search 8500 artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 06 May
ART 08 May >>>
ART “4” “2”-DAY  07 May v.7.40
^ Died on 07 May 1826 (1828?): Jean-Jacques-François Le Barbier, French Neoclassical painter born on 11 November 1738.
— He began his studies in Rouen and, at 17, won first prize for drawing at the city’s Académie. Shortly afterwards he travelled to Paris, entering the Académie Royale de Peinture et de Sculpture as a student of Jean-Baptiste-Marie Pierre. In 1767–1768 he was in Rome, a fact confirmed by a number of dated and inscribed drawings and paintings, including the pen, ink and wash drawing Landscape Inspired by the Gardens of the Villa d’Este at Tivoli. He was in Switzerland in 1776, where he spent several years drawing illustrations for Beát Zurlauben’s Tableau de la Suisse ou voyage pittoresque fait dans les treize cantons du Corps Helvétique (1780–1786). In 1780, having returned to France, he was approved (agréé) by the Académie Royale and received (reçu) in 1785 with Jupiter Asleep on Mount Ida. Thereafter he regularly exhibited moralistic pictures at the Salon until 1814, including the Canadians at the Tomb of their Child and Jeanne Hachette at the Siege of Beauvais (destroyed in 1940) in 1781, Aristoumenos and the Spartan Girls in 1787 and pictures of Saint Louis and Saint Denis in 1812, both of which indicate his interest in depicting religious themes and incidents from earlier French history.

