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ART “4” “2”-DAY  18 March v.8.40
^ Born on 14 Mar 1853: Ferdinand Hodler, Swiss Art Nouveau painter, who died on 19 May 1918.
— Hodler was born in Berne and died in Geneva. The oldest of the 6 children of a carpenter, he lost all his brothers, sisters, and parents to tuberculosis, then common among the poor. By the age of 14 he was an orphan alone in the world. He had learned the elements of painting, so he went on to study under a painter in Thun. Pennyless, Hodler went to Geneva, to try to make a living as a sign-painter. There he got to know the painter and teacher Barthélémy Menn [20 May 1815 – 13 Oct 1893], a student of Ingres [29 Aug 1780 – 14 Jan 1867] and a friend of Corot [16 Jul 1796 – 22 Feb 1875]. This progressive and educated art pedagogue accepted Hodler free of charge as a student and from 1871 to 1878 gave him a comprehensive theoretical and practical education in painting, through which he developped an artist's vision of the world and of himself.
   Through Menn, Hodler's art was influenced by Corot and Courbet. Hodler traveled in Switzerland and Spain and discovered the works of Dürer, Holbein and Raphael. He was lastingly influenced by the masterpieces of Velázquez which he saw in the Prado Museum during a visit to Madrid.
      Hodler developed a strongly realistic style, until he departed from naturalism and adopted a frankly Symbolist style in the painting Night (1890) marked by a great strength of expression. For his often seemingly melancholic, mystical, and the beautiful paintings, Hodler was attacked as “backward” by the critics and the predominantly Impressionist avant-garde of the time. The coherence of his compositions was based on repeated lines, volumes and colors, a method he termed “parallelism”.
      When Hodler wanted to exhibit Night in Geneva in 1891, it was rejected, although it had received a gold medal at an exhibition in Munich had created a sensation at the Paris 1900 World Fair. It would take years, until Hodler finally succeeded in getting accepted in Switzerland his manner of representating his conception of the world, and in stimulating historical painting. Thanks to two Austrian sponsors and to his success abroad, Hodler saw his financial situation somewhat eased. He separated from its first wife after two years of marriage. He had no children other than a son and a daughter from two of his lovers.
      In addition to historical and allegorical works, Holde painted wonderful mountain landscapes impressive in their bright, gleaming colors. His portraits are just as important. Besides Rembrandt, Hodler was probably the most prolific European self-portraitist, often showing himself in the company of slow dying of Valentine Godé-Darel, his French lover and mother of its daughter.

Self-Portrait (600x624pix _ ZOOM to 1400x1456pix)
Lesender Mann (73x60cm)
Tired of Life (1892, 150x294cm)
The Chosen One
The Convalescent (1880)
Louise-Delphine Duchosal (1885)
Surprised by the Storm (1887)
Emotion (1902)
^ Died on 25 March 1455: Giovanni da Fiesole, Fra Angelico, Italian painter specialized in Religious Subjects, born in 1387 — His students included Alessio Baldovinetti and Benozzo Gozzoli.
— The life of Fra Giovanni da Fiesole, baptized as Guido di Piero (born around 1395 in Vicchio di Mugello, died in Rome) is the stuff of legend. “Angelic” was how he came to be known soon after his death; the name “Beato” was a comment on his painting and not a reference to his beatification, which happened only in 1984.
      Fra Angelico was a Dominican, and a mendicant, so, not being part of a closed order, he was free to meet and talk to others in the city.  In 1420-1422, he entered the convent of San Domenico in Fiesole with his brother Benedetto. It was here that he produced his first works: altarpiece for the high altar, Altarpiece of the Annunciation, The Coronation of the Virgin, as well as the frescoes for his monastery.
      Fra Angelico not only gained recognition as a painter, but must have commanded respect in his convent because he was appointed Vicario for the first time in Fiesole from 1432-1433, a post he was to hold frequently in later years.
      In the 1430’s the painter worked in Florentine churches. He carried out the following commissions for the Dominicans in Cortona: the Cortona Triptych and the Annunciation panel. From 1438, he worked on his most important commission, the San Marco Altarpiece and the frescoes for the convent of San Marco in Florence.
