark tree growing below the road, so that he could set up his canvas on this 'Perch' at the level of the road. A Cobb & Co. coach then in operation between Inverell and Glen Innes was painted in town at Inverell, together with its driver Bob Bates. 'Silent Bob Bates' had a story of being robbed by Thunderbolt some three decades earlier, and it was his laconic, hard-wrung description of the quiet nature of the incident which determined the mood of Roberts's composition. Other characters were modelled by other townspeople in Inverell, and by station hands at Newstead, where the painting was completed. Roberts made tiny drawings and an oil sketch of how he wanted the scene to look before he started his big canvas, in which he set out to create the most complex painting of his career to date; complex because it was not only about the seizing of a moment in the landscape but was also intended to convey a recollection of the historical past. This particular place had engendered the artist's idea of a sudden, apparitional haunting by bushrangers.
      Of the group of bush masterpieces that Roberts embarked upon between 1888 and 1898, Bailed up turned out to be the most contentious. For in spite of the nationalistic fervour which might have guaranteed an enthusiastic reception for the painting when it was exhibited in Sydney and Melbourne in the 1890s, it neither succeeded in eliciting unanimous praise, nor found a willing buyer. Roberts dropped the price from £275 to 70 guineas in 1900. After all the enthusiasm and trouble he took to paint Bailed up, Roberts could not dispatch it into the world.
      Because Roberts reworked the painting in 1927 it is now difficult to assess the validity of its reception in 1895. Nagging criticisms made by the press concerned the way the legs of the men, or the skin of the horses had been depicted, for example. Perhaps unsatisfactory pictorial resolution was sensed, turning potential collectors away. Eventually in 1928, after Roberts had substantially repainted the background landscape, Bailed up, price 500 guineas, was sold from an exhibition of his work in Sydney.
      Critical opinion about Bailed up has fluctuated. Lionel Lindsay wrote warmly of it in the Macquarie Galleries exhibition catalogue, praising its rich rendering of light and comparing its subject to the prose of Henry Lawson. But more recently, in his biography of Roberts, Humphrey McQueen ventured the opinion that Bailed up was ineffectual as a bushranging story and that, because of its flat, almost skyless landscape and lateral disposition of figures across the composition, it was an insipid echo of the then-fashionable, decorative, Symbolist mural style of Puvis de Chavannes. This ambiguity about Bailed up as an icon of Australian art is puzzling. Why is admiration of it so tempered with caution? Is it because, notwithstanding the monumental failure of his vast Opening of the First Parliament of the Commonwealth of Australia, his Bailed up represents the most protracted struggle in Roberts's career to realise his vision on a large scale?
      Answers to these questions may be hinted at by comparing Bailed up with its family of bush-life paintings. Others of the family might have had a more instant appeal. The motif of A break away!, for example, has the impact of an action shot filmed by a swooping helicopter. A rider tries desperately to stop a mob of sheep stampeding down to a water-hole. Suspended in heat and dust, the powerful dynamic of this composition can be read from far away. Small wonder that when Bailed up was first exhibited in 1895 the press preferred Frank Mahony's bustling Australian paintings of Americanized 'cowboys' and 'outlaws', such as the cattlepiece Rounding up a straggler (1889), and the mounted pursuit of bushrangers As in the Days of Old (1892), both of which Roberts would have seen hanging in the collection of the Art Gallery of New South Wales. Against such action-packed pictures, the static solemnity of Bailed up seems to have worked against its general appeal; perceived perhaps as rather laid-back but artificial tableau. Yet, by considering the deceptive ease of its mood, and with a patient examination of its detail, we may appreciate Bailed up as one of his greatest achievements.
