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ART “4” “2”-DAY  05 November v.9.a0
^ Born on 05 November 1751: Friedrich-Heinrich Füger, Austrian painter, who died on 08 December 1818.
— Füger was a fahionable portraitist and respected master of his period. As director of the Academy in Vienna he guarded the rigid system of Classicism against the new tendencies. He was the master of several Hungarian painters and he worked in Hungary, too. He executed portraits for the Haller family and altarpieces for Pannonhalma.
— At the age of eight he was already painting miniature portraits. In 1764 he entered the Hohe Karlsschule in Stuttgart and received drawing lessons from Nicolas Guibal. Overawed by the great historical paintings in the ducal gallery, he lost heart and moved to Halle to study law; but in 1771 public demand for his miniatures encouraged him to return to painting, and in that year he moved to Leipzig, to the school of Adam Friedrich Oeser, where he became acquainted with Classical art. Returning from this two-year training, he was introduced to the works of the Italian Renaissance by Guibal. His fresh and natural miniature portraits on ivory remained in demand; portraits of his parents (1774) also date from these years. During a stay in Dresden, Füger met the British Ambassador, Sir Robert Murray Keith [1730–1795]. In 1774 he followed him to Vienna, where Keith organized numerous portrait commissions at the Austrian court.
— The students of Füger included Eustatie Altini, Moritz Michael Daffinger, Peter Krafft, Leopold Kuppelwieser, Johann Baptist Lampi, Julius Schnorr von Carolsfeld, Joseph Karl Stieler, Martin von Wagner.

Selbstbildnis (print; _ ZOOM)
Selbstbildnis mit dem Bruder Gottlieb Christian aka Der Künstler und sein Bruder am Flügel (1768 print, oval)
Prometheus brings Fire to Mankind (1817, 221x156cm; 2500x1751pix, 4130kb) _ Aeschylus structured the Prometheus legend as a tragic trilogy. As the son of a Titan and a powerful goddess, Prometheus held an intermediary status between god and humankind. According to myth, he created human beings, and was thus the archetypal visual artist. Against the will of the gods, Prometheus secretly lit his torch on the sun chariot and endowed his creatures with the spark of life. Füger presents Prometheus as a victor over the arrogant tyranny of the gods. He holds the flame to the heavens in triumph. Only the finger at his lips indicates the secretive nature of his deed. At his feet rests a creature devoid of life’s warmth. A cold green indicates the lifeless material. Füger’s Prometheus marks the end of the 18th century. The clear formal language of Classicism has replaced the excesses of the Baroque and the sweetness of Rococo art. Füger brings sculptural qualities to his mastery of this monumental format. The powerful figure of Prometheus is reminiscent of the colossal statues of the Monte Cavallo horse tamers in Rome
János Batsányi (1808, 68x51cm) _ János Batsányi [09 May 1763 – 12 May 1845] was Hungary's leading political poet of the age of Hungarian Enlightenment during the French Revolutionary and Napoleonic periods, and he was a member of the Hungarian Academy of Science. His political poetry was anti-royalist and advocated revolution and radical social change. His most famous political poem is A franciaországi változánokra (“On the changes in France”). He was imprisoned in Hungary for a year and in 1796 moved to Vienna and later to Paris, where the Austrians seized him after the fall of Napoléon and interned him in Linz for the remaining 30 years of his life. Batsányi also wrote fine lyric poems.
_ Batsányi János a magyar felvi-lágosodás egyik legjelentosebb költoje. A jako-binus mozgalomban való részvétele miatt börtön-büntetést, majd Napoleonnak a magyarokhoz intézett kiáltványa fordításáért számuzetést szen-vedett. Mind a költo, mind felesége, a népszeru bécsi költono, Baumberg Gabriella, viszontag-ságos életük során mindig a legjobb osztrák muvészekre; bízták arcvonásaik megörökítését. Így képmásukat Friedrich Heinrich Füger mellett Vinzenz Georg Kininger és Johann Niedermann is megfestette. A Füger mellképen a költoi hivatásra utaló attribútumok, a háttérben elhelyezett köny-vek nem játszanak túlságosan nagy szerepet, hogy a jellemábrázolás legfontosabb tényezoje az arc minél teljesebben érvényesülhessen. Ezt emeli ki haj szürkéje, a nyakravaló fehérje és a sárgásbarna drapéria is. A balról beeso fény a plaszticitást fokozza. A bécsi klasszicizmus jeles mestere Batsányi képmásával az egyik legszebb magyar íróarcképet alkotta meg.
–- Apollo und die Musen (1780; 705x930pix, 58kb)
^ Died on 05 November 1741: Giovanni Antonio Pellegrini, Italian painter born on 29 April 1675.
— Born in Venice. Pupil of Ricci and Pagani. 1716 painter to Prince-Elector of the Palatinate, traveled to Antwerp, the Hague (painted ceiling of the Mauritshuis), England.Died in Venice 05 November 1741 (or possibly up to 3 days earlier) — Venetian decorative painter, who was a student of Sebastiano Ricci and one of the most important of Tiepolo's predecessors. Like Pittoni, he worked for many foreign patrons and travelled widely. He was first recorded as a painter in 1703 and soon after this he married the sister of Rosalba Carriera, who mentions him in her diary on several occasions. In 1707 Lord Manchester went on an embassy to Venice; he commissioned a picture to celebrate the event from Carlevaris and brought Pellegrini and Marco Ricci back to London with him in 1708. Pellegrini soon had considerable success and became a Director of Kneller's Academy in 1711.
      Pellegrini 'painted prodigious quick, had a very noble and fruitfull invention' which may be seen in the decorations at Kimbolton Castle (now a school), done for Lord Manchester, or in the decorations at Castle Howard (1709, mostly destroyed in 1941). In these decorative series Pellegrini shows that he was a true precursor of Tiepolo in the lightness and gaiety of his touch which contrasts with the duller history painting of Pittoni.
      In 1713 he went to Germany and Flanders; returning to England in 1719 when he was less successful because Marco Ricci had sent for his uncle Sebastiano, who was generally agreed to be a better painter. Pellegrini also painted a splendid ceiling for the Bank of France (since destroyed) in Paris, decorated the Great Hall in the Mauritshuis in The Hague (1718), and worked in Prague, Dresden and Vienna. There is a sketch of 1710 which may represent his design for the cupola of Saint-Paul's for which 'he made several designs and a moddle for painting the Cupolo at St Paul's for which he was paid tho' he had not the cupolo to paint'.