      In July 1445 Fra Angelico was summoned by Eugenius IV to Rome, where he painted frescoes in the chapel of Santissimo Sacramento, which was later destroyed under Pope Paul III. For Eugenius’ successor, Nicholas V, he painted the frescoes of St. Stephen and St. Lawrence between 1447 and 1449 with the assistance of Benozzo Gazzoli (1420-1497), in the Capella Niccolina in the Vatican, named after the Pope who commissioned the frescoes.
      In the summer of 1447, he began work on the frescoes in the Capella di San Brizio, in the cathedral at Orvieto. These were competed by Luca Signorelli fifty years later. From 1450-1452, he returned to his old convent in Fiesole as Prior, before going for one last time to Rome, where he died. He is buried in Santa Maria sopra Minerva, where his grave has always drawn worshippers. After his beatification by Pope John Paul II in 1984, the headstone was placed on a plinth and surrounded by a bronze grille with floral motifs. His feast day is 18 February, the day of his death.
— Fra Angelico combined the life of a devout friar with that of an accomplished painter. He was called Angelico and Beato because the paintings he did were of calm, religious subjects and because of his extraordinary personal piety.
      Originally named Guido di Pietro, Angelico was born in Vicchio, Tuscany. He entered a Dominican convent in Fiesole in 1418 and became a friar using the name Giovanni da Fiesole. Although his teacher is unknown, he apparently began his career as an illuminator of missals and other religious books. He began to paint altarpieces and other panels; among his important early works are the Madonna of the Star (1433) and Christ in Glory Surrounded by Saints and Angels, which depicts more than 250 distinct figures. Among other works of that period are two of the Coronation of the Virgin and The Deposition and The Last Judgment. His mature style is first seen in the Madonna of the Linen Weavers (1433), which features a border with 12 music-making angels.
     In 1436 some of the Dominican friars of Fiesole moved to the convent of San Marco in Florence, which had recently been rebuilt by Michelozzo. Angelico, sometimes aided by assistants, painted many frescoes for the cloister, chapter house, and entrances to the 20 cells on the upper corridors. The most impressive of these are The Crucifixion, Christ as a Pilgrim, and Transfiguration. His altarpiece for San Marco (1439) is one of the first representations of what is known as a Sacred Conversation: the Madonna flanked by angels and saints who seem to share a common space. In 1445 Angelico was summoned to Rome by Pope Eugenius IV to paint frescoes for the now destroyed Chapel of the Sacrament in the Vatican. In 1447, with his student Benozzo Gozzoli, he painted frescoes for the cathedral in Orvieto. His last important works, frescoes for the chapel of Pope Nicholas in the Vatican, are Scenes from the Lives of Saints Stephen and Lawrence (1447-1449), probably painted from his designs by assistants.
     From 1449 to 1452 Angelico was prior of his convent in Fiesole. He died in the Dominican convent in Rome. Angelico combined the influence of the elegantly decorative Gothic style of Gentile da Fabriano with the more realistic style of such Renaissance masters as the painter Masaccio and the sculptors Donatello and Ghiberti, all of whom worked in Florence. Angelico was also aware of the theories of perspective proposed by Leon Battista Alberti. Angelico's representation of devout facial expressions and his use of color to heighten emotion are particularly effective. His skill in creating monumental figures, representing motion, and suggesting deep space through the use of linear perspective, especially in the Roman frescoes, mark him as one of the foremost painters of the Renaissance.
— Although in popular tradition he has been seen as not an artist properly so-called but an inspired saint, Angelico was in fact a highly professional artist, who was in touch with the most advanced developments in contemporary Florentine art and in later life traveled extensively for prestigious commissions. He probably began his career as a manuscript illuminator, and his early paintings are strongly influenced by International Gothic. But even in the most lavishly decorative of them all, the Annunciation in the Diocesan Museum in Cortona, Masaccio's influence is evident in the insistent perspective of the architecture. For most of his career Angelico was based in S. Domenico in Fiesole (he became Prior there in 1450), but his most famous works were painted at San Marco in Florence (now an Angelico museum), a Sylvestrine monastry which was taken over by his Order in 1436. He and his assistants painted about fifty frescos in the friary (1445) that are at once the expression of and a guide to the spiritual life of the community. Many of the frescos are in the friars' cells and were intended as aids to devotion; with their immaculate coloring, their economy in drawing and composition, and their freedom from the accidents of time and place, they attain a sense of blissful serenity.