Une Spartiate Donnant un Bouclier à son Fils (1805, 45x54cm) _ Like other artists of his time, Jean-Jacques François Le Barbier rejected the lighthearted grace of the Rococo in favor of the straightforward severity of Neoclassicism. His subjects, often vignettes from Greek and Roman mythology and history, served as illustrations for the newfound morality and patriotism of the French during and after the Revolution. In this work, the characters enact a Spartan woman’s traditional farewell to a departing warrior, "Return with your shield or on it." All elements of the painting reinforce its message: the babies playing with the warrior’s lance allude to Spartan military training, which began in infancy. The simplicity of the stone-walled interior underscores the austerity of Spartan existence, while the dog is both a symbol of fidelity and a reference to the famed dogs of Sparta.
Courage des Femmes de Sparte se Défendant contre les Messéniens (1787, 318x324cm)
Étude de femme en fureur (1781, 40x32cm)
Henry IV and Sully at Fontainebleau (1783, 327x240). Tapestry cartoon (B&W image) commissioned by Louis XVI for the Gobelins factory for the Story of Henry IV series. Exhibited at the 1783 Salon. The subject is familiar after the piece depicting Henry IV's hunting party; the painter set the scene in the gallery at Fontainebleau, but the episode actually took place out-of-doors, along what was formerly known as the White Mulberry Walk. Sully himself related how, on entering the King's bedchamber, the sovereign said impatiently to Beringhem: “The weather isn't good; I don't want to go riding, take off my boots.” He then went down to the Queen's Garden, followed the path to the kennels, summoned Sully, who had taken his leave of him, and said, “Come here, haven't you anything to say to me?” He then took me by the hand, said Sully, and leading me down the Mulberry Walk, he had two Swiss guards who did not understand French put at the entrance... I wanted to embrace his knees, but he would not let me, so that any courtier who may have seen this posture from afar would not think I had made such a gesture to obtain forgiveness for a real crime... At the end of this scene, the King took back the papers that had led to this discussion.”
^ Died on 07 May 1894: Charle-Émile Jacque, French Barbizon School painter, printmaker, and illustrator, born on 23 May 1813.
— In 1830 he worked briefly for an engraver who specialized in cartography, and in that year he produced his first etching, a copy of a head after Rembrandt. From 1831 to 1836 Jacque served in the infantry, seeing action in the siege of Antwerp in 1832. During military service he found time to sketch scenes of army life and is reputed to have submitted two works to the Salon of 1833 in Paris. In 1836 he went to London where he found employment as an illustrator. He was back in France in 1838 and visited his parents in Burgundy, where he became enamored of the countryside.— Auguste Delâtre was an assistant of Jacque.
— After his schooling, Charles-Émile Jacque began work in a notary's office, but he quickly departed to pursue printmaking. Apprenticed at seventeen to a map engraver, he made his first etching the same year, a female head after Rembrandt.
      Dissatisfied with cartography, Jacque joined the army, where he served seven years. During this time he prepared the lithographic album Militairiana (1840), praised by poet and critic Charles Baudelaire for the frankness of its caricatures of military life. Jacque worked in London in 1836-38 producing woodcuts to illustrate Shakespeare and a history of Greece.
      Back in France he established his reputation as an illustrator and contributed caricatures to Charivari in 1843 and 1844. Married in 1843, he made his debut at the Salon as an etcher two years later, his prints prompting Baudelaire's admiration once again. Jacque played a key role in the revival of etching in France during the 1840s, but he also began to paint in this period. He depicted windmills at Montmartre in emulation of Michel, whose dramatic landscapes would remain a source of inspiration.
      Jacque's realist paintings of animals in the country, especially pigs, chickens, and sheep, soon became his hallmark, and in 1848 the state bought his picture Herd of Cattle at the Drinking Hole (Musée des Beaux-Arts, Angers). In the spring of 1849, to avoid cholera in Paris, Jacque and his friend of three years Millet (q.v.) moved their families to adjoining properties in the artists' colony of Barbizon. Jacque introduced Millet to rustic themes, while Millet's work prompted Jacque to imbue his peasant subjects with more vigor.
      Besides making art, Jacque bred poultry, cultivated asparagus, and invested in real estate in Barbizon. He also wrote and illustrated the book Le poulailler: Monographie des poules indigènes et exotiques (1858). These business interests distinguished him from his Barbizon colleagues and contributed to the cooling of his friendship with Millet and others. In the 1850s and 1860s Jacque experimented with larger print formats, and he exhibited animal paintings at the Salon for the first time in 1861, winning a third-class medal. After 1860 he spent more time in Paris than Barbizon and in the 1870s established a factory for the production of "artistic furniture" based on Gothic and Renaissance pieces. Between 1870 and 1888 Jacque did not show at the Salon, but he continued to produce and sell works through dealers. Repeating the same themes, he began to use the palette knife and painted more thickly and freely. Combining art and business, he helped establish and became president of the Société des Animaliers Français in 1881.
      Outliving the other Barbizon artists, the elderly Jacque called himself "the last of the romantics." He profited from the Anglo-American taste for landscape in the late nineteenth century. At the 1889 Exposition Universelle Jacque obtained a gold medal as painter and a grand prix as printmaker.
— Auguste Delâtre was an assistant of Jacque. Jacque's students included J. Foxcroft Cole.