Sacrifice of Iphigenia .
Allegory of Painting (1730, 143x132cm)
Allegory of Sculpture (1730, 142x132cm) _ Very early in his career, Giovanni Antonio Pellegrini, considerably influenced by Luca Giordano, absorbed the examples of Magnasco and Sebastiano Ricci and turned his style towards a refined decorative freedom in airily elegant works of pure rococo taste; and through his stays in several European artistic centres London, Düsseldorf, The Hague, Antwerp, Paris, Prague Dresden and Vienna, his work gained a certain popularity. The Allegory of Sculpture and the Allegory of Painting belong to his last years. They are an interweaving of the lightest of figural rhythms, a colored web of impalpable, rarified weightlessness, shot through with silvery transparencies which recall the pastels of the artist's sister-in-law, Rosalba Carriera. Like hers, the paintings of Pellegrini are emblematic of the skin-deep spiritual frivolity of a part of the eighteenth century.
^ Born on 05 November 1619: Philips de Koninck (or Koningh) — Dutch painter who died on 04 October 1688. — Cousin of Salomon Koninck.
— Philips Koninck is the best-known member of a family of artists. He studied with his brother Jacob [1615 – >1690] in Rotterdam, and he was also a student of Rembrandt in Amsterdam, where he settled in 1641. Although he painted various subjects (the poet Vondel praised his portraits and history pictures) his fame now rests on his landscapes. He specialized in extensive views, and his work has a majesty and power that rivals the similar scenes of Ruisdael; the National Gallery in London has four outstanding examples. Like many Dutch painters he had a second occupation; he ran a prosperous shipping firm and evidently painted little in the last decade of his life. His wealth enabled him to collect drawings. He was a prolific draftsman himself and his sketchy penmanship can be deceptively close to Rembrandt's.
— Among his contemporaries, Philips Köninck (also Coning, Coningh, Coningh, Koning, Konnink) was known as a figure painter, specializing in portraits, genre and religious scenes. But nowadays he is known and praised as a landscape-painter. Philips was born in Amsterdam, the son of a successful goldsmith, and trained in the studio of his brother Jacob, a painter, who taught him from 1639 to 1641 in Rotterdam. Subsequently he returned to Amsterdam, where he lived for the rest of his life. Köninck was a wealthy man, owning a company, which operated horse-drawn passenger barges between Rotterdam and Amsterdam. He seems to have been a friend rather than a student of Rembrandt but he was certainly influenced by the great master in his manner of rendering biblical subjects.
      Köninck’s landscapes are characterized by a high viewpoint and a sky, which occupies at least half of the picture space. They are cloudscapes as much as extensive landscapes. Wide stretches of flat or slightly hilly land under a great expanse of sky are the realistic view of Holland. Waterways and paths intersect the land; houses are dotted in the foreground. These landscapes were mostly carried out in warm, brown-yellow tones. The landscape with a high sky was particularly in favor in the 1650s and 1660s, not only in the work of Köninck, but also in that of Jacob Isaackszoon van Ruisdael [1628 — 10 Mar 1692] and also in the etched landscapes of Rembrandt van Rijn [15 Jul 1606 – 04 Oct 1669].

