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ART “4” “2”-DAY  12 May v.10.40
^ Born on 12 May 1606: Joachim von Sandrart, German painter and engraver who died on 14 October 1688.
— Von Sandrart was born in Frankfurt and started his training there, later taking apprenticeships with artists in various other places. Initially, Von Sandrart concentrated on engraving, but subsequently focused on painting, under Gerard Honthorst in Utrecht, for example, and under Abraham Bloemaert. There he met Rubens, with whom he traveled around the Netherlands. Together with Honthorst he visited the English court. Von Sandrart also journeyed to Italy in 1628. He lived and worked from 1637 to 1642 in Amsterdam, where he produced a civic guard portrait for the Arquebusiers company. He subsequently moved to Germany and Austria. He died in 1688 in Nuremberg.
     Joachim von Sandrart produced engravings and paintings - mainly portraits, allegorical pieces and still lifes - but today he is better known for his writing on art theory. His Teutsche Akademie der edlen Bau-, Bild- und Maleriekünste appeared in Nuremberg in 1675-1679. This remains a key source for biographers of the seventeenth-century artists whom Von Sandrart met on his travels.
— Von Sandrart was one of the most important men of culture of the 17th century: art historian, author of a monumental history of art which even included a chapter on Far Eastern art (very innovative at the time), a man who enjoyed a reputation as an outstanding painter and intellectual not only in Germany but way beyond its borders. Von Sandart's role as a painter is today far less significant than his scholarly contribution to the development of European culture. His style was founded on conscious imitation and eclecticism and in the interest in unusual night lighting we can see the influence of his teacher, the Dutch painter Gerrit van Honthorst.
— German painter, engraver, and writer on art. He traveled widely and was the most highly regarded German artist of his day (he was ennobled in 1653), but he is now remembered almost exclusively for his treatise Teutsche Academie der Edlen Bau-, Bild- und Mahlerey-Künste (German Academy of the Noble Arts of Architecture. Sculpture and Painting), published in Nuremberg in 1675-79 (a Latin edition followed in 1683). This treatise, organized into three main parts, is a source-book of major importance. The first part is an introduction to the arts of architecture, painting, and sculpture put together largely from material taken from earlier sources such as Vasari and van Mander. The second part, consisting of biographies of artists, likewise contains much material borrowed from previous writers but also much that is original, in particular about German artists (it was Sandrart who was the first to use the name Grünewald) and on contemporary artists that the author knew personally. The third part contains information about art collections and a study of iconography, and remarkably Sandrart also included in his book a chapter on Far Eastern art. Sandrart was the first director (1662) of the Academy at Nuremberg (the earliest such in Germany).

Captain Bicker's Company Waiting to Welcome Marie de Medicis in September 1638 (1640, 343x258cm)_ In Amsterdam in 1638, 19 militiamen await the arrival of the Dowager Queen of France, Marie de Medicis. They are gathered around a table bearing a crown and a bust of the queen. Under this sculpted portrait, Joachim von Sandrart painted a poem specially written for this occasion by Joost van den Vondel:
Van Zwieten's company waits to hail Medici;
But for so great a soul, Dam and Market are too small,
And the eye of the people too weak for such rays;
This Sun of Christendom is neither Meat nor Skin nor Bone,
So forgive Sandrart, that he paints her like stone.

      The reception took place in the Great Hall at the militia's headquarters. After Marie's visit the militia decided to decorate the hall with portraits of militiamen, of which this is one.
     The man with the flag is the standard bearer. His name has not survived. The man in the chair with a walking stick in his hand is Captain Cornelis Bicker. Other high-ranking officers are also present. To the left of the captain is Lieutenant Frederick van Banchem, holding a kind of pikestaff, a “partisan” which has a shaft of some three to four meters and a long flat iron blade, culminating in a broad point. At the base of the blade are tiny hooks. Partisans were employed as weapons in battle from the Middle Ages to the 19th century. By the 17th century it had become the lieutenant's symbol in the Dutch militias.
February (1642, 149x124cm; 950x788pix, 123kb)
November (1643, 149x124cm; 874x699pix 92kb) _ Sandrart, best known for his major art history published in 1675 under the title "Teutsche Academie" is one of the few artist-writers whose painterly oeuvre was on a par with his literary ambitions. For Prince Maximilian of Bavaria, Sandrart painted allegories of day and night as well as a cycle of twelve paintings of the months of the year for the dining room of the Old Palace in Schleissheim. The months, accompanied by verses, were widely distributed in the form of engravings. They are illustrated by life-size half figures set in landscapes or interiors and show characteristic activities associated with the respective seasons and surrounded by their natural attributes. November, under the zodiac sign of Sagittarius the hunter, shows a hunter's return. With his nervous dogs on a short leash and his catch slung over his shoulder, he is heading towards a castle in the middle distance. A keen wind tears the leaves from the trees and scatters them through the air. Landscape and genre, still-life and allegory are combined in a picture that epitomizes the month of November in concentrated form. Only briefly and in passing does the hunter glance to one side, and once more we find an allegorical personification of time passing.
Mars, Venus and Cupid (Allegory of Anger) (1630, 112x80cm; 575x458pix, 108kb)
Allegory of Vanity (1642, 125x110cm) _ A young beauty looks at herself in a mirror: this is the symbol of Vanity. The painting formed part of a series depicting the Seven Deadly Sins, common in the world of moralizing and ideas which dated back to the medieval period: note the devil, a very medieval image, in the painting. Von Sandart's style was founded on conscious imitation and eclecticism and in the interest in unusual night lighting we can see the influence of his teacher, Gerrit van Honthorst. There is something evil in the red fiery shining which illuminates the scene. Perhaps in the treatment of the faces and the convincing depiction of details, we can see a hidden talent for realism.
Matthias Grünewald in his Youth (1675 engraving, 9x8cm; 514x450pix, 34kb)
The Old Matthias Grünewald (1683 engraving, 9x8cm; 542x450pix, 40kb)
Matthias Grünewald (drawing, 12x10cm; 921x703pix, 85kb) _ This is a copy of the Self~Portrait (1514 drawing, 21x15cm; 995x727pix, 127kb) of Matthias Grünewald [1478 – 31 Aug 1528].
^ Born on 12 May 1745: Jens Jørgensen Juel, Danish artist who died on 27 December 1802. — [Was every one of his paintings a Juel jewel?]
— Noted for his landscapes and portraits, Juel painted compositionally balanced works in a harmonious palette, continuing a classical painterly tradition. The son of a vicar at Gamborg on Funen, Juel went to Hamburg (then under Danish sovereignty), where he studied under the German artist Johann Michael Gehrmann [–1770]. In 1765 Juel briefly returned to Fünen and then to Copenhagen, where he studied at the Kunstakademi until 1771. While at the academy he came under the influence of Carl Gustaf Pilo, a professor there from 1748 and best known for his portraits of the Danish royal family. It was also at the academy that Juel perfected his considerable talent in drawing.
— Among Juel's students there were Caspar David Friedrich, and Philipp Otto Runge.

