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ART “4” “2”-DAY  26 March v.9.00
^ Born on 26 March 1794: Julius Veit Hans Schnorr von Carolsfeld, German painter and draftsman who died on 24 May 1872; brother of Ludwig Ferdinand Schnorr von Carolsfeld [11 Oct 1788 – 13 Apr 53].
— Julius was taught engraving by his father and then trained under Heinrich Füger at the Akademie in Vienna (1811–1815). Though not particularly excited by the curriculum, he was inspired by his friendship with Ferdinand Olivier and Joseph Anton Koch and the circle around A. W. Schlegel to an interest in both landscape sketching and in old German and Netherlandish art, as reflected in the style of the detailed pen drawing of The Prodigal Son (1816). From 1815 to 1818 he lived in the house of Ferdinand Olivier, whose step-daughter, Marie Heller, he later married. A painting of 1817, Saint Roch Distributing Alms, is an excellent record of this period, as it contains portraits of Ferdinand Olivier and Marie Heller, and a landscape background similar to that sketched by Schnorr von Carolsfeld with Ferdinand and Friedrich Olivier (who was his assistant) near Salzburg.
— Melchior Paul von Deschwanden, and Karl Theodor von Piloty were students of Schnorr.

Die breite Föhre nächst der Brühl bei Mödling (1838; 600x1072pix _ ZOOM to 1400x2501pix)
Sechskampf auf der Insel Lipadusa (1816, 102x170cm; 488x800, 78kb _ ZOOM to 1250x2048pix, 295kb)
— Freskenzyklus um Casa Massimo in Rom, Ariost-Saal, Gewölbezwickel, detail: Der Sechskampf auf der Insel Lipadusa (539x800pix, 94kb _ ZOOM to 1379x2048pix, 277kb)
— Freskenzyklus um Casa Massimo in Rom, Ariost-Saal, Szene: Das Heer der Franken unter Karl dem Großen in der Stadt Paris (600x772pix, 74kb _ ZOOM to 1043x1256pix, 115kb)
Aussicht auf Salzburg (1820; 600x770pix, 121kb _ ZOOM to 978x1256pix, 202kb)
Die Hochzeit zu Kana (1820; 530x800pix, 91kb _ ZOOM to 1358x2048pix, 260kb)
Frau Klara Bianka von Quandt mit Laute (1820; 599x411pix, 50kb; ZOOM to 2950x2024pix, 552kb)
Verkündigung (1820; 600x460pix)
Maria mit dem Kind (1820; 600x500pix)
Siegfrieds Abschied von Kriemhild (1843; 600x596pix)
Frau Clara Bianca von Quandt (1820; 600x404pix)
Bathseba im Bade (1825; 600x496pix)
Ruth in Boaz's Field (59x70cm) _ This picture was painted in Munich, based on drawings made a few years earlier in Italy. The artist had spent ten years in that country, and was a leading figure in a group of German and Austrian artists named the Nazarenes who sought to invest modern painting with the purity of form and spiritual values that they saw in Renaissance art. The subject is taken from the Old Testament Book of Ruth. Here the Moabite Ruth is gleaning (gathering up corn left after the harvest) to support her widowed mother-in-law. The landowner Boaz who talks to her has come to show his admiration for her support for her family. The two eventually married, and King David, Mary, Joseph, and Jesus were among their descendants.
Der Sechskampf auf der Insel Lipadusa (1816, 102x170cm)
^Born on 25 March 1692: Jean Restout II, French Neo-classical painter, specialized in historical subjects, who died on 01 January 1768.
— Jean Restout came of a family of painters and did many religious and mythological pictures, and worked for a time for Frederick the Great. Born in Rouen, he was the son of Jean Restout, the first of that name, and of Marie M. Jouvenet, sister and student of Jean Jouvenet. In 1717, the Royal Academy having elected Restout a member on his work for the Grand Prix, he remained in Paris, instead of going to Italy, exhibited at all the salons, and filled successively every post of academical distinction. His works, chiefly altar-pieces, ceilings, and designs for Gobelin tapestries, were engraved by Cochin, Drevet, and others.
— Jean Restout II received his early artistic training from his father, Jean Restout I, and from his mother, Marie Catherine Jouvenet Restout. By 1707 he was in Paris as the student of his famous uncle and godfather, Jean Jouvenet [1644 – 05 Apr 1717], the leading religious painter there.
     In 1717 Jean Restout painted Vénus demandant à Vulcain des armes pour Énée. Ce tableau lui mérita d'être agréé de l'Académie le 29 May 1717. On y voit l'influence de Jouvenet: même caractère de dessin, mêmes formes larges de drapées, même principe de disposer ses groupes, mêmes entente de la perspective et de toute la magie du clair-obscur. He followed with Vénus montrant ses armes à Enée.
     He was received (reçu) by the Académie on 28 June 1720, the year in which he married Marie-Anne Hallé [1704–], a daughter of the painter Claude-Guy Hallé. Unlike most history painters of his time, Restout did not travel to Italy to study. He had a solid training from Jouvenet, and perhaps also from Nicolas de Largillièrre, and, once established in the 1720s, he had a studio of assistants and students. He occasionally attended the drawing school of the Académie, where from 1730 he was professor of drawing, in which capacity he wrote his Essai sur les principes de la peinture.
    Jean Restout II painted many religious and mythological pictures, and worked for a time for Frederick the Great. His works, chiefly altar-pieces, ceilings and designs for Gobelin tapestries, were engraved by Cochin, Drevet and others. Jean Restout II had an impressively active and successful career. He specialized in serious historical subjects, especially sombre and large-scale religious scenes, which seem out of place in a period renowned for its rather more amorous Rococo art and fêtes galantes, although they demonstrate the continuity of the tradition of monumental figure painting throughout the 18th century.