      The composition has been cunningly constructed with diagonals and verticals leading the eye up to, around and beyond the dramatis personae. The landscape rises to the very top of the picture — no sky as such, and no space for escape — and the gaze soon descends once more to the lower half, forced to contain itself within the flat parameters of the picture. Scanning the surface further brings forth the real richness of the work since, as much as Bailed up may be about armed robbery, or landscape, or historical mythology, it is equally about the transforming process of painting.
      Roberts's enormous struggle with Bailed up enabled him to arrive at a majestic synthesis. Light became paint, and paint became light and we cannot tell the difference between the two, whether it is in the radiance of the shirts and hats of the figures, or the straw-colored grass and silvery tree-trunks of the midsummer landscape. Day after day Roberts walked three kilometers uphill on the road from Paradise, where he stayed because it was closer than Newstead, climbed up a ladder to the 'Perch', and stared at the hot stillness he was setting down on his canvas which had been wired to a railing. This sense he transferred to the coach scene itself, investing the figures with an almost mystical calm. Indeed he created the feeling that time had stopped in the small, transient affairs of humankind, as an all-pervading, all-redeeming, saturating light became the most important subject of the work. The idea that we are observing a kind of fairytale incident, strangely remote from yet hypnotised by it, was carried even more tellingly into Roberts's companion bushranging picture In a corner on the Macintrye, painted about the same time. But nowhere in the entire history of Australian painting has such a quality been better rendered than in Bailed up, where the mystery of light, human incident, and experience of the Australian bush are combined with spellbinding orchestration.
      The remaining question which tantalizes is a technical one, and concerns the extent to which Roberts repainted Bailed up in 1927. The surface of the painting — scraped, reworked, impasted, glazed, restated — is like a fossilised ocean bed, and traversing its bumps, dents and crevices with the naked eye does not easily expose what is old or new; only the impression of an impenetrable embodiment of the painting's own history. Roberts inscribed two dates on the painting — 1895 and 1927 — and said that he reworked it extensively in 1927 in his current manner. This was at a period when he had become much more a meditative artist than a descriptive one, and thus of profound interest to certain later painters of Australian landscape. And that, in the end, is the telling factor which may distinguish Bailed up from the period of its conception. For although he was no Poussin, nor even a Puvis, he had an astute intuition for the grid. In other words, at his best, he could orchestrate with genius all the aspects of a painting, be they naturalistic or abstract, into the modern values of a flat surface. In this way Bailed up straddles two worlds. It began as an idea for an historical narrative of the nineteenth century, but finished, through Roberts's difficulties, as a scaffolding by which he could be in grand scale a painter for the twentieth.
Louis Buvelot (1886 drawing, 28x22cm) _ Tom Robert's portrait of venerable artistic elder Louis Buvelot, is one of the most sensitive portrayals of an Australian artist made by a fellow artist. Buvelot is presented with a quiet dignity that underlines the respect and admiration that he inspired in the generation of artists that followed him and upon whom his work had such influence.