Distant View with Cottages Lining a Road (1655, 133x168cm) _ When he painted this river landscape, Philips Koninck drew his inspiration from the countryside of Gelderland, although this is probably not a depiction of an actual location. The artist based his work on observations but carefully composed the painting in his studio. Using small strokes of the brush, he painted a panorama with a meandering river. The country road on the left draws the eye past farmhouses to a distant town. Koninck employed largely subdued earth-colored tints in this painting. Here and there he added a colour highlight, like the red roof tiles of the farmhouse and the fisherman's jacket. These colors and the loose style of painting with visible brushstrokes betray the influence of Rembrandt. Koninck signed and dated the work in the bottom left corner: 'P. Koninck 1655'. This is an excellent example of the artist's use of tiny dabs of thick paint. The landscape contains relatively few living creatures. But the fisherman appears to have caught something: a glistening fish is struggling at the end of the line.
     Fifteen years after Koninck painted his river landscape, Jacob van Ruisdael produced View of Haarlem (43x38cm). As in Koninck's work, Van Ruisdael's painting is dominated by the cloudy sky. The landscape is composed of horizontal strips with the shadows cast by the clouds rendered as bands of light and dark. Yet the two vistas are clearly different. Van Ruisdael's colors have more contrast. He also painted with greater detail in almost indiscernible strokes of the brush, while Koninck's loose strokes are more suggestive than representational.
Wide River Landscape
Distant view in Gelderland (1655)
Adoration by the Magi
Panoramic landscape (1665)
Plain in Holland (1670)
The baptism of the Chamberlain
Dutch Landscape Viewed from the Dunes (1664, 122x165cm) If Koninck's development had stopped in the middle of the seventeenth century, he would be remembered as a talented Rembrandt follower. But from about 1649-1650 until about 1665 he created a series of very large panoramic views in a distinctive personal style. They are closely related to the classical phase of Dutch landscape painting and are amongst the great glories of Dutch art.
An Extensive Landscape with a Hawking Party (132x160cm) The human figures on the painting were done by J. Lingelbach.
Panorama View of Dunes and a River (1664, 94x120cm) _ Philips Koninck was a member of Rembrandt's entourage. His drawings and early painted landscapes show that he learned from Rembrandt. However, by the middle of the century he began to paint large panoramic views that are independent of the master's style. They rank with the most grandiose of the age. Where Molenaer and Houckgeest more or less assumed a specific viewing position outside the pictorial space, and Saenredam's perspective suggests looking from within it, many landscape painters positioned the beholder in undefined or even impossibly high positions. Koninck often suggested such a bird's-eye view in his sweeping panoramas of Dutch fields and rivers beneath imposing skies. The absence of one fixed viewpoint implies that the viewer is seeing an objective record of a city or landscape, recorded without human intervention. It has been suggested that, by positing such a freely surveying eye, these landscapes resemble the exquisite maps produced in great variety and quantity in the Dutch Republic. The maps depicted in genre scenes, hung on walls like paintings, indeed indicate that seventeenth-century viewers did not make the modern distinction between paintings as "art" and maps as "knowledge."
An Extensive Landscape with a Road by a Ruin (1655, 137x167cm) _ Among his contemporaries, Philips Koninck was known as a figure painter, specializing in portraits as well as in genre and religious scenes, rather than as a landscapist as he is known today. He was born in Amsterdam, the son of a successful goldsmith, and trained in the studio of his brother, Jacob, who worked in Rotterdam. Subsequently he returned to Amsterdam, where he lived for the rest of his life. Koninck was a wealthy man, owning a company which operated trekschuiten (horse-drawn passenger barges) between Rotterdam and Amsterdam. He seems to have been a friend rather than a student of Rembrandt but he was certainly influenced by him in his manner of painting(and drawing) biblical subjects. Koninck's landscapes are characterized by a high viewpoint and a sky which occupies at least half of the picture space. They are cloudscapes as much as extensive landscapes. He emphasizes the flatness of Holland, a more realistic approach than, for example, that of Aelbert Cuyp, who attempts to make his landscapes more varied by the inclusion of hills and mountains taken from his imagination rather than from his observation of the Dutch countryside. The landscape with a high sky was particularly in favor in the 1650s and 1660s, not just in the work of Koninck, but also in that of Jacob van Ruisdael and also in the etched landscapes of Rembrandt. This painting of 1655 is an outstanding example of Koninck's landscape art. The colors, which in some of his canvases have sunk into uniform browns and greys with the passage of time, are particularly vivid and the painting is remarkably well preserved.
Village on a Hill (1651, 61x83cm) Koninck is one of the last generation of Dutch landscape painters. In the 1660s, there was a general tendency to "upgrade" the various genres. During this period, the interiors of Vermeer and de Hooch became increasingly elegant, and even the still-lifes were freighted with "noblesse". In the work of Koninck, this trend even affected the landscapes, in which he positioned courtly figures and palatial architecture. In the 1650s, by contrast, when Koninck was at the height of his creative powers, he produced landscapes of exceptional purity, bringing the flat panoramic landscape to its greatest perfection. A soft and golden light is cast across the flat countryside, illuminating things that are, in themselves, uninteresting: sandy dunes, the occasional tree, some water, a village. There is nothing remarkable or jarring. The sensation is where the brown earth is bathed in sunlight to a golden hue. Koninck was influenced by Rembrandt's landscape painting, which represents a chapter in its own right within his enormous oeuvre. Rembrandt's influence is evident in the golden-brown tone of his paintings and in the way Koninck occasionally integrates unexpected and fantastic objects such as a glittering bridge spanning the water, a ruin or a fairy-tale castle.
^ >Died on 05 November 1872: Thomas Sully, English-born (19 June 1783) US artist, specialized in portraits. — {Could anything sully Sully? or did Sully sully others?}
— Sully immigrated to the US in 1792 with his family, who were theater and circus performers. He made at least one appearance on stage as an acrobat in 1794 and was then apprenticed to an insurance broker, after which he was placed with his brother-in-law, Jean Belzons, a miniature painter. After an argument with Belzons, Sully fled and in September 1799 joined his older brother Lawrence Sully [1769–1804], also a miniature painter, in Richmond, Virginia. Thomas Sully also studied under Henry Benbridge [bap. 27 May 1744 – 25 Jan 1812 bur.], Thomas Lawrence [13 Apr 1769 – 07 Jan 1830], and Benjamin West [10 Oct 1738 – 11 Mar 1820]. In 1801 the Sully family moved to Norfolk VA, where Thomas painted his first miniature, a likeness of his brother Chester. In January 1803 Lawrence and his family returned to Richmond. Thomas remained in Norfolk for another six months but in July 1803 returned to Richmond, where he opened his own studio.
Mary Peale {she had a Peale appeal}, George Inness [01 May 1825 – 03 Aug 1894], and Alfred Jacob Miller [10 Jan 1810 – 1874] were students of Sully.