      In the last decade of his life Angelico also worked in Orvieto and Perugia, and most importantly in Rome, where he frescoed the private chapel of Pope Nicholas V in the Vatican with Scenes from the Lives of SS. Stephen and Lawrence (1450). These differ considerably from the S. Marco frescos, with new emphasis on the story and on circumstantial detail, bringing Angelico more clearly into the mainstream of 15th-century Italian fresco painting.
      Angelico died in Rome and was buried in the church of S. Maria sopra Minerva, where his tombstone still exists. His most important student was Benozzo Gozzoli and he had considerable influence on Italian painting. His particular grace and sweetness stimulated the school of Perugia, and Fra Bartolommeo, who followed him into the Convento di S. Marco in 1500, had something of his restraint and grandeur. Vasari, who referred to Fra Giovanni as “a simple and most holy man”, popularized the use of the name Angelico for him, but he says it is the name by which he was always known, and it was certainly used as early as 1469. The painter has long been called “Beato Angelico”, but his beatification was not made official by the Vatican until 1984.

The Nativity (1410, 28x17cm; 1062x650pix, 595kb _ ZOOM to 1641x1005pix, 1291kb)
Saint Benedict (1440, 39x14cm; 1089x508pix, 655kb _ ZOOM to 1733x808pix, 1544kb)
Annunciation (1434, 150x180cm) _ This is from the Cortona Altarpiecewhich has also, done with the cooperation of assistants, six small predella pictures. (not to be confused with the Cortona Triptych)
Cortona Annunciation (347x324pix framed, 50kb) _ detail (head of angel) _ detail of the predella
Noli Me Tangere (1441, 180x146cm)
94 ZOOMable images at Wikimedia
^ Born on 18 March 1548: Cornelis Ketel, Dutch painter, draftsman, and sculptor, who died on 08 August 1616. He was active also in France and England.
— He was one of the most important portrait and narrative painters of the Dutch Mannerist school of the late 16th century and the early 17th. He received his earliest training in Gouda from his uncle Cornelis Jacobsz. Ketel [–1568] and studied for a year (1565) under the painter Anthonie Blocklandt in Delft. Ketel then went to France and lived in Paris and Fontainebleau. However, because of the uncertain political climate, he returned to the Netherlands and from 1567 to 1573 worked in Gouda.
— Dutch portrait and history painter. He worked mainly in Gouda and Amsterdam, but also in France and in England, where he lived from 1573 to 1581. He painted a portrait of Queen Elizabeth I for the Earl of Hertford in 1578, but the picture is lost. The portrait of Martin Frobisher, however, is a good example of his work from his English period. Ketel's finest portraits are his group portraits, which prefigure those of Frans Hals [1581 – 01 Sep 1666]. — {there is no record of his having painted a still life in a classy seafood restaurant, a fine Ketel of fish.}
— Wouter Crabeth and Pieter Isaacszoon were students of Ketel.

Company of Captain Dirck Jacobszoon Rosecrans and Lieutenant Pauw (1588)
Adam Wachendorff (1574)
Double Portrait of Young Brother and Sister (109x81cm; 1022x770pix, 110kb)
Portrait of Thomas Pead (1578, 118kb)
^ Born on 14 Mar 1822 (1824?): Hendrik Johannes Weissenbruch, (known later as Jan Hendrik Weissenbruch), The Hague Dutch painter and printmaker, who died on 15 February 1880, son of engraver Johan Daniel Weissenbruch [1789-1858] and brother of lithographer Frederick Hendrik Weissenbruch [1828–1887] and engraver Isaac Weissenbruch [1826–1912], and first cousin of watercolorist Jan Hendrik Weissenbruch [19 June 1824 – 24 Mar 1903] and of engraver Adrianus Weissenbruch [1826-1882].
