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DEATH: 1902 CONSTANT
BIRTHS: 1810 KØBKE — 1868 GRÜN — 1878 GORE —1913 KNIGHT
^ Born on 26 May 1810: Christen Schjellerup Købke, Danish Realist painter who died on 07 February 1848.
— He is the most internationally renowned Danish painter and, with his teacher, Christoffer Wilhelm Eckersberg, was one of the leading artists of the Danish 'golden age' of painting in the 1830s and 1840s.
      The son of a baker, entered art school in Copenhagen at age eleven and studied there for ten years. He continued studying both with a teacher and from nature, first making sketches outdoors and later reworking them into oil paintings in his studio. Købke combined an interest in light and atmosphere with an appreciation for Denmark's medieval monuments to create solemn architectural silhouettes. He also painted charming and intimate portraits of his family, friends, and fellow artists.
      In 1838 Købke took his first trip abroad, visiting Dresden and Italy. Allying himself with the classical tradition of landscape painting inspired by Claude Lorrain, whom he greatly admired, he began altering small details to achieve sweeping, panoramic compositions. Upon his return home, his Italian scenes found little favour.
      Despite his talent and the praise of various contemporaries, Købke was never inundated with commissions. When he applied for admission to the prestigious Academy of Art in Copenhagen in 1846, he was rejected. He died of pneumonia two years later, and the Danish public paid little notice. At the end of the 1800s, scholars and the public began to appreciate Købke, leading to his current reputation as the most internationally renowned Danish painter of his generation.
      He is most famous for his intimate depictions of familiar landmarks in Copenhagen and North Zealand, notably Frederiksborg Castle, near Hillerod. The skill with which he rendered architectural silhouettes and the light of the Danish sky has won him great acclaim. His charming and intimate portraits of family, fellow artists and friends are among the best examples of Nordic portrait painting.
— Lorenz Frølich was a student of Købke.
Portrait of Købke (373x219pix, 16kb)

LINKS
The View of the Plaster Cast Collection at Charlottenborg Palace (1830)
Frederik Sødring (26 May 1832, 42x38cm; 1005x877pix, 134kb) _ Frederik Hansen Sødring [31 May 1809 – 18 Apr 1862] was a painter and a friend of Købke. They both were renters in a rooming house on Toldbodvej Street and shared a studio on the third floor. On Købke's 22nd birthday he made the portrait to give as a 23rd birthday present to Sødring. _ Christen Købke havde som elev af Eckersberg lært, hvordan man kunne skabe luft og rum omkring en figur og forstærke illusionen om virkeligheden ved at anvende det klart definerede dagslys. Disse erfaringer brugte han bl.a. i sit portræt af Landskabsmaleren Frederik Sødring. Det er signeret på Købkes 22-års fødselsdag den 26. maj 1832 og givet som venskabsgave på den portrætteredes 23-års fødselsdag fem dage senere. De to delte på det tidspunkt atelier på Toldbodvej, nuværende Esplanaden. Sødring har taget sin fine brokadevest på - ikke et udpræget malerkostume - men jakken har han dog taget af. Han sidder skødesløst henslængt, idet han et øjeblik har afbrudt sit arbejde ved staffeliet. Tidens kunstneriske idealer er antydet ved kobberstikkene, der pryder væggen bag Sødring: en ko, der viser interessen for det nederlandske dyremaleri, og antikke romerske bygningsværker som en henvisning til den by, der var drømmenes mål for alle unge kunstnere i den periode. Billedet handler således først og fremmest om kunstnerens metier, og det knytter sig endvidere til en række kunstnerportrætter, som eleverne på Kunstakademiet malede i 1820erne og 1830erne. Billedets umiddelbare, lysende friskhed og dets fine, beherskede kolorit har givet billedet rang af et af de betydeligste værker i dansk guldaldermaleri.
A game at the castle's gate (600x724pix _ ZOOM to 1400x1689pix)
Rooftop of Fredericksburg Castle with a view of the lake, the town, and the forest (600x576pix _ ZOOM to 1400x1344pix)
Frederiksborg Castle Seen from the Northwest (1836)
View of Lake Sortedam (1838)
View of Østerbro from Dosseringen (1838; _ ZOOM to 1400x1764pix) _ This is one of the most famous images of the “Golden Age “ of Danish painting Two women on a small wooden pier watch a rowing boat out on a lake. Their stillness and the evening light imbue the painting with a romantic melancholy. One senses a parting , though it is not started. Most of Købke's pictures were painted close to his own home. This view is taken from the western end of the lake of Sortedamssøen on the outskirts of Copenhagen. Købke's home at Blegdammen was just behind the tree-covered spit of land projecting into the lake at the centre of the picture. His preparatory sketch was painted in full sunlight and the melancholy evening mood has been achieved without moving the source of light from the south. In defiance of nature, Købke added a greenish tint to the sky and reddish-purple to its reflection in the water below. He also included the flag pole and the Danish flag tossing in the light breeze. Flying the national flag became popular in the 1830s because of a resurgence of patriotic feeling. The monarchy , however, disapproved and in 1834 private individuals were banned from flying the flag. Købke's painting indicates that the ban was not respected.
Parti af Østerbro (1836) _ This is a view of a street in Copenhagen in the morning light. It was painted only a few hundred meters away from the preceding picture, at the other end of the lake. It is early morning on the road through the hamlet of Østerbro. Fishwives with billowing green skirts have paused to they carry the catch in to market. Cows are ambling in the opposite direction to spend their day on the common. A peasant family in their best clothes are on their way into town in a cart drawn by two white horses with a load of hay in the back.. Købke has bathed the scene in the grey luminous light characteristic of his country, while pale morning sunlight picks out a variety of features, notably the brilliantly drawn cow skidding with fear in front of the oncoming cart. The artist's grandfather had a bakery at the end of the road which was burned down during the British bombardment of Copenhagen in 1807. His father worked as a baker in the citadel and the building features prominently in Købke early work. In 1833 his father moved the bakery out to Blegdammen, a short walk to the left of the road in this picture.
 
