search 8500 artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 09 May
ART 11 May >>>
ART “4” “2”-DAY  10 May v.9.40
$60 MILLION CURTAIN, with pitcher and bowl of fruit thrown in.
^ Baptized (as an infant) on 10 May 1822: August Xaver Karl von Pettenkofen, Viennese painter and lithographer who died on 21 March 1889. He was an illustrator and cartoonist but became best known for his realistic genre subjects, often of military scenes.
— He studied (1837–1840) under Leopold Kupelwieser at the Akademie der Bildenden Künste in Vienna. From 1837 to about 1847 he worked intensively in the relatively new medium of lithography. The caricatures he provided for Viennese magazines such as Der Kobold or Wiener Blätter reveal the strong influence of French lithography. On leaving the Akademie, Pettenkofen first pursued a military career and from 1841 to 1843 he was stationed in Padua. On returning to Vienna, however, he became a private student of Franz Eybl, attracted by this painter’s fresh approach and realistic style. Pettenkofen’s first paintings were portraits and clearly show Eybl’s influence: the sitters are viewed objectively, and equal attention is paid to facial features, dress and background, whether a gathered curtain or a landscape, as in the portrait of Lawyer Stommer as a Hunter (1845). Pettenkofen also produced anecdotal genre scenes with appealing or humorous figures, comparable with the work of the Viennese painter Carl Schindler [1821–1842]. In 1852, Pettenkofen first visited Paris where the works of Meissonier and Stevens influenced him greatly. He became a Professor at the Vienna Academy and was knighted in 1874. He died in Vienna.

Gypsy Children (1855, 22x27cm; 600x722pix, 66kb _ ZOOM to 2107x2536pix, 344kb)
Robbers in a Cornfield (1852, 29x23cm)
Frau mit Topfpflanzen vor Bauernhaus aka Frau am Brunnen, or Frau mit Blumen (48x36cm)
Platz vor einem ungarischen Bauernhaus aka Zigeunerhütte in der Pußta, or ungarische Landschaft, or Bauernhof, or Bauernhaus (1854, 25x38cm)
^ Died on 10 May 1964: Mikhail Fyodorovich Larionov, Moldovan~Russian French Cubist painter, stage designer, printmaker, illustrator, draftsman, and writer, born on 03 June (22 May Julian) 1881.
— Pioneer of pure abstraction in painting, he founded the avant~garde Rayonist movement (1910) with Natal'ya Sergeyevna Goncharova [16 Jun 1881 – 17 Oct 1962], whom he later married. Early work was influenced by Impressionism and Symbolism, but he later introduced a nonrepresentational style conceived as a synthesis of Cubism, Futurism, and Orphism. In the Rayonist manifesto (1913), he espoused the principle of the reduction of form in figure and landscape compositions into rays of reflected light. Both Larionov and Goncharova exhibited in the first Jack of Diamonds exhibition of avant-garde Russian art in Moscow (1910). In 1914 they went to Paris, where both achieved renown as designers for Sergey Diaghilev's Ballets Russes. During the 1920s they played a significant role within the École de Paris and continued to live and work in France until their deaths.
— Larionov was born in Tiraspol, Moldova, and died in Fontenay-aux-Roses, near Paris. He was the son of Fiodor Mikhailovich Larionov, a doctor and a pharmacist, and Aleksandra Fiodorovna Petrovskaia, but he grew up in his grandparents' home in Tiraspol. He attended the Voskresenskii Technical High School in Moscow and in 1898 entered the Moscow School of Painting, Sculpture and Architecture. Here he met Natal'ia Goncharova, who remained his lifelong companion. His imaginative work soon caught the attention of colleagues and critics and in1906 he was invited to exhibit with the Union of Russian Artists and to participate in the Russian Art exhibition at the Salon d'Automne in Paris. When Larionov met Nikolai Riabushinskii, editor of the "Zolotoe runo" (the Golden Fleece), the famous art mecenas became the artist's chief patron and in 1908 helped him organize the "Golden Fleece" exhibition of the modern French painting in Moscow. As a result of this exhibition, many artists, including Larionov, turned away from Symbolism and started to experiment with Post-Impressionism. In 1910, Larionov was expelled by the Moscow School of Painting for organizing a demonstration against the school's teaching methods. Larionov was the founder of the "Jack of Diamond" group, and with them he exhibited a remarkable series of paintings, among them the Soldiers (1910), created during his military service. Larionov soon deserted the "Jack of Diamond" for the more radical "Donkey's Tail", which held an exhibition in 1912. In 1912 he initiated two very important movements: Rayonism (Rayism) and Neo-primitivism. Rayonism was inspired by Italian Futurism and Neo-primitivism and represented a development of the artist's Fauvist and Expressionist interests.
      Rayonism was officially launched at the "Target" exhibition of 1913. In 1914 he traveled with Goncharova to Paris. They held an exhibition at the Gallerie Paul Guillaume. When the war began, they returned to Russia and Larionov was drafted into the army. He was injured in the battle of the Masurian Lakes and spent three months in a hospital. The injury affected his ability to concentrate and resulted in the decline of his artistic energy. In 1915 he traveled with Goncharova to Switzerland, at the request of Diaghilev. There he designed for the ballet and gained success. While travelling through Spain and Italy he designed three more ballets, all equally successful. In 1919 he settled permanently in Paris, where he acted as Goncharova's manager. Throughout the decade he worked with Diaghilev as a designer and artistic adviser. Following Diaghilev's death in 1929, he resumed painting and also worked occasionally for the ballet. He and Goncharova were granted French citizenship in 1938. In 1950 he suffered a stroke that seriously handicapped his activity and he spent the last 14 years of his life in poverty.