–- The Reverend Thomas Stockton (1843, 91x71cm; 1003x875pix, 41kb)
–- Alfred Sully (1839, 61x51cm; 1124x883pix, 56kb_ .ZOOM to 2110x1785pix, 561kb) head and shoulders, a young man in a soldier's uniform, holding a rifle with fixed bayonet.
–- Charles Carroll of Carrollton (1826, 49x38cm; 792x792pix, 54kb_ .ZOOM to 1584x1583pix, 157kb)
Mother and Son (1840, 145x115cm; 600x470pix, 53kb _ ZOOM to 2581x2024pix, 467kb)
Eliza Ridgely aka The Lady with the Harp (1818, 215×143cm; 792x525pix, 206kb _ ZOOM to 2397x1576pix, 228kb) This has been adapted by the pseudonymous Sam Clense in the much more unusual
      _ Lady Holding Up Two Harps Being Played by a Disembodied Double Arm Which is Not Attracting Her Attention (2005; 718x539pix, 43kb _ ZOOM to 2155x1618pix, 275kb).
George Washington (1820, 239x152cm; 2000x1277pix, 1205kb) _ This painting is an exact copy of one of the best-known portraits of George Washington (1800; 800x514pix, 81kb), by George Stuart. Sully made many copies of Stuart's portraits of President Washington for government buildings and historical societies because Stuart could not meet the astonishing demand for them. In this portrait, Washington's right hand rests on a copy of the Constitution. The sword alludes to his military heroism.
Lady on the Battlements of a Castle (56x36cm)
Daniel de la Motte (1813, 92x74cm)
Robert Fielding Stockton (1849, 74x91cm) _ about 3 year old
Mrs. Fitzgerald and her Daughter Matilda (76x64cm)
Died on a 05 November:

1955 Maurice Utrillo, French painter born (full coverage) on 25 December 1883. —(061103)

1946 Joseph Stella, US painter born (full coverage) on 13 June 1877. —(060609)

^ >1906 Frits Johan Fredrik Thaulow, Norwegian painter and engraver born on 20 October 1847. — {Is Thaulow low in the esteem of those who choose art to put on the Internet?}— Originally wanting to become a marine painter he studied at the art academy in Copenhagen (1870–1873) as well as under the Danish marine specialist C. F. Sørensen [1818–1879]. He spent two winters at Karlsruhe [1873–1874, 1874–1875] as the student of Hans Gude and then went to Paris, where he spent much of the period 1875–1879. His marines and coastal pictures, some of which were accepted at the Paris Salon, were only moderately successful, but he acquired a fair knowledge of contemporary French Realist art and felt that Norwegian artists should learn from it. He admired in particular Jules Bastien-Lepage and his Swedish contemporary Carl Skånberg. – Edvard Munch and Gustav Wentzel were students of Thaulow.— LINKS
A French River Landscape (63x76cm)
The Old Church by the River
–- Øvre Telemarken (Oct 1890, 160x270cm; 926x1575pix, 136kb) An avid tourist throughout his life, during the 1880s and early 1890s, Thaulow combined trips abroad with extended forays to the farther flung reaches of Norway. In the summer of 1888 he visited Vestre Slidre; the following year he explored Hardanger and in 1890 he went to Seljord, Telemark, where he painted the present work. Depicting the farms of Ligarden on the left and Loftsgardene on the right at Seljord in upper Telemark, the subject of the present work remains largely intact, the view that inspired Thaulow little changed to this day. Thaulow painted at least one other canvas of the present subject which is slightly smaller in size, and missing the stylized young sapling in the lower right foreground.
–- Fra Elven Ellé i Quimperlé (1901, 74x93cm; 1232x1575pix, 190kb) _ Thaulow spent from July until November 1901 in the small town of Quimperlé in Brittany, where he painted numerous pictures of the town and surrounding countryside, including Washerwomen at Quimperlé, which he submitted to the 1902 Paris Salon. The present work features the same bridge, the Pont fleuri, as the Salon work. With artists flocking to nearby Pont Aven in Gauguin's footsteps, Quimperlé was frequented by a number of painters at the turn of the century. Postcards from the turn of the century show the small round medieval-looking structure on the left of the painting, as well as the modest buildings to the right, suggesting that Thaulow 's views were true to nature. It seems that the only licence he used was to add the wall along the river on the right in order to balance the composition, a device he frequently employed.
–- Solnedgang i Beaulieu, Corrèze (748x900pix, 74kb)
–- Town by Moonlight (1090x900pix, 164kb)
–- River by Moonlight (900x739pix, 91kb)
–- Utsikt Over Bymuren i Montreuil-sur-Mer (1099x1575pix, 131kb)
–- Vinter i Norge (1244x1575pix, 164kb)
25 images at ARC —(091104)

