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ART “4” “2”-DAY  15 November v. 9.a0
^ Born on 15 November 1910: Antoine Blanchard, French painter who died in 1988.
— Antoine Blanchard was born in a small village near Blois on the banks of the Loire. He was the eldest of three children and his father, a carver, managed a small carpentry and furniture shop. Antoine would watch his father hand carve the furniture and began to display an artistic flair early in life. To promote this talent, his parents sent him to Blois for drawing lessons. He continued his training in Rennes at the École des Beaux-Arts where he studied sculpture and drawing. Upon completion of his studies, he was awarded the school's highest award: Le Prix du Ministre.
      By 1932 he left Rennes and went to Paris to study at the École des Beaux-Arts. After a few years entered the competition for the Prix de Rome. He developed a love for Paris and it's street life. In 1939 Antoine married a young woman he met in Paris and in September of that year war broke out and he was called up for military service. It was not until 1942 that he would return to his art. His daughter Nicole was born in 1944. After the birth of her two daughters, she became an artist working under the name A. Champeau. It was also about this time that Antoine's father died. Antoine had to return to his hometown and run the family business, which left him little time to paint. His second daughter, Evelyn, was born in 1947.
      By 1948 Blanchard had given control of the family business to his younger brother and returned to Paris to paint. Contemporary life in Paris had changed and he longed for the bygone days. He began to research the Belle Époque period in Paris - reading and studying all the material on the period he could find. Many of the subjects and scenes he portrayed were taken from images he collected of Paris during the 1890's and he would often work on paintings for days or months before he finally felt they were complete. A.P. Larde comments in his book Antoine Blanchard, His Life His Work that he has always spent much time on his work. This explains why his production has always been rather limited, unlike the hurried and multiple proliferations of some modern artists… Delicate touches of luminous and shimmering tones produce a marvelous impression of harmony, brightness and light. Alternate shadings and lights, sensitive and mellow blending allow the artist to attain a hardly-ever reached degree of grace, of radiant and glimmering freshness. Larde continues to write that his works are first of all, a marvelous invitation to an ideal walk through old Paris, so different from that of to-day. Although a large number of historical monuments remain, today's Paris has little in common with Paris at the turn of the century; the scenery may be almost the same, but daily life as it characters has totally changed; the customs have been entirely transformed. In his paintings, Antoine Blanchard invites us to relive this period by showing us pleasant strolls along embankments, squares and boulevards at a period in Parisian life when time did not count, when one had all one's time to idle, to stroll along the streets, to window-shop, to walk quietly along the boulevards or spend the afternoon in a sidewalk café. Like his contemporary, Édouard Cortès, he devoted his artistic career to the depiction of Paris through all its daily and seasonal changes. But he was not an imitator of Cortes, but rather depicted the life of Paris at the turn of the century from his own point of view and with his own, unique style. Larde makes an interesting comparison: Édouard Cortès has always expressed himself in a rather rich virile style, using large and stressed touches, revealing a strength, which recalls the great masters of the XVIIIth century. On the contrary, Antoine Blanchard has always used small strokes, with a delicate, enveloping and mellow treatment; the slight haziness which is a characteristic of his work in many ways recalls the great masters of the impressionist period. Whether it was l'Arc de Triomphe, la Madeleine, Café de la Paix, Notre Dame or the dozens of other historical monuments and buildings of Paris, his focus was on the daily life of Paris at the turn of the century. His work became highly sought after and collectors from around the world vied to acquire his new works. Today he is considered one of the leading exponents of the School of Paris painters. Suffering a leg injury late in life, Antoine Blanchard was unable to paint for the last few years of his life and died in Paris.

–- Place de la Madeleine (1958; 650x912pix, 137 kb _ .ZOOM to 1300x1824pix, 293kb) _ apparently copied from a pre-1900 original (or just imagined?), with horse-drawn omnibus and cabs.
Very similar to these paintings by Cortès [26 Apr 1882 – 1969]:
Marché aux Fleurs à la Madeleine,
Place de la Madeleine,
La Madeleine, Hiver

Bouquinistes de Notre-Dame, Hiver(18 x 21 inches; 650x777pix, 92kb _ ZOOM to 1300x1554pix, 200kb) Also with anachronistic horse-drawn omnibus and cab.