Jean-Armand Tronchin (1779; 148kb)
Madame de Pragins (1779; 153kb)
A Storm Brewing behind a Farmhouse in Zealand (1795; 93kb)
Adelskvinde med Søn (1800; 800x596, 118kb)
A Running Boy (1802; 101kb)
Isabelle de Charrière_ Mme de Charrière [1740-1805] was a writer.
Bernt Anker (1792, oval 64x51 cm; 595x468pix, 23kb) _ Swedish-born Anker was Norway's richest man and a philanthropist.
^ >Born on 12 May 1921: Joseph Beuys, German Conceptual sculptor, performance artist, printmaker, and teacher, who died on 23 January 1986.
— Beuys's first one-person exhibition was held in 1953 in Kranenburg. In 1961 he was appointed Professor at the Düsseldorf Art Academy, where he had earlier been a student, and he continued teaching there until 1972 when he was dismissed amidst great controversy, a dismissal that finally, in 1978, was deemed unlawful. From the beginning of the 1970s he exhibited widely throughout Europe and the United States, representing Germany at the Venice Biennale in 1976. Beuys died in Düsseldorf, where he had lived for most of his career.
     He opposed the concept of art as based on such autonomous genres as panel painting and sculpture. Instead he pursued in his performance art (‘Aktionen’) and sculpture an ‘expanded concept of art’, aimed at a total permeation of life by creative acts. By his provocative and often misunderstood statement that ‘each person is an artist’, he did not mean that everyone is a painter or a sculptor. Rather, he wanted to express the idea that any person could become creatively active. This concept culminated logically in his idea of ‘social sculpture’, an art that drew upon the creative power possessed by every individual.
— Joseph Beuys was born in Krefeld, Germany. During his school years in Kleve, Beuys was exposed to the work of Achilles Moortgat, whose studio he often visited, and was inspired by the sculptures of Wilhelm Lehmbruck. Beuys began to study medicine in 1940, but his studies were interrupted when he joined the army and served as a fighter pilot. During a mission in 1943, he was badly injured when his plane crashed in a desolate region of south Russia. This experience would resonate in all of his later work.
      After the war, he decided to dedicate his life to art. In 1947, he registered at the Staatliche Kunstakademie Düsseldorf, where he studied under Joseph Enseling and Ewald Mataré. After Beuys graduated in 1951, the brothers Franz Joseph and Hans van der Grinten began to collect his work. Eventually becoming his most important patrons, they organized his first solo show at their house in Kranenburg in 1953. Beuys was appointed professor of monumental sculpture at the Staatliche Kunstakademie Düsseldorf in 1961. The year after, he began to associate with Fluxus artists, principally Nam June Paik and George Maciunas, and later he met Minimalist artist Robert Morris. He helped to organize the Festum Fluxorum Fluxus at the Staatliche Kunstakademie Düsseldorf in 1963, and he participated for the first time in Documenta in Kassel in 1964.
     Fluxus has been described as an attitude and a style, subversive in its casual, spontaneous quality that challenges institutionally framed understandings of art. It developed as a loose affiliation of artists who gathered around George Maciunas. Like the Situationists, their primary goal was to upset bourgeois routine in life and in art. Fluxus experiments explored connections between the visual arts, poetry, music, dance, theater, and the more radical forms of Performance, such as actions, often combining them in guerrilla theater and street spectacles. The elements of chance and humor so prominent in Marcel Duchamp’s visual experiments and John Cage’s musical compositions played important roles in the Fluxus approach to art making. Besides Beuys, major figures associated with Fluxus in the US and Europe include George Brecht, Walter De Maria [01 Oct 1935~], Dick Higgins, Ray Johnson, Alison Knowles, Charlotte Moorman, Yoko Ono, Nam June Paik, Ben Vautier, Wolf Vostell, Robert Watts, Robert Whitman, La Monte Young.
      In 1967, Beuys founded the German Student Party, one of the numerous political groups that he organized during the next decade. In 1972, he was dismissed from the Staatliche Kunstakademie Düsseldorf amid great controversy for admitting to his class over 50 students who previously had been rejected. The following year, he founded the Free International University for Creativity and Interdisciplinary Research. He increasingly became involved in political activities and in 1976 ran for the German Bundestag. In 1978, he was made a member of the Akademie der Kunst, Berlin. The 1970s were also marked by numerous exhibitions throughout Europe and the United States. Beuys represented Germany at the Venice Biennale in 1976 and 1980. A retrospective of his work was held at the Solomon R. Guggenheim Museum, New York, in 1979. He was made a member of the Royal Academy of Fine Arts, Stockholm, in 1980. During the inauguration of the 1982 Documentain Kassel, Beuys planted the first of 7000 oak trees; in other cities, he repeated this tree-planting action several times in the following years. Beuys died in Düsseldorf.
— The students of Beuys included Jörg Immendorff, Blinky Palermo, Reiner Ruthenbeck.