La Pentecôte (1732, 465x778cm) _ Cet immense tableau, à l'origine cintré et plus large, a été peint pour le réfectoire de l'abbaye de Saint-Denis. Les apôtres entourant la Vierge reçoivent du Saint-Esprit (invisible ici) des flammèches qui leur donnent le don des langues, pour aller évangéliser le monde.
Ananie imposant les mains à Saint Paul (1719, 99x80cm)
Mort de Sainte Scolastique (1730, 338x190cm; 1094x604pix, 81kb)
Venus Presenting Arms to Aeneas (1717, 137x105cm; 640x488pix, 58kb) _ Restout has faithfully illustrated the passage from Virgil's Aeneid (Book VIII) in which Venus descends amid clouds to bring weapons made by Vulcan to her son Aeneas: "Lo! the presents perfected by my lord's promised skill! so that thou mayest not shrink, my child, from challenging anon the haughty Laurentines or brave Turnus to battle." This painting is believed to be the diploma piece that Restout submitted in 1717 for his "agrégation," or entrance as an associate member of the French Royal Academy. It was the beginning of a successful career as a history painter, that would include his election as professor, director, and finally chancellor of the Academy.


—      Jean Restout II is the most famous of a family of painters from Caen, of which the first was Marguérin Restout, active in the early 17th century.
     Marguérin’s son Marc-Antoine Restout [1616–1684] was a student of Noël Jouvenet and a friend of Nicolas Poussin, with whom he apparently visited Rome in 1642. He established a reputation in both Rome and the northern Netherlands, as well as in his native Caen. Several of Marc-Antoine's ten children became artists:
     Jacques Restout [?1653–before 1702], a student of Poussin's nephew Pierre Le Tellier [1614-1680], became a painter, etcher, writer, and abbot of the Premonstratensian abbey of Moncel, near Vitry.;
     Eustache Restout [1655–1743], prior of the Premonstratensian abbey of Mondaye, trained under Jean Jouvenet and made some fine decorative ceiling paintings as well as being active as an architect and sculptor.;
     Jean Restout I [1663–1702] married Jouvenet’s sister Marie-Madeleine-Catherine Jouvenet [1655–1698], herself a painter, and acquired a reputation for history painting. They were the parents of Jean Restout II, whose son, Jean-Bernard Restout [22 Feb 1732 – 18 Jul 1797], is the second most renowned painter in the family, best known for his portraits; and whose daughter (painter Anne-Catherine Restout?) married Noël Hallé [1711 – 1781].
     Pierre Restout [1666–] was also a painter and monk.
    Charles Restout [1668–] was a Benedictine monk at Saint-Denis, who painted church ceilings and altarpieces.
    Thomas Restout [1671–1754] visited Rome and the Netherlands to study his art before establishing himself as a portrait painter.

