ART 4 2-DAY 10 March v.10.20
Died on 10 (09?) March 1927: Edward Henry Potthast,
painter born on 10 June 1857.
— Potthast, son of a German cabinet maker, was born in Cincinnati. At a young age he showed a natural inclination toward art, filling the blank pages and margins of his school books with drawings. He was apprenticed at an early age to a lithographer and attended night classes at the McMicken School of Design in Cincinnati. He studied under Fernand Cormon. He interrupted his studies to travel to Europe in 1882 and 1887, visiting Antwerp, Munich, Paris and Barbizon. His early work features the dark tonalities of the Munich school, evident in Dutch Interior (1890). After his move to New York in 1896, Potthast’s palette brightened. There he embarked on what was to become his primary subject: New York beach scenes in which spirited groups of families and children cavort under the strong, even light of the summer sun, as in Sailing Party. Obviously influenced by Impressionism — well established in the US by this time — Potthast applied his pigments with a thickly laden brush, obliterating facial expression but conveying gaiety and warmth through his high-keyed color schemes, energetic brushwork and sharply cropped compositions. Potthast was known as a modest, shy, and diligent person who painted almost every day. A bachelor who enjoyed life, much of Potthast's work focuses on leisure activity, especially that of women and children. As a mature artist, Potthast's fame rests on his beach scenes, completed in the last twenty years of his life. These paintings display the unique synthesis of the US Realist's subject matter and the US Impressionist's painting technique particular to Potthast's large body of work.
–- Beach Scene (31x41cm; 925x1200pix, 107kb)
–- A Sailing Party (76x102cm; 913x1200pix, 76kb)
–- The Wave (935x1200pix, 92kb)
–- Snowy Mountain (952x600pix, 77kb)
–- The Conference (61x76cm; 911x1200pix, 57kb)
–- Holiday (63x76cm; 955x1200pix, 65kb)
Born on 10 Mar 1822: Willem
Roelofs, Dutch painter who died on 12 May 1897.
— The painter Willem Roelofs, born in The Hague, is considered to be a forerunner of the Hague School, a group of landscape painters who concentrated on the atmosphere and play of light in nature. During the years he lived in Brussels (1847-1887), Roelofs formed a link between the French Barbizon School and the progressive Dutch landscape painters in The Hague. He mainly painted Dutch landscapes with ponds and cows. Hendrik Van de Sande Bakhuyzen taught Roelofs the elements of painting and he later went on to study at the Hague Academy. His early work belonged to the dominant style in painting that time, Romanticism. His dramatic landscapes such as Approaching Storm display the grandeur and power of nature.
— He is said to have made his first sketches at the age of four; at fifteen he completed his first landscape painting. About 1837 or 1838 he was apprenticed to the amateur painter Abraham Hendrik de Winter [1800–1861] in Utrecht, where the Roelofs family had moved in 1826.
In 1838 he entered his first paintings in the Exhibition of Living Masters in Amsterdam and Rotterdam. In the late summer of 1840 Roelofs became a student of the landscape and animal painter Hendrik van de Sande Bakhuyzen [1795–1860], with whom he made a study trip to Germany in 1841. Roelofs took a special interest in nature: he applied himself energetically both to painting and drawing, almost always selecting landscape subjects. He also studied entomology and accumulated a large collection of insects. After his training he returned to his parents in Utrecht.
— H. W. Mesdag and Carel Nicolaas Storm van ’s Gravesande were students of Roelofs
— An Approaching Storm (1850, 90x140cm; _ ZOOM to 1011x1600pix, 261kb) _ A threatening mass of dark clouds hangs above the dune landscape. The rider spurs his horse on. He is holding his hat tight and his jacket is flapping in the wind. A dog follows them. Speed is of the essence, the storm could break at any moment. For a second, the sun breaks through the clouds. The light shines on the sandy ground, lighting up the silver-white birch trunks against the dark dunes. The scene illustrates the insignificance of humankind compared to the vastness of nature. It is typical of Romanticism.
This is one of Roelofs's last paintings in the Romantic style. Later he went on to paint in a more impressionist style. From the 1850s on, while living in Brussels, Roelofs's had considerable contact with the French Barbizon artists, who painted outdoors. Roelofs began to sketch outside in the country too. At the time of this stormy landscape, Roelofs was mainly concerned with the dramatic effect and not the accurate depiction of nature. This can be seen from the birch trees, they are unstirring, as if there was absolutely no wind around them.
— A Sunlit River Landscape With Cows Watering
— Fran Utrecht (66x80cm)
— View Of A Village Along A River, Germany (1842, 36x47cm)
— A Cowherd And His Cattle At Sunset (44x70cm)
— A Summer Landscape (14x26cm)
— A Summer Landscape With Grazing Cows (25x42cm)
— Bords du Gein près d'Abcoude (14x25cm)
— Coin de Paturage (65x111cm)
— People on a Country Road Along a Waterway, a Windmill in the Distance (47x73cm)
— Noorden (16x43cm)
on 10 March 1592: Michiel van Coxcie (or
Coxie, Coxius) I the Flemish Raphäel, Flemish painter born
in 1499 who studied under Bernaert
Flemish painter and engraver of religious subjects in the Raphaelesque style adopted after he visited Italy with his master Bernaert van Orley. In all likelihood he was born in Liège, but very early in his career he must have settled in Mechelen because, in time, they treated him like a native son. Like so many Flemish artists, he travelled to Rome where many of his works are still on display at the church of Santa Maria dell'Anima. Upon his return in Mechelen he went right back to work and did not stop until his dying day. He created more than a hundred large paintings, countless designs for tapestries, etchings, and drawings.
During his career, he became the favorite of Charles V and Philip II. For the latter he copied the Van Eycks' altarpiece The Adoration of the Lamb. Although in his day they called him the "Flemish Raphael", he is now considered a Romanist and a compulsive imitator of the Italian style. Admittedly, his style did not evolve much over time but he remains an important link between the Flemish primitives and the Baroque at of Rubens.
He had many sons, some of whom walked in their father's footstep without ever reaching his level. The most famous among them were Michiel van Coxcie (III) the Younger and Raphael van Coxcie.
The Circumcision of Christ (detail) (1585) _ This detail shows the corner of the panel in which sits a sibyl. This figure was inspired by Michelangelo's painting on the ceiling of the Sistine Chapel.
Original Sin (237x88cm) _ This is a side panel of a winged altarpiece. The other side wing is entitled Expulsion from the Paradise
The Torture of Saint George (1586) _ This panel is one of the wings of a triptych in the Mechelen Cathedral depicting the Martyrdom of St George. A remarkable detail about this triptych (and another triptych in the same Cathedral depicting the Martyrdom of St Sebastian) is the fact that the artist was well into his eighties when he created them.
Born on 10 March 1787: William Etty,
York English painter specialized in nudes,
who died on 13 November 1849.