^ Born on 26 (25?) May 1868: Jules Alexandre Grün, French painter, illustrator, and poster artist who died on 15 February 1934.
— Grün was born in Paris, on 25 (26?) May 1868. He died of Parkinson's Disease, although the date of his death is debated. Some sources state that he died on 15 February 1934, while others, such as the Salon de Paris official documents claim 1938. Yet another source claims 1945. Grün was the student of Jean-Baptiste Lavastre, the famed theatrical decorator of the Paris Opera, and of Antoine Guillemet, a renowned landscape painter. Still life, portraits, and scenes of Parisian life were his favorite subjects. In 1890, his illustrations for Xanrof's Chansons sans Gêne (1890) and Chansons à rire (1891) made him the poet of the Bohemian element and the Montmartre atmosphere.
      His early life is virtually unknown, although we do know many of his accomplishments, as they are well documented in the annals of the Paris Salons and periodicals of the period. One turn of the century publication characterized him as follows: "Whoever sees Grün once will always re-examine it in his spirit: a Frenchman with a beard and a legendary baldness; eyes strangely clear and penetrating, and under the sensual curving nose, a mouth gushing forth with quick wit and good banter." For Grün, life and art merged; he was a painter because he liked the life, and because he needed to express his clear feelings, colored, alive of people and the things around them. As Théophile Gautier said, Grün was "a man for whom the visible world exists".
      In the mid-to-late 1930s, Grün became stricken with Parkinson's disease, which served to isolate him from society, and greatly diminished his artistic abilities. When he died one of the last of the great Belle Epoque poster artists was taken away from the world. His posters, full of life and of color, contributed largely to the rebirth of the lithography. With Chéret, whose name is inseparable in this field, Jules Alexandre Grün helped transform the scenic landscape of the Parisian streets at the turn of the century. Full and powerful, almost caricatural, and when he desired, delicate and exquisite. Grün, by his love of painting, and by the diversity of his gifts and subjects, was a complete artist.

