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ART “4” “2”-DAY  28 May v.8.40
^ Born on 28 May 1810: Alexandre Calame, Swiss painter, draftsman, and printmaker, specialized in Landscapes, who died on 17 March 1864. — {Did his critics refer to his paintings as “calameties” ?}
— He studied under François Diday in Geneva and then traveled to Paris (1837), to the Netherlands and Düsseldorf (1838), to Italy (1844) and to London (1850). Despite his frail health he spent each summer painting in the mountains of the Bernese Oberland and central Switzerland, where he produced the drawings and studies from nature that were later used in his studio compositions. A fervent Calvinist, he saw his subjects, the grandiose forces of nature, stormy summits and torrents as well as calm lakes, as expressions of Divine power. He enjoyed success during his lifetime, partly due to a firm adherence to a conventional landscape painting tradition. Among his best-known pictures are Storm at Handeck (1839), Sunlight on the Upper Alps of the Valais, Opposite the Range of Mont-Rose (1844), Ruins of the Temples of Paestum (1847), and Lake of the Four Cantons (1855). Calame also left a large number of prints, notably lithographs, and a quantity of drawings.
— Calame was born at Vevey in the canton of Vaud, the son of a marble carver. In 1813 the family moved to Neuchâtel, then under Prussian government, where Calame spent his boyhood, marred by an accident in 1820 that cost him the sight of one eye. Following his father's bankruptcy, the family settled in Geneva in 1824, where young Alexandre found employment as a bank clerk.
      The death of his father in 1826 left him, at sixteen, as his and his mother's sole support. To supplement his income and to pay the debts left by his father, he colored engravings of Alpine views for the print trade. A kindly employer, sensing some talent in the boy, provided him with a small stipend that enabled him to take lessons in Geneva from the painter François Diday [1802-1877], a specialist in Alpine landscapes.
      From 1829 Calame began to produce watercolors of his own composition, and from 1830 his first, timid paintings in oil. Extremely hardworking, he made rapid progress. Married in 1834 to a musician, Amelie Muntz-Berger, a student of Franz Liszt, he first exhibited at the Paris Salon in 1835 and in 1837 visited Paris, where he familiarized himself with the work of such contemporary landscape painters as Jules Dupré [1811-1889] and Théodore Rousseau [1812-1867].
      In the summer of 1838 Calame traveled in Holland, gathering impressions at The Hague and in Amsterdam of the work of the great Dutch landscape painters, among whom Jacob van Ruisdael [1628-1682] particularly affected him. The following year, his Storm at Handeggfall, much noticed at the Paris Salon, won him a second-class gold medal. Hereafter Calame rapidly gained wide recognition, rising from a first-class gold medal at the Paris Salon of 1841 for View of the Valley of d'Asarca, and the purchase of this picture by King Louis-Philippe, to the award of the Légion d'Honneur for Storm-Beaten Oaks (Waldstetten) following the Salon of 1842.
      Students from all parts of Europe now began to flock to his studio. His tour of Italy, undertaken in 1843 with a retinue of his disciples, was immortalized by Rodolphe Toepffer in Voyage en zigzag (1844), one of the classics of the romantic illustrated book. By 1845 Calame was considered to have surpassed his teacher, Diday, in what was their shared speciality, grand Alpine views under stormy skies. Charles Baudelaire, in his review of the Salon of 1845, joked that once it had been thought that a single artist of split personality hid under the names of Diday and Calame, but since then "it was noted that he used the name Calame on the days when his painting went well."
      The large exhibition pieces that spread Calame's name throughout Europe were composed according to a scheme that called for foregrounds of rock, torrents, and windswept pines beyond which the view opened on distant vistas of towering mountains, a formulaic arrangement that he enlivened with sharply observed details taken from close nature study.
      Extensive voyages took Calame to England (1850), Germany and the Netherlands (1852), and the Mediterranean (1853). An exhibitor at the Paris Universal Exposition of 1855, he was distinguished by Napoléon III who purchased his Lac des quatre cantons. Despite the provinciality of his milieu and the almost exclusively Swiss subject matter of his art, Calame achieved a surprising degree of international recognition, attested by his election to eight national academies and an abundant harvest of honors and decorations from the courts of Russia, Prussia, Belgium, and Holland; only the French critical press persisted in ignoring him.
      In the last years of his life, his productivity was taxed and his frail health strained by the many commissions that came to him from a large aristocratic and commercial clientele. Deeply religious, of taciturn and melancholy temperament, compulsively industrious, Calame suffered frequent illnesses and aged prematurely. A bout of pleurisy contributed to his death in Menton, France.
— Calame's students included Gustave Castan, Arnold Corrodi, Robert Zünd, Alfred De Knyff.