     Hendrik Johannes Weissenbruch studied at the Koninklijke Academie van Beelden de Kunsten in The Hague and was also a student of Salomon Leonardus Verveer. Like Verveer, he chiefly painted town views, favoring the small towns along the Rhine and the Lek. His earliest works, such as the Oude Kerk at Scheveningen (1843), show the influence of the currently fashionable Romantic style, with its brown tone, rather viscous touch, rounded shapes and contrasts between light and shade strongly recalling the work of Wijnand Nuyen. Weissenbruch’s watercolors of this period, such as View of the Bant Windmills on the River Senne at Brussels, are also Romantic in feeling. However, the Dunne Bierkade in The Hague shows increased attention to the treatment of surfaces and an intimate, calm atmosphere that is characteristic of Weissenbruch. With View of the Saint Catharine-Gasthaus in Arnhem (1850) he completely abandoned Romantic coloring, choosing a light, bright palette that would distinguish him for the rest of his career: clear blue sky, white plasterwork, beaming sunlight, warm red roofs and red accents in the figures’ clothing are all typical of his later works.
— Hendrik Johannes, at 16, took drawing-lessons and later followed evening classes at the Hague Academy. His father was an amateur painter and collected work by artists such as Andreas Schelfhout. Schelfhout's influence can be seen in Weissenbruch's early, vast landscapes, painted in precise detail. His magnificent, cloudy skies show his admiration for the seventeenth-century artist Jacob van Ruisdael, whose work he saw at an early age in the Mauritshuis in The Hague. An impressive portrayal of sky and light was one of Weissenbruch's strongest points. He painted in the open air and let himself be guided as far as possible by nature itself. “What I really want is to get nature itself on the canvas,” Weissenbruch once said. “Sometimes nature can make a real impact. If I can get that same impact later, I can draw and paint what I have seen. I make a sketch with a few charcoal scribbles. At home I conjure it up in paints.”
      During the 1860s Weissenbruch often worked in the country around Gouda, near Nieuwkoop and Noorden. His touch became freer and he concentrated more on the atmospheric impression of the moment, like other painters of the Hague School. It was not until 1880 that his landscapes gained wider recognition. As well as landscapes, Weissenbruch also painted several interiors, still lifes and beach- and seascapes, in both oils and watercolor. When Weissenbruch was 76, he undertook his first foreign trip. He visited the Barbizon area, at that time a Mecca for modern landscape artists.

The Shipping Canal at Rijswijk aka The View at Geestbrug (1868, 31x50cm) _ A typically Dutch sky with grey-white clouds, is the largest and most remarkable feature of this painting. Weissenbruch was a true sky painter, just like the Jacob van Ruisdael. The artist had seen Ruisdael's work as a youngster at the Mauritshuis museum, in his home town of The Hague. Weissenbruch was especially concerned with the accurate portrayal of the (sun)light in the sky. As he himself said: “Light and sky, that's art! I can never get enough light in my paintings, particularly in the sky. The sky in a painting, that's it. It's a key aspect! Sky and light are magical.”
     This landscape depicts the countryside around The Hague, featuring certain specific aspects of the area: the shipping canal, with sailing boats, Laak mill and the tower of Binckhorst castle. On the opposite bank is the towpath along which barges were towed. Left, in the foreground, is a woman lifting one child and holding another's hand. They are painted rather sketchily, like part of the landscape. The painting appears to be a spontaneous snapshot of a piece of countryside on a blustery day in the summer. However, Weissenbruch painted the scene in his studio, using sketches he had made outdoors before.
     Weissenbruch used sketches of this area on more than one occasion. Two years after this painting he produced a larger version of the work. Weissenbruch used many of the elements found here in an almost identical manner: the composition of the landscape, the sailing boats and the mother with her children. He added an extra boat and a second mill. From the two versions it is clear that an exact topographical record of the subject was not the painter's primary concern. The landscape is certainly recognizable, but the main purpose was to capture the atmosphere of the moment. This was also the case for other painters in the Hague School, with which Weissenbruch is associated.