Died on a 26 March:

1962 Augusta Savage, US Black sculptor born on 29 Feb 1892, dies at age 70, long before her 17th birthday. — LINKS —(060311)

1953 Spiro Xega, Albanian artist born in 1863. —(060311)

1917 Ferdinand Meyer-Wismar, German painter born on 14 January 1833.

1912 Mykola Kornylevych (or Nikolay Kornil'yevich)], Kiev Ukrainian artist born on 09 March 1862. —(060311)

^ 1901 Virgilio Tojetti, Italian US painter born on 15 March 1851 in Rome. He was taught painting by his father, the painter Domenico Tojetti, and in Paris by Gérôme and Bouguereau. In 1870 he immigrated to the US. He was a resident of San Francisco from 1871 until about 1883 when he moved to New York City. He became popular in the East as a painter of genre scenes and frescoes. Tojetti died of Bright's disease in New York City.
The Masquerade (1890, 88x52cm)
An Allegory of Painting (22x27cm; 319x400pix, 47kb)
An Allegory of Music (22x27cm; 309x400pix, 41kb)
An Allegory of Sculpture (22x27cm; 324x400pix, 49kb)
An Allegory of Architecture (22x27cm; 311x400pix, 53kb)
Ceiling design I (644x501pix, 69kb)
Ceiling design II (481x567pix, 60kb)
Ceiling design III (481x623pix, 61kb) —(060325)

^ 1907 >Léon Richet , French landscape painter born in 1847.
–- The Village Pond —(070325)

^ >1891 Herman Frederik Carel Ten Kate, The Hague Dutch painter and printmaker born on 16 February 1822. — {Son of Nine Kate? Father of Eleven Kate? Or was he the tenth child of parents who included the birth order number among the names they gave to each of their children?}— Relative? of Mari Ten Kate [1831-1910]? of Jan Jacob Lodewijk Ten Kate [1850-1929]? of Johannes Marius Ten Kate [1859-1896]? — Like his contemporaries David Bles, A. H. Bakker Korff, and Charles Rochussen, he favored historical genre scenes, specializing in military subjects. Between 1837 and 1841 he was a student of Cornelis Kruseman; from 1840 to 1841 he traveled in Belgium, Germany, Italy, and France. In Paris he took advice from Ernest Meissonier, who influenced his work. After his return to The Hague he studied at the municipal academy until 1842.
–- A Merry Company at the Inn (960x1457pix, 159kb)
–- A Room With Soldiers Conversing (779x1200pix, 128kb) the soldier seated in the center foreground seems to be having a conversation over his cell phone.
–- At the Inn (960x1252pix, 225kb)
–- A Merry Company (662x961pix, 122kb) a woman enjoys being the center of attention of five men.
–- Men Smoking and Eating in an Inn (568x841pix, 104kb)
Tavern Interior (12x15cm; 570x720pix, 63kb)
— (Going Fishing?) (812x1296pix plus frame, 393kb)
P. C. Hooft (332x216pix, 94kb gif) —(070325)

^ 1870 Pierre Raymond Auguste Quinsac Monvoisin, French painter born on 03 August 1794. — LINKS
Telemachus and Eucharis (1824,.295x252cm; 960x815pix, 393kb _ ZOOM to 2196x1864pix, 2425kb) _ Telemachus and Eucharis were lovers forced to part. The story is from Greek mythology, as retold by Fénelon [06 Aug 1651 – 07 Jan 1715] in Les aventures de Télémaque (1699). Telemachus had set out to find his father, Odysseus (Ulysses), the famous hero of the Trojan War. The goddess Athena accompanied him disguised as his guardian, Mentor. They were shipwrecked on the island of the nymph Calypso, and Telemachus fell in love with Eucharis, one of Calypso's attendants. But Mentor intervened to part them, so the search for Odysseus could continue. "Mentor le prit par la main et l'entraînait vers le rivage." wrote Fénelon. "Télémaque suivait à peine, regardant toujours derrière lui." Neoclassical history paintings such as this were meant to be lessons in virtue, and duty invariably triumphs over love.
Callirhoe (1823, 196x261cm; 1350x1000pix, 175kb)_ She is the title character of the 2000-year-old romantic novel τα περι καλλιρόην διηγήματα by Χαρίτωνος Άφροδισιέως. (Synopsis) _ compare the painting
      _ Coresus Sacrificing himselt to Save Callirhoe (1765, 309x400cm) by Fragonard —(060311)

