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ART “4” “2”-DAY 09 November v.9.a0
^ Died on 09 November 1677: Aart (or Aernou) van der Neer, Dutch Baroque painter specialized in landscapes, born in 1603. — {His paintings were a Neer success}.
— Van der Neer is famous for his nocturnal landscapes. He probably did not begin his painting career until after 1630 and then was unable to make a reasonable living from his art. In 1658 he opened a wineshop, but this venture ended in bankruptcy in 1662. He probably reverted to painting, for he is described as a painter in the inventory that was made of his few belongings at the time of his death. Apart from a number of accomplished winter scenes, such as Riverscape in Winter in the manner of Hendrik Avercamp, he specialized in canal and river landscapes seen by the light of late evening or early dawn or (most characteristic of all) by moonlight, as in River View by Moonlight . Within this limited range he had no rival among his contemporaries; his best pictures are distinguished by sensitive handling of subdued light and its reflections on water and in the windows of riverside houses. His son Eglon Hendrick van der Neer [1634 – 03 May 1703] and grandson Aert van der Neer the Younger were also painters.

Fishing at Moonlight (66x86cm; 706x911pix, 138kb) _ Van der Neer was a Dutch landscape painter, influenced by the woks of Avercamp. He became a painter late in life; his later work was mainly of landscapes under snow, under strong atmospheric conditons or with dramatic lighting.
Landscape with Windmill (1649, 70x93cm; 698x924pix, 123kb) _ Van der Neer belonged to the generation of De Vlieger and Salomon van Ruysdael. His specialities (winter scenes and nocturnal landscapes) adapted well to the tonal style,as shown in this painting.
Small Town at Dusk (37x53cm; 638x930pix, 110kb) _ The artist is interested in the reflection of the light on the surface of water, like in his other works.
River View by Moonlight (1645, 55x103cm) _ Under the clear moon the river presents an eerie appearance. The light is so bright that everything around is reflected in the water: the man in the boat in the foreground, the cows on the right bank and the boats and mills along the same side. Despite the late hour there is plenty going on. Aert van der Neer employed black, blue and white paints on an ochre ground. With these he skilfully portrayed the cool atmosphere of the night. Van der Neer specialized in nocturnal scenes and winter landscapes, two genres ideally suited for a monochrome palette. Few of Aert van der Neer's landscapes depict an identifiable location. The artist was mainly interested in the effect of light and the way silhouettes show up against it.
      River View by Moonlight was painted with rapid strokes; only the foreground is more detailed. Van der Neer used all kinds of techniques to achieve the required effects. For example, he scratched a fence into the paint with the back of his brush. The light ground that this revealed suggests the reflection of the moonlight. He applied the same trick in the silhouettes of the last wagon, the farmer and the horse. Small highlights of white paint imitate the reflection of the light on the horse on the right and on the dog's snout. Besides both ends of the brush, the artist also used his fingers. The reflection of the trees in the water on the right is rendered with a thumb print, while he rubbed out a vane of the windmill that was too long as well as the smoke from the chimney.
–- Winter Scene with Frozen Canal (33x42cm; 944x1198pix, 86kb)
Fun on the Ice (1650, 64x79cm; 600x741pix, 107kb _ ZOOM to 1016x1256pix, 158kb)
Sports on a Frozen River (495x800pix, 138kb)
–- S*>#Estuary Landscape by Moonlight (63x76cm; 827x1013pix, 112kb) People are gathered around a camp-fire in the foreground _ A characteristic example of Van der Neer's nocturnal estuary scenes. The earliest among his paintings of this genre date from the mid-1640s but he was to continue painting them throughout his career, varying the townscapes, staffage and light effects accordingly. Most of these nocturnal scenes take place by moonlight, sometimes with the moon removed outside the picture space or hidden behind a bank of clouds for greater dramatic effect (as here). The detail of the people gathered around a camp-fire in the lower right foreground shows the influence of the works of Van der Neer's brother {?} Raphael Govaertszoon Camphuysen.
–- S*>#River Landscape by Moonlight (1650, 109x150cm; 863x1200pix, 174kb) There are fishermen and cows in the foreground. This is one of the first of Aert van der Neer's characteristic moonlit landscapes.
–- S*>#River Landscape by Moonlight (42x56cm; 1056x1440pix, 150kb) There are fishermen reparing their nets and three men in a rowboat. The painting, pockmarked all over with white specks, is badly in need of restoration.
River Landscape with Setting Moon (600x1210pix, 234kb)
Fire of the Old Rat House in Amsterdam (600x759pix, 179kb) seen from across the river. {The Dutch have such a low opinion of their city councillors that they call the town hall the Rathaus ! Not only that, but, in Amsterdam, they put it in the Damn Square... er... make that Dam Square. It is not likely that those rats burned together with their house on 07 July 1652.:-}
Fire of the Old Rat House in Amsterdam (600x687pix, 163kb) seen near by Neer. Other artists pictured that scene, for example:
      _ by Jan de Baen [20 Feb 1633 – 08 Mar 1702 bur.]: Burning of the Town Hall in Amsterdam (etching 26x33cm; 953x1191pix, 220kb)
      _ by Jan Beerstraten The Great Fire in the Old Town Hall, Amsterdam (330x455pix, 18kb)
      _ by fire chief Jan van der Heyden (who invented the fire hose 20 years after the Rathaus fire): Fire in Amsterdam's old Town Hall (1690 print)
^ Died on 09 November 1911: Howard Pyle, US painter, author, and Golden Age illustrator born on 05 March 1853.
     Originator of the "Brandywine School" of illustration, Pyle had many students, including N.C. Wyeth, Maxfield Parrish, Violet Oakley, Jessie Willcox Smith and Frank Schoonover.
     Pyle is best known for the children's books that he wrote and illustrated. Pyle wrote original children's stories as well as retelling old fairy tales. Many of Pyle's children's stories, illustrated by the author with vividness and historical accuracy, have become classics — most notably The Merry Adventures of Robin Hood (1883); Otto of the Silver Hand (1888); Jack Ballister's Fortunes (1895); and his own folktales, Pepper & Salt (1885), The Wonder Clock (1888), and The Garden Behind the Moon (1895).
   He also wrote and illustrated Men of Iron (1892 — historical fiction: 1400 England under King Henry IV) — The Champions of the Round Table (1905) — The Story of the Grail and the Passing of Arthur (1910) — The Story of King Arthur and His Knights (1903) — Howard Pyle's Book of Pirates (1921) — A Modern Aladdin, — The Ruby of Kishmoor — Stolen Treasure — The Rose of Paradise: Being a detailed account of certain adventures that happened to Captain John Mackra, in connection with the famous pirate, Edward England, in the year 1720, off the island of Juanna in the Mozambique Channel; writ by himself, and now for the first time published (1894) — Within the Capes (1885 — the story of Captain Tom Granger, a Quaker, and his adventures in 1812, a combination of Robinson Crusoe, pirates, Quaker romance, and seafaring adventure) — Some Merry Adventures of Robin Hood, of Great Renown in Nottinghamshire (1902) — Sir Launcelot and his Companions (1907) — Twilight Land