Ohne die Rose tun wir's nicht (1972 color print, 80x57cm; 768x535pix, 21kb) _ looks like a color photo of a man eagerly talking to another man, of whom only part of the head and one shoulder is seen out-of-focus from the back, while a very long-stemmed red rose towers over them at one side.
Luftpost (1982, 29x16cm) _ air-mail envelope and the letter that was in it (neither readable in this small reproduction).
untitled blackboard (1973, 99x129cm in 106x136cm frame; 924x1200pix _ ZOOM to 1232x1600pix, 246kb) a blackboard covered with some chalk dust smears and random scribblings of words and diagrams.
191 images at Ciudad de la Pintura
^ Died on 12 May 1897: Willem Roelofs, Dutch painter born on 10 Mar 1822.
— He is said to have made his first sketches at the age of four; at fifteen he completed his first landscape painting. Many of these early works are in the print rooms of the Rijksmuseum, Amsterdam, and the Gemeentemuseum, The Hague. In c. 1837–8 he was apprenticed to the amateur painter Abraham Hendrik de Winter [1800–1861] in Utrecht, where the Roelofs family had moved in 1826.
      In 1838 he entered his first paintings in the Exhibition of Living Masters in Amsterdam and Rotterdam. In the late summer of 1840 Roelofs became a student of the landscape and animal painter Hendrik van de Sande Bakhuyzen [1795–1860], with whom he made a study trip to Germany in 1841. Roelofs took a special interest in nature: he applied himself energetically both to painting and drawing, almost always selecting landscape subjects. He also studied entomology and accumulated a large collection of insects. After his training he returned to his parents in Utrecht.
— H. W. Mesdag and Carel Nicolaas Storm van ’s Gravesande were students of Roelofs.

Landscape in an Approaching Storm (1850, 90x140cm; 623x1000pix, 139kb _ ZOOM to 1011x1600pix, 261kb) _ A threatening mass of dark clouds hangs above the dune landscape. The rider spurs his horse on. He is holding his hat tight and his jacket is flapping in the wind. A dog follows them. Speed is of the essence, the storm could break at any moment. For a second, the sun breaks through the clouds. The light shines on the sandy ground, lighting up the silver-white birch trunks against the dark dunes. The scene illustrates the insignificance of humankind compared to the vastness of nature. It is typical of Romanticism.
     This is one of Roelofs's last paintings in the Romantic style. Later he went on to paint in a more impressionist style. From the 1850s on, while living in Brussels, Roelofs's had considerable contact with the French Barbizon artists, who painted outdoors. Roelofs began to sketch outside in the country too. At the time of this stormy landscape, Roelofs was mainly concerned with the dramatic effect and not the accurate depiction of nature. This can be seen from the birch trees, they are unstirring, as if the weather were absolutely calm.
A Sunlit River Landscape With Cows Watering
View of a Village Along a River, Germany (1842, 36x47cm)
A Cowherd and his Cattle at Sunset (44x70cm)
A Summer Landscape (14x26cm)
A Summer Landscape with Grazing Cows (25x42cm)
Bords du Gein près d'Abcoude (14x25cm)
Coin de Paturage (65x111cm)
People on a Country Road Along a Waterway, a Windmill in the Distance (47x73cm)
Fran Utrecht (66x80cm)
^Old Man of Madras Born on 12 May 1812: Edward Lear, England, landscape painter, writer of nonsense verse, who died on 29 January 1888.
     Here is an example of his limericks:
There was an Old Man of Madras,
Who rode on a cream-colored ass;
But the length of its ears,
So promoted his fears,
That it killed that Old Man of Madras.

     Lear was an English landscape painter who is more widely known as the writer of an original kind of nonsense verse and as the popularizer of the limerick. His true genius is apparent in his nonsense poems, which portray a world of fantastic creatures in nonsense words and show a Tennysonian feeling for word color, variety of rhythm, and often a deep underlying sense of melancholy. Their quality is matched, especially in the limericks, by that of his engaging pen-and-ink drawings [here is one which I colored >].

ILLUSTRATED WRITINGS BY LEAR ONLINE: A Book of NonsenseLaughable Lyrics: A Fourth Book of Nonsense Poems, Songs, Botany, Music, Etc.More Nonsense, Pictures, Rhymes, Botany, Etc. — Queery Leary Nonsense: A Lear Nonsense Book. — not illustrated: A Book of Nonsense