1843 Martin-Guillaume Biennais, French artist born on 29 April 1764. —(060206)

^ 1804 Lazare Bruandet, French painter and etcher born on 03 July 1755. A student of Martin Roeser [1757–1804] and Jean-Philippe Sarazin [–1795], Bruandet was a wild and dissolute character who achieved posthumous fame as a precursor of the Barbizon School of landscape painters. Inspired by the Dutch masters of the 17th century, he favored a naturalistic depiction of landscape and painted extensively in the open air. His most frequent subjects were the forests of the Ile-de-France, notably that of Fontainebleau, where he became a familiar if solitary figure: Louis XVI noted in his diary on 14 July 1789 that, while out hunting in the forest of Fontainebleau, he had encountered nothing but boars and Bruandet. Bruandet exhibited a View in the Forest of Fontainebleau at the Salon of 1789, but, though he continued to exhibit regularly until his death, he met with no great critical acclaim. He was a good friend of his contemporary Georges Michel, and, like Michel, he often called on other artists to paint the figures in his landscapes, especially Jean-Louis Demarne and Jacques-François Swebach. The Monks in the Forest (Salon 1793) is one such collaboration, the brooding forest landscape by Bruandet and the monks by Swebach. Bruandet also made a number of etchings, all small in size and of similar subjects to his paintings.

1726 John Vanbrugh, Londoner artist baptized as an infant on 24 January 1664. —(060311)

1694 (burial) Nikolaus Prugger (or Brucker; Bruckher; Pruchert; Prucker), German artist born in 1620. —(060311)

1679 Johannes (or Joannes; Joannis) Gerhard Schefferus (or Scheffer; Schefferi), artist born in Alsace on 02 February 1621, dies in Sweden. —(060311)

^ 1638 Palamedes Palamedeszoon “Stevaerts” I, Dutch battle painter born in 1607, son of a gemcutter and brother of Anthonie Palamedeszoon “Stevaerts” [1601 – 27 Nov 1673].
–- Cavalry Battle Scene in an open field (772x1066pix, 82kb_ ZOOM to 1544x2133pix, 399kb) —(070325)

Born on a 26 March:

1936 Cheung Yee (or Zhang Yi; Chang I), Chinese artist. —(060206)

1932 Ion Nicodim, Romanian artist. —(060311)

^ >1912 Charles Roderick “Peter” Purves Smith, Melbourne Australian painter who died on 23 July 1949 after surgery. His family lived much of the time in Melbourne or abroad and Peter, as he was always known, was educated at a prep school in England and Geelong Church of England Grammar School. In January 1926, at his father's wish, he became a cadet midshipman at the Royal Australian Naval College but, disliking the discipline, left the navy at the end of his course in December 1929. For three years he worked as a jackeroo in remote New South Wales, the background for paintings of the outback and macabre short stories written later in France and England. His father commited suicide on 24 December 1932. In 1934 Purves Smith went abroad with his mother and while there his sister Jocelyn, knowing that he drew constantly, suggested he attend an art school. He went to Iain Macnab's Grosvenor Art School in London in 1935-1936 (and again sporadically in 1939), and to the George Bell school, Melbourne (1937). There, his closest friends were Russell Drysdale [07 Feb 1912 – 29 Jun 1981], with whom he shared studio space, and Maisie Newbold [1915–2001] whom he was to marry on 14 June 1946 at Toorak, with Drysdale as best man. From early 1938 to May 1940 Purves Smith painted in Paris and London. Major works included The Diplomats; Promenade, Paris; Early Morning in Paris; and The Nazis, Nuremberg. Two of his works were included in the exhibition, Art of Australia 1788-1941, which toured the US and Canada from 1941. One of them, Kangaroo Hunt, was bought by the Museum of Modern Art, New York. In May 1940 Peter joined the British Army, serving in West Africa as captain (3rd West African Brigade). In March-August 1944, as one of Major General Orde Wingate's 'Chindits' behind Japanese lines in Burma, he was in one of the worst theaters of war. When relieved, Purves Smith was hospitalized, with tuberculosis. After returning to Australia in April 1946 he had two good years in which he married, settled at Sassafras, Victoria, and painted three of the best images in Australian postwar art::Woman Eating Duck, The Pleading Butcher, and Double Head. His paintings reflect a private war and the schism of his time. In Purves Smith surreality was as much a part of the man as of his art. His widow married Russell Drysdale many years after Peter's death.
–- Rue de Repos (924x800pix, 112kb) ne pas confondre avec Rude Repos. Looks like a hasty colored sketch by a first-grader.
Sassafras (1948, 40x50cm; 498x640pix, 175kb)
Café Society (1939; 590x437pix, 104kb) It depicts an intimate group in a café setting. Pencil outlines are visible throughout with pastel lightly but crudely sketched over the top. The identity of the male figure on the right of the drawing is thought to be Russell Drysdale. —(060311)