Moy Portret (1910, 104x89cm; 800x670pix, 166kb) needs comment by a dentist and, possibly, also by a dermatologist.
–- Le Renard: Decor with three figures (32x43cm)
–-  Curtain design for the dance Le Soleil de Nuit (1915)
Soldier at Rest (1911; 731x800pix, 168kb)
The Cockerel. Rayonist Study (645x668pix, 107kb)
Blue Rayonism (561x536pix, 85kb) _ Rayonism (in Russian: Luchism) was the Russian art movement founded by Larionov, representing one of the first steps toward the development of abstract art in Russia. Larionov exhibited one of the first Rayonist works, Glass, in 1912 and wrote the movement's manifesto that same year. Explaining the new style, which was a synthesis of Cubism, Futurism, and Orphism, Larionov said that it “is concerned with spatial forms which are obtained through the crossing of reflected rays from various objects.” The raylike lines appearing in the works of Larionov and Natalya Goncharova bear strong similarities to the lines of force in Futurist paintings. Rayonism apparently ended after 1914, when Larionov and Goncharova departed for Paris.
Rain (947x550pix, 125kb)
Fish at Sunset (1904; 538x544pix, 115kb)
The Fish (1906, 89x127cm; 417x585pix, 96kb) _ The Fish (often called Fishes) was exhibited for the first time in 1909 as a part of the second Franco-Russian exhibition sponsored by the Golden Fleece. The painting shares particular qualities of color, light, and rhythm with many other works by painters of the Blue Rose group (Kuznetsov, Iakulov, Sar'ian, Goncharova, and brothers Miliuti). The blue-gray tones, characteristic of this period, are intermingled with light pinks, greens, and yellows to create a harmonious color scheme, held together by the dappling technique reminiscent of the French impressionists. An almost dancing rhythm seems to unify the shapes within one spatial plane. The hidden light source and liquid, fluid atmosphere employed in the works of the Blue Rose artists combine agreeably with Larionov's brushstrokes; in fact, on the left side of the painting the brushstrokes even imitate the scales on the fish, adding to the visual unity of the composition. Unlike the darker, more pessimistic or melancholy works of Borisov-Musatov, Larionov's work imparts a light, almost exuberant feeling of ease and freedom. The nonspecific background adds a subtle sense of mystery to the harmony of the scene. Is the fish on someone's kitchen table, ready to be prepared as a meal, or is it depicted a few moments after it has been caught, when the net of a fisherman opens and reveals the wonderful variety of underwater life? The painting seems to be a whimsical still life with fish, a turtle, an eel , and a lemon; perhaps the lemon is there as a jocular reminder that fish and other frutti di mare usually go well with lemon.
      A simple comparison of The Fish and Fish at Sunset could be the proof that the shiny, shimmering, and highly reflective scales of the fish attracted the artist because he was fascinated with the phenomenon of light, which seven years later would lead him to the announcement of his rayonist theory and the abandonment of objective art (at least for a while). The earlier painting also shows a variety of sea creatures -- several large fish, a crab, and a few lobsters. However, the light in both pictures is quite different. In the earlier painting, the light of the sunset casts orangy and reddish tint on the entire left side of the canvas, while the far right side, hidden in the shadow, compliments those warm tones with the blue and green. The choice of such "violent" colors links this painting of Larionov to Russian Neo-primitivism. The later painting, with the light illuminating the entire scene evenly, with a more subdued color scheme and with freer painterly technique, shows Larionov progressive departure from Neo-primitivism and advancement towards Rayonism.
Soldier in the Woods (1909, 627x695pix, 150kb) risking lung cancer for himself and for his horse. This painting is an example of Neo-Primitivism. It deliberately violates the laws of perspective by making the surface of the canvas flat and decorative. The proportions of the composition are distorted -- the horse is small and the head and hands of the soldier are unusually large. Moreover, Larionov employs a limited number of primary colors, applied without shading and blending. All these artistic devices find parallels in the art of the Russian folk, particularly in icons, street signs, wooden toys, decorated distaffs, and popular prints (lubok) usually hand colored in red, green, purple, and yellow. In the West, Neo-primitivism was an aftermath of the exhibition of the folk arts of Africa, Australia, and Oceania in Paris. The world of art was surprised by the boldness of colors, originality of designs, and the expressiveness of these "unschooled," spontaneous creations of the "primitives." In Russia, flourishing between 1907 and 1912 and officially launched at the 3rd Golden Fleece Exhibition in 1909, Neo-primitivism was championed by Goncharova and Larionov, although many other artists went through a Neo-primitivist stage. The genesis of the style can be found in the folk art of Russia -- such as the lubok and peasant applied art (distaffs, spoons, embroideries), but even more in icon painting. Goncharova, Larionov, Malevich, Tatlin, even Chagall and Kandinskii incorporated into their works ideas and compositions common in icon painting. Neo-primitivist canvasses share with icons a pronounced flatness, lack of depth and perspective, distortions of reality, as well as a bold, striking colors. Although the forms are intentionally distorted and resemble children's pictures, the paintings' rhythm and harmony come from the music of color and line.
79 images at Ciudad de la Pintura
^ Born on 10 May 1828: James McDougal Hart, Scottish-born US painter who died on 24 October 1901.
— Born in Kilmarnock, Scotland, Hart emigrated with his family to Albany, New York, in 1831. He was apprenticed as a sign painter for a coach-maker. By the late 1840s, Hart was producing easel paintings. In 1849, he exhibited at the American Art-Union. In 1851, he traveled to Dusseldorf for academic training. There, he studied under Johann Wilhelm Schirmer [1807-1863], remaining abroad for about a year. Hart was back in Albany in 1852 where he had a studio and taught art for the next five years. He exhibited at the National Academy of Design for the first time in 1853 and continued to show there almost annually for the rest of his life. In 1857, Hart moved to New York City permanently. Hart became successful as a painter of landscapes with cattle in the style of the Hudson River School. Popular during his lifetime, his compositions were reproduced as engravings for art journals and gift books, and as chromolithographs by Louis Prang.
— With his family, including his brother William Hart, James moved from Kilmarnock, Scotland to Albany NY in 1830. There he was apprenticed to a sign painter and developed an interest in art. In 1851 he went to Dusseldorf, Germany to study and remained for three years. He returned to Albany and opened a studio. In 1857 he moved to New York City. later moving to Brooklyn. After the 1870s, he and his brother William opened studios in Keene Valley, NY, in the heart of the Adirondacks. James and his brother William painted in a language intelligible for the artistically illiterate. His children, Robert, Mary, and Letitia Bonnet Hart were artists, as was his wife, Marie Thereas Gorsuch, his brother William Hart [1823-1894], and his sister, Julia Hart Beers Kempson. His last known address was in Brooklyn NY. An auction of his paintings was held at the Fifth Avenue Art Gallery in 1902, and 146 of his paintings were sold for a total of $20'287.