LINKS
Fin de Souper (1913, 60x90cm; 622x1000pix, 174kb)
People in a Room (60x81cm)
Jean-Louis Forain (33x23cm; 640x459pix, 62kb) _ Forain [23 Oct 1852 – 11 July 1931] was a painter.
Albert Besnard (41x33cm;640x519pix, 68kb) _ Besnard [02 Jun 1849 – 04 Dec 1936] was a painter.
17 prints at Wet Canvas
 
^ Died on 26 May 1902: Jean-Joseph-Benjamin“-”Constant, French painter and printmaker born on 10 June 1845, specialized in Orientalism.
— Benjamin-Constant (as he called himself) was a leading painter of Oriental themes and a teacher of French academic painting. He spent his youth in Toulouse, where he studied at the Ecole des Beaux-Arts. A municipal scholarship enabled him to enter the Ecole des Beaux-Arts in Paris in 1866. By the following year he was a student in the Ecole de la Rue Bonaparte under the history painter Alexandre Cabanel, and he competed unsuccessfully for the Prix de Rome in 1868 and 1869.
      His first Salon exhibit, Hamlet and the King (1869), established his reputation as a colorist. Constant submitted a number of other traditional history paintings, such as Samson and Delilah (1872). During the Franco-Prussian War (1870–1871), however, he traveled to Spain, visiting Madrid, Toledo, Córdoba and Granada, where he came under the influence of the Orientalist painter Mariano Fortuny y Marsal.
      In 1872 Constant went to North Africa and stayed for two years, during which he was fascinated by the azure skies, colorful costumes and exotic beauty of the Moroccan people. Exotic harem women and dramatic quasi-historical subjects were the mainstay of Constant's output. — Constant's students included Ernest Leonard Blumenschein [26 May 1874 – 1960], Frank Dumond, William Horton, William Kendall, Caroline Lord, Granville Redmond, Guy Rose, Joseph Henry Sharp, Henry Ossawa Tanner, Sears Gallagher, Charles Courtney Curran, António Teixeira Carneiro, Carlos Baca Flor, Pedro Blanes Viale, Robert Brough, Józef Czajkowski, Paul Peel, Maurice Prendergast, Leo Putz, George Agnew Reid, José Veloso Salgado, Aurélia de Sousa, Henry Ossawa Tanner.

LINKS
The Entry of Mahomet II into Constantinople (1876 _ ZOOMable to 3390x2487pix, 4086kb)
— a different Entrance of Mohammed II into Constantinople (150x100cm _ ZOOMable to 2000x1319pix, 451kb, as above)
Arabian Nights (47x89cm; 528x1000pix, 111kb)
Contemplation (140x 93cm; 1000x648pix, 168kb)
Guarding the Chieftain (61x49cm; 1000x817pix, 260kb)
The Palace Guard with Two Leopards (100x62cm; 1000x585kb, 178kb)
L'Impératrice Théodora Au Colisée (157x133cm, 1189x1000pix, 232kb)
Herodiade (1881, 130x95cm; 1000x733pix, 203kb)
The Throne Room In Byzantium (101x74cm; 1440x1000pix, 247kb)
Paris Welcoming The World (42x66cm)
Mme M. S. Derviz
An Arab Woman (55x45cm)
–- Drying Clothes (900x708pix, 39kb) _ Unusual for Constant is this everyday scene of domestic work, the subject of which is a lowly woman. Her direct gaze may be a reflection of changing social perceptions in this period, whereby peasants were portrayed as proud and honest folk. The soft warm tones create an exotic languor which charm the onlooker with a dream of Eastern promise.
–- Afternoon Languor (88x70cm; 892x654pix, 85kb)
–- Arabe Assis (89x64cm; 892x626pix, 47kb)
–- Sur la Terrace (65x102cm; 510x848pix, 82kb)
—(070525)
^ Born on 26 May 1878: Spencer Frederick Gore, English painter who died of pneumonia on 27 March 1914.
Self-Portrait 1914, 41x31cm— He studied at the Slade School of Fine Art, London (1896–1899), where he met Harold Gilman, who became a close friend. In 1902 he visited Spain with another Slade contemporary, Wyndham Lewis, and two years later he visited Sickert in Dieppe. From that time on his work was influenced by French art, and Gore learnt much about Degas’s paintings through Sickert’s teaching. After Sickert’s return to London in 1905 Gore frequently accompanied him to music halls and made them the subject of several paintings, for example The Mad Pierrot Ballet, the Alhambra (1905) — {Any Gore gore to be seen?}
      As a founder-member of the Fitzroy Street Group, Gore came into contact with Lucien Pissarro, whose Impressionist method he adopted in his garden scenes and in The Cricket Match (1909). With Gilman and others he helped found the Allied Artists' Association and was also involved in the formation of the Camden town group in 1911. After seeing Roger Fry's Post-Impressionist exhibitions of 1910 and 1912, he was one of the first Camden Town artists to switch from an Impressionist-based technique to one that comes closer in appearance to stained glass. It is first seen in landscapes he painted at Letchworth in summer 1912, for instance in the insistent pattern-making in The Beanfield; he later gave way to the influence of Cézanne, employing a more complex orchestration of form following his move from Camden Town to Richmond, Surrey, in 1913. In 1912 he directed the mural decorations at the nightclub, ‘The Cave of the Golden Calf’.