^ >1890 David Adolf Constant Artz, Dutch painter and collector born on 18 December 1837.— Father of Constant David Ludovic Artz [1870-1951]. — {I find but few Artz art's examples on the Internet.} — From 1855 to 1864 he was trained by Johannes Egenberger (1822–1897) and Louis Royer [1793–1868] at the Amsterdam Academie. There he met Jozef Israëls, whose fishing subjects were to be a lasting source of inspiration for Artz. Unlike Israëls, however, Artz depicted only the more cheerful sides of the fisherman’s life. Technically, he distinguished himself from Israëls in his use of sharp outlines and bright color. Between 1866 and 1874 Artz stayed in Paris where he set up his own studio at the suggestion of Courbet. Here he maintained close contacts with his colleagues Jacob Maris and Frederik Kaemmerer [1839–1902] as well as the art dealer Goupil & Co. During this period Artz produced mainly fashionable genre scenes and a number of Japanese subjects. His control over line and color became more powerful.
–- S*>#Household Duties (1868, 35x24cm; 1485x961pix, 189kb)
–- Awaiting Father's Return on Scheveningen Beach (27x18cm; 845x540pix, 56kb _ .ZOOM to 1689x1080pix, 253kb) a seated girl is knitting but looking into the distance.
–- A Girl Knitting in the Dunes (1169x841pix, 176kb) in this version, in a similar landscape a differently-dressed girl is seated in the same position, but looking at her knitting.
–- Children Playing on the Beach (41x33cm; 687x540pix, 39kb _ .ZOOM to 1373x1080pix, 198kb)
–- A Little Girl Resting in the Woods (24x30cm; 732x960pix, 132kb)
–- (woman pushing two young children in a handcart) (1876, 48x76cm; 622x1020pix, 91kb _ .ZOOM to 1243x2040pix, 380kb)
–- S*>#The Fisherman's Return (900x560pix, 54kb)
The First Step (1872, 105x150cm)
Voor Vader's Thuiskomst (82x117cm) awaiting father's return, the whole family, indoors.
Fisherman's Wife With Two Children (23x13cm; 600x340pix, 70kb)
–- Resting by the Fire (1873, 54x76cm; 525x768pix, 36kb) the cat on the floor and the mother, sitting in a chair with her darning on her knees, are dozing. The baby, on a rug, is looking at its mother. —(091104)

1882 Hermanus Koekkoek, Dutch painter born (main coverage) on 13 March 1815. —(051104)

^ 1868 Franz Steinfeld, Austrian artist born on 26 May (March?) 1787. Landschaftsmaler, Radierer und Lithograph; Sohn und Schüler des Bildhauers Franz Steinfeld der Ältere, Vater des Malers Wilhelm Steinfeld. Studierte an der Wiener Akademie; Reisen nach Deutschland, Italien, Frankreich, in die Schweiz und in die Niederlande, wo er die Landschaftsmaler des 17. Jahrhunderts studierte; 1815-35 Kammermaler von Erzherzog Anton Viktor, ab 1845 Professor an der Wiener Akademie. Übte auf die Landschaftsmalerei des Biedermeier nachhaltigen Einfluss aus. Seine Hallstattlandschaft (1824, im Niederösterreichischen Landesmuseum) gilt als ein Hauptwerk des romantischen Realismus.
Boating (1830, 25x34cm; 500x674pix _ ZOOM to 760x1024pix) It is a mountain lake landscape.
View of Gastein (38x30cm; 500x395pix, 36kb)
Gebirge aus dem Salzkammergut (43x53cm; 394x500pix, 69kb)
Landschaft mit Bäuerin (1830; 400x475pix, 50kb)
Altausseersee mit Trisselwand (1825; 443x352pix, 22kb)

1807 Maria Anna Angelica Catharina Kauffman, Swiss painter born (full coverage) on 30 October 1740. —(051019)

1955 Mariotto Albertinelli di Biagio di Bindo, Florentine painter born (full coverage) on 13 October 1474. —(081010)

Born on a 05 November:

^ 1928 Julian Stanczak, Polish-born US painter and printmaker. From 1940 to 1942 he was first sent to a concentration camp in Perm, Siberia, where he permanently lost the use of his right arm (he had been right-handed). After escaping from the camp, he joined and then deserted from the Polish army-in-exile. He wandered alone through the Middle East before rejoining family in Teheran. From 1942 to 1948, he was in a Polish refugee camp in Uganda, and he received his first private art lessons. In 1948 he went to London, and, in 1950, to the US, where he became a citizen in 1956. In 1963 he married Barbara M. Meerpohl, who, as Barbara Stanczak, became known as a sculptor. They had a daughter, Danusia M. Stanczak [1964~] and a son, Krzys M. Stanczak [1970~]. In 1995 Julian Stanczak retired after 38 years of teaching (Art Academy of Cincinnati 1957-1964; Cleveland Institute of Art 1964-1995). — LINKS
Duo (1972, 137x112cm; 898x720pix _ ZOOM to 1496x1200pix, 321kb) on an orange background, thin vertical lines that are light gray and yellow in alternating checkerboard rectangles. _ The pseudonymous Sacàriz Stanc has metamorphosed this into the colorful and grandiose abstractions
      _ Duo Tamba aka Qatuor (2007; 91800x102800pix, 88kb) and the much more dynamic
      _ Du Haut Tambour aka Orqestra (2007; 91800x102800pix, 124kb)
Model of the Fifth Third Bank Parking Garage façade (2006; 477x1705pix, 894kb) _ detail (2848x4288pix, 6825kb)
Rites of Spring (1988; 1436x3882pix, 4041kb)
Constellation in Green (2004; 1728x1720pix, 2272kb)
–- untitled (2002; 1234x1654pix, 289kb) _ on a light blue background, radiating flattened loops.
untitled (2004; 685x559pix, kb) _ on a dark blue background, closely spaced red horizontal lines, notched so as to give the impression of an angular S in relief.
Conducive to Yellow (1980; 525x528pix, 45kb) —(071104)