–- L'Arbre Abattu (1845, 25x41cm; 538x906pix, 60kb)
   _ détail 1 (580x775pix, 56kb) _ détail 2 (585x780pix, 63kb) _ détail 3 (577x780kb, 42kb)
Souvenir du Pilst (600x855pix, 179kb _ ZOOM to 1400x1995pix, 488kb)
Torrent De Montagne (1853, 86x121cm)
Étude de Paysage (1851, 33x44cm)
Une Ferme au Flanc d'une Montagne (32x51cm)
L'Éboulement (125x170cm)
Genève vue du Petit Saconnex (1834; 99kb)
Paysage avec Chênes (1859; 140kb)
^ >Died on 28 May 1749: Pierre Hubert Subleyras, French painter born on 25 November 1699, specialized in Historical Subjects.
— Subleyras settled permanently in Rome after winning the Prix du Rome in 1727. He painted a variety of subjects, including portraits and still-lifes, but he is most highly regarded for his religious paintings, which are much more serious in spirit than most French work in the Rococo period. His most famous work is the Mass of Saint Basil. This huge picture was highly acclaimed when it was unveiled in 1748, but Subleyras died before he could follow up his success. He has subsequently been something of an underrated figure, but is now acknowleged to be one of the outstanding French painters of his period.
— Rome, 28 mai 1749 D'une famille d'artisans catholiques originaires du Vaucluse, venus à Uzès pour travailler à la restauration de la cathédrale, Pierre Subleyras naquit à Saint-Gilles-du-Gard alors que ses parents avaient fui temporairement devant la recrudescence des conflits religieux. Son père, peintre, lui enseigna les premiers rudiments, mais son talent précoce, reconnu par le duc d'Uzès, le fit envoyer en 1717, à Toulouse dans l'atelier d'Antoine Rivalz, qui, revenu d'Italie, admirait Poussin et les Bolonais. Il travailla quelques années auprès de celui-ci avant d'aller à Paris où, élève de l'Académie Royale, il obtint du premier coup le Grand prix en 1727. À l'Académie de France à Rome il eut pour directeur Nicolas Vleughels qui lui apportait l'influence de Watteau, mais les rapports des deux hommes furent difficiles, et compliqués par l'admiration que l'ambassadeur, le duc de Saint-Aignan, portait au jeune artiste, lui permettant de rester "pensionnaire" au-delà des délais habituels et lui demandant de nombreux tableaux. Par son mariage avec une miniaturiste, Maria-Felice Tibaldi, fille d'un musicien réputé, Subleyras fut introduit dans le monde ecclésiastique, ce qui lui valut de nombreuses commandes : La cène chez Simon du couvent d'Asti des Chanoines réguliers du Latran (Paris, Louvre), tableaux pour les Olivétains de Pérouse, pour les Hiéronymites de Milan, et, pour les Camilliens, décorations pour la canonisation de saint Camille de Lellis. Après qu'il eut fait le portrait du pape Benoît XIV, le couronnement de sa carrière fut l'exécution d'un très grand tableau, La messe de saint Basile, pour la basilique de Saint-Pierre où l'on admire la monumentalité de sa peinture alliée au réalisme, qui avait fait de lui un remarquable portraitiste.