LINKS
Inez and Taki (41x51cm) _ The title of this picture is the name of a double act Gore saw at the Alhambra Theatre of Varieties in Leicester Square. The couple are playing lyre guitars, an instrument common in the early nineteenth century, but by this date an eccentric choice. Gore was fascinated by the magic of the music hall, and frequently chose unexpected routines as subjects. He went to the theatre several times each week, and made sketches from his seat in the audience. Each composition required many visits to capture the precise moment of the performance. The edge of a balcony is seen here framing the composition, and this unusual perspective increases the odd atmosphere of the scene.
Rule Britannia (1910, 76x63cm) _ Gore was fascinated by the theatre, ballet and music hall, and from his seat in the audience he made sketchbook drawings on which he based paintings. Rule Britannia shows the finale of the immensely popular patriotic ballet Our Flag, which opened at the Alhambra Theatre of Varieties, Leicester Square, in December 1909. It starred the Danish ballerina Britta Petersen, shown here in her Union Jack tutu performing the final dance. Gore emphasises the unusual colors of the stage lighting, contrasted with the dullness of the auditorium.
Ballet Scene (1911, 38x28cm)
Mornington Crescent (1911, 63x76cm)
Applehayes (1909)
Houghton Place (1912, 51x61cm)
Letchworth (1912, 51x61cm)
 
^ Born on 26 May 1913: Gwendolyn Clarine Knight Lawrence, US painter and sculptor who died on 18 February 2005. Wife of Jacob Lawrence [07 Sep 1917 – 09 Jun 2000].
— She was born in Bridgetown, Barbados, the only child of Malcolm Knight and Miriam Knight. Her father died when she was 2. In 1920, she went with a foster family to St. Louis, Missouri, and then to New York City when she was 13. After graduating in 1930 from the Wadleigh High School for Girls, an integrated school in Harlem, she spent two years at the Howard University School of Fine Arts, where she was encouraged by her teachers but had to drop out because of the Depression.
      Returning to Harlem, she met the sculptor Augusta Savage, who became her mentor and obtained support for her from the Works Progress Administration. While taking classes at the Harlem Community Art Center she met Jacob Lawrence, whom she married in 1941. She followed him when he taught at Black Mountain College in Ashville NC; Brandeis University in Boston; and Skowhegan School of Painting and Sculpture in Maine. In 1949, when Jacob Lawrence was hospitalized with depression, she worked for a time for Condé Nast publications.
      In the early 1960's, the couple lived in Nigeria, whose native arts influenced Gwendolyn Knight. In 1971, they moved to Seattle, where Jacob Lawrence took a teaching position at the University of Washington School of Art and Gwendolyn Knight had her first one-woman exhibition in 1976.
      She had long been known as the wife of Jacob Lawrence, a leading visual chronicler of the experience of Blacks in the US, yet she began painting when she was young and was still setting out in new directions in old age. This was evident in her first retrospective, “Never Late for Heaven: The Art of Gwen Knight,” at the Tacoma Art Museum in 2003.
      Having devoted most of her career to oil portraits of friends, figure studies of dancers, and watercolor and gouache landscapes that seemed to be companion pieces to her husband's work, she suddenly began in the 1990's to draw horses and cats from memory, quick, lyrical sketches rendered as etchings and monoprints.

New Orleans (2002 screenprint, 41x36cm; 473x429pix, 93kb)
— (Woman in Armchair?) (242x223pix, 15kb)
Flutist #7 (1981 rough sketch; 400x291pix, 49kb).
 