Very similar to these paintings by Cortès:
Bouquinistes de Notre-Dame (46x55cm; 1004x1200pix, 109kb)
and Bouquinistes de Notre-Dame (33x46cm; 600x845pix, 78kb, ZOOM to 1200x1690pix, 177kb)

Place de la République (1965, 33x46cm; 750x1050pix, 804kb)
Quai du Louvre (1965, 46x55cm; 750x911pix, 750kb)
Champs Elysées with 3~Horse Omnibus and Carriages Dominating the Scene with l'Arc de Triomphe in the Background (33x46cm; 460x640pix, 69kb)
— a very slightly different Champs Élysées (33x46cm; 600x832pix, 656kb)
— yet another very slightly different Champs Élysées (33x46cm; 750x1027pix, 755kb)
Boulevard des Capucines (46x55cm; 480x584pix, 36kb)
Boulevard des Italiens, Paris (61x91cm; 420x640pix, 35kb)
46 images at Rehs Galleries60 more images at Rehs Galleries
18 images at Artnet
^ >Died on 15 November 1951: Frank Weston Benson, Salem, Massachusetts, Impressionist painter, etcher, and teacher, born on 24 March 1862.
— He attended the School of the Museum of Fine Arts, Boston, from 1880 to 1883 as a student of Otto Grundmann [1844–1890] and Frederick Crowninshield [1845–1918]. In 1883 he travelled with his fellow student and lifelong friend Edmund C. Tarbell to Paris, where they both studied at the Académie Julian for three years with Gustave Boulanger and Jules Lefebvre. Benson went with Tarbell to Italy in 1884 and to Italy, Belgium, Germany and Brittany the following year. When he returned home, Benson became an instructor at the Portland, Maine, School of Art, and after his marriage to Ellen Perry Peirson in 1888 he settled in Salem, MA. Benson taught with Tarbell at the Museum School in Boston from 1889 until their resignation over policy differences in 1913. Benson rejoined the staff the next year and taught intermittently as a visiting instructor until 1930.
— Benson was a painter of impressionist seascapes and landscapes, often with figures posed by his wife and children and also numerous hunting scenes. He spent most of his life in the seaport town of Salem and loved trekking through the countryside for his subject matter, especially wildlife. He is credited with making the US sporting print a distinct art form and for being one of the outstanding 20th-century wildlife printmakers. He was a teacher in Portland, Maine at The Society of Art, and in Boston at The Museum of Fine Arts, where he and his good friend Edmund Tarbell established it as a top-notch institution. He studied art in Boston at the Museum School of Fine Arts and in 1883 in Paris with Boulanger and Lefebvre at the Academie Julian during the French Impressionism movement. By the early 1900s, he had a very successful career and was a member of the Ten American Painters, a prestigious group of early impressionists. He was a life-long hunter, and it was said that he knew birds as only a sportsman can. He worked in both etching and drypoint and was lauded for his clear design, the naturalness of his birds and hunters, and the mastery of etching techniques. In 1900, Benson discovered the pleasures of North Haven Island off the coast of Maine, and from that time, he and his family spent every there, even purchasing a farm where he had a studio. There his style became increasingly impressionistic. Midway through his career as a recognized oil painter, he began to paint with watercolors, perhaps inspired by Winslow Homer's use of that medium to show hunting scenes in the Adirondacks. In 1921, Benson became a serious watercolorist while on a fishing expedition to the Gaspé Peninsula of Quebec, and from that time until his death in 1951, he created nearly six hundred watercolors.

Currituck Marshes, North Carolina (1926, 48x67cm; 586x800pix, 95kb _ ZOOM to 1172x1600pix, 277kb) with 6 ducks.