Mass of Saint Basil (1743, 133x80cm) _ This painting is a large-size model for the altarpiece made for St. Peter's. This altarpiece is the masterpiece of the artist.
Portrait of a Man (1745, 74x61cm) _ The sitter is believed to be Giuseppe Baretti.(holding an open book, making Mea Culpa gesture.)
The Studio of the Painter (1749) _ The man at the left must be the artist, holding a self~portrait (different from the self~portrait available on the Internet). At center left, on the floor is the Mass of Saint Basil. The lowest painting at the extreme right on the wall is the portrait of pope Benedict XIV.
Le Sacre de Louis XV (205x 255cm) _ Exécuté sur un dessin d'Antoine Rivalz, dont il était l'élève, ce Sacre de Louis XV est considéré comme la première oeuvre toulousaine de Subleyras. Si l'invention revient bien sûr à Rivalz, qui était alors certainement l'artiste le plus coté de Toulouse, Subleyras y exprime déjà son talent, en particulier dans les parties supérieures de la scène, moins soumises aux contraintes de la représentation d'un événement d'une telle importance. Ainsi, les acteurs principaux paraissent figés dans des attitudes très solennelles et un peu raides, alors que tout l'art de Subleyras s'exprime dans les spectateurs des tribunes : la couleur y est plus subtile, et la touche plus légère. Une lumière dorée éclaire les personnages qui, pour la plupart, se désintéressent de la scène du sacre. Subleyras a su apporter une pointe d'humour dans la représentation de ces spectateurs : le deuxième en partant de la droite semble incommodé par une odeur, puisqu'il se bouche le nez. Le contraste est saisissant avec les protagonistes du premier plan. Sur ces derniers, le génie du peintre s'exprime néanmoins dans la richesse des draperies, en particulier dans le détail des manteaux dorés des hauts dignitaires de l'Eglise qui entourent le jeune roi. Cette oeuvre, malgré les contraintes qui ont pesé sur Subleyras, est annonciatrice du talent de celui que ses contemporains surnommaient le "Poussin moderne", et qui fera l'essentiel de sa carrière à Rome.
Pope Benedict XIV (125x98cm) (1741) painted shortly after the sitter's accession to the papal throne. Given to the Sorbonne by the Pope “as a measure of his esteem” in 1757. Confiscated during the Revolution. Numerous replicas of this portrait exist. In 1740 Prospero Lambertini [1675-1758] became the 245th Pope and took the name of Benedict XIV. He recognized the kingdom of Prussia.
Jacques-Antoine de Lironcourt (presumably) (1745, 74x61cm) _ The sitter is no longer thought to be the critic Giuseppe Baretti [1719-1789].
Les oies du frère Philippe (1736, 30x23cm) _ Ce tableau illustre un conte de La Fontaine: un veuf, entré dans les ordres, avait élévé son fils dans l'ignorance des femmes jusqu'au jour où celui-ci questionne : "- Qu'est-ce là ? ... - C'est un oiseau qui s'appelle oie” lui répond-on. - “Menons-en une en notre bois, j'aurais soin de lui plaire".
L'Ermite (1732, 30x23cm) _ Ce tableau illustre un conte de La Fontaine: une mère offre sa fille à un ermite qui feint l'indignation sans pouvoir masquer son désir. Il lui fera un enfant.
Le Faucon (1735, 35x28cm) _ Illustration d'un autre conte de La Fontaine: Clitie réclame pour son fils malade le faucon de Frédéric qui, fou d'amour, s'est ruiné pour elle et vient de sacrifier l'oiseau, son dernier bien, pour leur repas. Attendrie, elle l'aimera de retour.
Caron passant les ombres (135x83cm; 1264x760pix, 91kb) _ La barque de Charon traverse le Styx pour amener les âmes en Enfer. Subleyras témoigne, dans cette oeuvre, d'une parfaite maîtrise du traitement des nus et des drapés.
The Vision of Saint Ignatius of Loyola (600x816pix)
A Woman (600x444pix)

Died on a 28 May:

2007 Jörg Immendorff [14 Jun 1945–], German painter, sculptor, stage designer, and art professor. He studied at the Art Academy in Düsseldorf (Kunstakademie Düsseldorf) under Joseph Beuys. The academy expelled him because of some of his political and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main; since 1996 he has been professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student. His paintings are sometimes reminiscent of surrealism and often use heavy symbolism to convey political ideas. He was a member of the German art movement Neue Wilde. Best known is his Café Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in it, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden (in East Germany). In his most recent work, a "painter monkey" often appeared, as an ironic commentary on the artist's business. He named one of his first acclaimed works Hört auf zu malen! ("Stop painting!") — LINKS
Café (1990, 140x160cm; 1728x2356pix,2951kb)
Café Deutschland 1 (1978, 280x320cm; 653x756pix, 101kb)
Café Deutschland 2 (1978, 290x290cm; 715x713pix, 101kb)
Café Deutschland 4 (1978, 282x330cm; 777x925pix, 177kb)
Café Deutschland - Caféprobe (1980, 280x350cm; 638x806pix, 114kb) _ The provocative rhetoric and the bold ideological orientation of Immendorff's Rechenschaftsberichte gives way to a subjective perspective of involvement, which from 1978 onwards can be observed throughout his wish and reality epic of his Café Deutschland series. inspired by Renato Guttuso's Caffé Greco, which he had seen at the 1977 exhibition of the artist's work in Cologne, Immendorff shapes the conceptual building blocks with which he will subsequently construct his first great cycle of pictures. Apart from the initial picture Café Deutschland Grenze [Café Deutschland Border] of 1977, the series comprises numerous sketches and gouaches, such as Hallo Guttuso, in which the stage has already been set for the café. With Café Deutschland, Immendorff designs a fictitious East West German area of action constructed according to the rules of perspective; this area of action is presented as the garishly drab interior of a New Wave bar reminiscent of the Ratinger Hof in Dusseldorf or the Dschungel in Berlin. In these works, Immendorff renders himself and his heroes, encircled by the ghosts of history, as symbolic stereotypes and parallel scenarios deal with the real walls - and with those in their heads. Or he creates visions, concrete utopias, such as Café Deutschland I of 1978, which he paints to the same format as Guttoso's Caffé Greco (282 x 330 cm). Immendorff, in the middle foreground, stretches his open hand out through the wall in an act of conciliation, while Schmidt and Honecker paint inter-German trade and mutual recognition onto the German flag, smiling their mask like smiles. Even as a convinced visionary, Immendorff remains a self critical realist. In Café Deutschland III, Schmidt scrambles away on all fours, Honecker hides under the divided flag, while Immendorff himself has fallen asleep in front of the last fragments of the ruined wall. Above the dance floor, on which the apolitical disco youth is cavorting wildly, an aggressively hissing federal eagle with a VW Golf in its claws is about to fly off to the East. Immendorff, in another role in this picture, stands his ground against the eagle with a raised cudgel in his hand. Only Bertolt Brecht, who was a quiet observer in Café Deutschland I seems to enjoy the privilege of waving some candles, symbolizing recognition of the true state of affairs, around his head - a broad hint at the dishonest celebration of Brecht: for his eightieth birthday candles were lit on both sides of the wall. The three-dimensionally modeled gallery pillars, which rise as West East towers in the right and left foreground, represent the protest-singer/songwriter Wolf Biermann hitting an East German over the head with a guitar, while on the other side his pale Western colleagues from the telephone tapping service are tied up in their own telephone wires. Immendorff's Café Deutschland pictures teem with associations and hints, various meanings and parallel sequences of action lacking any spatial or temporary logic, which only evoke a unified mood, the penny only drops when these works are observed more closely. New metaphors are introduced, such as the East West bracket, the Brandenburg Gate with its four horsed chariot or the table walled down the middle, which can all be interpreted as a seam, an interface between two block systems, the fossilized situation of a divided Germany. Emblematic symbols of the power of the state, such as the Nazi cross, the hammer and sickle or hammer and compass and the heraldic eagle, are employed literally, sometimes in a fragmentary manner, or metonymically deconstructed as real tools (cf. Café Deutschland I), or they are transformed into an ice shape. In Immendorff's pictures, the fantasy of the observer can reconstruct the appearance of the world in relation to a subjective logic, which does not always have to be a personal one. In his 1978 series of gouaches with the ironically didactic title Café Deutschland für Leser [Café Deutschland for readers], Immendorff presents a decoding system for those symbols whose meaning extends beyond a standardized, subjective comprehension. But by repeating the same motifs he can also check the effectiveness of these symbols for himself, symbols with which he constantly experiments and uses in new combinations. By contrast, a trace of uncertainty is intended. 'Of course I sometimes want to make my work inaccessible. I would like it to become more difficult. That's good for head, heart and soul'. In the Café Deutschland scenarios, Immendorff does not restrict himself to a single architectural recurring theme; the viewer's perspective also varies. Sometimes he rearranges the furniture, as in Café Deutschland X - Parlament I or shows only an enlarged detail, as in Café Deutschland V, in which he places his sculpture ensemble Situation and Position at the center of the picture. In the 1982 works Café Deutschland XIV to XVI he abandons spatial relationships almost completely, at best hinting at them by means of fragmentary reminders, such as the round tables or a piece of the hall floor of the original Café filling the picture with his main motifs, the Quadriga [Four horsed chariot], the Schwarzer Stern [Black star] and the Scholle [ice floe]. This is basically an exploration on canvas, over several years, of a situation in an interior; the variations on the same theme are comparable with a basic beginners' course culminating in the examination. In the works dating from 1977 to 1983, whose main theme is the Café Deutschland, thickly applied, broken colors in various nuances of light and shade predominate; pure, brilliant, unmixed colors are nowhere to be seen. The diluted synthetic resin paint applied in several layers results in a smooth, almost textureless surface. Immendorff paints fast. Sections painted in generous, broad brush strokes which become almost unrecognizable, pure allusion at the edges, are combined with details applied with almost draftsmanlike precision.
Solo (1988, 150x200cm; 766x567pix, 120kb) —(080527)