Joan of Arc in prison
The Pirate was a Picturesque Fellow (1905)
The Mermaid (1910)
In Knighthood's Day

— Men of Iron illustrations: the cover
_ Henry of Lancaster, who in 1399, as Henry IV, became England's King in the stead of the weak, wicked, and treacherous Richard II.
_ Myles, as in a dream, kneeled and presented the letter.
_ "When thou strikest that lower cut at the legs, recover thyself more quickly."
_ At last they had the poor boy down.
_ Myles pushed the door farther open.
_ They bore him away to a bench at the far end of the room
_ "But tell me, Robin Ingoldsby, dost know aught more of this matter?"
_ "Belike thou sought to take this lad's life," said Sir James.
_ Myles entertains the Lady Anne and the Lady Alice with his adventures.
_ Myles found himself standing beside the bed.
_ The Earl of Mackworth received King Henry IV.
_ Lord George led him to where the King stood
_ "My Lord," said he, "the favor was given to me by the Lady Alice."
_ Prior Edward and Myles in the Priory Garden
_ The Challenge
_ He held tightly to the fallen man's horse

— 3 illustrations (1881) for Tennyson's The Lady of Shalott: Lancelot (a different one) _ The Lady of Shalott Weaving _ The Lady of Shalott dead
Links to The Lady of Shalott pictures by other artists. — Commentary on The Lady of Shalott illustrations.
— Links to The Lady of Shalott text: (1833 and 1842 versions) — The next 3 with the 1842 version only:

Men of Iron Men of Iron Twilight Land The Merry Adventures of Robin Hood The Story of King Arthur and his Knights Book of Pirates
Otto of the Silver Hand co-author of The Wonder Clock
^ Born on 09 November 1883: Charles Demuth, US Precisionist painter, who died on 25 October 1935.
— Charles Demuth was born and died in Lancaster, Pennsylvania. He was born in a Lancaster house on North Lime Street. At age 7, he and his family moved to the King Street home where he spent most of his lifetime. He was the only child of successful business people; they were financially secure so that Demuth never had to work for a living, although he was never wealthy. Demuth's health was frail; from an early age he suffered from lameness and as an adult from severe diabetes. At sixteen, after a long, isolated adolescence, Demuth was sent to a prestigious private prep school, the Franklin and Marshall Academy, from which he was graduated in 1901. He remained at home for two more school years before enrolling at the Drexel Institute of Art, Science, and industry in Philadelphia, then he studied with Thomas Anshutz and William Merritt Chase at the Pennsylvania Academy of the Fine Arts. As a young man Demuth made several trips to Europe to study. There he became part of the avant garde scene. He was attracted by the work of Marcel Duchamp and the Cubists. As he matured he moved gradually away from illustrative art. He executed a series of watercolors of flowers, circuses, and café scenes. Impressed by his abilities Alfred Stieglitz featured his works in his New York Gallery. Later in his career, Demuth began to paint advertisements and billboards into such cityscapes as his "Buildings, Lancaster" (1930), in which bold, commercial lettering is complemented by the severely hard-edged abstraction of buildings. Demuth created most of his art in his home where he worked in a small second floor studio of the rear wing, overlooking the garden. He was homosexual and lived with his partner Robert Locher at home with his parents. In his will he bequeathed his watercolors to Robert Locher, and all his other paintings to Georgia O'Keeffe. Among Demuth's best-known works are his poster portraits such as the tribute to the poet William Carlos Williams, "I Saw the Figure 5 in Gold.". Charles Demuth died of complications from diabetes in 1935, shortly before his fifty-second birthday. He helped channel modern European movements into US art and was a leading exponent of Precisionism. Less known are his pictures of flowers, Bermuda, and the homosexual navy scene.
the "real" Aucassin et NicoletteThe Figure 5 in Gold is deservedly one of the icons of US modernism, but it came almost at the end of Demuth's life and its author has always seemed a little elusive beside the heavier reputations of his contemporaries — Georgia O'Keeffe, Marsden Hartley, Arthur Dove, Charles Sheeler. Of them all, he was the most unabashed esthete. And the wittiest too: it's hard to imagine any of his colleagues painting a factory chimney paired with a round silo and calling it, in reference to star-crossed lovers in a French medieval romance, Aucassin et Nicolette.
      Blessed with a private income from his parents in Lancaster, Pennsylvania, coddled in childhood, lame, diabetic, vain, insecure, and brilliantly talented, Demuth lacked neither admirers nor colleagues. He was well read (and had a small talent as a writer, in the Symbolist vein) and his tastes were formed by Pater, Huysmans, Maeterlinck, and The Yellow Book; he gravitated to Greenwich Village as a Cafe Royal dandy-in-embryo. Free of market worries, he did a lot of work that was private in nature, for the amusement and stimulation of himself and his gay friends, and much of it was unexhibitable — at least until the 1980s.
      Demuth was a rather discreet homosexual, but if he could not place his deepest sexual predilections in the open, he could still make art from them. Seen from our distance, that of a pornocratic culture so drenched in genital imagery that sly hints about forbidden sex hardly compel attention, the skill with which he did this might seem almost quaint. But in the teens and twenties the public atmosphere was of course very different, and Demuth, like other artists in the avant-garde circle that formed around the collectors Loulse and Walter Arensberg — especially Marcel Duchamp, whose recondite sexual allegory The Bride Stripped Bare by Her Bachelors, Even Demuth called "the greatest picture of our time" — took a special delight in sowing his work with sexual hints. To create a secret subject matter, to disport oneself with codes, was to enjoy one's distance from (and rise above) "straight" life. The handlebar of a vaudeville trick-rider's bicycle turns into a penis, aimed at his crotch; sailors dance with girls in a cabaret but ogle one another.
      If these scenes of Greenwich Village bohemia were all that Demuth did, he would be remembered as a minor US esthete, somewhere between Aubrey Beardsley and Jules Pascin. But Demuth was an exceptional watercolorist and his still-lifes and figure paintings, with their wiry contours and exquisite sense of color, the tones discreetly manipulated by blotting, are among the best things done in that medium by a US artist. They quickly rise above the anecdotal and the "amusing."
     About 1920 Demuth began with increasing confidence to explore what would become the major theme of his career: the face of the industrial US. It may seem odd that Demuth, yearning for Paris, should have become obsessed with grain elevators, water towers, and factory chimneys. But as he wrote to Stieglitz in 1927: "America doesn't really care - still, if one is really an artist and at the same time an American, just this not caring, even though it drives one mad, can be artistic material." Precisionism was by no means just a provincial US response to the European avant-garde - the splintering of planes from French Cubism, the machine ethos from Italian Futurism. Sheeler and Demuth were painting a functional US landscape refracted through a deadpan modernist lingo that, in Demuth's case, picked up bits of Robert Delaunay and Lyonel Feininger while anticipating some of the essential subjects of Pop art.
      The machine emblems of this US landscape had fascinated some of the best minds in Europe (Picabia, Duchamp, Le Corbusier), who saw them either as exotic whiffs of the Future or as instruments of irony. Being from the US, Demuth took the silos and bridges rather more literally. Out of this came his Precisionist masterpiece, My Egypt (1927). It is a face-on view of a grain elevator in Lancaster, Pennsylvania, Demuth's hometown, painted with such careful suppression of gesture that hardly a brushstroke can be seen. Demuth's title whimsically refers to the mania for Egyptology planted in US popular culture in 1922, when Howard Carter discovered Tutankhamen's tomb. The visual weight of those twin pale silo shafts and their pedimental cap does indeed suggest Karnak.
      But Demuth may have had a deeper level of intent. His title connects to the story of Exodus. Egypt was the symbol of the Jews' oppression; it was also the starting point for their collective journey toward the land of Canaan, the forging of themselves as a collective and distinct people. An invalid in later life, Demuth was "exiled" in Lancaster, bedridden in his parents' house, cut off from the intellectual ferment of Paris and the sexual-esthetic comradeship of New York. All these were Canaan; home was Egypt. Yet he was poignantly aware that the industrial America which gave him a rentier's income had also given him a great subject which would define him as a painter. From that tension, his finest work was born.