Died on a 26 May:


^ 1851 Bertrand-Georges de Bayle, French artist born on 22 October 1788.
–- Still Life of Flowers (736x510pix, 41kb) —(070525)

^ 1821 Marie-Françoise-Constance Mayer-Lamartinière, French Neoclassical painter born in 1775, in Paris, the daughter of a successful government official. She first studied under J.-B. Suvée [03 Jan 1743 – 07 Feb 1807] (who left Paris in 1801) and Greuze [21 Aug 1725 – 21 Mar 1805], whose work she imitated closely. She exhibited principally portraits at the Salon 1796-1801. In 1802 she became the student of Prud'hon [04 Apr 1758 – 16 Feb 1823], to whom she dedicated the rest of her life, both as an artist and mate. She cared for his children (whose mother had become insane), while her work became inextricably involved with that of Prud'hon who would prepare compositions for her to paint and exhibit at the Salon under her own name. In 1810 (presumably on the death of her father from whom she inherited some 80'000 francs) she acquired a studio adjoining Prud'hon's in the Sorbonne. In 1821 the government requisitioned the Sorbonne and this threat to the ménage, combined with her highly-strung temperament, led her to take her own life in her studio. Prud'hon completed her last picture, Une famille dans la désolation, and showed it in the 1822 Salon under his name. When Prud'hon died he was buried with her at Père-Lachaise. — LINKS
Sophie Fanny Lordon (1820; 148kb)
The Sleep of Venus and Cupid (1806, 97x145cm; 800x1227pix, 118kb) This painting follows a drawing by Prud'hon.
Happy Mother

1785 Niccolo Guardi, Italian artist born on 09 December 1715. — Brother of Francesco Guardi [05 Oct 1712 – 01 Jan 1793] and of Gian Antonio Guardi [1698 – 23 Jan 1760]; first-cousin of Giandomenico Tiepolo [30 Aug 1727 03 March 1804].

1709 Bernardus van Schendel (or Schyndel), Dutch painter born in 1649.
–- An Interior with a Marriage Scene (58x69cm; 500x602pix, 26kb) with some adults coming in, strangely half the size of those celebrating. —(070525)

^ 1592 Dirck Barendsz., Amsterdam Dutch painter and draftsman born in 1534. He probably received his first training from his father Barend Dirckszoon van Brussel (or van Orley) [1488-1541], nicknamed ‘Doove’ (Deaf) Barend. In 1555 Dirck went to Rome and Venice, where he presumably worked for a while in Titian’s studio. Other Venetian artists, including Jacopo Bassano, also had an important influence on him. He returned to Amsterdam shortly before or during 1562, the year in which he married Agnies Florisdr., by whom he fathered at least eight children. He remained there for the rest of his life. He moved in cultivated circles and was an accomplished musician, mathematician and linguist. He introduced the Venetian style of painting to the Netherlands: strong colors and rapid, sketchy brushwork. Of his few surviving works there are two group portraits of members of Amsterdam’s civic guard: Fourteen Guardsmen of Squad G (1562) and The Perch Eaters (1566). Their lively compositions provide a welcome change from the stiff civic guard groups typically produced around that time in Amsterdam. The only dated portrait to survive is Dirck Jan Hendrickszoon (1567). — LINKS
Banquet of Eighteen Guardsmen of Squad L, Amsterdam aka The Perch Eaters (1566, 120x295 cm; 627x1600pix, 129kb) _ Eighteen men and one woman are gathered around a table. They are in the middle of a meal and have turned around partially to face the viewer. Their dress, a tabard and hat, reveal the diners to be militiamen, i.e. members of a civic guard.
     A tabard is a long mantle. It forms part of the traditional militiaman's uniform. Civic guard tabards were also known as a 'schutsrok' or 'pallure'. The second of the two names is a modification of the French word 'parure', which means an ornament or jewel. It is a reminder that these tabards were often richly decorated with embroidery and frequently highly colorful. Moreover, militiamen often wore badges with the symbol of their company on their sleeves.
     This is a 'rot', a squad of seventeen men of the Arquebusiers guild. Apart from the seventeen militia men, there is also the landlord and lady who are serving them. On the right a man without a hat is holding a piece of paper. This may be the artist himself. This painting is one of the earliest pictures of a militia banquet. In earlier militia paintings, which were narrower, the men usually stood in rows.
Menneskene i deres synd overrasket af Dommedag aka Den fortabte søn (122x166cm; 428x581pix, 47kb)
–- Elegant People at a Table Singing and Playing Music (1615, 121x176cm; 800x1188pix, 109kb _ .ZOOM to 1077x1600pix, 178kb) The original painting by Dirck Barendsz. is lost and only known through three copies, of which this is one.
–- Mankind Awaiting the Last Judgement (33x46cm; 700x972pix, 41kb) This is a 17th century copy after Barendsz.'s lost original (known through an engraving by Jan Sadeler). A number of differences exist between the present painting and the engraving, notably the inclusion of the woman playing the lute on the right of the composition, the caricatured man in profile close to the left margin and, at the back of the center of the group, the old lady, which is based (in mirror reversal), on the
      _ Grotesque Old Woman (64x45cm; 600x412pix, 28kb _ Java Zoom, 504kb) of Quentin Metsys [1465-1530], itself based on a drawing after Leonardo da Vinci probably intended to satirize old women who try inappropriately to recreate their youth, rather than as a portrait of a specific person.
     _ The title ought to be The Last Judgement Awaiting Mankind... and Not For Long, as the people shown are not awaiting the Last Judgement, but ignoring what awaits them in it, as it approaches (already started in the background, on the right) as they carry on activities likely to get them damned: carousing in a banquet in the foreground, and fighting a battle in the background on the left.
Venetian Ball (drawing; 559x800pix, 149kb) _ detail (904x2000pix, 240kb) —(070525)