1906 Alberto Viani, Italian sculptor who died in 1989. — LINKS —(060311)

^ 1888 Gerald Murphy, US painter who died on 17 October 1964. He graduated from Yale University, New Haven, CT, in 1912 and from 1919 to 1921 attended a course in landscape design at Harvard Graduate School, Cambridge, MA. In September 1921 he arrived in Paris with his family and soon afterwards saw an exhibition at the Galerie Paul Rosenberg of works by Picasso, Braque, Matisse and Gris, which inspired him to become a painter. Having no prior training, he took lessons with Natalia Goncharova until spring 1922. He soon became involved in the flamboyant lifestyle of Paris in the 1920s and his friends included Picasso, Léger and Igor Stravinsky. By 1924 he was based at the Villa America in Antibes, and from 1923 to 1926 he exhibited annually at the Salon des Indépendants. Murphy’s output was very small and averaged only about two paintings a year during his short painting life from 1922 to 1929, some of which are lost. One of his most impressive early works is the large-scale Boatdeck (1923, 540x360cm). It depicts the funnels and other vents of an ocean liner in Murphy’s characteristic precise, graphic and impersonal style. Like many of his works it has a general affinity with the paintings of the American Precisionists. In 1923 Murphy was asked by Rolf de Maré to produce an ‘American Ballet’ for the Ballets Suédois. The result was Within the Quota, with music by Cole Porter and costumes and scenery by Murphy. It received its first performance at the Théâtre des Champs Elysées in Paris the same year. The painting Razor (1924) shows the influence of Cubism through its flattened, abstracted forms, and it has a poster-like quality in its graphic depiction of manufactured objects. Murphy’s last-known work is Wasp and Pear (1929), which includes a close-up of a wasp’s foot, reflecting his interest in natural forms. Murphy gave up painting in 1929 as a result of family and business problems and returned to New York in the Depression in order to save the family firm Mark Cross and Co. His total output, possibly as few as 14 works, which were largely neglected until the end of his life, shows an original assimilation and development of Cubism and Purism; in their cool depiction of largely prosaic objects they presage elements of Pop art. — LINKS
Cocktail (1927, 74x76cm; 596x640pix, 30kb)
Wasp and Pear (1927, 93x98cm; 410x439pix, 33kb)
Library (450x351pix, 15kb).
Watch (1925, 199x200cm; ) _ In March of 1925, Murphy exhibited Watch at the Salon des Indépendants in Paris. His largest surviving canvas, Watch may be viewed as a synthetic cubist interpretation of a watchmaker’s trade sign. In a letter, Murphy wrote that he was “always struck by the mystery and depth of the interiors of a watch—its multiplicity, variety, and feeling of movement, and man’s grasp at perpetuity.” Beginning with a carefully limned drawing on graph paper, Murphy exploded and pieced together two specific timepieces: a railroad watch, designed for the Mark Cross Company (run by Murphy’s father, and eventually by Murphy himself), and a gold pocket watch, which his daughter Honoria recalled was often left propped open to reveal its inner workings. Murphy’s composition retains the outline of a pocket watch; however, the artist has fractured, rotated, and overlapped its individual components. Even the palette contributes to the resulting visual tension, as vibrant shades of orange and yellow share boundaries with a range of cooler blues and grays. Compressing simultaneous glimpses of face, back, springs, and gears, Watch examines the dichotomy between the resolute predictability of time and the fragility of the mechanism for measuring it.
Razor (1924, 81x93cm; 370x400pix, 60kb) _ The pseudonymous Megard Phlury claims to have received communications from the spirit of Murphy who told him that he intended these five pictures to be parts of a bigger picture, which Murphy never got around to assembling as he was too busy with his family firm. Murphy asked Phlury to do that, and the result is
      _ COcktail and Wasp in the LIbrary, with Pear, lemon, partly disassembled WAtch, Razor, fountain pen, globe, statue, books, corkscrew, matches, Cuban cigars, Cuban currency, honeycomb, and magnifying glasses aka COW LIP WAR (1924-2006; screen filling, 116kb _ ZOOM to 990x1400pix, 228kb). After numerous visits to his favorite bar to repeatedly sample a wide variety of cocktails, Phlury has decided that the one pictured by Murphy was probably a Cuba Libre. Then, without any assist from the spirit world, but plenty from distilled spirits, Phlury thoroughly transformed the picture into the symmetrical abstraction
      _ This is Not an Ad for Cuban Cigars or Anything Else aka Wall Law (2006; screen filling, 339kb _ ZOOM to 1400x1980pix, 1701kb) —(060311)