–--_ Sheep (99x150cm, quarter~size, 198kb _ ZOOM to half~size, 709kb _ ZOOM+ not recommended to blurry full size, 1088kb)
In the Pasture (600x481pix, 156kb _ ZOOM to 1400x1122pix, 461kb _ ZOOM+ to 1966x1576pix, 522kb)
–--_ Shepherd with Flock (32x26cm; half~size, 65kb _ ZOOM to full size, 223kb)
A Shepherdess with her Flock near a Stream (81x66cm; 1000x795pix, 507kb _ ZOOMable but not recommended to over-sized and slightly blurry 3418x2717pix, 2757kb)
Landscape with Sheep (43x68cm; 382x521pix, 39kb) _ sunlit in a clearing in the woods.
–--_ Landscape with Sheep (33x25cm; half~size, 49kb _ ZOOM to full size, 154kb) _ not recommended: very dark, in the woods where the moonlight does not penetrate.
The Swineherd (1890, 69x100cm)
A Flock of Sheep in a Barn (74x93cm)
A Shepherdess Watering her Flock (47x39cm)
A Shepherdess with her Flock in a Woodland Clearing (46x55cm)
Homeward Bound (71x100cm)
Le Troupeau (73x100cm)
Les Moutons dans le Sous-Bois (49x119cm)
Sheep At Pasture (66x56cm)
Shepherdess (81x61cm)
99 prints at FAMSF
^ >Died on 07 May 1840: Caspar-David Friedrich, German painter born on 05 September 1774.
— Caspar David Friedrich was an outstanding 19th-century German romantic painter whose awesome landscapes and seascapes are not only meticulous observations of nature but are also allegories. Friedrich was born in Greifswald and studied at the Copenhagen Academy. In 1798 he settled in Dresden, where he became a member of an artistic and literary circle imbued with the ideals of the romantic movement. His early drawings—precisely outlined in pencil or sepia—explored motifs recurrent throughout his work: rocky beaches, flat, barren plains, infinite mountain ranges, and trees reaching toward the sky. Later, his work began to reflect more of his emotional response to natural scenery.
      He began to paint in oils in 1807; one of his first canvases, The Cross in the Mountains (1807), is representative of his mature style. A bold break from traditional religious painting, this work is almost pure landscape; the figure of the crucified Christ, seen from behind and silhouetted against a mountain sunset, is almost lost in the natural setting. According to Friedrich's own writings, all the elements in the composition have symbolic meanings. The mountains are allegories of faith; the rays of the setting sun symbolize the end of the pre-Christian world; and the fir trees stand for hope. Friedrich's cold, acid colors, clear lighting, and sharp contours heighten the feeling of melancholy, isolation, and human powerlessness against the ominous forces of nature expressed in his paintings. As a faculty member of the Dresden Academy, Friedrich influenced later German romantic painters. Although his reputation declined after his death, 20th-century viewers are fascinated by his imagery.
— The German romantic painter Caspar David Friedrich was one of the greatest exponents in European art of the symbolic landscape. He studied at the Academy in Copenhagen (1794-1798), and subsequently settled in Dresden, often traveling to other parts of Germany. Friedrich's landscapes are based entirely on those of northern Germany and are beautiful renderings of trees, hills, harbors, morning mists, and other light effects based on a close observation of nature. Some of Friedrich's best-known paintings are expressions of a religious mysticism. In 1808 he exhibited one of his most controversial paintings, The Cross in the Mountains , in which — for the first time in Christian art — an altarpiece was conceived in terms of a pure landscape. The