Born on a 26 May:


^ 1913 José Vela Zanetti [–04 Jan 1999], pintor y académico español. nacido en Milagros (Burgos) y muerto en Burgos el 04 January 1999. Estudió Bellas Artes en León. En 1931, bajo la orientación de Manuel Bartolomé Cossío y como discípulo de José Ramón Zaragoza, inició su formación pictórica. En 1933 obtuvo una beca de la Diputación de León para estudiar en Florencia (Italia). Realizó sus primeras exposiciones y murales en León. Al finalizar la Guerra Civil abandonó España, adonde no volvió hasta 1962. En este transcurso de tiempo residió en diversas ciudades latinoamericanas y en Nueva York.
— mural Mankind's Struggle for a Lasting Peace (1953, 350x2000cm) at United Nations headquarters:
     _ central detail: builders (768x1024pix, 279kb)
     _ detail: a boy and 2 large forearms (851x1280pix, 736kb _ .ZOOM to 1489x2240pix, 188kb) on the right —(080526)

^ 1898 Max Gubler, Swiss painter who after 1957 suffered from mental disease, stopped painting after the death of his wife in 1961, and died on 29 July 1973, having spent his last years in a hospital. — I had wondered whether he ever painted a turkey. Searching for examples of his artwork on the Internet had turned out to be a wild goose chase for me, so I didn't know whether there is a Gubler gobbler. But I received a 14 September 2003 e-mail from the Wilds of Zürich (not “the wilds of Zürich” which, to my knowledge, have long ago disappeared and given way to an advanced civilization capable of fine fowl line distinctions, but Urs and Eva Wild who live in very urban and urbane Zürich) ... well... the message exclaimed: “Not a turkey but many Pheasants !!!!!! : http://www.maxgubler.ch/large/max_gubler_l_2155.jpg ”. Well, judge for yourself; if you think that it is a turkey, wild or not, you are entitled to your opinion.
     The Wilds also indicated the Gubler web site. It includes a biography and images of many paintings, from Landscape (Burghoelzli) (1917, 59x74cm; 473x592pix, 26kb) to Hanging Pheasant (1957, 114x118cm; 592x450pix, 35kb)
Lying Pheasant (1957, 88x116cm; 420x592pix, 30kb) — Lying Pheasant (1957, 97x130cm; 444x597pix, 48kb) — Lying Pheasant (1957, 50x61cm; 444x552pix, 50kb). In my opinion, those lying pheasants are not lying about being pheasants, nor is the hanging one; but, again, if you want to call them Gubler gobblers, that is your privilege

^ 1893 Vilhelm Henry Lundstrøm, Danish artist who died in 1950.
Figurgruppe omkring et bord (1927, 190x260cm; 365x500pix, 36kb) _ 1920’ernes europæiske kunst var præget af søgen efter et enkelt og monumentalt formsprog. Fra midten af årtiet blev også Vilhelm Lundstrøm grebet af idéen om ”simpelhed og malerisk orden”. De fire personer, der sidder omkring et bord, er defineret ved enkle geometriske former, kraftige konturer og neddæmpede farver. Hovederne er som æggeskaller, hvor hverken næser eller ører bryder de perfekte, glatte former. Der er ingen kontakt mellem personerne, kun stilhed. De er næsten som de opstillinger eller nature morter, som Lundstrøm også malede.