The Pyramids Road, Ghizeh
Civita Castellana

^ >Born on 12 May 1885: Mario Sironi, Italian painter, illustrator, sculptor, stage designer, and architect, who died on 13 August 1961.
— He was brought up in Rome where his family moved in 1886. In 1902 Sironi enrolled in the Engineering Faculty of the University of Rome, but after a long illness abandoned his studies to devote himself to painting. In 1903 he attended the Scuola Libera del Nudo at the Accademia di Belle Arti in Rome and frequented the studio of Giacomo Balla. Following a short spell in Milan in 1905–6, he went to Paris in 1906 and shared a room with his close friend Umberto Boccioni. Several family and self-portraits painted in a divisionist technique date from this period. Sironi also visited Germany several times between 1908 and 1911, where he was exposed to contemporary Expressionist currents. He lived in Rome from 1909 until he moved to Milan in late 1914 or early 1915.
— Born in Sassari, but lived from 1886 in Rome. Spent a year studying civil engineering at Rome University, then decided in 1903 to devote himself to painting. Attended life classes at the Academy in Rome and became friendly with Balla, Boccioni and Severini. Moved to Milan in 1914 and joined the Futurist movement. After war service, returned to Milan, became a member of the Fascist Party and contributed from 1922 to Il Popolo d'Italia and other papers, first as draftsman and art editor, later as art critic. Painted several mannequin figures influenced by Metaphysical painting; then was one of the founders of the Novecento movement. Encouraged the revival of mural painting, admired the grandeur of ancient Rome, Byzantine mosaics, etc., but drew many of his subjects from the urban landscapes of modern Italy. First one-man exhibition at the 1926 Venice Biennale. Collaborated with the architect Giovanni Muzio in the planning and arrangement of the Italian pavilions at the Cologne (1928) and Barcelona (1929) international exhibitions, and in the years 1932-42 executed various commissions for frescoes, mosaics and low-reliefs. From 1943 worked mainly as an easel painter. Died in Milan.
— Trascorre la prima giovinezza a Roma dove, abbandonati gli studi di ingegneria, nel 1903 decide di dedicarsi completamente alla pittura e si iscrive all'Accademia di Belli Arti: frequenta lo studio di Giacomo Balla, dove conosce Umberto Boccioni, Gino Severini, Roberto Melli e Vincenzo Costantini, che diventerà suo cognato. Nel 1905 si trasferisce a Milano: da qui intraprende un primo soggiorno a Parigi (1906-1907) e poi in Germania a Erfurt, nel 1908, presso lo scultore Tannenbaum. E' di questi anni L'autoritratto con paglietta, che rivela le suggestioni divisioniste che condivideva con Boccioni, Balla, Carrà. Amicizie che verso i primi anni Dieci orientano le sue ricerche in direzione futurista, non solo in senso dinamico, ma con grande sensibilità nei confronti dei rapporti compositivi di spazio e volume. Dal 1909 al 1914 è ancora a Roma. Nel maggio del 1914 partecipa con sedici opere all'Esposizione Libera Futurista, presso la Galleria Sprovieri di Roma. L'anno seguente avvia la sua collaborazione come illustratore di riviste e quotidiani (Noi e il mondo, La tribuna Illustrata, Gli avvenimenti, Ardita), un'attività che lo porterà a collaborare nel 1922 col Popolo d'Italia.
     Nel 1914 è tra i membri della direzione del movimento futurista e firma con Marinetti, Boccioni, Russolo, Sant'Elia e Piatti il manifesto L'orgoglio italiano a favore dell'interventismo. Nel 1915 si arruola nel battaglione lombardo ciclisti e automobilistici, insieme a Boccioni, Sant'Elia, Martinetti, Russolo, Erba, Funi, combattendo nella zona del Montello. Alla fine della guerra rientra a Milano e si sposa. Nel 1919 espone con una sua prima mostra personale alla Galleria Bragaglia, in Via Condotti a Roma. Nel 1920, firma con Dudreville, Funi e Russolo il manifesto Contro tutti i ritorni in pittura che contiene alcune delle tesi che saranno poi fondamentali per la costruzione del gruppo novecentista e si schiera, insieme a Garbari e Dudreville, con gli artisti dissidenti dell'esposizione di Ca' Pesaro a Venezia, che protestano per l'esclusione alla mostra degli artisti non veneti. Non partecipa alla loro esposizione alla Galleria Geri Boralevi, mentre tra la fine del 1920 e il gennaio 1921 è a Ginevra, all'Exposition Internationale d'Art Moderne organizzata dalla Section d'Or. In questi anni Sironi frequenta a Milano e a Como il salotto della Sarfatti, con la quale condivide la necessità di riunire intorno ad alcuni artisti la nuova idea d'arte italiana.
     Dal 1922 entra a fa parte del Gruppo dei Sette Pittori Moderni, costituito da Leonardo Dudreville, Achile Funi, Gian Emilio Malerba, Piero Marussig, Ubaldo Oppi, Anselmo Bucci, che si presentano al pubblico nella mostra organizzata dalla galleria di Lino Pesaro, a Milano, nello stesso anno, sostenendo programmaticamente di voler "fare dell'arte italiana ispirandosi alle sue purissime fonti, sottraendola a tutti gli ismi d'importazione". Con i pittori del "Novecento"(così ribattezzato da Bucci, dopo il 1925) Sironi partecipa nel 1924 alla XIV Esposizione Internazionale d'Arte della città di Venezia, presentandovi due opere, L'allieva e L'architetto, opere destinate a diventare delle vere e proprie icone della poetica novecentista. Successivamente Sironi parteciperà anche alle Biennali del 1928, del 1930 e 1932, mentre negherà la propria presenza all'edizione del 1952.
     Nei dipinti di questi anni avvia le tematiche delle periferie e dei paesaggi urbani dove tra desolati e cupi caseggiati transitano camion, tram e solitari ciclisti. Dopo alcune mostre personali di successo, è fra i promotori, nel 1926, dell'esposizione, inaugurata da Mussolini nel Palazzo della Permanente di Milano e che verrà ripetuta nel 1929. Il suo impegno di organizzatore lo porta nel 1927 a contribuire attivamente alla costituzione dell'organizzazione sindacale degli intellettuali e artisti lombardi. A conferma del suo crescente successo, nel 1930 Scheiwiller gli dedica una piccola ma preziosa monografia, nella prestigiosa collana di U. Hoepli. In questi anni inizia a interessarsi di scenografia e di architettura, interessi che lo orientano verso un'impostazione unitaria dei valori dell'architettura e delle arti figurative, intesa come recupero e rivalutazione dei valori della tradizione pittorica italiana. Nel Manifesto della pittura murale, pubblicato nel dicembre 1933, Sironi affida alla pittura murale il superameno di quella da cavalletto che serve solo - dice "per la soddisfazione del proprietario, per l'intimità dal salotto e il gelido e marmoreo silenzio delle pinacoteche".
     Nel 1935 esegue l'affresco L'Italia fra le arti e le scienze destinato all'Aula Magna della Nuova Università di Roma, progettata da Piacentini (1935); l'anno successivo, il mosaico L'Italia corporativa, che viene esposto a Parigi, all'Esposizione Universale del 1937 dove era presente anche Guernica di Picasso. Nello stesso anno è impegnato anche nell'impresa decorativa del Palazzo di Giustizia di Milano con il mosaico La forza, la giustizia, la legge, la verità e il grande pannello per l'Università di Venezia (L'Italia, Venezia e gli studi). Dopo la vetrata dell'Annunciazione per la Cappella dell'Ospedale Maggiore di Milano (1937) e i due grandi dipinti, L'agricoltura e l'architettura per il Palazzo delle Poste di Bergamo (1938), ora Ministero delle Poste e Telecomunicazioni di Roma, fino al 1942 è impegnato nei lavori di ornamentazione della sede del Popolo d'Italia, in collaborazione con l'architetto Muzio. Nel 1943 ritorna alla pittura da cavalletto, per mezzo della quale riconverte la passata esperienza muralistica architettonica e scenografica in composizioni a scomparti che egli chiama moltiplicazioni. Nel 1962, l'anno seguente la sua morte, viene allestita un'ampia e rigorosa retrospettiva a Venezia, alla XXXI Biennale.