     The artists of the Hague School were influenced by the painters of the Barbizon School: painters who sought inspiration directly from nature. Weissenbruch found most of his subjects in the immediate vicinity of The Hague and seldom ventured far from home. Yet, at the age of 76 he decided to travel to Barbizon, at that time the mecca of modern landscape art. During his stay in France, Weissenbruch painted Forest View near Barbizon. The work shows the skill of the painter in capturing and depicting the fall of the light in nature.
Forest View near Barbizon (1900, 48x64cm) _ An explosion of sunlight in a forest with a glade. Color and patches of light playfully dance across the tree trunks and the rocks in the foreground. The foliage and the forest floor have been sketchily depicted using rough brushstrokes. The harmony of brown, green, beige and yellow (ochre) are only briefly interrupted by a seated figure dressed in black in the center. This forest scene was painted in an area near Barbizon, France, in the forest of Fontainebleau. Weissenbruch has signed the painting in the lower left, also stating where and when it was painted.
     Weissenbruch enjoyed working outdoors in the countryside. He usually found his subjects in the area around The Hague where he lived, rarely going far from home. However, in 1900, at the age of seventy, he took a trip to Barbizon where he painted this forest scene. The journey to Barbizon must have been a kind of pilgrimage for him, since it was in this area that French painters, in around 1830, had first begun to paint in the open air on a large scale. These 'painters of Barbizon' strove for a natural representation of the landscape, paying particular attention to the mood and the light. Nature for Weissenbruch too was of the utmost importance.
     The fall of the light in this forest view near Barbizon is sunny and warm in color. The landscapes Weissenbruch painted in the Netherlands are very different in tone. Though light is still the most important element, it has a different tone and atmosphere. It is the cool light typical of Holland, determined by the water, clouds and sky. There are other ways in which this forest scene is unusual in Weissenbruch's oeuvre. For example, Dutch landscapes generally display more traces of human intervention in nature (houses, mills or boats) and are far more precisely painted. The forest view, with its broad, bold brushstrokes, only shows nature with a single, lonely figure.
     The foreground of the painting has been painted with broad strokes, giving this picture the appearance of a modern, abstract painting. Painters such as Israels and Breitner [1857-1923] {see the foreground in his Horse Artillery (1886, 115x78cm)} also worked with broad brushstrokes during this period. The quality of this forest scene was soon recognised. It was sold in the same year it was painted, 1900. Weissenbruch had made the painting available to an auction to raise money for an artists' society.
Along the Canal (1893, 88x126cm; 697x1000pix, 223kb)
A Bomschuit on the Beach (20x32cm)
A Cow Standing by the Waterside in a Polder (44x29cm)
A Farm on the Waterfront (30x45cm)
A Farmhouse in a Polder Landscape (19x34cm)
A Summer Landscape With Figures on a Path (24x31cm)
A Sunlit Townview With Figures Conversing (15x19cm)
Farmhouses on the Waterfront (20x38cm)
Figures On A Country Road, a Church in the Distance (30x53cm)
On the Tow Path Along the River Amstel (45x31cm; 1000x667pix, 926kb)
Fisherfolk Returning Home.
The Hay Bridge (1850)

Died on an 18 March:

^ >1980 Tamara De Lempicka [16 May 1898–], US painter born Tamara Gorska in Warsaw, Poland. She lived among the wealthy aristocracy in St Petersburg and fled with her husband from the Russian Revolution of 1917. In 1918 she arrived in Paris, where she studied briefly at the Académie de la Grande Chaumière in Montparnasse, before studying under Maurice Denis at the Académie Ranson, and then under André Lhote. Lhote’s theories of composition, his insistence on careful figure studies and the precise application of paint, often using pure color, provided the groundwork for her own style of freely interpreted Synthetic Cubism. This rapidly became identified with Art Deco and with modernity of style and subject-matter. All her paintings were carefully composed. She made little attempt to create three-dimensional effects, but using hard, angular lines and shapes contrasted against rounded, soft forms she created a highly stylized view of the world, in particular of the sophisticated society of Paris. Her subject-matter was generally exotic, whether in the celebratory feminine glamor of Young Girl in Green (1928) or in the suave, elegantly dressed, fashionable figures in the quasi-religious Adam and Eve (1932). Occasionally scenes of naked women in intertwined compositions recall those of Ingres. Her stylish and mannered portraits sought to convey the wealth of her aristocratic sitters. Her reputation went into eclipse after her move to the USA in 1939, although a retrospective exhibition in Paris in 1972 heralded a renewed interest in the paintings of her youth. — LINKS
Self-Portrait in the Green Bugatti (1925; 800x602pix)
Girl in Green (1100x800pix, 330kb) _ Compare:
      _ Girl in Green (968x694pix, 97kb) by Illegible Anonymous.