From the Garden of the Chateau (no garden, no chateau, 1921, 51x64cm)

Trees and Barns: Bermuda (1917)
^ Died on 09 November 1778: Giovanni-Battista Piranesi, Italian draftsman, etcher, engraver, designer, architect, archaeologist, and art theorist, born on 04 October 1720.
— His large prints depicting the buildings of classical and postclassical Rome and its vicinity contributed considerably to Rome's fame and to the growth of classical archaeology and to the Neoclassical movement in art. At the age of 20 Piranesi went to Rome as a draftsman for the Venetian ambassador. He studied with leading printmakers of the day and settled permanently in Rome in 1745. It was during this period that he developed his highly original etching technique, producing rich textures and bold contrasts of light and shadow by means of intricate, repeated bitings of the copperplate. He created about 2000 plates in his lifetime.
      Carceri d'Invenzione of about 1745 are his finest early prints; they depict ancient Roman or Baroque ruins converted into fantastic, visionary dungeons filled with mysterious scaffolding and instruments of torture. Among his best mature prints are the series Le Antichità romane (1756), the Vedute di Roma (appearing as single prints between 1748 and 1778), and the views of the Greek temples at Paestum (1777-78). His unparalleled accuracy of depiction, his personal expression of the structures' dramatic and romantic grandeur, and his technical mastery made these prints some of the most original and impressive representations of architecture to be found in Western art.
— Giovanni Battista Piranesi was an Italian graphic artist famous for his engravings and etchings. He created more than 2000 prints of real and imaginary buildings, statues, and ornaments. He contributed to 18th-century neoclassicism by his enthusiastic renderings of ancient Roman monuments, which included both accurate portrayals of existing ruins and imaginary reconstructions of ancient buildings in which alterations of scale and juxtaposition of elements enhance the sense of grandeur. One of Piranesi's earliest and most lastingly renowned collections is his Carceri d'Invenzione (1745), in which he transformed Roman ruins into fantastic, immeasurable dungeons dominated by immense, gloomy arcades, staircases rising to incredible heights, and bizarre galleries leading nowhere. These engravings became an important influence on 19th-century romanticism and also played a role in the development of 20th-century surrealism.
— One of his teachers was Giuseppe Vasi. Piranesi is considered one of the supreme exponents of topographical engraving, but his lifelong preoccupation with architecture was fundamental to his art. Although few of his architectural designs were executed, he had a seminal influence on European Neo-classicism through personal contacts with architects, patrons and visiting artists in Rome over the course of nearly four decades. His prolific output of etched plates, which combined remarkable flights of imagination with a strongly practical understanding of ancient Roman technology, fostered a new and lasting perception of antiquity. He was also a designer of festival structures and stage sets, interior decoration and furniture, as well as a restorer of antiquities. The interaction of this rare combination of activities led him to highly original concepts of design, which were advocated in a body of influential theoretical writings. The ultimate legacy of his unique vision of Roman civilization was an imaginative interpretation and re-creation of the past, which inspired writers and poets as much as artists and designers.
— Jean-Baptiste Tierce was an assistant of Piranesi.
— Angelica Kauffman was a student of Piranesi.

Temple at Paestum (1777 drawing, 46x67cm) _ Piranesi has depicted the Temple of Juno in Paestum, once a Greek colony in south-western Italy. Piranesi was fascinated by classical architecture. He was especially renowned for his fantastic views of Roman ruins. With this drawing Piranesi perpetuated a long-standing tradition of 'pastoral' landscapes in which the everyday life of simple peasants and shepherds was romanticised. For centuries, ruins with shepherds and cattle remained a popular artistic theme.
     This drawing is part of a series of views of Paestum.. These were preparatory studies for a series of etchings which were published in late 1778. Unfortunately, Piranesi did not witness the publication of his work. He died in Rome that same year. Piranesi's corrections in red chalk clearly show that these drawings were solely intended as studies. The artist has ensured the correct positioning of the temple by drawing lines through an imaginary vanishing point. These perspective lines are still visible.
–- Veduta del Ponte e Castello Sant'Angelo (engraving; 564x882pix, 90kb _ ZOOM to 842x1321pix, 134kb) _ Compare the almost identical view as a full-color painting by Corot [16 July 1796 – 22 Feb 1875]:
      _ .View of Rome: The Bridge and Castel Sant'Angelo with the Cupola of Saint-Peter's (1827, 27x43cm; 642x1161pix, 146kb _ .ZOOM to 1285x2323pix, 642kb)