Self-Portrait (800x757pix, 179kb)
–- Paesaggio Astratto (957x1500pix, 101kb) monochrome cyan. _ The pseudonymous Omar Noroni has radically transformed this into the colorful strict abstraction
      _ Paese Saggio e Stretto aka Trap Art (2006; screen filling, 190kb _ ZOOM to 1864x2636pix, 1672kb).
Urban Landscape aka La Madre (1922; 600x735pix)
Sintesi di Paesaggio Urbano (1919, 40x43cm; 748x800pix, 159kb)
Composizione (627x800pix, 171kb) {Storage corner in a sculptor's studio?}
— a different Composizione (800x591pix, 149kb) {Storage corner in another sculptor's studio or in another corner of the same sculptor's studio?}
Composition (203x135cm)
Atelier delle meraviglie
Il gasometro (1943, 38x52cm)
Natura morta con tazza blu (1926, 50x60cm)
Dinamismo di una figura (1914, 16x19cm) [scribbles]
Man and his Face (1928, 90x110cm; 700x567pix, 161kb)
44 images at Ciudad de la Pintura
^ Baptized as an infant on 12 May 1662: Jan Frans van Bloemen (or Blommen) “Orizonte”, Flemish painter who died on 13 June 1749. Born in Antwerp, van Bloemen settled in Rome in 1688 where he was patronized by aristocratic Roman families. Schooled in the Flemish landscape tradition, he was inspired by classicism, the beauty of Rome and it’s surrounding countryside.
— He was the brother of Pieter van Bloemen [17 Jan 1657 bapt. – <06 Mar 1720], who was his first art teacher, and of Norbert van Bloemen [10 Feb 1670 – 1746]. Jan Frans also studied under Antoine Goubau.
     In 1684–1685 Jan Frans was in Paris, until he was summoned by his brother Pieter to Lyon. There Jan Frans apparently worked with van der Cabel. The two brothers were not happy in Lyon, however, and went to Rome. They traveled via Turin, staying there for some time. From 1686 to 1687 they were in Rome, where they were both members of the Schildersbent, the confraternity of Dutch and Flemish artists active in Rome. Jan Frans’s facility for producing panoramic landscapes earned him the nickname Orizzonte, which had previously been applied to Claude Lorrain. Jan Frans did not leave Rome again, apart from an eight-month journey to Naples, Sicily and Malta, from which he returned with a large number of drawings.
     Jan Frans was married in Rome in 1693, and the Dutch artist Caspar van Wittel, known as Vanvitelli, was godfather to the couple’s first child, baptized in 1694. Although patronized by aristocratic Roman families, Orizzonte’s artistic career was marred by his prolonged confrontation with the Accademia di S Luca. The precise reasons for the difficulties are unknown, but he was only finally accepted by the Accademia at the age of 80, after his third application for membership.

Landscape 2527 (with 3 persons half-dressed, waterfall, and mountain) (36x48cm)
Landscape 2646 (with 2 hikers resting, woman carrying basket on head, 3 castles on hills) (48x63cm)
Landscape with an Abbey and a Ruined Doric Temple with Arcadian Figures (87x132cm)
Paesaggio con Tobiolo e l'angelo (160x222cm) _ The angel Raphael, disguised as a mortal accompanies Tobias on his journey from Assyria. The journey is a dramatic parable in which the angel advises Tobias through his trials. In Italy the subject of the guardian angel was often used to commemorate the travels of a son in whose likeness Tobias would be depicted.
— (070511)

Died on a 12 May:

2008 Robert Rauschenberg, US artist born (full coverage) on 22 October 1925. —(080521)

1985 Jean-Philippe-Arthur Dubuffet [31 Jul 1901–], French painter, sculptor, and printmaker. As an art student in Paris, Dubuffet he had a facility for academic painting. In 1924 he gave up painting and by 1930 he had become a wine merchant. He returned to full-time art in the early 1940s. For a time he imitated Paul Klee [18 Dec 1979 – 29 Jun 1940]. After World War II Dubuffet read The Art of the Insane by the psychiatrist Hans Prinzhorn. Dubuffet must have become insane himself, for he claimed that it is the best kind of art, and he made crude and even obscene imitations of it, which he called art brut, for which he is notorious. Dubuffet often used crude ideographic images incised into a rough surface of tar, gravel, cinders, ashes, or sand, bound with varnish and glue. During the 1960s Dubuffet dabbled in musical composition and the creation of architectural environments. He continued his art brut in various graphic and sculptural media. In his later years he made some large black-and-white painted fiberglass sculptures for public places. — wikibioLINKS —(090730)

^ 1970 Henri Léopold Hayden, Polish French painter born on 24 (25?) December 1883. He began a course in engineering at Warsaw Polytechnic in 1902 but also enrolled as a student at the School of Fine Arts, and in 1905 he gave up engineering to devote himself entirely to painting. In 1907 he arrived in Paris, intending to stay for only a year, but lived in France until his death. He attended the Académie La Palette for several months and in 1909 visited Brittany, in particular Le Pouldu and Pont-Aven, where he went to work for a number of summers, and where he met and became friendly with the Polish painter Wladyslaw Slewinski, who had been a member of Paul Gauguin’s circle.
Paysage Beka (1968 lithograph 50x66cm)

1911 Constant Mayer, French artist born on 04 October 1832.

1829 Maximilian Joseph Wägenbaur, Bavarian painter born on 28 July 1774.

1833 Philippe-Auguste Hennequin, French painter born on 20 April 1762. — [Sure it's not Henequen? Did he have a cousin named Mary-Jane? Was his nickname Hemp?] — He was precociously talented and by the age of 15 had been Donat Nonnotte’s student at the Académie des Beaux-Arts at Lyon and had arrived in Paris. There he worked for a time in Jacques-Louis David’s studio, from which he was expelled after being accused of theft. He completed his studies at the Académie Royale de Peinture in 1784 and visited Rome at the expense of an English patron named Mills. Because of masonic connections he was forced to flee in 1789, returning to Lyon. His politics tended towards Jacobinism, and during the Revolution he was appointed to a commission entrusted with saving works of art. After the fall of Robespierre [06 May 1758 – 28 Jul 1794] on 27 July 1794 (9 thermidor an II) Hennequin fled to Paris, where he suffered imprisonment and narrowly avoided the guillotine [if he had been opposed to Robespierre, Hennequin would certainly have been narrowly guillotined before Thermidor]. — Louis Gallait was a student of Hennequin.

1615 Cornelis Floris III de Vriendt, Flemish artist born in 1516. — {Lived past the age of 98 and never produced anything worth showing on the internet?!?}— Related? to sculptor Cornelis Floris [1514-1575]?

Born on a 12 May:

^ 1948 Guillermo Pérez Villalta, Spanish painter and sculptor. — Es integrante de la nueva figuración madrileña y uno de los pintores más representativos del posmodernismo en su país. Nació en Tarifa (Cádiz) en 1945 y comenzó a estudiar Arquitectura, una disciplina que ha seguido influenciando su obra pictórica. En 1968 se trasladó a Madrid, donde en la década de 1980 se le consideró integrante de la llamada "movida madrileña". Sus cuadros, de fuerte colorido y luminosidad representan personajes que se mueven dentro de complejas escenografías teatrales, que aúnan los interiores con los exteriores. En su etapa más reciente se ha inclinado hacia la temática mitológica, con fuerte contenido simbólico valorado por los tonos ocres y la aparición de desnudos masculinos. Frente a los típicos valores propugnados por la modernidad abstraccionista (autenticidad de los materiales y pureza formal), la pintura de Villalta es de naturaleza totalmente narrativa, como se aprecia en sus obras Grupo de personas en un atrio (1976), La pintura como vellocino de oro (1982), Historia Natural (1987) o Santuario (1996).
I. Fuego. Mihrab-Hogar (1999, 100x100cm; 490x490pix, 54kb). de la serie Sobre los cuatro elementos.
— (untitled?) (2008; 520x520pix, 48kb)
— (untitled?) (2007; 620x456pix, 34kb) illustration. —(080511)