Died on a 09 March:

2006 John Henry Wilde, US painter born (full coverage) on 12 December 1919. —(060320)

>1992 James Brooks II, US artist abstract expressionist painter born on 18 October 1906 in Saint-Louis, Missouri. He moved in 1916 to Dallas, Texas, where he studied at Southern Methodist University, majoring in art, from 1923 to 1925, majoring in art, and from 1925 to 1926 at the Dallas Art Institute under Martha Simkins, a former student of William Merritt Chase. In 1926 he moved to New York, where he attended night classes at the Art Students League from 1927 to 1930 while earning his living as a commercial letterer and display artist. In the 1930s he painted in the prevailing social realist style, usually taking the rural West and Midwest as his subject-matter. From 1936 to 1942 he participated in the Works Progress Administration’s Federal Art Project, painting murals in public buildings; the most important of these, including the Acquisition of Long Island (1938; destr. 1963, with few remaining fragments) and the vast Flight (1942, 365x9900cm) at La Guardia Airport in New York, were later destroyed. Even in these representational works, with their meticulously organized spaces, a tendency to formal and abstract concerns is in evidence. He served in the US Army from 1942 to 1945. He resumed painting in 1945 and turned to synthetic Cubism. His close friendship with Jackson Pollock from 1946 lead in 1948-1949 to his development of an abstract style with swirling, rhythmical brushwork, and patches of color. He tended thereafter to work with larger color areas.. — LINKS
–- Untitled (618x800pix, 96kb)
–- Untitled (800x498pix, 49kb) _ This disorganized and almost monochrome dull red picture, to the pseudonymous Simon Rivers seemed like a pathethic cry for the beauty treatment which he applied, resulting in the colorful, intricate, and beautifully symmetrical abstractions
      _ This is Not a Title aka Dorm Rod (2006; screen filling, 143kb _ ZOOM to 1000x1414pix, 289kb), and
      _ This is Not Untitled aka Rude Dur (2006; screen filling, 163kb _ ZOOM to 1000x1414pix, 384kb)
–- Erberon (799x785pix, 87kb)
Boon (1957, 180x173cm)
Orrib (1967, 91x152cm; 375x640pix, 21kb) Brooks must have been a poor speller: he forgot the H at the beginning and the LE at the end!
Frala (1983, 81x61cm; 480x368pix, 39kb) Rivers has derived a picture with the singable title (on whatever melody suits you):
      _ Fra-la-la, la-la la-la-la, fra-la-la-la-la, la-la, la-la aka The Four Odd Couples (2006; screen filling, 196kb _ ZOOM to 1000x1414pix, 515kb).
Black and White (1965, 18x28cm; 267x416pix, 30kb) _ Rivers has changed that into
      _ Black and White and Red and Blue and Yellow and Green and Some More Colors aka B&W Means Boring and Wearisome (2006; 707x1000pix, 206kb) and, to prove a point, its stricly black and white version
      _ Red and Blue and Yellow and Green and Some More Colors Replaced by Boring Black and Wearisome White (2006; 707x1000pix, 72kb gif); you can click back and forth between the two versions to make the comparison (when switching from color to B&W you may notice for the first couple of seconds the optical illusion of the quickly fading complementary colors)..
Harmagh (1967; 420x528pix, 53kb)
Oran (1969; 416x359pix, 21kb) —(070308)

^ 1943 Otto Freundlich, in Maidanek concentration camp, near Lublin; Jew born in Germany on 10 July 1878, painter, sculptor, stained-glass designer, and writer, active in France. He studied art history (1903–1904) in Berlin and Munich. After a visit to Florence (1905–1906), he began to experiment with sculpture and studied with Lothar von Kunowski [1866–] in Berlin (1907–1908). He spent 1908–1909 in Paris, where he met Picasso, Braque and Gris. Between 1910 and 1914 he divided his time between Paris, Berlin and Cologne: from 1910 he participated in the exhibitions of the Berlin Secession and from 1913 had contacts with the Sturm-Galerie in Berlin. His expressive early works included both sculptures and flat, geometric paintings (e.g. Composition with Figure, 1911). Having spent World War I in Cologne, from 1918 to 1924 he lived in Berlin, where he was one of the founder-members of the Novembergruppe in 1918, and contributed to the radical newspaper Die Aktion: Zeitschrift für Freiheitliche Politik und Literatur Aktion. In 1920 Walter Gropius tried to make him a teacher with the Bauhaus, but this was opposed by the faculty. In 1924 he moved to Paris but maintained his German contacts, writing in 1929 as a correspondent for the newspapers published by the artists’ group Die Progressiven in Cologne. In 1931 he was one of the first members of the group Abstraction–Création in Paris, where he then opened his own private academy. — Gaston Chaissac was a student of Freundlich. — LINKS
Composition (1930, 131x97cm; 421x300pix, 25kb)
The Unity of Life and Death (1938, 118x90cm; 334x249pix, 111kb)
Mon ciel est rouge (1933, 162x130cm; 482x390pix, 12kb)
Ascension (1929, 2~m~high bronze sculpture)