An afternoon concert (1850, 99x136cm)
Returning from harvest (1870, 51x87cm)
Presidential Range and Starr King Mountain from Lunenburg VT (11 Sep 1867, 37x61cm)
The Adirondacks
Adirondack Scenery (1861; 250x350pix, 29kb) _ James Hart's large, impressive landscapes {the online image would be large and impressive only as a postage stamp} painted during the 1860s are noted for their meticulous attention to detail, soft gentle colors, and light-filled skies. These idyllic scenes of nature (note the three frolicking bears {best appreciated through a microscope}) glorified the conception of the US wilderness and were eagerly sought by collectors.
Pasture in Early Evening (1880) _ During his lifetime, James McDougal Hart became well known for his restful scenes of countryside with grazing cattle. Pasture in Early Evening is one such composition. Hart could have been describing the Boston College acquisition when he stated in an interview, "I strive to reproduce in my landscapes the feeling produced by the original scenes themselves...In this painting... I aimed at the lazy listless influence of an Indian summer day. If the painting were perfect, you would feel precisely as you feel when contemplating such a scene in nature."
^ Died on 10 May 1702: Antonio Gherardi, Italian painter and architect born Antonio Tatoti on 20 September 1638 (and baptized that same day).
— Antonio Gherardi nacque a Rieti il 20 settembre del 1638, vi rimase nella giovinezza, fu poi operoso a Roma dove iniziò il suo apprendistato poco più che ventenne presso le botteghe del Mola e di Pietro da Cortona .La sua maniera artistica risentì oltre che dei citati P.F. Mola e Pietro da Cortona, ai quali lo introdusse il suo primo tutore Bulgarino Bulgarini (già governatore della città di Rieti), di diverse correnti, dal classicismo bolognese alle soluzioni caravaggeresche apprese dal linguaggio di Mattia Preti tramite l'uso di chiaroscuri, della pennellata liquida e la resa dell'umanità dei personaggi. Fece numerosi viaggi studio in tutta Europa, dopodichè lavorò ancora a Roma affrescando palazzo Neri e Santa Maria in Trivio. Decorò a stucco due cappelle a Santa Maria in Trastevere e a San Carlo ai Catinari, ispirate al Borromini e al Bernini. Il 10 maggio del 1702 Gherardi morì a Roma e venne sepolto nella chiesa di Santa Maria sopra Minerva; nel testamento del 7 maggio lasciò eredi i figli superstiti, ed usufruttuaria la moglie Porzia Alberelli, al "suo Giovine" Giovan Battista Bruschi tutti gli attrezzi da pittore, escludendo disegni e quadri e dieci scudi del ricavato della vendita che si ebbe dal quadro grande del Ratto delle Sabine; lasciò inoltre a Monsignor Lancisi, in segno di stima, una Tela di mezza testa rappresentante la Carità Romana. L'artista, sebbene, per un lungo periodo completamente ignorato dai grandi circuiti nazionali, ha riscosso sempre e comunque una forte attenzione negli ambienti dell'arte internazionale, che lo ricolloca oggi, tra le più grandi espressioni della seconda metà del seicento.
— Antonio Tatoti nasce a Rieti il 20 settembre del 1638; a vent'anni si trasferisce a Roma presso Monsignor Bulgarino Bulgarini (già governatore della città di Rieti) che lo introduce nell'ambiente artistico romano. Il Pascoli lo dice allievo dapprima di Pierfrancesco Mola (1659-1662) e successivamente di Pietro da Cortona (1662-1667). Nel 1660 Antonio adotta il cognome Gherardi; nell'atto del notaio Pennicchi dichiara anche di esercitare a Roma l'arte della pittura.
L'artista mantenne costanti legami con la città natale e soprattutto con Loreto Mattei, poeta scrittore e primo traduttore italiano dei Salmi di David.
     Di questi primi anni romani è una tela, perduta, per Palazzo Riario, residenza della regina Cristina di Svezia. Negli stessi anni (1660-1662 ca.) esegue un ciclo di sei acqueforti che illustrano la vita e il martirio di S. Martina commissionate probabilmente da un esponente della famiglia Barberini, per i quali esegue tre cartoni per arazzi con le storie di Urbano VIII.
     Tra la fine del 1667 e gli inizi del 1669 Gherardi compie un viaggio di studio nell'Italia centro- settentrionale, alla ricerca "del gusto, della maniera e del bel colorito lombardo". Fu così a Bologna, Venezia, Genova, Milano, Firenze e, sulla strada del ritorno a Perugia.
Gli effetti di questo itinerario pittorico si leggono nella decorazione del soffitto dell'oratorio di S. Maria in Trivio rappresentanti Le storie della Vergine.
     Dal 1673 al 1675 esegue gli affreschi, per il marchese Fabrizio Nari, nel salone d'angolo del piano nobile del suo palazzo romano; al centro della volta: Il trionfo della verità sull'inganno intorno quattro episodi biblici con le Storie di Ester; i dipinti sono stiticamente vicini a quelli realizzati dal Veronese, nella chiesa di S. Sebastiano dei Gerolamini a Venezia.
     Tra il 1673 e il 1674 S. Rosalia intercede presso la Sacra Famiglia per la cessazione della peste dipinto per la cappella omonima della chiesa di S. Maria Maddalena di Roma, oggi conservato nel Musèe Fesch di Ajaccio.
     Il 17 giugno del 1674 Gherardi è nominato accademico di S. Luca; nell'anno successivo dipinge La morte del Beato Solano, per l'omonima cappella della chiesa di S. Maria in Aracoeli; da ora il Gherardi unirà all'attività di incisore e pittore anche quella di architetto è suo il progetto architettonico e pittorico della suddetta cappella.
     Dello stesso anno è la tela rappresentante la Sacra Famiglia con S. Giovannino nel Duomo di Monterotondo. Nel '77 il Gherardi riprende i lavori per S. Maria in Trivio occupandosi della sistemazione della zona absidale, del disegno del gruppo scultoreo rappresentante Il trionfo della Croce, posto sull'arcata della tribuna, e della tela del S.Camillo de Lellis che guarisce un infermo di casa Crescenzi.
     Nel 1680 gli viene commissionata da Pietro Paolo Avila la cappella funebre di famiglia nella chiesa di S. Maria in Trastevere di Roma; oltre al progetto architettonico Gherardi esegue la pala d'altare raffigurante il S. Gerolamo penitente nel deserto ; nello stesso anno per l'altare maggiore della chiesa del SS. Sudario: Cristo giacente nel sudario adorato dai santi e beati della casa Savoia.
     Il 29 agosto del 1682 Antonio Gherardi riceve la carica di nobile dal Consiglio Comunale di Rieti.
Oltre all'attività romana, l'artista è impegnato per diversi luoghi dell'Umbria e del Lazio.
Nel 1684 esegue la splendida tela per la cappella Sperella del Duomo di Gubbio rappresentante La nascita di Maria; lavora poi alla Natività per la chiesa di S. Giovanni Decollato di Narni (ora nella sagrestia della chiesa di S. Francesco) e l'anno successivo realizza gli apparati effimeri per la festa dell'estirpazione del calvinismo in Francia.
     Firmata e datata, 1688 è La Madonna appare a S. Andrea, del Museo Civico di Gubbio, restaurata in occasione della mostra reatina. Dello stesso anno la S. Cecilia, pala d'altare della cappella omonima in S. Carlo ai Catinari di Roma; è qui che Gherardi, subentrato al Rainaldi, ottiene il risultato più alto di combinazione tra architettura, scultura e pittura, riservando un ruolo centrale alla funzione della luce che scende dall'alto.
     Tra il 1692 e il 1693 realizza tre tele per Gubbio rappresentanti la Natività e l'Adorazione dei Magi per la chiesa di S. Maria dei Laici (ora entrambe sulla controfacciata del Duomo) e l'Immacolata Concezione nella chiesa di S. Francesco.
     All'ultimo decennio del secolo appartengono la tela di Gesù placato dalle preghiere della Madre, S.Francesco e S. Domenico nella chiesa di S. Lucia di Gubbio, l'Immacolata Concezione in quella di S. Antonio al Monte di Rieti e la Sacra Famiglia con S. Anna e S. Giovannino per la demolita chiesa dei Ss. Venanzio e Ansuino dei Camerunesi in piazza dell'Aracoeli a Roma (ora nella chiesa del Cristo Re).
     Nel 1698 Gherardi è nominato architetto e pittore della cappella di S. Teresa in S. Maria in Traspontina, opera commissionatagli dal Procuratore generale dell'ordine carmelitano Francesco Ximenes Mediano. La cappella terminata nel giugno dello stesso anno conserva la tela rappresentante l'Estasi di S. Teresa.
     La sua ultima testimonianza pittorica è il S. Leonardo libera un carcerato eseguita nel 1698 per la demolita chiesa di S. Maria del Suffragio di Rieti; dal 1945 è conservata nel museo civico di Rieti.
     Il 10 maggio del 1702 Antonio Gherardi muore a Roma e viene sepolto nella chiesa di S. Maria sopra Minerva; nel testamento del 7 maggio lascia eredi i figli superstiti, ed usufruttuaria la moglie Porzia Alberelli, al "suo Giovine" Giovan Battista Bruschi tutti gli attrezzi da pittore, escludendo disegni e quadri e dieci scudi del ricavato della vendita che si avrà dal quadro grande del Ratto delle Sabine; lascia inoltre a Monsignor Lancisi, in segno di stima, una Tela di mezza testa rappresentante la Carità Romana.