^ >1880 Oleksandr Konstyantynovych Bohomazov, (or Aleksandr Konstantinovich Bogomazov), Ukrainian Cubo-Futurist painter and theoretician, who died on 03 June 1930. He was born in Yampol, in the Kharkov Gubernia. From 1896 to 1902 he attended the Institute for Agriculture in Cherson. From 1902to 1905 he attended the Kiev Art School (KKHU), and he was in close contact with Alexander Archipenko and Aleksandra Ekster. In 1905 he participated in political demonstrations and strikes, and was expelled from the Kiev Art School. In 1906 he studied in the studio of S.Swiatoslavskiy, then moved to Moscow and became the student of Fyodor Rerberg and Konstantin Yuon. In 1907 he returned to Kiev. After 1907 he participated in exhibitions in Kiev, including those of the Association of Russian Artists and of the Moscow Society of Independent Artists. In 1908 he participated in an exhibition of the group of artists "Zveno" (The Link) in Kiev together with David Burliuk, Wladimir Burliuk, Aleksandra Ekster [06 Jan 1882 – 17 Mar 1949], and others. In 1911 he had visited Finland. From 1913 to 1914 he studied the works of the Italian Futurists. In 1914 he participated in the organisation of the exhibition "Kil'tse"("The Ring") in Kiev, together with A.Ekster among others. From 1919 to 1920 he was a Head of the Department for Art Education in the Ukrainian Commissariat for Visual Art. At that time he co-founded the Ukrainian Agitprop Movement. From 1922 to 1930 he taught at the Kiev Art Academy (KKHI) together with Vadym Meller, Vladimir Tatlin, and Victor Palmov. In 1927 he was a founding member of the Association of the Revolutionary Masters of Ukraine (ARMU), together with D.Burliuk, V.Meller, V.Palmov, V. Yermilov, and others.
Sawyers (2039x1500pix, 473kb) unnecessarily large image: there are no details; a postage-stamp-sized image is quite adequate.
–- Abstract Landscape (Nagorno Karabakh) (900x969pix, 129kb) _ The pseudonymous Oleg Salemowitch Zonagolf has transformed this image into two others which, in relation to it, are like the tropics to the Antarctic:
      _ Tropicheskoye Pugalo aka Aro Caro (2006; screen filling, 227kb _ ZOOM to 1414x2000pix, 1034kb) and the equally colorful but more symmetrical
      _ Tropicheskiy Knyaz aka Ara Cara (2006; screen filling, 215kb _ ZOOM to 1414x2000pix, 921kb)
–- The Artist's Wife (900x883pix, 98kb)
–- Flowers (811x900pix, 97kb)
–- Abstract Composition (42x43cm; 840x792pix, 94kb) snail vs. pyramids? Not to be confused with the spectacular
      _ Snail Versus Pyramid (2007; 960x1280pix, 201kb _ ZOOM to 1920x2560pix, 625kb) by Zonagolf.
— (deformed horse head?) (480x353pix, 24kb)
Cubo-Futurist Composition (1915; 430x465pix, 59kb) bouquet of square flowers on a black armchair? _ Zonagolf has metamorphosed this into what he hopes has no relationship whatsoever with the titles he has given it: Decomposición Esfero-Futbolística aka Buck Cub (2006; screen filling, 339kb).
The Forest. Boyarka (1914, 66x56cm; 553x480pix, 67kb) image defaced by the copyright notice (probably invalid) printed on it. Zonagolf intends to tackle this.
The Steam-Engine (1915, 100x100cm; 453x480pix, 47kb) similarly defaced. —(070325)

1867 Stanislaw Noakowski, Polish artist who died on 30 September 1928. —(060311)

1864 Egbert Lievenszoon van der Poel, Dutch painter who died (full coverage) on 15 March 1664. —(060311)

^ 1842 Arthur B. Parton, US artist who died on 07 March 1914. Born 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 and no art at all from the few Partoffs.}
Cattle Watering Along the Mountainside (1890, 56x81cm; 401x600pix, 44kb)
River Landscape (31x36cm; 436x600pix , 32kb)
The Green Arch (36x51cm; 312x450pix, 41kb)

1830 Theodore van Schuz, German artist who died on 17 June 1900.

1829 Georg Andreas Bull, Norwegian artist who died on 01 February 1917 —(060206)

1809 William Henry Bartlett, English artist who died on 13 September 1854. —(060206)

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