1925 Willard Leroy Metcalf, US painter born (full coverage) on 01 July 1858. —(060308)

1924 Daniel Ridgway Knight, US painter born (full coverage) on 15 March 1839. —(060308)

^ 1914 Alfredo Chighine, Italian painter who died on 16 July 1974. La sua formazione artistica, avviene all'Istituto superiore di belle Arti di Milano (allievo di Giacomo Manzu'). Il suo esordio in campo artistico avviene nel 1971; iniziando come scultore con opere di gusto neoarcaico. Partito da una esperienza postcubista (avverte le influenze di Braque e Picasso), sviluppa la sua ricerca nell' ambito astratto informale, con riferimenti a De Stael e Hartung da un lato e al naturalismo astratto lombardo dall'altro. I suoi soggetti ritraggono inizialmente paesaggi, figure, nature morte per passare, successivamente (dal 1953) a composizioni astratte con riferimenti principalmente naturalistici.
Senza titolo (1959, 46x49cm; 500x528pix, 36kb) violet smears on dark orange smears framed in dirty yellow smears.
Composizione arancio su fondo blu (1956, 116x81cm; 600x413pix, 167kb)
Natura morta (1961, 89x115cm; 326x432pix, 46kb)
Figura e palma (1967, 46x38cm; 363x300pix, 26kb) almost monochrome greenish gray. _ The pseudonymous Al-Freddo Chigeme has undertaken the combining of these and a few other unimpressive paintings of Chighine into not one, but two much more colorful and intricate symmetrical abstractions:
      _ Scomposizione rancida senza titubanza aka Trap Art (2006; screen filling, 203kb _ ZOOM to 1400x1980pix, 752kb) and
      _ Mortadella naturale senza palma aka Trop Port (2006; screen filling, 202kb _ ZOOM to 1400x1980pix, 751kb) —(060308)

1885 Louis Haghe, Belgian artist born on 17 March 1806.
Officier d"Artillerie (1850, 15x10cm; 1814x1166pix, 217kb)
Faiseur de Tours (1850, 15x10cm; 1811x1221pix, 270kb)
Etudiant (1850, 15x10cm; 1815x1197pix, 221kb)
Danseuse de l'Opéra (1850, 15x10cm; 1793x1205pix, 213kb)
Chiffonier (1850, 15x10cm; 1809x1220pix, 223kb)
Nougat ! Mesdames ! (1850, 15x10cm; 1836x1208pix, 243kb)
Marchand de Coco (1850, 15x10cm; 1826x1220pix, 230kb)
Laitière (1850, 15x10cm; 1824x1216pix, 253kb)
Kabyle de l'Hippodrome (1850, 15x10cm; 1818x1194pix, 252kb)
Joueur d'Orgue (1850, 15x10cm; 1782x1190pix, 241kb)
Italien Md. de Figures (1850, 15x10cm; 1806x1190pix, 208kb)
Harengère (1850, 15x10cm; 1822x1179pix, 241kb)
Garçon de Café (1850, 15x10cm; 1828x1225pix, 195kb) —(090308)

1882 Arthur Beecher Carles, Philadephia artist who died on 18 June 1952. —(060308)

1871 Charles-Frédéric Brun “le Déserteur”, in Switzerland, artist born in Alsace in 1815. —(060308)

^ 1820 Hermanus Numan, Dutch draftsman, etcher, and writer, born in 1744. His family operated a prosperous studio producing lacquered and painted tinware. He was trained in decorative painting by Johannes Franciscus Francé until he was apprenticed to Jan Augustini [1725–1773] in Haarlem. With the support of the well-known Groningen professor Petrus Camper [1722–1789], Numan left in 1768 or 1769 for Paris, where he received the patronage of Noël Hallé. After encountering Jacques-Philippe Lebas, Numan acquired skill in graphic techniques. On his return to the Netherlands, he enrolled in the Amsterdam Stadstekenacademie (City Drawing School) and gave drawing lessons to high-ranking amateurs in the Felix Meritis Society. Besides publishing two books, during his time in Amsterdam Numan also painted a number of portraits (e.g. Mrs van Collen-Mogge and her Daughter, 1776) and worked with Jurriaan Andriessen on scenery for the new theater. He was renowned for his series of 24 views of country houses, Hollandsche buitenplaatsen (1799), which were etched individually and then hand-colored by the painter himself. Numan was also one of the best watercolorists of his time. His palette is warm and melting in quality. Among his most important students was the topographical draftsman Jan Bulthuis [1750–1801].