1946 Altonseph S. Tobey, US painter who died (full coverage) on 04 January 2005. —(081103)

^ 1888 Franz von Heckendorf, German artist who died in 1962. — {Had he changed his name from Hellendorf?}
A Lion's Assault on a Wild Boar in the Oasis (55x70cm; kb) The female lion is said to be inspired by
      _ The Lioness (111x198cm; 692x1250pix, 143kb _ ZOOM to 1383x2500pix, 1551kb) of Snyders [bap. 11 Nov 1579 – 19 Aug 1657].
House in the Park with Couple (60x70cm; 338x400pix, 35kb)
Mediterranean Landscape with Minaret (40x49cm; 326x400pix, 32kb) —(051104)

^ 1876 Pierre-Maurice-Raymond Duchamp (later Duchamp-Villon), French sculptor and draftsman who died on 07 Oct 1918. The second son of a Normandy notary, he played a central role in the development of modern aesthetics, as did his half-brother Jacques Villon [31 Jul 1875 – 09 Jun 1963] and his brother Marcel Duchamp [28 Jul 1887 – 02 Oct 1968]. He came from an educated family and was an assiduous student at secondary school in Rouen; in 1894 he registered at the Faculté de Médecine in Paris, where he attended classes for several years. Rheumatic fever forced him to break off his studies in 1898 just before completion and left him immobilized for a considerable length of time; this unforeseen event altered the whole course of his life. During this period of enforced leisure [1899–1900], he modeled small statuettes (of subjects such as familiar animals and female figures), discovering his true vocation as a sculptor. He was essentially self-taught and rapidly attained a high level of mastery and maturity. He settled in Paris about 1901 and changed his name to Duchamp-Villon at his father’s insistence. As early as 1902 he exhibited a portrait of his future wife (whom he married in 1903) in the Société Nationale, and he exhibited works regularly at the Salon d’Automne from its foundation in 1903. In 1905 he held his first private exhibition with Jacques Villon in the Galerie Legrip, Rouen. — From 1894 to 1898 he studied medicine at the University of Paris. When illness forced him to abandon his studies, he decided to make a career in sculpture, until then an avocation. During the early years of the century he moved to Paris, where he exhibited for the first time at the Salon de la Société Nationale des Beaux-Arts in 1902. His second show was held at the same Salon in 1903, the year he settled in Neuilly-sur-Seine. In 1905 he had his first exhibition at the Salon d’Automne and a show at the Galerie Legrip in Rouen with his brother, the painter Jacques Villon; he moved with him to Puteaux two years later. His participation in the jury of the sculpture section of the Salon d’Automne began in 1907 and was instrumental in promoting the Cubists in the early 1910s. Around this time he, Villon, and their other brother, Marcel Duchamp, attended weekly meetings of the Puteaux group of artists and critics. In 1911 he exhibited at the Galerie de l’Art Contemporain in Paris; the following year his work was included in a show organized by the Duchamp brothers at the Salon de la Section d’Or at the Galerie de la Boétie. Duchamp-Villon’s work was exhibited at the Armory Show in New York in 1913 and the Galerie André Groult in Paris, the Galerie S. V. U. Mánes in Prague, and Der Sturm gallery in Berlin in 1914. During World War I Duchamp-Villon served in the army in a medical capacity, but was able to continue work on his major sculpture The Horse The Horse The Horse The Horse The Horse. He contracted typhoid fever in late 1916 while stationed at Champagne; the disease ultimately resulted in his death in the military hospital at Cannes. — LINKS

1857 Jean Antoine “Tony” Tollet, French artist who died in 1953. {At which time people said: “Don't ask for whom the bell tolls, the bell for Tollet tolls.”, whereas previously they had been saying, referring to his model: “Don't ask for whom the belle toils, the belle for Tollet toils.” Later, when she died, they said: “Don't ask for whom the bell tolls, the bell for the belle who for Tollet toiled tolls.} {after his death, a sign was put up where he used to work: “Studio of Tollet, to let.”} — {That's Tollet NOT Toilet nor Toilette, a subject which, however favored by many painters, he avoided studiously.}— Relative? of Jacqueline Tollet-Loeb [1931~]?