La Natività della Vergine (208x277cm; 324x430pix, 26kb)
Santa Rosalia intercede presso la sacra Famiglia per la cessazione della peste (1673; 450x313pix, 37kb)
San Leonardo libera un carcerato (1698; 450x309pix, 24kb)
Sacra Famiglia con San Giovannino (419x313pix, 28kb)
Immacolata Concezione (419x313pix, 27kb)
Estasi di Santa Teresa (487x313pix, 32kb)
Paolo Mattei (402x300pix, 20kb)

^ Born on 10 May 1886 (? or on 08 Feb = 27 Jan Julian): Lev Samoylovich Rosenberg “Léon Nicolaevitch Bakst”, Byelorussian Jewish theater costume and scenery designer who died on 28 (27?) December 1924.
— Born Lev Samoilovich Rosenberg. Student at the Academy of St. Petersburg. Began calling himself Léon Bakst (mother’s maiden name), in the late 1890s. Established himself in Moscow and adhered to the Russian academic tradition, taking his subjects from popular life. However, little by little he began to stray from the traditional, profoundly influenced by modern French art. A proponent of the new style in Russia, he founded the group "Mir Iskousstva" ("Artistic World"), but soon left Moscow and St. Petersburg for Paris (1893). Played a considerable role during the years preceding World War I as a costume decorator and designer for the famous Russian ballets directed by Serge de Diaghileff. A bold colorist, possessing a heightened sense of an art in service to rhythm and subject to variations in lighting, Bakst realized a bold and pleasing fusion of the elements of Russian popular art and the values of modern French art, influenced notably by Aubrey Beardsley, as well as by Greek vase painting and the Fauvism of Henri Matisse. Established legal residence in Paris in 1912.
— Bakst was born in a middle class Jewish family in Grodno, Belarus, and died in Paris on 27 December 1924. He was educated at the gymnasium in St. Petersburg and then at the Imperial Academy of Fine Arts, from where he was expelled after painting a too realistic Pietà. He started his artistic career as an illustrator for magazines but changed his mind when he met the painter Aleksandr Benois [04 May 1870 – 09 Feb 1960]. He traveled through Europe and came in contact with European artists. After his return to Saint-Petersburg, he began to gain fame for his book designs and his portraits. In 1898, together with Benois and Serge Diaghilev [31 Mar 1872 – 19 Aug 1929], he founded the group Mir Iskusstva. In 1906 he became a teacher of drawing in Yelizaveta Zvantseva's private art school where, among other students, he taught Marc Chagall [07 Jul 1887 – 28 Mar 1985]. Bakst's greatest achievements are related to theater. He debuted with the stage design for the Hermitage and Aleksandrinskii theaters in Saint-Petersburg in 1902-1903. Afterwards, he received several commissions from the Marinskii theater (1903-1904). In 1909 he began his collaboration with Diaghilev, which resulted in founding of the Ballets Russes, where he became the artistic director. His stage designs quickly brought him international fame. Most notable are his costume designs for Diaghilev's Shéhérazade (1910) and L'Après-Midi d'un Faune. He settled in Paris in 1912, after being exiled because of his Jewish origin.