^ 1936 Frank Philip Stella, US minimalist painter and sculptor. He is a leading figure in the Minimal art movement. Stella studied painting at the Phillips Academy and history at Princeton University (B.A., 1958). He originally painted in an Abstract Expressionist style, but upon moving to New York City in the late 1950s, he began work on a series of innovative paintings marked by an austere and monumental simplicity of design. These “black paintings,” which established his reputation, incorporated symmetrical series of thin white stripes that replicated the canvas shape when seen against their black backgrounds. In the early 1960s Stella painted a series of progressively more complex variations on the theme of the frame-determined design and used both metallic-colored paints and irregularly shaped canvases to this purpose. In the mid-1960s Stella began using polychromy in an influential series of paintings marked by intersecting geometric and curvilinear shapes and plays of vivid and harmonious colors, some of which were fluorescent. In the late 1970s Stella broke with the hard-edged style of his previous work and began to produce sensuously colored mixed-media reliefs that featured arabesques, French curves, and other organic shapes. — Not to be confused with Joseph Stella [13 Jun 1879 – 05 Nov 1946] — LINKS
Tahkt-I-Sulayman Variation II (1969, 120 x W.240 in; 444x900pix, 269kb _ no details, so there is no advantage to ZOOM to 1406x2847pix, 1848kb) _ In 1967 Stella began a series of brightly colored paintings based on the protractor. He made three semicircular designs -- the "interlace," the "rainbow", and the "fan"--which he calls variations I, II, and III. He used these designs as the basis for the many paintings in the Protractor series. Stella named the paintings after circular cities and archaeological sites in the Middle East, where he had traveled in 1963. Takht-i-Sulayman is an ancient shrine in Azerbaijan, Iran. But Stella insists that the meaning of his work is purely formal: “My painting is based on the fact that only what can be seen there is there. It really is an object.... You can see the whole idea without any confusion. What you see is what you see.”
Untitled (1963, 43x56cm; 295x590pix, 60kb _ ZOOM to 600x1200pix, 183kb) Two sets of 11 concentric squares of various colors each. This rather simple design has been greatly elaborated by the pseudonymous Román Galaxia who metamorphosed it into the intricate super-abstraction
      _ Un Títere Te Lo Dará aka Tilted Delta (2006; screen filling, 264kb _ ZOOM to 1864x2636pix, 2010kb)
–-Fortín de las Flores (692x1375pix, 45kb) _ Galaxia has transformed this into
      _ Las Flores del Fortín aka Port Trop (2006; screen filling, 264kb _ ZOOM to 1864x2636pix, 2010kb)
–- Scramble: Ascending Spectrum Ascending Red Values (789x800pix, 83kb) 12 colorful concentric squares of uniformly decreasing size, 6 of them in various shades of red or pink. _ The boring similaraty of shapes and the lack of fine detail has been splendidly remedied by Galaxia in his impressive twin transformations
      _ Scrambled X (2007; 775x1096pix, 328kb _ ZOOM to 1096x1550pix, 658kb _ ZOOM+ to 1700x2404pix, 1628kb _ ZOOM++ to 2636x3728pix, 3732kb) and
      _ Scram! Blast Ending Spectacle (2007; 775x1096pix, 328kb _ ZOOM to 1096x1550pix, 658kb _ ZOOM+ to 1700x2404pix, 1628kb _ ZOOM++ to 2636x3728pix, 3732kb)
–- Louisiana Lottery Company (800x780pix, 68kb) 17 rough concentric squares in 5 colors mostly so pale that the squares can barely be distinguished _ This has been far surpassed by Galaxia, at an amazingly smaller cost in bytes, with a screen filling high-definition image of no less than 50 brightly colored concentric rectangles gradually but variedly shrinking to the center where the 17 smallest are squares (best seen through a powerful magnifying glass, or, for the 15 tiniest, in this 20x magnified
      _ detail (800x800pix, 3kb)):
      _ Loose Anna's Condescending Red, Blue, White, Green, Violet, Black, Aqua, Yellow, Brown, Orange, and Lots of Other Valuables aka Test Set (2006; 8kb)
Wolfeboro II (1966, 406x254cm; 500x430pix, 25kb) _ This simple geometric picture in four flat colors (plus white background and gray shadow) has been transformed by Galaxia into the irrelevantly and irreverently titled but colorful and minutely detailed symmetrical abstraction
      _ Neither This Nor Even Benjamin West's Picture Provide an Answer to the Questions: “What Did General Wolfe Own Outright?” and “What Did Wolfe Borrow Too?” aka Wolf Low (2006; screen filling, 264kb _ ZOOM to 1864x2636pix, 2010kb). —(070511)

1886 Albert Saverys (or Saverijs), Belgian painter who died (main coverage) on 29 April 1964. —(100512)

^ 1868 Harry (or Ary, Herman) Roseland, US painter who died in 1950. — {When a patron who had commissioned a landscape complained about the absence of flowers in it, did the artist reply: “I never promised you a rose garden, I promised you a Roseland!”?} — Genre painting enjoyed tremendous popularity in the nineteenth-century US. It was a style that allowed a painter to tell a story, evoke an emotion, tell a joke, or educate. Largely superseded in the twentieth century by changes in popular taste and improvements in photographic technology, genre painting nevertheless remains a strong sub current in popular taste. One of the most notable painters in this mode was Harry Roseland. Roseland, born in Brooklyn, new York in 1868, matured as an artist while waves of change were sweeping over the art world. Largely self-taught, he chose to paint what he saw. He receive some education in art under J.B. Whittaker in Brooklyn, and at first painted some landscapes and still lifes, but his natural flair was for telling a story in his paintings. His subject matter was at first highly sentimental and heavily influenced by fashionable taste: smartly turned-out young women, old folks, and idealized farm scenes. He abandoned the mawkishness that is the downfall of so many self-educated artists when he found a topic that was close to home and yet largely unnoticed: the post-Civil War blacks who formed the underpinning of Northeastern society. Roseland's clever, skillful scenes of homely activities - such as checkers or letter-reading, were remarkably dispassionate and candid for the time, though to modern eyes they seem condescending and dated. The capture with gentle humor of a way of life that existed through the first half of the twentieth century and has now vanished. Harry Roseland never left his native Brooklyn, dying in New York in 1950, but enjoyed a remarkable success as an artist in his chosen specialty, improving and maturing continually. The archetype of the independent US artist, he never traveled to Europe to study or observe, choosing to carve his own path.
The Fortune Teller (1910, 51x76cm)
Boy with an Instrument (1890, 46x36cm)
A Young Woman (61x46cm)
— (In the Kitchen?) (1909; 800x569pix, 85kb)
On the Fence (33x27cm; 585x468pix)
Wake Up, Dad!
Woman's work is never done

1865 Alexis Vollon, French painter and engraver who died in 1945. He did his artistic training under his father, the landscape, genre and still life painter Antoine Vollon [20 Apr 1833 – 27 Aug 1900]. Alexis Vollon appeared at the time of the Impressionists and his subject matter was similar to that school. His landscapes, notably of the Seine and Paris like La Seine au Pont Alexandre III and La Seine au Pont des Saint-Pères have an indisputable atmospheric quality and he is remembered more for his landscapes than his genre paintings.
Fishing on the Seine (1926, 33x42cm; 394x500pix, 60kb) —(060508)