Eleanor Holding a Shell (76x63cm; _ ZOOMable)
Indian Guide (1927, 81x102cm)
The Punter (1926, 37x47cm)
Two Duck Hunters (1926, 66x51cm)
The Sisters (1899, 83kb)
Mrs. Benjamin Thaw and her Son (1900, 60kb)
Lady Trying On a Hat (1904, 78kb)
Sunlight (1909, 72kb)
Girl Playing Solitaire (1909)
^ Born on 15 November 1832 (1831?): Hermann Ottomar Herzog, German-born US Hudson River School painter, specialized in landscapes, who died on 06 February 1932.
— Born in the German free state of Bremen, Herzog entered Dusseldorf Academy in 1849. He was a student of J.W. Schirmer, Lessing, A. Achenbach and H. Gude. His early paintings depict favorite mountain landscapes viewed during his travels to Norway, Switzerland, Italy and the Pyrenées. His patrons included Queen Victoria and the Grand Duke Alexander of Russia. In 1869, Herzog emigrated to Philadelphia and continued to paint landscapes in Pennsylvania and along the Hudson River. On a trip west in 1874-1875, he created mountain sketches in Yosemite and Sierra Nevada. His painting El Capitán, Yosemite was considered a masterpiece.
— Herzog was born in Bremen, Germany. He studied art at the Dusseldorf Academy, starting in 1848, under Schirmer, Lessing, Achenbach, and Gude (1848-1849). In 1855, Herzog made his first visit to Norway. The trip was a milestone in Herzog's career as it exposed him to the rugged landscape of the Norwegian wilderness and instilled in him a lifelong sense of nature that was to show in all his work.
      During the late 1850's and early 1860's, Herzog's fame spread throughout Europe. His paintings were collected for their dynamic realism and strong atmospheric effects. Among his patrons were several of Europe's royal families, including Queen Victoria of England and Grand Duke Alexander of Russia. He exhibited in the Paris Salon in 1863 and 1864, winning an Honorable Mention. While in Paris, it is thought that Herzog came into contact with the popular Barbizon School, whose adherents painted the grandeur and beauty of Nature in a romantic and realistic style. The influence of the Barbizon painters can be seen in Herzog's poetic handling of mood and color. Although he was still in Europe, Herzog sent several paintings for exhibition at the Pennsylvania Academy from 1863 to 1869.
      In 1869, Herzog immigrated to the US and settled in Philadelphia. Besides wanting a developing market for his work, Herzog left Bremen due to rising political agitation by Prussia, which had just absorbed Bremen into its domain. In the US, Herzog continued to paint his romantic landscapes, finding the US wilderness well suited to his style. In 1871, he traveled up the Hudson River on a painting tour. In 1873, he took his first trip west, going to Yosemite, then to Wyoming, Oregon, and along the West Coast to the Coronado Island, near the Mexican border. Herzog made several journeys west. He became known for his depictions of Yosemite, receiving great acclaim for a fine El Capitan, much in the style of his fellow countryman and painter Albert Bierstadt. His last trip west was in 1905, at the age of 74.
      In 1876, Herzog participated in the Centennial Exhibition in Philadelphia, showing a Norwegian scene and a Yosemite landscape, which earned him a Bronze Medal. In 1882, he exhibited two paintings of Pennsylvania at the National Academy Annual Exhibition. As Herzog grew older, he continued to paint actively. In 1931, he participated in a gallery exhibition with his son, Lewis Herzog. Herman Herzog died in his home in Philadelphia.
     Herzog never dated his work, thus it is difficult to place them chronologically or stylistically. He painted landscapes, marines, and pastorals in the Hudson River tradition, and his work is reminiscent of Albert Bierstadt and Worthington Whittredge (who also studied in Dusseldorf).