–- Bacchante aka Odalisque 2, for Shéhérazade (1910; 716x524pix, 55kb).
–- Minister of State (199kb)
L’oiseau de feu (1910; 834x500pix, 52kb)
La sultane bleue, for Shéhérazade (1910; 869x525pix, 48kb)
Ida Rubinstein in Act IV of Hélène de Sparte (1912)
— A Nymph and another Nymph in L'après-midi d'un faune (1912)
The Bride in Le dieu bleu (1912)
— A Bacchante in Narcisse (1911)
17 theatrical designs at FAMSF
^ Died on 10 May 1930: Julio Romero de Torres, Córdoba Spanish painter born on 09 November 1874.
— Nació en Córdoba en el edificio del Museo Provincial de Bellas Artes. Era hijo del matrimonio formado por don Rafael Romero Barros, pintor y director-fundador de dicho Museo Provincial, y de doña Rosario de Torres Delgado.
     Su padre, nacido en Moguer en 1838, se formó como pintor a la sombra de Eduardo Barrón. Llegó a Córdoba en 1862 para asumir las tareas de promotor y conservador de dicho Museo y hasta su muerte en 1895, intervino la creación del Museo Arqueológico en restauraciones de la Mezquita y dirigió la Escuela de Bellas Artes.
     El joven Julio Romero se introduciría por el camino de la pintura cuando ésta vivía en España bajo muy opuestas influencias: Las derivadas de Fortuny y las del realismo tipo Courbet, introducido por el catalán Martí Alsina y dirigido hacia el paisaje; las del retratismo fotográfico de Federico de Madrazo y Gleyre; y las del Impresionismo, traído por Aureliano de Beruete y Darió de Regoyos, que Joaquín Sorolla llevaría a la técnica valiente y sumaria. Posteriormente avanzó por las rutas de la plástica pictórica cuando los aires del Simbolismo francés y del Prerrafaelismo inglés fructificaban en Cataluña -donde también se daba un Naturalismo de intención social, con Baixeras a la cabeza-, para hacer brotar el modernismo.
Julio Romero seguiría progresando en el quehacer pictórico viendo como muchos pintores coetáneos -Sotomayor, Benedito, López Mezquita, Hermoso- se iban abocando a una pintura de tipos populares, a un folklorismo pictórico resuelto con técnica inspirada en el academicismo del estudio museístico, aderezado en algún caso con tímidas adquisiciones impresionistas.
     Entre esta algarabía expresiva tan contradictoria del Romanticismo -de su padre- y el Impresionismo, del Naturalismo de intención social y el Modernismo simbolista, del Academicismo folklorista y el Realismo fotográfico, se fue formando estéticamente Julio Romero de Torres, quien, como hombre inquieto que era, estaba al día de todos estos movimientos a través de contactos con artistas militantes en estas tendencias y de reproducciones litográficas, que adquiría afanosamente. Por todo esto es lógico que antes de conseguir la expresión plástica personal que le dio justa fama, pasase por muy diversas experiencias derivadas de la mayor parte de las tendencias anteriores.
     El joven pintor vivió intensamente la vida cultural cordobesa de finales del siglo XIX, que giraba en torno a la Academia de Ciencias, Bellas Letras y Nobles Artes -presidida entonces por don Teodomiro Ramírez de Arellano-, al Ateneo y a la Sociedad Económica de Amigos del País; entidades que eran decisivo estímulo intelectual con la organización de certámenes artísticos y literarios. Una Córdoba cultural aquella de la juventud de Julio Romero, en la que brillaban escritores y artistas de la talla del Conde de Torres Cabrera, Rafael García Lovera, Enrique Redel y Aguilar, Mateo Inurria y Cipriano Martínez Rücker, entre otros muchos.
     Aunque los contactos de Julio Romero con la capital de España se van haciendo frecuentes, vive intensamente este ambiente cultural cordobés y colabora con estas figuras de la intelectualidad. Participa con intensidad en todos los acontecimientos artísticos de Córdoba - años más tarde, el 21 de diciembre de 1912, la Academia de Ciencias, Bellas Letras y Nobles Artes de Córdoba le elegiría académico numerario, como reconocimiento de esta labor-, es eficaz Profesor de la Escuela de Artes y Oficios, y hasta trabaja en la restauración del artesonado de casetones con letras góticas de la Capilla Mayor de la Mezquita Catedral, devolviendo todo su esplendor a lo que se había hecho en 1489.
     Julio Romero tuvo en Madrid en todo momento la vocación abierta de conocer y tratar gentes de cualquier edad y condición, cuya conversación mereciera la pena o cuya gran personalidad le provocase admiración. Por eso, el artista de Córdoba lo mismo iba a la salita de exposiciones que se había abierto en la calle Fuencarral, número 20 -para vivir las polémicas que suscitaba la rara coexistencia de obras de Fortuny con las de Ricardo Baroja o de José Gutiérrez Solana-, o acudía a la popular Taberna del Barbas, instalada en la misma calle Fuencarral, punto de cita de la tumultuosa bohemia literaria. Frecuentaba tambien el Ateneo de Madrid, presidido por don Segismundo Moret, haciendo tertulia con los Quintero, Ortega y Gasset o Pérez de Ayala; adentrándose más de una vez en la «Cacharrería» para ver de cerca a don Joaquín Costa, manejando impetuosamente libros de consulta, o bien hablar con Pío Baroja que se refugiaba allí para escribir los capítulos de sus novelas.
     Se fue introduciendo en los más diversos ambientes del Madrid de aquellos primeros años del siglo. Entre ellos, naturalmente, el mundo del espectáculo, frecuentando el Teatro Romea que era el palacio del cuplé.
     Goza ya de la amistad y admiración de los intelectuales madrileños. Sobre todo la de Ramón del Valle Inclán; entrando a formar parte de la tertulia nocturna y valleinclanesca del Café Nuevo Levante y a la que acudían los hermanos Ricardo y Pío Baroja, Ignacio Zuloaga, José Gutiérrez Solana, Rafael de Penagos, Moya del Pino, Leandro Oroz, Anselmo Miguel Nieto, ángel Vivanco, Luis Alemany y otros muchos artistas y escritores.
Valle Inclán y Romero de Torres como inseparables amigos que eran, se dedicaron más de una vez a organizar actos en pro de «lo nuevo». Esto les llevó a dar el digamos «espaldarazo intelectual» a un novillero que por entonces estaba causando tanto asombro como vivas discusiones por su sentido revolucionario del toreo, nos referimos a Juan Belmonte.
     En 1914 estalla la Guerra Europea y también el nombre de Julio Romero de Torres salta al primer plano de la actualidad, encabezando un manifiesto, junto a un selecto grupo de intelectuales, sobre la defensa de los valores espirituales y adhiriéndose a la causa de los aliados.
     En agosto de 1922 viaja a la República Argentina acompañado de su hermano Enrique. En los últimos días de este mismo mes se inauguró la exposición, que fue presentada en el catálogo por un espléndido texto de Ramón Valle Inclán. La muestra constituyó un éxito sin precedentes.
     En los primeros meses de 1930, Julio Romero de Torres, agotado por el exceso de trabajo y afectado de una dolencia hepática, se halla en su Córdoba natal tratando de recuperarse. Está cansado, y por otra parte, el ver desaparecer a sus amigos le afecta cada día más. Pero sigue pintando en su estudio de la Plaza del Potro, y realiza entre los meses de enero y febrero la que sería su obra final La chiquita piconera.
     El hecho de haber sido la última obra del pintor y alguna otra circunstancia, han sido las causas de que este cuadro haya sido exaltado hasta el delirio en coplas y artículos, considerándolo como el mejor cuadro de Julio Romero de Torres. Pero refiriéndonos a la crítica de Antonio M. Campoy cuando escribe « A Romero de Torres se le ha confundido con un folklorista, y lo que es peor: se creyó que sus esenciales concepto y manera estaban resumidos en «la chiquita piconera», cuando ésta, exactamente, puede ser la antítesis del gran pintor de La consagración de la copla y Carmen, que son ni más ni menos que las dos obras cumbres del Prerrafaelismo español».
     El 10 de Mayo de 1930 moría Julio Romero de Torres en su casa de la Plaza del Potro en Córdoba hecho que conmocionó a toda la ciudad de Córdoba que se echó a la calle en su entierro debido a la gran admiración que había cosechado entre sus paisanos.