1854 Walter Dendy Sadler, British painter who died (full coverage) on 13 November 1923. —(051112)

>1842 Josep Lluis Pellicer i Fenyé, Barcelona Catalan painter and illustrator who died on 15 June 1901. — Su formación artística se inició con el ingreso en el taller del gran pintor catalán Ramón Martí i Alsina [1826-1894], famoso por su variada producción que incluía desde paisajes de su tierra hasta temas históricos o exóticos. Fue esta última parte de la producción de Martí Alsina la que ejerció mayor influencia en la obra de Pellicer, de tal manera que como pintor se le clasificó entre los orientalistas, grupo de pintores herederos de Eugene Delacroix, que combinaron una técnica de ejecución rápida, un intenso cromatismo y un gusto por los temas de inspiración oriental. Tanto la obra como el carácter del miembro de la Real Academia de Bellas Artes de San Jorge dejaron su impronta en la personalidad de Pellicer. Expuso en dos ocasiones con gran éxito como pintor de género, presentando escenas de carácter orientalista, en Madrid en 1871 y en Barcelona en 1878. Durante su estancia en Roma pintó su obra más popular en éste género: Silencio, pasa la ronda. Otros lienzos representativos de su producción son Una calle de El Cairo, Costumbres de Tanger o El mercado de Balaguer. Compaginó su obra como pintor con su importante producción de obra gráfica, especialmente destinada a la publicación en prensa. Colaboró con numerosas publicaciones de la época como ilustrador: L'Illustratio, Graphic, La Vanguardia, La Renaizença, Diari Català, La Campana de Gracia y L'Esquella de la Torratxa. También trabajó como corresponsal para publicaciones extranjeras como Le Monde Illustré. Asistió como agregado de las tropas del duque Nicolás a la guerra entre Rusia y el Imperio Turco, de la que dejó su visión en numerosos dibujos. También trabajó como director artístico de la editorial Montaner y Simón, para la cual ilustró diversas obras: La leyenda del Cid de José Zorrilla y El Ingenioso hidalgo Don Quijote de la Mancha de Cervantes, volúmenes de su colección biblioteca universal, o los Episodios Nacionales de Benito Pérez Galdós.
Dama (15x12cm; full size 677x505pix, 43kb _ .ZOOM to 1072x800pix, 70kb) —(090512)

>1835 Luc Raphaël Ponson, French painter who died on 31 January 1904. — {Pensons où sont Ponson et son pont... ou est-ce qu'il n'a peint point de pont?}— {De son temps il y avait au Jardin des Plantes une giraffe, à elle pensons: Raphaël Ponson pond son tableau, pense-t-il dédier son paraphe à elle? — Pas Raphaël!} — Su padre, decorador de teatro, le enseña los rudimentos de la pintura y lo inscribe en la Escuela de Bellas Artes de Marsella. Con Loubon aprende a hacer paisajes respetando el tono local. Una estadía en París, entre 1855 y 1856, le permite estudiar a Poussin y Lorrain en el Louvre. Antes de radicarse definitivamente en Marsella, hace un viaje a Italia para completar su formación. Debuta en el Salón de Marsella de 1852 y en el de París, en 1861. En 1863, decora la galería de los apartamentos privados de la nueva Prefectura de Marsella y, en 1867, el Museum del Palacio Longchamp, básicamente la sala Provenza. Se especializa en la representación de calas de los alrededores de Marsella, pero su arte, de verdadero talento, se verá, disminuído a causa de una muy abundante producción comercial.
Venice: View of the Grand Canal Grande with the Doges' Palace and Santa Maria della Salute (1861, 62x87cm) —(100130)

1828 Gabriel Charles Dante Rossetti, English painter who died (full coverage) on 09 April 1882. —(060508)

^ 1753 Agustín Esteve y Marqués, Spanish painter who died in 1830. He may have been the son of a Valencian sculptor of the same name, Agustín Esteve, documented between 1764 and 1767. He attended the school of the Academia de Bellas Artes de San Carlos, Valencia, and in 1772 went to Madrid to the Real Academia de Bellas Artes de San Fernando, where he won a prize, although he was not to have an important academic career. He established himself in Madrid, where the ducal houses of Osuna and Alba were the first to give him commissions. One of these was for the portrait of Doña Joaquina Tellez-Giron (1784), daughter of the 9th Duque de Osuna, painted when she was 13. For more than 25 years Esteve y Marqués painted portraits, mainly for aristocratic circles, among whom his simple, flattering and uncritical style was well accepted.
Manuel Godoy, fundador del Instituto Pestalozzi (1806, 243x169cm; 800x548pix, 133kb) _ The influence of Goya is clear in this portrait of {... take a deep breath ...} Manuel de Godoy Álvarez de Faria Ríos Sánchez Zarzosa, príncipe de la Paz y de Basano, duque de Alcudia y de Succa [12 May 1767 – 04 Oct 1851], who was twice prime minister of Spain, and whose disastrous foreign policy contributed to the abdication of King Charles IV and the occupation of Spain by the armies of Napoléon. _ See
      _ Manuel Godoy, Duke of Alcudia, 'Prince of the Peace' (1801, 180x267cm; 820x1173pix, 126kb) by Goya

^ 1737 Hendrick Meyer II, Dutch painter who died in 1793.
Rustic Watermill in a Gothic Ruin (1778, 30x40cm)

^ 1630 Wilhelm Schubert van Ehrenberg (or Hardenberg), Flemish painter who died in 1676. — LINKS
Church Interior (1665)

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