1968 Cornelis Theodorus Maria Kees van Dongen, French painter born (full coverage) on 26 January 1877. —(070527)

1921 Conrad Kiesel, German painter born (main coverage) on 29 November 1846. —(070527)

^ 1885 Francis John Williamson, US painter born in 1826. — Relative? of Daniel Alexander Williamson [1823-1903]?
Marbletown, Ulster County, New York (51x41cm)
A Scene near Hurley, New York (1868)
East Farms (1868)
Sioux Burial Ground (1859)
Landscape with Cliffs
Steamer St. John Coming Out of a Fog
–-S*> Ruins at Sunset

1794 Elizabeth-Georgina van Hoogenhuyzen, Dutch artist born in 1776. — {Not to be confused with Piigenhuyzen, Poorkenhuyzen, Swiinenhuyzen, or Soowenhuyzen.}

^ 1755 Frans Xaver Hendrik Verbeeck, Antwerp Flemish artist born on 21 February 1686.
Elegant Company Playing Music in an Interior (26×33cm; 299x400pix, 30kb) _ A group of men and women sit and stand around a table singing and playing lute, tambourine and fiddle. Some are elegantly dressed, but others seem more rustically dressed, as if the servants have been brought in to make up the numbers. Opposite them a man seated plays an ambiguous pipe with a widely flared bell, a shepherd musician like those depicted by David Teniers (father and son).

^ >1748 Ignaz Stern “Stella” [17 Jan 1679–], German painter.
–- Saint John Nepomucene (172x123cm, 900x642pix, 57kb _ .ZOOM to 1575x1123pix, 128) _ John Wolflin [1340 – 20 Mar 1393] was born at Nepomuk in Bohemia. He became a priest and the confessor of queen Johanna [–1389], wife of king Wenceslaus IV of Bohemia, who hated John of Nepomuk for having refused to reveal what the queen had said in confession. Later John Nepomucene became vicar-general and ratified the election of an abbot, which king Wenceslaus IV, abusing his power, had prohibited. For that he had John Nepomucene imprisoned, tortured starting on 04 March 1393 and finally drowned in the Moldau river. John Nepomucene was canonized on 19 March 1729 and is the patron saint of Bohemia. The painting shows him being taken up to Heaven by angels and given the palm of martyrdom.
–-S*> The Deposition (68x50cm; 510x371pix, 37kb) _ The figure of Joseph of Arimathaea, depicted supporting the body of Christ, is inspired by The Entombment (image of a preparatory study) by Federico Barocci [1535-1612].
–-S*> Guardian Angel (26x19cm oval)
–- The Penitent Magdalene (86x65cm oval; 600x450pix, 27kb)
Cardinal Francesco Landi Pietra (B&W image of painting) Landi Pietra [09 July 1682 – 11 Feb 1757] was a Holy See lay bureaucrat who received Holy Orders in quick succession from minor orders (20 Aug 1741) to priesthood (08 Sep 1741) to episcopate (12 Nov 1741) and was made a cardinal on 09 September 1743. —(080527)

1723 Willem Grasdorp, Dutch still life painter born (main coverage) on 15 October 1678. —(070527)

Born on a 28 May:

1853 Carl Olof Larsson, Swedish painter who died (full coverage) on 22 January 1919. —(070121)

^ 1833 Felix-Auguste-Joseph Bracquemond, French Art Nouveau printmaker, designer, painter and writer, who died on 27 October 1914. From a humble background, he set out on an artistic career after meeting the painter Joseph Guichard, a pupil of Ingres and Delacroix, who was to be his only teacher. He was brought up by a philanthropist friend of Auguste Comte, Dr. Horace de Montègre, whose portrait he drew in pastel in 1860. Comte’s positivist philosophy was a considerable influence on Bracquemond’s aesthetic ideas. From 1852 he exhibited at the Salon both drawn and painted portraits in the style of Ingres, for example Mme Paul Meurice, but he gave up painting after he married Marie Quivoron-Pasquiou [01 Dec 1840 – 17 Jan 1916] on 05 August 1869. — LINKS
Vue du Pont-Neuf (26cm diameter round design for a plate; 785x785pix, 93kb _ ZOOM to 1404x1404pix, 351kb) sketchy
Steamboat on the Seine (26cm diameter round design for a plate; 785x785pix, 121kb _ ZOOM to 1404x1404pix, 326kb) sketchy
Edmond de Goncourt (1882 etching, 51x34cm; 1/3 size, 27kb) _ Edmond de Goncourt [26 May 1822 – 16 Jul 1896] was, after an unsuccessful attempt at being an artist, a French writer famous for his legacy, the Académie Goncourt, and for the Journal which he continued alone after the death of his brother and co-author Jules de Goncourt [17 Dec 1830 – 20 Jun 1870].
–- Eugène Delacroix (1863 etching 8x6cm; 3/2 size, 15kb) — (060527)

^ 1811 Jean-Paul Flandrin French painter and lithographer, who died on 08 March 1902. He was the son of Jean-Baptiste-Jacques Flandrin [1773–1838], an amateur painter who specialized in portraits, and the brother of Auguste Flandrin [06 May 1801 – 30 Aug 1842] and Hippolyte Flandrin [23 Mar 1809 – 21 Mar 1864] . Always very close to his brother Hippolyte, Paul followed much the same training, studying under Legendre-Héral, Magnin and Duclaux. Like Hippolyte, he was taught lithography by Auguste. He studied at the École des Beaux-Arts in Lyon (1826–1828) and in 1829 moved to Paris, where he enrolled in the studio of Ingres[1780-1867]. The two brothers soon became Ingres’s favorite students, and in 1832, the year that Hippolyte won the Prix de Rome, Paul won a prize for historical landscape, though he failed in the Prix de Rome competition the following year. Finding the separation from his brother painful, in 1834 he moved to join Hippolyte. Once in Rome, he soon discovered his vocation as a landscape painter. Ingres arrived as Director of the Académie de France in 1835, and Paul, among other artists, received a commission to make copies of the works in the Vatican. Although not a prizewinner, he was closely connected with the Villa Médici and often accompanied the students on their trips to the country. In 1837, fleeing a cholera epidemic in Rome, Paul and Hippolyte visited Padua, Venice, Verona, Mantua, and other places. Joined by Auguste in 1838, the three brothers visited Livorno, Milan, Pisa and Florence.
I penitenti nella campagna romana (1840, 98x132cm)

^ >1802 Theodor Leopold Weller, Mannheim German genre painter who died on 10 December 1880. — {Did Weller paint well? Did anyone paint Weller?}— He received his formal art training at the Munich Academy under Professor Peter Van Langer. In 1825, Weller went to Rome, where he lived from until 1833 and again from 1840 to 1848, and continued his studies at the Beaux Arts Academy. He also worked in Mannheim as royal painter. In 1851, Weller was appointed director of the Munich Academy, a position he held until his death.
–-S*> Hide and Seek (1846, 63x53cm.; 900x754pix, 91kb) played by two young children in the skirts of their mother.
–-S*> Die Entenverkäuferin (1835, 43x35cm.; 1138x900pix, 182kb) shows a young woman with two live ducks to sell, but no buyer.
Mädchen mit Lamm auf dem Arm (32x24cm; 800x607pix, 41kb) _ detail (656x531pix, 51kb) heads of the girl and of the lamb
Italian Family (44kb) _ detail (39kb)
The Hermit of Terracina Distributing Alms (1848, 67x81cm)

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