Encendiendo la mecha (1924, 63x40cm; 615x376pix, 19kb)
Mujer con pistola (1925, 52x34cm; 611x404pix, 19kb)
La escopeta de caza (1929, 63x37cm; 619x355pix, 15kb) .
El cohete (1931, 63x37cm; 592x351pix, 14kb)
Viernes Santo (450x287pix, 16kb)
^ Born on 10 May 1827: David Johnson, US Hudson River School painter who died on 30 January 1908.
— Few nineteenth-century US painters produced an oeuvre with a greater variety of subject than did David Johnson. Predominantly remembered as a landscape painter of the US northeast wilderness, Johnson also produced still lifes, portraits, and an occasional genre subject. His art evolved from the traditional selected observation of nature as transformed by the Hudson River School artists' notion of the ideal, to an art that incorporates the precise clarity of vision as practiced by the US Pre-Raphaelites. Later in his career Johnson employed the diffused suggestions of nature developed by the Barbizon artists in France. Partly as a result of Johnson's stylistic fluctuations, his career has only recently been reexamined and the full richness of his abilities more accurately defined.
      Very little is known about David Johnson's life. He probably received his early training from his brother, who was a portrait painter. In 1850, when he took a few lessons from Jasper Francis Cropsey, he was already an accomplished artist. He perhaps enrolled for two sessions in the antique class at the National Academy of Design, and at an early age knew and traveled with leading landscape painters, including John Kensett, John Casilear, and Benjamin Champney. He exhibited frequently at the National Academy of Design, and lived and painted in New York City during most of his career. He produced paintings of high quality based on locations in the Catskills, the White Mountains, New Hampshire, Virginia, and Warwick, New York, where Cropsey lived, and in 1876 he was awarded a first-class medal at the Centennial Exposition in Philadelphia. Johnson owned several European paintings, but there is no specific evidence to suggest he ever traveled abroad.
— Born and raised in New York City, David Johnson surprisingly did not avail himself of local opportunities for a formal education. He was self-trained, having painted in the company of such artists as John Kensett and Jasper Cropsey, refining his natural abilities through their examples. As did other members of the first and second generations of the Hudson River School painters, he spent his summers in the popular rural locales of the Northeast.
      By the early 1870s Johnson's method of painting had evolved into a tightly controlled technique. That hard-edged realism was tempered in the late 1870s by his use of poetic light and atmospheric haze, revealing an interest in the Barbizon School. This wedding of the poetry of that school with the precision of the Hudson River School would become his hallmark. Yet in reviews of the time he was noted for his exact brushwork, which always remained dominant. Using a fine brush and minute, almost invisible strokes, he created richly detailed and delicate vistas.

Croquet on the Lawn (1873, 51x86cm; 706x1219pix, 216kb)
Safely Anchored (1880, 33x48cm)
Natural Bridge (1860, 76x61cm)
Upper Twin Lakes in the Colorado Rockies (1865, 52x77cm)
View on the Androscoggin River, Maine (1870, 71x112cm)
Androscoggin River (1869, 36x56cm; 709x1125pix, 164kb)
Schooley's Mountain, New Jersey (1878, 45x61cm; 396x510pix, 117kb gif) _ Although Johnson is known to have painted with Cropsey in New Jersey in 1850, this painting does not appear to be the work of a beginning artist. He also painted in New Jersey in 1877 and again in 1880. Schooley's Mountain probably dates from one of those visits. Johnson's fondness for painting rocks, which began in the 1850s, is apparent in the foreground of this work, the largest boulder becoming a focal point within the composition. Instead of being painted with the geological accuracy one might find, for example, in a major work by Frederic Church, the rocks are treated here as an important pictorial element, a strikingly textured surface upon which to explore the effects of light and shadow. Although there is no visible human presence in Schooley's Mountain, it is a typically hospitable scene despite the rugged terrain of the foreground. Water was Johnson's other frequently chosen theme, which, along with rock formations, showed up early in his career and persisted throughout his life. Schooley's Mountain is an unusual, imbalanced composition, with the heavy cluster of trees on the left side in stark contrast with the comparative weightlessness of the right side with its open field and the lake. It may have been an attempt at a less contrived scene and possibly a further exploration of an earlier lake composition of 1870, in which Johnson attempted to break from his formulaic rut of a foreground river bank, middle ground of water, and mountain background.

Died on a 10 May:

1964 (05 May? 12 May?) Godfrey Clive Miller, New-Zealander Australian artist born on 20 August 1893. After completing his architectural studies in Wellington in 1917, he met the Dunedin painter A. H. O’Keefe and determined to be an artist. He was able to do this with the assistance of a private income. He traveled to China, Japan and the Philippines and in 1919 moved to Warrandyte, on the outskirts of Melbourne, where he began painting. He studied intermittently in London from 1929, with some attendance at the Slade School of Fine Art, and traveled extensively through Europe and the Middle East until he returned to Sydney in 1938 and taught at the East Sydney Technical College from 1945 until his death. Miller was interested in theosophical color theories, and color as a circular flow held by blacks and whites. He portrayed simple subjects - still lifes, landscapes and the human figure, working with painstaking rigor, with geometric precision to create images with jewel-like surface and ethereal delicacy. He used ruled lines crossing the canvas to form a web-like grid, to suggest the endless possibilities of life, the wholeness of forms and their potential dissolution back to the elements.
Untitled – composition (38x38cm; 565x700pix, 67kb)
–- Abstract (Arch, Sydney) (801x800pix, 114kb) dark dull colors
Madonna series (40x40cm)
–- Madonna No.2 (1961, 26x20cm; 1050x800pix, 151kb) dark dull colors
Landscape – (Red Earth Forest series) (63x102cm)
Forest Series (64x91cm)
Scene below, Paddington (35x45cm)
Composition (1950; 46x48cm)
Still life composition (1950; 37x59cm)
Figtree, Botanic Gardens (1945; 47x62cm)
Arch (1940; 38x38cm)
Street scene, London (1929; 24x24cm)
Dusk, Warrandyte (1924; 23x28cm)
Nude and the moon series (1962, 64x102cm)
Fruit – Compote Series (47x58cm) monochrome brownish.
–- Compote de Fruits (50x60cm; 800x953pix, 127kb)
Crucifixion (1962, 36x53cm; 521x700pix, 124kb)
–- Untitled Composition (1130x1400pix, 186kb) —(090509)

>1904 (27 Apr Julian) Andrei Ryabushkin, Russian painter born on 29 October 1861. — LINKS
Moscow Girl of the XVII century (1903; 892x452pix, 22kb)
Tea-Drinking. (1903; 449x949pix, 31kb)
–- A young man breaks into the girls dance alarming the old ladies (1902; 1162x1500pix, 194kb)
38 images at Olga's Gallery —(080509)

^ >1819 Mariano Salvador de Maella, Spanish painter and draftsman born on 21 August 1739 in Valencia, the son of a Valencian painter of the same name. In 1751 he went to Madrid, where he studied drawing and modeling under the sculptor Felipe de Castro for two years. However, he felt painting to be his vocation and joined the students directed by Antonio González Velázquez at the Real Academia de San Fernando, where he completed his studies in 1757. In 1758, after an unsuccessful attempt to go to America, he went to Rome. — Zacarías González Velázquez [1763 – 31 Jan 1834] was a student of Maella. — LINKS
Allegory of Summer (1100x564pix, 105kb)
Carlota Joaquina, Infanta of Spain and Queen of Portugal (1100x694pix, 158kb)
Carlos III vestido con el hábito y manto de su orden (500x415pix, 31kb)
–- Inmaculada Concepción (oval; 900x792pix, 126kb) _ auctioned at Sotheby's on 09 December 2004 for £16'800.
San Carlos Borromeo (86kb)
Muerte del Beato Gaspar Bono (Boceto) (1787, 58x32cm; 800x438 pix, 166kb)
— different Inmaculada Concepción (71x34cm; 166kb) small image in huge frame
Saint Francis of Assisi (1786; 400x223pix, 16kb)