1813 Carl Frederik Stanley I, English artist born in 1738. —(060308)

1748 Joseph Christophe (or Christophle), French painter born in 1662. — Printmaker Laurent Cars [28 May 1699 – 14 Apr 1771] was one of his students. —(060308)

1719 Peeter van Bredael (or Breda), Flemish artist born on 29 July 1629.

1692 Willem (or Guilliam) van Heusch, Dutch painter and etcher born in 1625 (1638?). He was probably a student of Jan Both; at any rate he painted entirely in Both’s style. In about 1640 he may have gone to Italy, returning by 1649, when his presence is recorded at a lottery of paintings, for which he served as one of the experts. In the same document he is referred to as Dean of the Utrecht College of Painters alongside, among others, Jan Both, who at that time was an overman (governor) of the Utrecht guild. In 1655–1656, 1660–1664 and 1669 de Heusch himself was a governor of the guild.

1680 (burial) Dirck Dirckszoon Bontepaert Santvoort (or Zantvoort), Amsterdam Dutch painter born in 1610. He was a son of the painter Dirck Pieterszoon Bontepaert and, on his mother’s side, a grandson of Pieter Pieterszoon and a great-grandson of Pieter Aertsen. His elder brother was the landscape painter Pieter Dirckszoon Santvoort [1603–1635]. Dirck probably received part of his training from his father, whose work no longer survives. The assertion that he also studied with Rembrandt has no factual basis, though he was undeniably influenced by the older artist.

1588 Pomponio Amalteo, Italian artist born in 1505. —(060308)

Born on a 09 March:

1941 Gerard Pieter van Elk, Dutch Conceptual artist (not related to Elk Van Conversions). From 1959 to 1961 he studied in Amsterdam, then at the Immaculate Heart College in Los Angeles (1961–1963) and at the University of Groningen in the Netherlands from 1965 to 1966. His work examined the structures that pervade both art and reality through a variety of media: photography, painting, sculpture and installations. In About the Reality of G. Morandi II (1971), for example, he displayed a reproduction of a still-life by Giorgio Morandi, flanked by two photographs of objects such as matches, spectacles and ink bottles that might have been found in his studio. He thus emphasized the process of selection and rejection of everyday objects that was involved in the still-life. The existence of dualities was featured in works such as The Symmetry of Diplomacy I (1971), which consisted of a pair of photographs, each showing a pair of chairs. In one of the photographs, based on clichéd images of diplomatic meetings, the left-hand chair is occupied by a man talking to the adjacent empty chair, the positions being reversed in the other photograph. Examining the media of art, in Rolled-up Palm Lane at Middelharnis, California (1975) van Elk presented a rolled-up landscape image in front of a curling photograph of a landscape. Made from photographs partly painted over with acrylic he emphasized the two-dimensional nature of images, using two-dimensional images to do so. — LINKS
–- Flower Study (942x840pix, 156kb) in an explosion of fried eggs. _ The pseudonymous Jerage Cakebis Carmoose is working on a stunning metamorphosis of this picture and here is his elaborate preliminary sketch:
      _ Sewer Floozy (2008; 1880x2658pix, 2770kb)
Roquebrune (1980, triangular 81x170cm) —(080308)

1939 Nader Ardalan, Iranian architect, urban planner, and writer. —(060308)

1902 Luis Barragán, Mexican architect who died on 22 November 1988. —(060308)

1883 Jean-Louis Boussingault, Parisian painter, etcher, and illustrator who died on 17 May 1943.
Le Piston (1929, 122x92cm; 500x360pix, 96kb) a trumpeter. —(060308)