Moonlit Fishing Scene (1878, 56x85cm)
Sagne Fjord (35x53cm)
The Old Water Mill (487x748pix, 89kb)
— different version of The Old Water Mill (1871, 104x140cm; 456x625pix, 92kb) almost monochrome
Mountain Landscape with Watermill (1863, 65x104cm)
Norwegian Landscape (1857, 84x126cm)
Fishing Scenes I (47x61cm)
Fishing Scenes II (47x64cm)
Girl with Geese (102x153cm)
In the Alps (51x71cm)
Caribou by a Mountain Lake (1885, 73x109cm) _ Herman Herzog was a prolific landscape painter whose work reflects the diverse terrain he encountered during his extensive travels throughout Europe and the United States. He often biked, hiked and climbed to his painting sites and left a heritage of paintings recording the unspoiled mountains, lakes, fjords, and coastal scenes of his time. With its grand, snow-capped mountains, stormy sky, and brilliant water, Herzog’s Caribou by a Mountain Lake gives sublime expression to the majesty of the natural world. The size and placement of the caribou emphasize the scale and power of the surrounding landscape. It is difficult to date Herzog’s paintings with precision. He sometimes worked directly from nature, but also recalled scenes years later to create landscape paintings. Thus, Caribou by a Mountain Lake may recall Herzog’s journeys to the fjords of Norway; or, may be an imagined combination of various lakes and mountains.
–- Figure in a River Landscape (1910, 40x50cm) _ A native of the Bremen, Germany, Herman Herzog moved his family to the United States in the 1860s. Between 1885 and 1910, Herzog made regular visits to his son's home in Gainesville, Florida. The lush vegetation between the Suwannee and Homossassa Rivers appealed to the artist's taste for quiet drama, and Herzog created more than 250 Florida views. In this example, a loose brushstroke and a keen interest in atmospheric effects are evident. The heavy application of paint in the palm trees contrasts with the much lighter touch in the overcast sky, and is a reflection of the artist’s preoccupation with the transient effects of light. It is a painted record of unspoiled Florida.
Buffalo Hunt (1860, possibly of Albert Bierstadt)
Bears by a Stream (1900, 56x76cm)
^ Born on 15 November 1620: Cornelis Pieterszoon Bega, Dutch Baroque painter, draftsman, and etcher, who died on 27 August 1664, probably of the plague. Another source says that he was baptized as an infant on 22 January 1632.
— He was born into prosperous circumstances; his mother, Maria Cornelis, inherited half the estate (gold, silver, paintings, drawings and prints) and all of the red chalk drawings of her father, Cornelis Corneliszoon van Haarlem, a renowned Mannerist artist. Bega’s father was Pieter Janszoon Begijn [–1648], a gold- and silversmith. Like other family members, Bega was probably Catholic. Bega probably studied under Adriaen van Ostade; this must have been before 24 April 1653, when Bega joined Vincent Laurentszoon van der Vinne in Frankfurt for a journey through Germany, Switzerland, and France. Bega had returned to Haarlem by 01 September 1654, at which time he joined the Guild of Saint Luke; he was already a competent draftsman, as indicated by his first extant dated work, Interior with a Nursing Mother (1652), and by a remarkable double portrait drawn by him and Leendert van der Cooghen in 1654.
      Bega painted the same kind of peasant genre scenes as van Ostade, but his work is far inferior though Bega often showed more psychological insight. Bega's principal subjects were taverns, domestic interiors, and villages, with characters ranging from nursing mothers and prostitutes to gamblers and alchemists. Between about 1660 and 1664, his genre scenes became more colorful, less populated, more emotionally expressive, and more focused on the fine details of object textures. Among those influenced by Bega was Jan Steen. Later European artists imitated Bega's style and borrowed characters from his dramas. Bega also drew, etched, and made counterproofs in a variety of materials.

The Alchemist (1663)
The Duet (1663)
The Lute Player (1662, 35x32cm)
Tavern Scene (1664, 49x41cm) _ Cornelis Bega painted this picture twenty years before the death of his master Adriaen van Ostade. His peasants are shown with more detail than those in the work of the van Ostade brothers; in this picture, for instance, they are shown stupid with liquor, bragging and flirting with the barmaid. They are painted with graphic skill but the style of painting is rather monotonous. Bega was merely a popular practitioner while the van Ostade brothers were classic interpreters of Dutch peasant genre.
The Duet (1663)
Woman Playing a Lute (1665, 36x32cm) _ Son of the sculptor Peter Begijn, or Beggijn, the artist went down in history with the name Bega, which could be a variation of his family name, or may have been a choice forced upon him as a result of his dissolute nature which caused him have brushes with the law. He was a student of Adriaen van Ostade, and although he did not equal the latter's fame, and despite being struck down by the plague when still young, he won the esteem of his contemporaries. While remaining faithful to the themes of his master (family scenes, tavern and domestic interiors) the artist did in fact break away from Van Ostade's style, softening the latter's marked tendency toward caricature with a more subtle humourism through which he created figures that were well characterized but in a dignified way set off by caricature.