      _ Girl in Green (1100x800pix, 330kb) by Abel Warshawsky [28 Dec 1883 – 1962]
      _ Girl in Green (2005, 122x91cm; 1711x1281pix, 402kb) by Andrei Acris [27 May 1983~], who also did.
      _ Girl in Green With Orange Blanket (2004, 122x91cm; 1550x1229pix, 361kb) —(080515)

1940 Roderic Anthony O'Conor, Irish painter and etcher, active also in France, born on 17 October 1860 into a branch of the O’Conor family descended from the last kings of Ireland, he was educated at Ampleforth College in North Yorkshire. He studied at the Metropolitan School of Art in Dublin and at the Royal Hibernian Academy (1879–1883), before attending the Académie Royale des Beaux-Arts in Antwerp (1883–1884). He returned to Ireland but soon moved to Paris, where he studied with Carolus-Duran, exhibiting a portrait in the Salon of 1888. In 1889 he showed three paintings in the Salon des Indépendants, and he continued to exhibit there until 1908.

^ 1922 Edward Arthur Walton, British painter born on 15 April 1860. He was trained at the Staatliche Kunstakademie in Düsseldorf (1876–1877) and Glasgow School of Art. One of the Glasgow Boys, he painted outdoors in the Trossachs and at Crowland, Lincs, with James Guthrie, Joseph Crawhall, and George Henry. He also painted in W. Y. Macgregor’s life studio in Glasgow. He joined the New English Art Club in 1887 and developed an atmospheric landscape style influenced by plein-air painting and by James McNeill Whistler with whom he was friendly during his stay in London (1894–1904); Autumn Sunshine (1884) is characteristic. Walton was a regular exhibitor from 1880 in both Glasgow, at the Institute of the Fine Arts, and Edinburgh, at the Royal Scottish Academy. He was elected an Associate of the Academy in 1889 and a full member in 1905, taking an active role in its affairs after moving to Edinburgh in 1904. He concentrated after c. 1885 on pastel and on watercolor, which he used notably in his Helensburgh and Kensington scenes of contemporary life. From 1915 he served as President of the Royal Scottish Water Colour Society. Oil was reserved largely for portraits in a Whistlerian style, such as The Artist’s Mother (1885). Such portraits became his chief source of income. During the late 1880s and 1890s he painted murals for the main building of the Glasgow International Exhibition of 1888 and various other buildings in the city. His only surviving decoration is Glasgow Fair in the Fifteenth Century (1899–1901).
Berwickshire Field-workers (1884, 91x61cm).