^ 1874 John Duncan Fergusson, Scottish painter who died on 30 January 1961. He abandoned the idea of a career in medicine to devote himself to art about 1894. He was self-taught. His earliest works were small impressionistic sketches of his native Edinburgh and studies of his family. Influenced by the work of the Glasgow Boys, in particular Alexander Roche [1863–1921] and Arthur Melville, he traveled in northern Africa and paid regular summer visits to northern France from about 1898 (and from the early 1900s in the company of S. J. Peploe). Friendships with artists in France, including the US graphic illustrator Anne Estelle Rice [1879–1959], encouraged him to settle about 1907 in Paris , where he associated with a circle of progressive French, US, and British artists and was elected a member of the Salon d’Automne. Strongly influenced by the Fauves, his work from this date was characterized by strong color, thick impasto, and free brushwork. He also made sculptures. While teaching at the Académie de la Palette run by Jacques-Émile Blanche, he introduced into his work a more structured approach, both in his choice of imagery and in the formal qualities of his composition. This reached a climax in a group of life-size nude compositions executed between 1910 and 1912, including Rhythm (1911), and a series of still-lifes (1912–1914). These accompanied his brief art editorship of Middleton Murry’s London journal Rhythm in 1911–1912. — The contribution of J.D. Fergusson to Scottish art in the 20th Century is almost unparalleled. There were only a few artists acknowledged to be part of the explosion of talent which was seen in Paris in the first decade of this century, and J D Fergusson was one of these. J D Fergusson was born and brought up in Leith, Edinburgh, where Art from Scotland is based, but much of his work was done in France. He was drawn to the café society of Paris and met the young Matisse and Picasso. He was also a friend of Charles Rennie Mackintosh and it is believed that Fergusson encouraged Mackintosh to paint. Fergusson became a Sociétaire of the Salon d'Automne. — Jessica Dismorr was a student of Fergusson.
People and Sails at Royan (1910, 44x56cm; 507x657pix, 39kb)
Le Manteau Chinois (1909, 74x36cm; 696x331pix, 26kb) _ In 1906 Fergusson met Anne Estelle Rice [1879-1959] with whom he shared a close relationship until 1914. Anne Estelle Rice was an artist of Irish-American stock from Philadelphia. Fergusson painted a portrait of her in oriental dress placed against a flowered backcloth of roses. The simplicity of the costume and pose permitted an emphasis on color outlined in blue or red. The decorative background reflects the sitter rather than detracting from her, a Fauvist principle.
The White Dress (Portrait of Jean) (1904, 66x44cm; 721x471pix, 21kb)
Paris Plage (1907, 35x46cm; 370x481pix, 13kb) _ Fergusson spent many summers at the resort of Paris-Plage where the quality of clear light on land and water increased the tonality of his work. Color was used to heighten atmosphere.
Cassis Through the Trees (66x76cm; 433x500pix, 53kb) _ Sold for £74'090 at Sotheby's 28 August 2002.
Sur la Plage à Juan-les-Pins (400x365pix, 40kb)
Amongst the Rocks, Cap d'Antibes (72x61cm; 400x345pix, 31kb) _ Fergusson first visited Antibes in 1913, renting a small house outside the town until returning to London after the outbreak of World War I. He wrote about the place following his last visit in 1960, the year before he died: “the sympathetic climate and surroundings give one liking - you get into a state that allows you to like people, flowers, skies, leaves, nearly everything natural and simple . . . no evident pressure.”
Simplicity (1916, 49x43cm; 400x352pix, 16kb) _ Kathleen Dillon is the sitter. She is wearing a hat which she had designed herself. Fergusson, who gave the painting to the sitter, later described her as “a very good looking, charming, and intelligent girl”.
Complexity (1908; 400x325pix, 49kb) monochrome