Died on a 09 November:

^ 2006 Stanley Meltzoff, US underwater marine painter born on 27 March 1917. He graduated from the City College in New York in 1937 and got a master's degree in fine art from New York University. During WWII he went to Europe as an artist for Stars and Stripes. He was a diver from childhood, underwater photographer from 1949 and painter starting in the 1950s, when he painted series of fish species for Sports Illustrated, National Geographic, and Field & Stream. Besides marine paintings, he did illustrations including landscapes and historical for Life, The Saturday Evening Post, and Colliers.
Permit Flats (42x69cm; 510x884pix, 88kb)
Secrets of Arcimboldo's Reef (485x609pix, 38kb)
Loggerhead and Dolphin in Sargassum Weed (508x665pix, 59kb)
Autumn Hunter and Pointers (66x51cm; 692x514pix, 77kb)
Dismantling the Walls of Athens (91x68cm; 660x501pix, 59kb) —(061121)

>2003 Mario Merz [01 Jan 1925–], Italian Arte Povera painter. — wikibioLINKS
untitled (1959, 90x90cm; 1762x1772pix, 884kb) —(091108)

^ 1980 Marie Cerminová Toyen, Bohemian painter, draftsman, and illustrator born on 21 September 1902. She attended the School of Fine Arts in Prague (1919–1920). In 1922 she met the painter Jindrich Styrsky with whom she collaborated until his death in 1942. In 1923 the couple joined the avant-garde Devetsil group in Prague. The group numbered artists, photographers, writers, and architects among its members. During a three-year stay in Paris from 1925 to 1928 Toyen abandoned the Cubist syntax of her early work and began a series of impastoed semi-abstract paintings. Fjord (1928), along with other works of those years, attempted to realize visually the doctrines of poetic Artificialism in which impressions, feelings, and images leave their imprint in abstract traces and vibrating color sensations. Work of this type was given its label by Toyen and Styrsky to differentiate it from their earlier work and from other abstract forms of contemporary art. They exhibited their first Artificialist compositions in Paris at the Galerie de l’Art Contemporain in 1926.
–- Au Visage Bleu (65x77cm; 600x458pix, 42kb, .ZOOM to 1200x916pix, 130kb)
Kvet - fantazie (1930, 94x78cm; 567x470pix, 46kb) _ The pseudonymous Marin Terminovich Doyen has thoroughly transformed this picture into two interrelated series of 32 extraordinary symmetrical abstractions each, whose images are interlinked and thus can be accessed from any one of them, for example:
      _ Quietly Fantastic #0 (2006; 1024x1448pix, 708kb) and
      _ Fantastic Quiet #F (2006; 2048x2896pix, 2578kb)
Paysage Surréaliste - Brunidor 2 (1947, 32x42cm; 400x508pix, 60kb) —(071107)

1898 Jerónimo Martínez Sánchez [30 Apr 1826–], Caracas grabador, fotógrafo, dibujante y pintor venezolano. — Brother of Celestino Martínez Sánchez —(091108)