1844 Sebastien Pether, British painter of moonlight, sunsets, fires and volcanic eruptions,.born in 1790. — {Did he have a wife? Did he pet her?} — Son of Abraham Pether [1756 – 13 Apr 1812] and brother of Henry Pether (fl.1828-1865), cousin once removed of William Pether [1738 – 19 Jul 1821] —(070411)

Born on an 18 March:

^ 1892 Adolf Richard Fleischmann, German painter who died in 1968 (1969?). Having studied at the Royal Arts and Crafts School in Stuttgart from 1908 until 1911, Fleischmann went to the Royal Art Academy for another two years, where he visited, among others, the class of Adolf Hoelzel. Then he took up a job at the studio for graphic arts in Stuttgart. In 1917 he was employed as a scientific drawer at the canton hospital in Zurich. During this time Fleischmann still painted in an academic style, but increasingly tended towards abstraction in the 1920s. In 1928 the painter participated in the exhibitions 'without jury' in Stuttgart and Berlin. From this moment on the artist lived during the following five years alternately in Berlin, Hamburg, Ascona, Paris and the Tessin. Although he still produced a series of constructive-geometrical collages in 1936, Fleischmann left the strict geometry in 1937 and increasingly devoted himself to abstract painting that was more strongly marked by organic forms. When he was staying in Paris for two years since 1948, he joined the group 'L'Equipe'. He earned his living with cloth, poster and wallpaper designs. Between 1940 and 1945 Fleischmann lived in Southern France, but was nevertheless interned for several times. After a short return to a geometric style around 1943, Fleischmann found back to a sweeping linear painting style in 1946, when he joined the 'Réalités Nouvelles' and co-founded the group 'Espace'. A first individual exhibition took place in the Parisian gallery Creuze in 1948. In the beginning of Fleischmann's later work there were rhythmical grouped stripes twisted in narrow ankles. In 1952 the artist left Europe and moved to New York, where he lived for more than 10 years. He worked as a scientific drawer at the College of Physicians and Surgeons of the Columbia University between 1953 and 1952. In 1965 Fleischmann returned to Germany and spent the final years of his life as an artist in Stuttgart.
–- Hommage à Delaunay et Gleizes (1938, 111x69cm; 892x540pix, 34kb) _ This painting is colorful and complex enough, but, because of the small size of the image, the pseudonymous Pauvrard Chairomme has expanded and transformed it into a series of pictures, of which the first two are
      _ Le fromage de l'eau nait et de la glaise aka Fled Elf (2006; screen filling, 328kb) and
      _ Dommages et intérêts à la margarine Fleishman aka Flack Calf (2006; screen filling, 228kb _ ZOOM to 932x1318pix, 443kb)
–- Unendliche Säule I (1961, 152x89cm, 893x520pix, 44kb) monochrome grayish blue. The title is patently false: the original is 152 cm tall, and the image 510 pixels (and it occupies only the center of the 297 pixel width). Chairomme, who believes that titles ought to be either true or (preferably) obvious nonsense, but never false, has made his own version, in full color and not endless but so tall that few people are likely to scroll attentively through all of it:
      _ Almost all good things come to an end and this is no exception aka No Loco (2006; 40'800pix high, background wide as your computer screen, image in the center; 131kb) _ One year later, Chairomme surpassed himself with not just one but 80 columns, all in one 74-billion-pixel picture titled simply:
      _ Tall (2007; 1'786'000x41'600pix, 541kb) which can be seen without scrolling on a computer screen 450 meters high and a mere 11 meters wide.
–- Untitled (900x693pix, 71kb) fuel rods inside a nuclear reactor? _ Chairomme decided that something had to be done about the dull colors and the boring parallel strips, and what he did resulted in
      _ Untied Lead aka Ève Rêve (2006; screen filling, 300kb _ ZOOM to 932x1318pix, 646kb) —(070317)

^ 1875 Beppe Ciardi, Italian painter who died in 1932.