cross, viewed obliquely from behind, is an insignificant element in the composition. More important are the dominant rays of the evening sun, which the artist said depicted the setting of the old, pre~Christian world. The mountain symbolizes an immovable faith, while the fir trees are an allegory of hope. Friedrich painted several other important compositions in which crosses dominate a landscape. Even some of Friedrich's apparently non symbolic paintings contain inner meanings, clues to which are provided either by the artist's writings or those of his literary friends. For example, a landscape showing a ruined abbey in the snow, Abbey with Oak Trees (1810), can be appreciated on one level as a bleak, winter scene, but the painter also intended the composition to represent both the church shaken by the Reformation and the transitoriness of earthly things.
— Romanticism was an early nineteenth-century aesthetic movement encompassing nature, nationalism, and spirituality. In Germany, it found perfect expression in the music of Beethoven, the writings of Goethe, and the art of Caspar David Friedrich. Today, Friedrich is recognized as the quintessential German Romantic painter. In his lifetime, though, he achieved only modest fame, and his talent was cheapened by imitation. His melancholy, sometimes morbid style appealed to Romantic tastes, but fell from favor as the ardor of Romanticism cooled. Friedrich is often compared to his contemporaries, the landscape painters Turner and Constable. But his paintings are not landscapes; Friedrich never painted from nature. He traveled throughout northern Europe and made detailed sketches of its terrain, but his paintings contain elements of different settings in wholly imagined scenes. Friedrich actually ignores the law of nature for aesthetic impact. In his paintings Friedrich rarely depicts people, except to emphasize nature's vastness. When figures appear in his paintings, they stand with their backs to the viewer, lost in contemplation. Friedrich is primarily a religious artist. The Romantic worship of nature finds literal expression in his work, which articulates the artist's Protestant faith through natural symbolism. On a sensual level, his paintings deliver a frisson of ecstasy or horror. But they also demand intellectual decoding. The transience of human existence, the redemptive powers of nature, man at the mercy of the elements - all are stock themes of Romanticism. For Friedrich, though, they had personal meaning too. At 13, Friedrich fell through the surface of a frozen lake and nearly perished. His brother saved Friedrich's life but drowned in the effort. Friedrich's mother died in 1781, and a sister ten years later. His dark, deeply religious paintings may reflect these childhood tragedies. After studying in Copenhagen, Friedrich left his home, Greifswald, for Dresden, the art capital of Europe in the nineteenth century. He specialized in sepia, watercolors, and topographical drawings, turning to oils by 1808. In 1825, Friedrich suffered a severe illness from which he never fully recovered. A decade later, a stroke left him partially paralyzed, and too weak to paint in oils. Instead, he returned to the watercolors and sepias of his youth. But he was a broken, bitter man. He died impoverished and obscure. Friedrich remained shrouded in obscurity until the 1890s, when he was rediscovered by the Symbolists. In 1945, fire gutted the National Gallery, Berlin, destroying many of his masterpieces. The scarcity of Friedrich's paintings heightens their emotive power today.