1884 Henri Félix Emmanuel Philippoteaux, French painter born on 03 April 1815. – {Wouln't it have been simpler to name him Philippe Otto Philippoteaux?:-}— Father of Paul Dominique Philippoteaux [1846-1923]. — Sorti de l'atelier de Léon Cogniet, il commença une carrière de peintre dès l'âge de 18 ans. En même temps, il travailla pour toutes les grandes maisons d'édition et donne des illustrations à divers journaux, comme par exemple au Journal pour tous. Il a illustré les livres Robinson suisse de Johann David Wyss [1743-1848] et Les Trois Mousquetaires d'Alexandre Dumas [1802-1870].
–- S*>#Colonel the Hon. Frederick Ponsonby, 12th Light Dragoons, at the Battle of Waterloo (1877, 89x117cm; 900x1239pix, 199kb) _ Frederick Cavendish Ponsonby was born in 1783, second son of Frederick, 3rd Earl of Besborough and Lady Henrietta Frances Spencer, daughter of the 1st Earl Spencer At first glance it appears the present work depicts his heroic death; Colonel Ponsonby's conduct at Waterloo was certainly heroic but remarkably, did not result in his death. The morning of Sunday 18 June 1815 was clear after a night of heavy rain which had turned the battlefield into a mire. The 12th Light Dragoons were on the far left of the British line. Napoleon's main attack came with four massive columns. The French made the initial gains but were checked by the charge of the Household and Union Brigades of heavy cavalry. The Household Brigade withdrew after defeating two Cuirassier regiments. However, the Union Brigade continued to charge its way through two further columns before attacking the massed French Battery of guns opposite where they were bombarded and immobilized. Realizing the only way to extract what remained of the heavy dragoons, the 11th Light Dragoons were ordered to stay in reserve and the 12th and 16th to charge, the 12th leading. The charge Wellington later called "beautiful". The two regiments tore through the rear of the only remaining French column. During the counter-attack by French lancers, Ponsonby was wounded three times. His suffering continued as he was used for cover by a French infantryman, robbed in the midst of battle before being ridden over by the advancing Prussians. He was finally found by a private in the 2nd Somersetshire regiment who stood guard by him throughout the night. His injuries left him partially disabled and without the use of his left arm.
Lamartine devant l'Hôtel de Ville de Paris, le 25 février 1848 (1848; 704x1400pix, 183kb) avec commentaire.
Derniers combats au Père-Lachaise (1871; 372x700pix, 55kb)
Moorish Women in their Algiers Apartment (495x647pix, 61kb)
Napoléon Bonaparte à la bataille de Rivoli (Italie) 14 janvier 1797 (444x572pix, 53kb) _ Napoléon peut remercier le général Masséna, son arrivée a décidé de la victoire. Lui-même le surnomme « L'enfant chéri de la victoire », sous l'Empire, Masséna recevra le titre de duc de Rivoli en souvenir de son action lors de la bataille. Les revers du Directoire sur le Rhin furent largement compensés par la formidable campagne d'Italie de Bonaparte. L'armée autrichienne d'Alvinzy pouvait compter sur des forces en nombre nettement supérieure aux Français. Bonaparte s'employa alors à neutraliser cette avantage, il avait disposé ses troupes de façon à ce qu'elles puissent se joindre en trois jours de marche. Ainsi, Joubert se tenait à Rivoli, Masséna à Vérone, Sérurier à Mantoue... Les Autrichiens ont décidés d'attaquer Joubert, qui est attaqué de toute part, il décide de se replier sur le plateau de Rivoli où les troupes autrichiennes abandonnèrent leur artillerie pour escalader les collines sinueuses. Sûr de ses forces, Alvinzy décide d'attendre le lendemain pour attaquer, fatale erreur puisque Masséna est déjà en route vers Rivoli. Napoléon qui soutient Joubert doit faire face à 25'000 Autrichiens, les munitions commencent à manquer, et l'encerclement synonyme de défaite devient une menace sérieuse. Mais, au moment où l'on croyait les espoirs perdus, le canon tonne, la terre tremble, les cris rugissent, de nouvelles troupes dévalent du haut des versants. Le général Masséna vient de réaliser un véritable exploit, son armée a parcouru 150 kilomètres en deux jours. Son arrivée va changer le cours de la bataille. Les Autrichiens sont en pleine débâcle, ils tentent de s'enfuir, mais l'armée d'Italie va prouver une fois de plus sa valeur. Napoléon abandonne le commandement qu'il confie à Joubert, il part rejoindre Sérurier qui manque d'hommes pour soutenir le siège de Mantoue. La ville tombera quelques jours plus tard. La paix de Campoformio sera bientôt acquise, et avec elle de nouveaux territoires. Bonaparte écrira par la suite au Directoire : « Les soldats de l'armée d'Italie ont surpassé la rapidité, tant vantée, des légions de César. »
Napoléon en 1792 (444x311pix, 23kb) _ Napoléon near the beginning of his military career, about a year before his first brilliant victory at Toulon.
Le débarquement à Courbevoie (1867, 125x200cm; 341x550pix, 136kb) _ détail 1 (216x348pix, 23kb) Maréchal Soult _ détail 2 (216x348pix, 23kb) personalités _ détail 3 (216x348pix, 8kb) l'aigle au sommet de la colonne _ En 1840, soucieux de se concilier les sympathies bonapartistes, Louis-Philippe envoie son fils le prince de Joinville prendre le commandement de la frégate La Belle Poule chargée de ramener de Sainte-Hélène le corps de Napoléon. Après avoir remonté la Seine jusqu'à Rouen le cercueil est transporté jusqu'au Pont de Neuilly sur le bateau-catafalque La Dorade, puis débarqué à Courbevoie avant d'être escorté jusqu'aux Invalides en passant sous l'Arc de l'Etoile accompagné par une foule importante qui criait " vive l'Empereur ". Le tableau représente l'arrivée à Courbevoie où d'importants aménagements avaient été réalisés pour la cérémonie, comme ce temple gréco-romain situé à l'arrière de la scène et sur le pont la colonne rostrale surmontée d'une aigle d'or. A peine accosté, le bateau reçoit les visites des personnalités officielles et le peintre montre ce moment émouvant où le Maréchal Soult se prosterne devant le cercueil en présence de l'assemblée silencieuse.
Bataille du Mont Thabor, 16 avril 1799 (1837, 116x146cm; 404x512pix, 46kb) painted in collaboration with Léon Cogniet. —(051108)