Born on a 10 May:

^ >1899 Zhang Daqian (= Chang Ta-ch'ien), Chinese painter and collector who died on 02 April 1983. He was one of the most internationally renowned Chinese artists of the 20th century.
      As a child, Zhang was encouraged by his family to pursue painting. In 1917 his elder brother, Zhang Shanzi (an artist famous for his tiger paintings), accompanied him to Kyoto, Japan, to study textile dyeing. Two years later, Zhang Daqian went to Shanghai to receive traditional painting instruction from two famous calligraphers and painters of the time, Zeng Xi and Li Ruiqing. Through his association with these teachers, Zhang had the opportunity to study some works by ancient masters in detail. His early style attempted to emulate the Ming-Qing Individualists, including Tang Yin [1470-1524], Chen Hongshou [1599-1652], and Shitao [1642-1707]. He meticulously studied and copied their works and began to make forgeries; he gained notoriety when one of his forged Shitaos successfully deceived the connoisseurs.
      After his early success in Shanghai, Zhang extended his career to the north in the late 1920s,when he became active in the cultural circles of Beijing. He began to collaborate with the well-known Beijing painter Pu Xinyu [Sep 1896 – 18 Nov 1963], and together they became known as the “South Zhang and North Pu,” an epithet that is still used to refer to their collaborative works of the 1930s.
      In 1940 Zhang led a group of artists to the caves of Mogao and Yulin for the purpose of copying their Buddhist wall paintings. The group completed over 200 paintings, and the experience left Zhang with a repository of religious imagery. During the Sino-Japanese War, the artist zealously studied traditional Tang-Song figure painting and ancient monumental landscape painting. He would use elements of these in his own work, becoming particularly known for his lotus paintings, inspired by ancient works. His love of tradition was also reflected in his personal collection of ancient Chinese paintings, which he began early in his career. At its peak, his collection contained several hundred works from the Tang to Qing dynasties.
      In reaction to the political climate in 1949, Zhang left China in the early 1950s. He resided in various places, including Mendoza, Argentina; São Paulo, Brazil; and Carmel, California. His meeting with Pablo Picasso [25 Oct 1881 – 08 Apr 1973] in 1956 in Nice, France, was publicized as an artistic meeting between East and West.
      Zhang developed eye problems in the late 1950s. As his eyesight deteriorated, he developed his mature splashed color (pocai) style. Although he attributed this style in part to the splashed-ink technique of the ancient painter Wang Mo [–804], many believe it to be related to that of the Abstract Expressionist movement then popular in the United States and a departure from that of his traditional paintings. Zhang's splashed-color paintings fetched the highest market prices for contemporary Chinese paintings at international auctions of the time.
      In 1978 the artist settled in Taipei, Taiwan. His residence, Moye-jingshe, next to the National Palace Museum, is now the Memorial Museum of Zhang Daqian.
Splashed-color Landscape (1965, 60x96cm) _ After 1949, Zhang lived for a time in Hong Kong and India before building residences in São Paolo, Carmel (in California), and Taiwan. His long residency outside China inevitably brought him into contact with currents of modern Western art, including Abstract Expressionism. This work, painted with intense mineral colors and broad washes of layered ink, may represent Zhang's response to such influences. Zhang maintained that such works, which first appeared in 1956, when he was in Europe, derived from the "broken-ink" techniques of random splashing and soaking used by Tang dynasty (618–907) artists, but it seems more likely that his encounter with Western abstract art encouraged him to carry further the Japanese technique of splashed colors that he had used in earlier works. Clearly he welcomed the liberating effect of this painting mode on his creativity, which gave a spontaneity to his compositions. In spite of their abstract qualities, however, these paintings remained resolutely descriptive of the natural world. Here, Zhang first applied ink and color in a seemingly random manner, then added contour lines and other pictorial details in order to transform his composition into a highly suggestive vision of storm-engulfed mountains suddenly illuminated by a burst of sunlight that has turned the somber clouds iridescent.
Red Lotus (1947, 153x75cm) _ Zhang Daqian pursued perfect mastery of painting techniques by copying omnivorously the masterpieces of ancient art. He expanded the range of his skill still further when, from 1941 to 1943, he copied the ancient mural paintings to be found near the abandoned silk route city of Dunhuang. His use of opaque color and gold line in this slightly later work was strongly affected by his study of the Buddhist paintings of the Tang and Song periods to be found in the Buddhist cave temples.
–- Peach Blossom Spring (1983, 209x92cm; 983x434pix, 39kb) _ Dai-chien continued to develop his remarkable range of techniques after he left China in 1949. One particularly important breakthrough was his development, in the 1960s, of a bold technique of splashing ink and color on his paper. Although the results might seem to resemble action painting, Chang maintained throughout his life that his technique was Chinese, having been described in Tang dynasty texts on painting. He did not, thus, use the splashed ink technique in a purely abstract manner, but only to suggest real or imaginary landscapes. In this soup-herb painting of his final years, his blue-and-green pigment is used to suggest a mythical paradise, the Peach Blossom Spring, where human discord was unknown. Although Chang never returned to mainland China, his work was admired and emulated by younger artists who came to know it after the Cultural Revolution. —(080509)

^ 1878 (24 June?) Constantine Parthenis (Konstantínôs Parthénês), Egyptian-born Greek artist who died in July 1967 (1976?). He studied in Vienna under the German painter Karl Dieffenbach [1851–] and first exhibited at the Boehms Künstlerhaus in 1899. His first exhibition in Athens was in 1900. From 1903 to 1907 he lived on the island of Poros where he painted the frescoes for the church of Saint Nicholas. In 1908 he decorated the church of Saint George in Cairo. From 1909 to 1911 he lived in Paris, where he participated in the Salon d’Automne. In 1910 he received an award for his painting The Hillside, and in 1911 he won first prize at an exhibition of religious art for his painting The Annunciation. He returned to Greece in 1912, living in Corfu for five years, before finally settling in Athens in 1917. In 1918 he was commissioned to decorate the church of Saint Alexander at Paleo Phaliro. In 1920, after a retrospective exhibition of his work at the Záppeion, Athens, he received the art and literature award of the Academy of Athens. In 1937 he won the gold medal at the Exposition internationale des arts et techniques dans la vie moderne in Paris for his painting Hercules Fighting the Amazons, and at the Venice Biennale in 1938 the Italian government bought another of his paintings of The Annunciation. — Parthenis' students included Diamantis Diamantopoulos, Nikos Engonopoulos, Niko Ghika , Yannis Moralis.
T' agathá tês Sugkoinônías (The Benefits of Communication) (79x174cm; 291x640pix, 51kb) _ reproduced on this pair of Ellênikê Dêmokratía stamps (1993)
The Port of Kalamata (467x494pix, 36kb) _ reproduced on this stamp
The Annunciation (467x448pix, 54kb)
A Lady (316x270pix, 13kb)
The Island of Paros (480x619pix, 80kb)