^ 1871 S. Granville Redmond, US painter specialized in oaktrees with flowers under them. [OK, so it's based on only two items, but that's all I could find.]. He died in 1935 — {I don't know whether they buried him under oaks, but it would have been fitting.}.
Flowers Under the Oaks
California Oaks and Poppies

1871 Francesco Mogens Hendrik Ballin, Copenhagen designer who died on 28 January 1941. —(060308)

^ 1809 Johan Hendrik Louis Meijer (or Meyer), Dutch painter who died on 31 March 1866. He received his training at the Akademie voor Beeldende Kunsten in Amsterdam, where he was a student of Pieter George Westenberg [1791–1873] and Jan Willem Pieneman [1779–1853]. In his youth he worked with the landscape painter Joseph Jodocus Moerenhout [1801–1874]. From 1827 to 1830 Meijer studied in Paris; thereafter he spent a further three years in Amsterdam. From 1833 to 1839 he worked in Deventer. In his early years he was particularly fond of painting mountainous landscapes, woods and ice scenes. From 1839 to 1841 he was again in Amsterdam, where a change occurred in his work and he began to paint seascapes, sometimes with a historical setting (e.g. the Conquest of Palembang, 1857). With such paintings he established an international reputation. In 1842 in Paris, where he had by then settled, he received a gold medal at the Salon with Fire on the Ship ‘The India’ and Fisherman on the Coast of Normandy. He also attracted attention at many exhibitions in the Netherlands between 1826 and 1863. — Matthijs Maris was an assistant of Meijer.
Ships in stormy weather near Hoorn (1850, 56x75cm; 357x550pix, 39kb)
Strandgezicht met zeilschepen op het water (25x32cm; 446x579pix, 39kb).

^ 1750 Johann-Friedrich-August Tischbein “Leipzig Tischbein”, German painter specialized in Portraits, who died on 21 June 1812. He studied under Anton Raphael Mengs. Friedrich Tischbein was a much sought after, fashionable portrait painter. From 1786 on, he frequently went to the Netherlands to carry out commissions. — Not to be confused with more than twenty other painters of the same family, including his cousin the portraitists Johann Heinrich Wilhelm Tischbein “Goethe Tischbein” [15 February 1751 – 26 June 1829]; his uncle and teacher Johann Heinrich Tischbein the Elder “Kassel Tischbein” [14 October 1722 – 22 August 1789]; Anton Wilhelm Tischbein [01 March 1730 – 01 November 1804]; and August Anton Tischbein [09 October 1805 – after 1867] — LINKS
Self-Portrait (1800, monochrome reproduction)
Willem V Batavus van Oranje-Nassau (1789, 62x52cm oval; 1447x1208pix, 123kb) _ Stadholder Prince Willem V [08 Mar 1748 – 09 Apr 1806] was forty-one years old in this portrait. On 04 October 1767, he had married Wilhelmina of Prussia [07 Aug 1751 – 09 Jun 1820]. Tischbein also painted portraits of her, their three children (Frederika Luise Wilhelmine von Nassau-Dietz [28 Nov 1770 – 15 Oct 1819], Willem I von Nassau, King of the Netherlands [24 Aug 1772 – 12 Dec 1843], Willem Georg Frederik von Nassau-Dietz [15 Feb 1774 – 06 Jan 1799]) , their betrothed and two other members of the family.
Frederika Luise Wilhelmine von Nassau-Dietz, princess of Orange~Nassau (1788, 210x165cm; 512x391cm, 26kb)
Gräfin Henriette von Egloffstein [1773-1864] (600x453pix)
Lautenspielerin (1786; 600x458pix)

1746 François-Nicolas Delaistre, Parisian artist who died on 23 April 1832 —(060308)

1734 (infant baptism) Francisco Bayeu y Subías, Spanish painter who died (full coverage) on 04 August 1795. —(060308)

1621 Egbert Lievenszoon van der Poel, Dutch painter who died (full coverage) on 19 July 1664. —(060308)

1551 Alessandro Alberti, Italian artist who died on 10 July 1596. —(060308)

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