^ 1807 Augustin de Saint~Aubin, French artist born on 03 June 1736. Brother of Charles-Germain de Saint-Aubin [17 Jan 1721 – 06 Mar 1786] and Gabriel-Jacques de Saint-Aubin [14 Apr 1724 – 14 Feb 1780]. Augustin was trained first by his brother Gabriel and then under the reproductive engravers Etienne Fessard [1714–1777] and Nicolas-Henry Tardieu. He also studied under Laurent Cars. He was approved (agréé) by the Académie Royale in 1771, but, because he failed to submit his morceau de réception, never became a full academician. He nevertheless exhibited drawings and prints at the Salon from 1771 to 1793. He produced numerous portraits, armorials, book illustrations and religious, mythological, allegorical and genre subjects, some of which he both designed and engraved himself, some of which were engraved by others, and some of which were engraved by him after drawings by such artists as François Boucher and Charles-Nicolas Cochin (ii). Bocher recorded more than 1300 prints by or after him. — Antoine-Jean Duclos and Antoine-Louis-François Sergent-Marceau were students of Augustin de Saint-Aubin. — LINKS
La Marchande de Chataignes (etching; 559x760pix _ ZOOM to 1154x1571pix, 789kb)
–- Jacques Necker, Banker to Louis XVI (engraving; 1224x872pix, 149kb)
–- Ant. Arnauld (engraving, 22x14cm; 660x417pix, 43kb)
–- Mme. de la Vallière (engraving, 13x8cm; 631x405pix, 39kb) —(060715).

^ 1601 Giovanni-Battista Ramenghi “Il Bagnacavallo”, Italian painter born in 1521. — LINKS
Virgin and Child (drawing 30x20cm; full size, 585kb)
Virgin and Child with Saints and Child (drawing 29x21cm; full size, 575kb)

Born on a 09 November:

^ 1956 Cindy Betzer Pharis, Los Angeles artist who stated: “I am a mixed media visual artist whose work is about connections that human beings make or don’t make through language, a gesture, a look, an expression, physical placement, cultural values, standards, emotions, and desires. My bodies of work are categorized similarly to how I live my life: processes, portraits, and conceptual pieces; or experiences, relationships, and connections to others; my inner, more consuming ideas and reflections on how moral and spiritual gauges are created within social, historical, and instinctual contexts. My art centers around the human figure, as it is often the vehicle which relays the connection. At times my work may be a commentary exploring relationships or social responsibility. Other times I attempt to bring social subtleties into light, so that they may more honestly be explored.”
Fulfillment (700x466pix, 89kb)
Sweep It Under the Rug (183x122cm; 700x470pix, 83cm)
Exploration 3 (3072x2048pix, 1096kb) _ This fuzzy abstraction has been metamorphosed by the pseudonymous Ashly Better Midwes into a fantastic series of 64 pictures, accessible by clicks of the mouse from any of them, for example the asymmetrical:
      _ Excoriation Free (2008; 564x798pix, 212kb _ ZOOM 1 to 798x1128pix, 405kb _ ZOOM 2 to 1128x1596pix, 785kb _ ZOOM 3 to 1880x2658pix, 2071kb _ ZOOM 4 to 2658x3760pix, 3652kb) and the symmetrical:
      _ Exportation Fee (2008; 564x798pix, 208kb _ ZOOM 1 to 798x1128pix, 394kb _ ZOOM 2 to 1128x1596pix, 768kb _ ZOOM 3 to 1880x2658pix, 2039kb _ ZOOM 4 to 2658x3760pix, 3656kb)
Betzer web site —(080221)

^ 1877 Adolf Dietrich, Thurgau Swiss artist who died on 04 June 1957.
Selbstportrait (1932, 63x55cm)
Der Untergang der Rheinfall (1935; 456x640pix, 64kb) _ This shows the 20 December 1869 sinking, near the Berlingen landing, of the paddle steamboat Rheinfall which had been put into service on 15 May 1865, and worked on the Rhine the route between Schaffhausen and Constance. This was due to an explosion of the boiler. Seven persons and some cattle died during that accident. The ship was raised and put back into service in 1871 under the name Neptun. It sank again in the night of 23 to 24 March 1922 in Constance, due to the failure of a riveted joint. Again it was raised and put back into service until it was retired and scrapped in 1939.
Sonntag im Garten (1923, 46x38cm; 600x495pix, 47kb)
Strauß mit Bettagsblümchen und Goldrauten (1953, 65x64cm; 600x576pix, 40kb)

1854 Hugo Mühlig, German artist who died on 16 February 1929.
Aufbruch zur Jagd (26x42cm; 373x640pix, 50kb)
4 landscapes with people