^ >1846 Gustavo Simoni, Rome Italian orientalist painter who died in 1926. Il étudia pendant cinq ans à l'Académie San Luca de Rome en 1861 aux côtés de Giuseppe Ferrari et d'Enrico Tarenghi. Il effectua entre 1877 et 1879 un premier voyage en Tunisie et en Algérie suivis de nombreux voyages en Afrique du Nord et au Proche-Orient. Il y fit de nombreuses esquisses. Attiré par les scènes spectaculaires de fêtes, de danses, ses peintures offrent un mélange de réalité et de fiction.
Suonatori Arabi (1908, 54x76cm; 703x1000pix, 181kb) _ slightly different Suonatori Arabi (1898, 19x26cm; 1000x1378pix, 583kb) looks less finished, probably a preliminary version.
A Street in Biskra, Algeria (89x60cm)
An Arab Soldier (55x38cm)
African Market (520x715pix, 546kb) painted sketch
–- Serenade (1400x908pix, 105kb)
–- Les Joueurs de Marqueurs (54x76cm; 1095x1575pix, 171kb)
–- An Italian Beauty (43x31cm; 900x626pix, 40kb)
The Artist at his Easel (1875, 39x56cm; 436x640pix, 79kb) an artist of centuries ago, not a self-portrait.
–- Une rue à Biskra, Algérie
–- Un Guerrier arabe (1169x784pix, 63kb) —(091117)

1822 Clara Adelheid (Sokl) Soterius von Sachsenheim, Austrian artist who died on 25 July 1861.

^ 1791 Carl von Sales, Austrian artist who missed his 79th birthday by one day, dying on 04 November 1870. — {Whoever Sales sales went to, the buyers don't seem to have put much of his artwork on the Internet}
Karoline Pichler [1769-1843] (900x712pix, 45kb _ ZOOM to 1392x1067pix, 870kb) For those who might wonder which was her best side, the pseudonymous Lark von Purchases has provided a side-by-side comparison of
      _ Karorak and Linenil (650x920pix, 47kb _ ZOOM to 920x1300pix, 84kb)
A Lady in Empire Period Dress (1814, 66x53cm; 703x606pix, 19kb). —(051103)

^ 1667 Christoph-Ludwig Agricola, Regensburg German artist who died in 1719. — {Did he favor agricultural subjects?}— He visited England, the Netherlands, France and Italy, working for longer periods in Rome, Naples, and Augsburg. He was strongly influenced by French landscape painters active in Italy, such as Gaspard Dughet and Claude Lorrain. In Agricola’s paintings the balanced arrangement of the picturesque landscape elements creates a lucid pictorial structure, and unusual light effects, such as twilight or the darkness before a storm, are used to convey a particular mood. The small scale of his figures expresses the contrast between human frailty and the forces of nature. He painted with lively local colors, especially ochres and deep greens for the rich tones of earth and vegetation. The multicolored costumes of his figural staffage provide pictorial accents and reveal the romantic orientation of his paintings. Scenes of country people at work, for example Landscape with a Millstone, express his yearning for a return to nature. Paintings representing the life of nomadic Orientals, such as Evening Landscape with Praying Turks, show an increasing interest in exotic motifs that may have been a consequence of the Turkish invasions of Central Europe. Agricola’s concept of landscape is an early expression of Baroque Romanticism in German painting. His students and followers included Christian Hilfgott Brand, Fabio Ceruti [–1761] and Johann Alexander Thiele [1685–1752].
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updated Wednesday 18-Nov-2009 5:13 UT
Principal updates:
v.8.a0 Tuesday 04-Nov-2008 20:42 UT
v.7.a0 Monday 05-Nov-2007 3:18 UT
v.6.a0 Sunday 05-Nov-2006 3:38 UT
v.5.91 Saturday 05-Nov-2005 5:21 UT
Sunday 23-Jan-2005 4:06 UT
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