–- Landscape with Solitary Tree (1822, 55x71cm; 752x893pix, 50kb _ .ZOOM to 907x1239pix, 101kb _ .ZOOM+ to 2260x2678pix, 549kb)
Cloister Cemetery in the Snow (1819, 121x170cm; 436x663pix, 51kb)
Large Enclosure (1832, 73x102cm; 562x785pix, 40kb)
Riesengebirge (1835, 73x102cm; 628x889pix, 92kb)
Wanderer Above the Sea of Fog (1818, 95x75cm; 796x625pix, 49kb)
Schlafender Knabe (1802, 18x12cm).
–- Tetscher Altar, Gesamtansicht, Szene: Das Kreuz im Gebirge (1807, 115x110cm; 696x881pix, 53kb) This painting was originally intended to be an altarpiece for the Swedish King, Gustav IV Adolf, but it instead came into the possession of Count Franz Anton von Thun-Hohenstein, and was hung in the bedroom of the Count's residence at Schloss Tetschen in northern Bohemia. Friedrich wrote of this painting: "Jesus Christ, nailed to the tree, is turned here towards the sinking sun, the image of the eternal life-giving father. With Jesus's teaching an old world dies — that time when God the Father moved directly on the earth. This sun sank and the earth was not able to grasp the departing light any longer. There shines forth in the gold of the evening light the purest, noblest metal of the Savior's figure on the cross, which thus reflects on earth in a softened glow. The cross stands erected on a rock, unshakably firm like our faith in Jesus Christ. The firs stand around the cross, evergreen, enduring through all ages, like the hopes of man in Him, the crucified."
— a different Kreuz im Gebirge (1820; 600x382pix _ ZOOM to 1400x891pix _ ZOOM+ to 2358x1500pix, 436kb)
Kreuz und Kathedrale im Gebirge (1812; 600x681pix, 199kb) _ yellowish reproduction
Kreuz und Kathedrale im Gebirge (1812; 600x521pix _ ZOOM to 1400x1215pix _ .ZOOM+ to 2332x2024pix, 683kb) _ reddish reproduction
Erinnerung an das Riesengebirge (1837; 600x879pix _ ZOOM to 1400x2052pix)
Kreidefelsen auf Rügen (1820; 800x613pix, 259kb _ ZOOM to 1400x1112pix _ .ZOOM+ to 3193x2536pix, 772kb)
Der Watzmann (1825; 600x774pix _ ZOOM to 1400x1805pix _ .ZOOM+ to 1967x2536pix, 604kb)
Wald im Spätherbst (1835; 600x747pix _ ZOOM to 1400x1743pix _ .ZOOM+ to 2037x2536pix, 599kb) almost monochrome brown.
Der Morgen (600x840pix _ ZOOM to 1400x1961pix _ .ZOOM+ to 1828x2560pix, 656kb) _ The sun is about to rise and dissipate the mist clinging to the pine trees on a hillside.
Der Sommer (1807; 600x885pix _ ZOOM to 1400x2065pix _ .ZOOM+ to 1736x2560pix, 618kb)
Schiffe im Hafen von Greifswald (600x469pix _ ZOOM to 1400x1094pix _ .ZOOM+ to 2589x2024pix, 367kb)
Morgen (600x964pix _ ZOOM to 1400x2250pix _ .ZOOM+ to 1827x2536pix, 363kb) _ Fishing sailboats set out to sea, _ Terribly yellowed, but the pseudonymous Goliath Boiledpoor has somewhat corrected that:
      _ Good Blue Morning (1827x2536pix, 385kb)
Die Lebensstufen (1837, 72x68cm; 600x767pix _ ZOOM to 1400x1789pix _ .ZOOM+ to 1985x2536pix, 550kb)
Wrack im Eismeer (1798; 600x456pix _ ZOOM to 1400x1063pix _ .ZOOM+ to 2075x1576pix, 410kb) the picture itself is a wreck, badly in need of restauration.
Das Eismeer (1824; 600x802pix _ ZOOM to 1400x1872pix _ .ZOOM+ to 2375x3176pix, 531kb) _ the wreck of the previous picture has been abandoned and is almost swallowed up by the ice.
Frau vor untergehender Sonne (1820, 22x30cm; 600x837pix _ ZOOM to 1400x1953pix _ .ZOOM+ to 1835x2560pix, 444kb)
Mann und Frau den Mond betrachtend (1835, 34x44cm; 600x783pix _ ZOOM to 1400x1826pix _ .ZOOM+ to 1944x2536pix, 603kb)
Verschneite Hütte (1829; 600x485pix _ ZOOM to 1400x1133pix _ .ZOOM+ to 3135x2536pix, 861kb)
The Tree of Crows (1822)
View from the Painter's Studio (1806)
Cemetery at Dusk (1826, 143x110cm)
Eldena Ruin (1825, 35x49cm)
Monastery Graveyard in the Snow (1819, 121x170cm)
On board a Sailing Ship
Woman on the Beach of Rügen (1818)
City at Moonrise (1817)
Landscape with Oak Trees and a Hunter (1811)
Abbey in an Oak Forest (1810)
Moon rising over Sea (1821)
Port by Moonlight (1811)
Landscape in the Riesengebirge
Winter Landscape with Church (1811, 32x45cm) _ Friedrich infuses this landscape with religious symbolism. The snow-covered scene may appear cold and bleak, but the painting’s theme is the hope for salvation, new life and resurrection. The sky is tinged with the light of dawn and grass shoots push up through the snow. In the foreground a crippled traveler (Friedrich himself?) has thrown aside his crutch, and prays in front of a crucifix set within a group of fir trees. Their shape is echoed by the spires of the gothic church that rise mysteriously in the hazy distance and may be the traveler's destination.
59 smallish images at Arc5340 (they average about 600x425 pixels, 50KB)