^ 1861 Fannie Moody, British artist who died in 1947. She was a student of J.T. Nettleship. She married Gilbert King and lived in London. She exhibited from 1885 to 1897, at the Royal Academy from 1888 to 1897. She was a member of the Society of Lady Artists. She painted animals, specializing in dogs. She also did artwork for cookie tins and postcards.
Entente Cordiale, English and French Bulldogs (46x39cm; 550x462pix, 248kb _ ZOOM to 782x683pix, 41kb _ ZOOM+ to 1100x924pix, 63kb _ ZOOM++ to 1564x1366pix, 108kb) _ What are they glaring at, off the left side of the picture? Could it be a German Wolfhound? The two dogs in the picture symbolize the “Entente Cordiale”, the 08 April 1904 Anglo-French agreement which, by settling a number of controversial matters, ended antagonisms between Great Britain and France and paved the way for their diplomatic cooperation against German pressures in the decade preceding World War I (1914–1918).
Wire Haired Fox Terriers (550x407pix, 194kb)
Scottish Terrier Left Behind (394x550pix, 220kb)
Punch, a Cairn Terrier (1903; 550x429pix, 234kb)
Terriers Rabbiting (550x431pix, 259kb)
Scottish Terriers (457x550pix, 241kb)
Wire Haired Fox Terrier (550x390pix, 188kb)
Four Pekingese (414x550pix, 212kb)

^ 1699 Bartolomeo Nazari (or Nazzari), Italian painter who died on 24 August 1758. Scolaro a Bergamo di fra' Galgario prima e poi di Angelo Trevisani a Venezia, pittori usciti entrambi dalla scuola di Sebastiano Bombelli, il Nazari eccelle ben presto nella ritrattistica tanto da diventare dal 1727 in poi il più richiesto ritrattista ufficiale della Repubblica.
Famous soprano Faustina Bordoni [1700-1781] (680x480pix, 104kb) she is playing the lute.
Cardinal Angelo Maria Querini (1727, 235x157cm; 400x263 pix, 20kb) _ La conoscenza tra il Nazari e il Cardinale Querini poté avvenire a Roma negli anni 1724-26, quando il primo si trovava temporaneamente alla scuola del Luti e di Francesco Trevisani, e il secondo fungeva da Consultore del Santo Uffizio. Il ritorno dei due personaggi a Venezia dovette avvenire nello stesso torno di tempo, quando Angelo Maria Querini fu nominato Cardinale di Venezia (1727). E' molto probabile che allora il Querini commissionasse al Nazari il ritratto celebrativo della nomina. La complessa formazione artistica del Nazari tradisce ancora in quest'opera della prima maturità un certo eclettismo: se l'articolazione mossa e teatrale della figura e delle mani richiama il Bombelli, l'intensità dello sguardo sembra memore del Ghislandi, mentre la profusione decorativa nell'ambientazione risente della recente esperienza romana.
Paesaggio con Villa Veneta image marred by overwriting.

^ Happened on a 10 May:
1999 The Cézanne painting Still Life With Curtain, Pitcher and Bowl of Fruit is sold for 60.5 million. The problem is that there is no “the” such painting. There are five! But which one is it? Not one of the following, though probably similar:
1) Nature morte avec rideau et pichet fleuri (1895 or 1899, 55x74cm, at the Hermitage since 1930; 874x1198pix)
     In subject close to the works of the Old Masters, this work is perhaps one of Cézanne's greatest still lifes. But Cézanne was not interested in conveying the different textures of the objects, as were Dutch 17th-century painters: objects were important to him only as far as they presented clear, three-dimensional forms. The contrasting of different masses, modelled by resonant light, creates a dynamic composition and gives an element of tension to the space. At the same time, the painting is dominated by a balance of form and color which creates an impression of unity and stability in this material world. Despite the prosaic subject matter, the components of the still life exist in a world of supra-real, essential values. They embody the powerful energy of nature, eternal and yet eternally changing.
     Cézanne painted five still lifes showing the same flower-decorated pitcher and, in the background, the same brownish curtain with leaves. In view of the fact that the curtain appears (as backdrop to Pierrot and Arlequin) also in a much earlier work, Mardi-Gras (1888) known to have been painted in Paris, it may be presumed that all five compositions were done there, although this painting shows a second drapery or rug that the artist subsequently used in his Aix studio [another theory: he bundled up his stuff in that curtain to take with him when he moved]. At first sight this painting seems a relatively straightforward representation of a classic still-life subject, but on closer examination anomalies emerge. The central dish of fruit, for instance, is tilted so precariously that it threatens to slide out at the onlooker. Likewise the tabletop slopes leftwards out of the picture, and the perspective of the side of the table is awry. Sometimes we seem to be looking up, sometimes down at the objects, as if the artist had changed his viewpoint. There is nothing arbitrary in the liberties that Cézanne has taken. On the contrary, by subtly adjusting the way things look and registering tonal relationships with almost scientific precision, he has endowed his still life with an extra measure of tangible reality and heightened our experience of forms in space. In the other two more elaborate variants of this theme. Cézanne switches his viewpoint even more drastically, in a way that anticipates Cubist still lifes of 1908-1909. Far from being at odds with the rest of the highly worked picture, the 'unfinished' passage in the right-hand bottom corner plays an important pictorial role. The transparency of the napkin provides a necessary note of spontaneity and emphasizes the solidity of everything else in the still life. It is also important to remember that Cézanne never thought in terms of ‘finished’ pictures; he had the courage to stop before killing a picture with a last fatal brushstroke. _ Other reproduction of this same one _ The Hermitage's own reproduction (different color balance)
— 2) An earlier version (1893, Barnes Foundation)
— 3) A yet earlier version, different curtain (1877, 61x74cm, at the Met since 1929)
— 4) certainly not this one: picture without pitcher

1979 Salvador Dalí [11 May 1904 – 23 Jan 1989] becomes an associate member of the French Académie des Beaux Arts. —(090509)

1508 Michelangelo Buonaroti starts painting the frescoes of the Sixtine Chapel in the Vatican. —(090509)

click click click
<<< ART 09 May
ART 11 May >>>
updated Sunday 10-May-2009 2:53 UT
Principal updates:
v.8.40 Saturday 10-May-2008 4:02 UT
v. 7.40 Wednesday 09-May-2007 20:23 UT
v.6.40 Thursday 11-May-2006 0:33 UT
v.5.43 Tuesday 17-May-2005 15:03 UT
v.5.00 Saturday 29-Jan-2005 21:11 UT

safe site site safe for children safe site