^ 1874 Ernest Leonard Blumenschein, US painter who died in 1960, specialized in the US West. He studied under Benjamin-Constant and Jean-Paul Laurens — {Did he give a bluish tinge to his portraits, thinking that blue men shine?}— LINKS
The Lake (61x69cm)

1850 Amélie Helga Lundahl, Swedish French artist who died on 20 August 1914.
Höstfantasi (572x400pix, 49kb)

^ 1846 Eduard von Grützner, German artist who died on 02 April 1925. The village parson was the first to recognize and encourage Eduard von Grützner's artistic interests. By sending him to Hermann Dyck's private school in 1864 he enabled Grützner to study drawing in Munich. Other teachers were Hiltensperger and Stähuber. In 1865 Grützner finally joined Anschütz' painting class at the Akademie. He also sought advice and ideas with Piloty before being accepted in his class in 1867. Three years later he left the Akademie and moved into his own studio. Beginning in his student years - with his student work "Im Klosterkeller" - he soon specialized in depicting monastic life. His popular scenes depict the merry atmosphere in cellars, kitchens and alehouses in a humorous and anecdotal manner. Among Piloty's students Grützner was one of the more traditional artists - in his style as well as his palette - like Franz von Defregger and Eduard Kurzbauer. Grützner was appointed professor at the Munich Akademie in 1886. Apart from his monastic pictures Grützner also produced a Falstaff-cycle, theater and hunting scenes and affectionately detailed interior studies, which he often included in his monastic scenes. He also worked as a free-lance illustrator, caricaturist and graphic artist. Grützner died in Munich.
Szene aus Goethes Faust (1897, 75x100cm; 472x640pix, 34kb)
Stilleben mit Blumen (350x292pix, 33kb)

^ >1840 Alfred Wordsworth Thompson, US painter who died on 18 August 1896. — LINKS
–- The Brook (502x799pix, 44kb)
The Garden at Monte Carol (1877, 49x82cm)
Life on the Towpath (1881) —(070525)

^ 1814 Albertus Steenbergen, Dutch painter who died in 1900.
Still life of roses, opium poppies, etc., in terra cotta vase on a ledge (1844, 77x64cm; 480x402pix, 17kb) —(060525)

1787 (26 March?) Franz Steinfeld, Austrian painter who died (main coverage) on 05 November 1868. —(060525)

^ 1759 John-Nost Sartorius, British painter, specialized in hunting pictures, who died in 1828. — LINKS
The Kill (1808, 71x92cm)
Fox Hunting (1781, 67x122cm)
A Chestnut Hunter Tethered to a Fence (1779, 33x44cm)
A Gentleman and his Bay Hack (1788, 51x61cm)
A Horse and Carriage in a Landscape (43x54cm)
Full Cry (50x68cm) with 5 riders, many dogs, and some trees.
— very different Full Cry (34x43cm) with no foreground riders, only two dogs, and no trees.
Looking For The Scent (50x68cm) {looking? not sniffing?}
Setting Out (50x68cm)


Happened on a 26 May:


1919 Se organiza una gran exposición en Berlín con obras del pintor Lyonel Feininger [17 Jul 1871 – 13 Jan 1956]. —(080526)

^ 1573 On the inland lake of Haarlemmermeer the Dutch and Spanish navies meet in battle. It is in the middle of the Dutch Revolt against Spain. Much later, Battle of Haarlemmermeer, 26 May 1573 (1621, 190x268cm) is painted by the Haarlem artist Hendrick Vroom [1563 – 02 Feb 1640 buried], a specialist in portrayals of ships and naval engagements. The Spanish ships — identified by the flags with a red cross — are sailing before the wind from the right. Meanwhile, the ships of the Sea Beggars are approaching from the left. They were badly equipped and were eventually forced to retreat. That battle occurs during the Eighty Years War (1568-1648) in which the Dutch fought off Spanish rule and which led to the foundation of the Dutch Republic, which comprised the seven northern United Provinces of the Netherlands (Friesland, Gelderland, Groningen, Holland, Overijssel, Utrecht, Zeeland), the Southern Netherlands remaining loyal to the Spanish king. The division of the Netherlands also led to a religious split. While the south remained Catholic, the northern provinces tolerated different denominations, with the Protestant Dutch Reformed Church as the official church of the Republic.
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