1653 (baptism) Jean-Baptiste Belin (or Blin, Blain) de Fontenay, French painter who died on 12 February 1715. The son of Louis Blin, who may have specialized in flower painting, he is recorded from 1672 as being trained in the Paris studio of Jean-Baptiste Monnoyer, whose daughter he later married. As a Protestant he was affected by the Revocation of the Edict of Nantes in 1685, and he made a prudent public recantation of his faith before being presented at the Académie Royale in 1685. His morceau de réception, the Buste de Louis XIV, is a supremely confident painting. Over 1.8 m high, it shows the bust set on a plinth between two columns, overlooking a vase cascading with flowers, with fruit and armor heaped together below; it brings a new spatial coherence to the genre of the ‘table-top’ still-life as represented by the work of Jacques Linard, Sébastien Stoskopff, and Lubin Baugin.
— Early in his life, Jean-Baptiste Belin de Fontenay had to choose between his religion and his career. The revocation of the Edict of Nantes in 1685 forced most Protestants to flee France to escape religious persecution. Belin instead decided to renounce his faith and converted to Catholicism in order to continue his work at the court of Louis XIV, king of France. Belin was the student of Jean-Baptiste Monnoyer, whose daughter he married, and whom he succeeded as a flower painter at the Gobelins tapestry manufactory.Belin painted floral murals in several of the royal châteaux, including Fontainebleau and Versailles, where he worked on the Escalier de la Reine, since destroyed. He also collaborated with other painters, providing the floral borders in portraits and for tapestry cartoons for Gobelins from 1687. Towards the end of his life, the king honored him by providing him with a pension and lodgings in the Palais du Louvre.
Flowers in an Urn on a Marble Ledge (596x499pix, 84kb)

^ 2000 At an Impressionist and modern art sale at Sotheby's, the expected highlight of the Sotheby's sale, Manet's Jeune fille dans un jardin which the auction house had estimated could set a record at $20 million to $30 million, just managed it low estimate, going to an anonymous telephone bidder for $20'905'750 including commission. The painting of a young woman in a garden who is wearing a bright blue coat and matching hat, which is among the artist's better known works, was the evening's top lot.
[Image: Manet's Jeune Fille à l'Entrée d'un Jardin à Bellevue which I hope is the same one referred to above >]
     It was Manet's decidedly Impressionist ambition, towards the end of his life, to paint open-air pictures in such a way that `the features of the characters would melt into the vibrations of the atmosphere'.
      In 1880 his poor state of health caused him to spend the summer at Bellevue, on the outskirts of Paris, where he rented a house and while undergoing hydropathic treatment he contrived to paint several pictures according to his plein-air intention, in the garden of the house.
      They included one view of the garden without figures, a painting of Madame Auguste Manet seen in profile and the work reproduced here, all giving a sunlight effect.
      The brilliant result in the picture of the girl reading is obtained by a development of Manet's personal style of oil sketching in which he concerned himself with the general opposition of light and dark areas to the exclusion of half-tones.
      This was not exactly Impressionism as Monet came to understand it though Monet had passed through a phase in which he adopted Manet's technique. But if Impressionism strictly meant the translation of light into color irrespective of light and shade, Manet was still working to a more traditional recipe.
      What he meant by features melting `into the vibrations of the atmosphere' would seem equivalent to creating an envelope of surrounding light but the figure of the girl reading is more of a silhouette against the sunny background than a form sharing the same source of light. The picture, however, has the verve that was Manet's individual gift.
. — Manet was a painter and printmaker. Made the transition from the realism of Gustave Courbet to Impressionism. Born into a prosperous middle-class family, Manet spent a year in the navy before entering the studio of Thomas Couture in 1850, where he stayed until 1856. Couture encouraged strong modeling through light and dark contrasts, and copies Manet made at the Louvre, after Velázquez, Titian, and Rubens among others, nurtured a painterly style of rich color and bold brushwork. Like the realist painters, Manet chose his subjects largely from modern life. His Déjeuner sur l'herbe ( 1863) and Olympia ( 1863, exhibited 1865) created scandals both for their unconventional subject matter and their broad handling. A series of paintings on Spanish themes culminated with a trip to Spain in 1865 and firsthand study of works by Velázquez and Goya. At the 1867 Universal Exposition, Manet held a private exhibition, which helped solidify his leadership within the avant-garde. Charles Baudelaire, Theodore Duret, and Émile Zola supported him critically. During the 1870s he worked outdoors like the impressionists, and his work became lighter and more colorful, but he maintained hope for acceptance at the official Salons and never contributed to the impressionist exhibitions. Success came in later years with numerous commissions and portraits. By about 1879, however, he began to feel the effects of a debilitating disease that would eventually cause his death.

Tête du Christ (1865, 47x39cm) — Chez La Modiste (1881) — Bateaux de Pêche sur la Plage, St. Pierre-en-porte, Normandie (1873, 48x64cm) — Charles Baudelaire, Full Face (1865)

updated Monday 09-Nov-2009 2:30 UT
Principal updates:
v.8.10 Friday 22-Feb-2008 1:25 UT
v.7.a0 Sunday 25-Nov-2007 20:39 UT
v.6.a1 Wednesday 22-Nov-2006 0:10 UT
v.5.a0 Wednesday 09-Nov-2005 6:12 UT
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