–- Boats in the Wind of a Venetian Lagoon (1029x1400pix, 98kb)
–- Barca a Vela nella Laguna Veneta (743x900pix, 51kb)
–- Canareggio (616x900pix, 82kb)
–- Ingresso di Villa Borghese (900x588pix, 78kb)
–- Venitian Sunset (742x1080pix, 97kb) almost monochrome brownish yellow; sketchily painted. —(070317)

^ 1862 Eugene Fredrik Jansson, Swedish painter who died on 15 June 1915. His childhood was overshadowed by poverty and ill-health (including deafness), and he remained somewhat on the margins of society throughout his life. He studied (1881–1882) at the Painting School run by Edvard Perséus (1841–90) and briefly at the Akademi för de Fria Konsterna in Stockholm; but he was largely self-taught. With the exception of two journeys abroad, which had very little influence on his art, he lived all his life in Stockholm, and it was the city that provided most of his subject-matter. In the mid-1880s Jansson was greatly stimulated by contact with Swedish artists returning from Paris, in particular Karl Nordström. Jansson’s painting Roslagsgatan (1889; Stockholm, Thielska Gal.) clearly reveals Nordström’s influence. Jansson was one of the first Swedish artists to concentrate on twilight scenes. He produced his first painting of this kind in 1883, but the ‘blue period’, for which he became well known, started in earnest in 1890 and lasted until 1905. In 1891 he moved to Södermalm, the workers’ quarter of Stockholm, and took as the principal subject of his paintings views of the city at dawn and dusk as seen from his studio. The perspective of these views is topographically correct but undergoes greater decorative stylization than found in the work of any other Swedish painter of the time. In such paintings as Riddarfjärden in Stockholm (1898; Stockholm, Nmus.; see fig.) or Nocturne (1901; Stockholm, Thielska Gal.) Jansson transformed his motif of lights reflected in water into the billowing ornament typical of Art Nouveau. The character of these magnificent night views is visionary and dream-like, partly explained by the fact that they were deliberately painted from memory, without any attempt at preliminary on-the-spot study. The synthesizing and symbolic character of Jansson’s paintings during his ‘blue period’ was also a result of the influence of the Norwegian artist Edvard Munch, whose works were shown at an exhibition that arrived in Stockholm from Berlin in 1894. The banker Ernest Thiel, a good friend and patron of Jansson, also admired and collected works by Munch. Jansson’s Rosenlundsgatan (1895; Stockholm, Thielska Gal.), where the rhythmical stylization is especially strong, shows Munch’s influence very clearly. Such works, showing nocturnal views of desolate streets, constituted another category in Jansson’s output. In paintings such as Hornsgatan at Night (1902; Stockholm, Nmus.), a real location in all its banal detail is transformed into a landscape of the soul. Jansson established a melancholy, poetic mood similar to that evoked in contemporary Swedish poetry.
Ring Gymnast No. 2 (1912, 190x200cm) _ The extraordinary position of the figure (hanging at a slant, head down, with one hand, its arm behind the back, from a gym ring) creates an abstract composition in this large painting based on sketches of sailors working out in a Stockholm bathhouse. By his use of thinly brushed paint applied directly from the tube and by outlining the figure in blue, Jansson further abstracts the dramatic presentation of the foreshortened arching figure in an athletic pose that seems to defy gravity.

^ On an 18 March:
— 2007, 2091 Fourth Sunday of Lent
year C (Gospel of the Prodigal Son: links to images).
click to ZOOM IN
2003 The first annual Astrid Lindgren Memorial Award for Literature
(for children and for the rights of children) is announced to be awarded on 04 June to Austrian Christine Noestlinger (The Fiery Frederica — Conrad the Factory-Made Boy) and to the US's Maurice Sendak (Where the Wild Things Are). They will share the 5 million kronor ($583'850) prize established in memory of the author of the Pippi Longstocking books, Astrid Lindgren [14 Nov 1907 – 28 Jan 2002]
[click for another Wild Things picture]
— Litteraturpriset till Astrid Lindgrens minne år 2003 CHRISTINE NÖSTLINGER OCH MAURICE SENDAK DELAR DET FÖRSTA LITTERATURPRISET — Juryns motivering är:
     “Christine Nöstlinger (Österrike) är en pålitlig ouppfostrare av Astrid Lindgrens kaliber. Hennes mångskiftande och djupt engagerade författarskap är präglat av respektlös humor, klarsynt allvar och lågmäld värme och hon ställer sig oreserverat på barnens och de marginaliserades sida.”
      “Maurice Sendak (USA) är den moderna bilderbokens portalgestalt. Som ingen annan har han utvecklat bilderbokens unika möjligheter att berätta - till glädje för ständigt nya bilderbokskonstnärer. Och han är en av de modigaste utforskarna av barndomens mest hemlighetsfulla skrymslen - till glädje för ständigt nya läsare.”
      Litteraturpriset till Astrid Lindgrens minne har instiftats av den svenska regeringen och är ett årligt internationellt barn- och ungdomslitteraturpris. Priset på fem miljoner kronor (€540'000) kan gå till författarskap, illustratörskap och läsfrämjande insatser i Astrid Lindgrens anda. Utdelningen av litteraturpriset sker vid en ceremoni på Skansen i Stockholm den 04 juni 2003.
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