Died on a 07 May:

^ 1794 Claude-Louis Chatelet (or Chastelet), French artist born in 1753. Chatelet was commissioned by Queen Marie-Antoinette to record the Petit Trianon gardens. He also recorded many other picturesque Parks in and around Paris, including Bellevue and the Folie Saint-James, Neuilly. As a topographical artist he contributed to Abbé de Saint-Non’s Voyage pittoresque (5 vols 1781-1786) and Laborde and Zurlauben’s Tableaux de la Suisse. Despite these royal and aristocratic connections he obviously thought it expedient to become a rabid Revolutionary, the hand of justice pursuing him during the counter-Revolutionary coup of Brumaire and he was sent to the guillotine on the 07 May 1795. — Les grands cyprès de la Villa d'Este, Tivoli (39x26cm; 600x395pix, 47kb) _ The gardens at the Villa d’Este,Tivoli, laid out in the 1560s are famous for their ancient plantings of cypress trees, beautiful settings of dramatic fountains and waterfalls. By the 1700s they were valued by artists for the romantic neglect and overgrown quality of the setting and Jean-Honoré Fragonard [1732-1806], Abbé de Saint-Non, and Hubert Robert [1733-1808] sketched there in the summer of 1760, Chatelet was inspired by their famous drawings and went to Tivoli in the 1770s with architect Louis-Jean Desprez [1743-1804], sketching together for Abbé de Saint-Non’s Voyage Pittoresque, ou Description Historique des Royaumes de Naples, et de Sicile (1781). Fragonard made a second trip to Italy and is thought to have met Chatelet and Desprez during his tour of 1773-1774.
Landscape near Agrigenta (278x400pix, 47kb)

^ 1792 Aert Schouman, Dutch aertist born on 04 March 1710. — {Was Aert Schouman an art showman? Something, say, like Salvador Dalí would be?}— Aert Schouman was born in Dordrecht and in 1736 became one of the founder members of the Dordrecht Brotherhood of St. Luke. During the 1730s he was in great demand as a decorator and mural designer and in 1748 became a member of The Hague Confraternity of Painters and in 1757 of the Hague Academy of Design.
Twee Guineesche Vosjes of Paraquietjes en een Brasiliaansch Robijntje of Notenmúscaat Vogeltje (Two red faced lovebirds and a waxbill) (1756, 32x22cm; 798x550pix, 98kb) _ In Schouman’s time there was a huge demand for zoological and botanical illustration because of the research being undertaken by scientists such as Linnaeus. Indeed Linnaeus was a contemporary of Schouman and published his famous Systema Naturae in Leiden in 1758. The English zoologist Thomas Pennant visited Schouman in the Hague and admired the artist’s work. Throughout his career Schouman made countless watercolors of birds, plants and insects which were praised for their faithful objectivity. His posthumous sale in the Hague in 1792 comprised 500 bird drawings. The red-faced lovebird is a type of parrot, a native of central and western Africa. The waxbill is a native of the Sahara.
Study of Three Birds and a Butterfly (36x25cm; 500x341pix)
Juno asks Argus to guard Io (1738, 90x86cm; 600x572pix, 37kb)
A peacock and ducks, hunted by a dog in a park (1766, 287x123cm; 600x244pix, 21kb)
Pheasants and other birds in a cliff landscape (287x123cm; 600x257pix, 18kb)

Born on a 07 May:

^ 1885 (30 April?) Guido Luigi Russolo, Italian painter, printmaker, writer, and composer, who died on 04 February 1947. — {Doesn't it make you think that, indisputably, there ought to be a Russian artist named Italianolo Contendere?}— The fourth of five children, he was trained in music by his father, who was a clockmaker and organist. In 1901 he went to Milan to join his family, who had moved there so that his two brothers, Giovanni and Antonio, could study music at the conservatory. Diverging from his father’s inclinations, Luigi was attracted towards other forms of art, especially painting. Though not actually enrolled at the Accademia di Brera, through new friends he indirectly followed the ideas taught there. In the same period he worked for the restorer Crivelli in Milan, serving his apprenticeship working on the interior decorations of the Castello Sforzesco and on Leonardo’s Last Supper in the refectory of Santa Maria delle Grazie. In December 1909 he took part in the exhibition Bianco e nero at the Famiglia Artistica in Milan, contributing a series of etchings, made during the preceding year, which show a definite leaning towards Symbolist forms and images. The undulating quality of the line in such etchings as his portrait of Nietzsche (1909), which seems to translate a musical rhythm into visual form through a strong, enveloping sign, remained a distinctive and individual feature of Russolo’s work and poetics, especially in his Futurist work. He was even worse as a musician: in his L'arte dei rumori, he claimed that music ought to be replaced by noises. — LINKS
Dynamism of an Automobile (1913, 106x140cm; 530x700pix, 206kb)
Memory of a Night (1911; 534x525pix, 237kb)
Revolt (1911; 221x353pix, 19kb) _ Supposedly represented by the burning red mass of revolutionaries, the vital greens and blues and yellows, the wide-spreading shattering lines, and the small spot in advance of the crowd like a bomb thrown.
— (Composing Noises?) (639x403pix, 129kb)
— (Noisy Colors?)

^ 1839 Jules-Adolphe Goupil, French portrait and genre painter who died on 28 April 1883. — {Rusé comme un renard?}— His first art teacher was his father, the painter Frédéric Auguste Antoine Goupil. Then he was a student of Ary Scheffer [10 Feb 1795 – 15 Jun 1858] at the École des Beaux-Arts in Paris. — {Rusé comme un renard?}— LINKS
Lady Seated (800x563pix, 154kb)
L'Artiste dans l'Atelier (73x49cm; 1525x1000pix, 404kb) _ Not a self-portrait: this artist is a lady.
In Hushed Tones (1865, 81x64cm)
Elégante au chapeau (24x20cm; 450x360pix, 17kb)
click for THE SCREAM complete
^ 1734 Jean Humbert, Amsterdam Dutch painter of portraits and historical subjects, who died in October 1794. He studied in Paris. He lived in The Hague from 1762 until shortly before his death. — Abraham du Bois (1760; 390x260pix, 34kb)

Happened on a 07 May:

^ 1994 Stolen The Scream is recovered.
      Norway's most famous painting, The Scream by Edvard Munch [12 Dec 1863 – 23 Jan 1944], is recovered almost three months after it was stolen from an Oslo museum.
     The most powerful image created in the Expressionist style must be Munch's startling painting The Scream. The painting perfectly sums up all the horrors that mankind has visited upon himself all throughout our checkered history. The stunning thing about this abrupt, almost brutal work is that it truly stands alone in art. Before Munch, no one in history portrayed human fear and pain outside of specific depictions. Nothing in this landscape is conducive to the sense of horror shown by Munch. Despite that odd sunset, it's not the end of the world, nor the advent of a holocaust, nor the beginning of a disastrous war. Or is it all of these? That's why The Scream works so well. — The loudest scream reported by Guinness World Records was not that of the curator of the museum when discovering the theft of The Scream, but that of Jill Drake at a contest held during the 2000 Halloween festivities in the Millennium Dome in London: 129 decibels (comparable to the loudness of a jet engine at 45 meters).
— other Munch images: LINKSAshesThe Dance of LifeDeath in the SickroomEvening on Karl JohanMadonnaModel by the Wicker ChairNight in St. CloudPubertyRed CreeperSelf Portrait: Between Clock and BedSelf-Portrait with Burning CigaretteThe Sick ChildStarry NightTwo Women on the ShoreVampireThe Voice

1908 Los pintores Santiago Rusiñol i Prats [25 Feb 1861 – 13 Jun 1931], con Jardín de Aranjuez (103x128cm; 510x630pix, 40kb), y Julio Romero de Torres [09 Nov 1874 – 10 May 1930], con Musa gitana, comparten el premio anual que concede la Academia de Bellas Artes de España.

updated Monday 07-May-2007 3:34 UT
Principal updates:
v.6.40 Saturday 06-May-2006 17:23 UT
v.5.41 Saturday 07-May-2005 5:46 UT

safe site site safe for children safe site