^ Born on 15 November 1815: John Banvard, US painter who would paint one of the world's largest paintings.
—In the mid-19th century, the rolled panorama, a kind of portable mural, became a popular amusement and educational device. Accompanied by a lecture and often music, the painting, on canvas and wound between two poles, would slowly be unrolled behind a frame or revealed in sections. Sometimes theatrical realism was utilized in the form of real steam, smoke, and sound effects. Among the longest and most ambitious of these rolled panoramas was one 370 m long (deceptively advertised as 3 miles in length), depicting the landscape along the entire course of the Mississippi River, by Banvard. [there is no full-size reproduction of it on the Internet]. Banvard was something of an enigma -- part huckster, part crackpot, part genius. He would go on to have a minor career as a US poet, playwright and composer, but history remembers him mostly for his panorama, considered a precursor to moving pictures. The painting was gradually unrolled as Banvard lectured with anecdotes and bits of sometimes-racy river history. It played throughout the country and around the world with great success -- by one historical account, the panorama was viewed by almost 250'000 in Boston in 1847, netting its creator $100'000.
— Banvard was educated at the New York high school, and at an early age showed decided talent for drawing and for writing verses. When he was fifteen years old his father lost a large sum of money. John then went to Louisville, Kentucky, and, after some experience as clerk in a drug-store, led a life of adventure, supporting himself by painting pictures and exhibiting them at New Orleans, Natchez, Cincinnati, and other towns, traveling from place to place in a boat. At one time he executed a panorama of Venice. and exhibited it with success.
      Finally the idea occurred to him to paint a panorama of the entire Mississippi river. He began this task in 1840, traveling thousands of kilometers alone in an open skiff, living on what game he could shoot, and earning money to buy drawing materials by painting and exhibiting pictures. When he had made the preliminary drawings they were transferred to canvas in a building erected for the purpose in Louisville, Kentucky. When finished, the panorama covered 370 meters, though it was advertised and became known as the "three-mile picture" [4828 meters]. He afterward exhibited it in the US and abroad. The artistic merits of the painting were not great, but it was a faithful picture of the Mississippi, and as such attracted a great deal of attention.
     Later Banvard traveled extensively in Europe, Asia, and Africa, and painted many pictures, which he exhibited. During the Civil War Banvard pointed out to General Fremont how Island No. 10 could be passed by a canal and certain bayous, and made charts showing the route. These suggestions were successfully followed out by Fremont's successor.
      Banvard is the author of about 1700 poems. He has also published Description of the Mississippi River (1849); Pilgrimage to the Holy Land (1852) ; Amasis, or the Last of the Pharaohs (1864) ; The Private Life of a King (1876); The Tradition of the Temple, (1883). He has also written several dramas, two of which have been acted: Amasis in 1864, and Carrinia in 1875.
      Banvard painted the picture from which the first chromo made in the US was taken. It was entitled The Orison (1861).

Died on a 15 November:

2000 Leandro Silva Delgado [28 Nov 1930–], Uruguayan landscape architect and landscape painter active in Europe.
— (a port?) (493x604pix, 55kb)
24 images at facebook —(091114)

^ 1949 Marie Isidore Henri Liénard de Saint-Délis, French painter born on 04 April 1878, brother of René Liénard de Saint-Délis [1876-1958]. — {Comment un délit peut-il être saint?}— Henri Liénard de Saint-Delis est né à Marconne dans le Pas de Calais. Au Lycée du Havre, lors de leurs études secondaires, le professeur de dessin relève les talents peu communs des frères de Saint-Delis et d'Othon Friesz. Le passage de Henri à l'École Municipale des Beaux Arts du Havre sous l'autorité clémente et éclairée de Charles Lhullier le marquera bien plus que son séjour inassidu à l'Académie Jullian de Paris. Il revient d'ailleurs le plus souvent possible au Havre pour y peindre les bassins, les quais et les jetées à toutes les heures du jour. Sa personnalité indépendante fait qu'il n'adhère pas intégralement au fauvisme. Malgré l'effet d'entraînement de Dufy, Friesz et Marquet, il cherche un art de synthèse et crée une écriture propre, fauve, baroque et poétique. En 1908, sa santé le conduit à Leysin en Suisse ; son non-conformisme de style se trouvera renforcé par ce nécessaire isolement. Il donnera surtout durant cette longue période d'exil - qui durera jusqu'en 1920 - des neiges d'une rare authenticité. À son retour, il se fixe à Honfleur, se consacrant à la peinture et surtout à l'aquarelle, dans le cadre d'une vie plutôt ascétique. Il représente inlassablement le Vieux Bassin et la Côte de Grâce, l'estuaire et les bateaux, la plage et les fêtes, des tempêtes furieuses et des natures mortes sereines, avec - chaque fois qu'il le peut - des drapeaux colorés. Il compte quelques amis peintres : Othon Friesz qui est revenu à Honfleur, Henri Malançon, Raymond Bigot et Paul Élie Gernez; il a aussi une petite cohorte de fidèles élèves. Les privations de la guerre finiront de l'épuiser et sa production des dernières années est assez piètre. Lors des bombardements du Havre, une partie non négligeable de son oeuvre est détruite, ce qui l'affecte considérablement. Il est mort à Honfleur.
— Au Lycée du Havre il était dans la même classe que Friesz, leur amitié devait durer toute leur vie. Il retrouva ensuite Friesz à l'École des Beaux-Arts de la ville, où ils étaient élèves de Charles Lhullier. Il y connut aussi Dufy, Braque, Lecourt, et Copieux. Ils créent en 1905 le Cercle de l'Art Moderne destiné à promouvoir l'art, la musique et la poésie. De 1906 à 1916 il séjourna en Suisse; la plus part des oeuvres de l'époque furent détruites au Havre lors du bombardement de la ville en 1944.
     Peu avant 1920, il quitta le Havre et s'installa définitivement à Honfleur, où il accomplit l'essentiel de son oeuvre, quelques portraits, quelques natures mortes, mais surtout des paysages de la côte, de la campagne, et du port, et une multitude d'aquarelles. Il est regrettable que la production de Suisse ait été presque entièrement détruite. La couleur y est vive et le dessin synthétisé en larges arabesques. La production de Honfleur est alerte et franche; le dessin en est volontairement sommaire. On pourrait comparer ce qu'il fut pour Honfleur à ce qu'un Mathieu Verdilhan fut pour la côte Marseillaise. Chez les deux, on retrouve l'écho assourdi du fauvisme.
— Henri de Saint-Délis est un ami de Friesz et Dufy Jeunes gens, ils franchissent l'estuaire et viennent se divertir à Honfleur. Saint-Délis suit un chemin modeste écarté des routes parisiennes de la gloire. Son dessin reste plus naïf mais sa peinture, où l'humour perce, est tout aussi éclatante que celle de ses amis. Qui sait mieux que lui évoquer les barques honfleurais à moustaches d'écume, les nuages pommelés “ces nuages qui donnent de l'intérêt à une toile et l'empêchent de basculer en arrière par le haut” (disait-il), les processions de communiantes, les fêtes, la plage de Honfleur.
     Dans l'atelier de Jean-Paul Laurens à l'Académie Julian en 1899, Henri de Saint-Délis fréquente les peintres des États-Unis, de l'école de Paris, à Montparnasse. George-Charles Aid [1872-1938] et Richard Emil Miller [1875-1943]
     Le peintre honfleurais Gervais Leterreux, donné comme le dernier élève de Saint-Délis est décédé en mai 2003.
Paysage (24x27cm; 812x900pix, 149kb)
La Dent du Midi (Suisse) (249x300pix, 54kb) —(051114)

^ 1932 Andrea Tavernier, Italian painter born on 23 December 1858. — {Il aurait dû s'appeler Trattore, ou bien André et être français}
–- S*>#Paesaggio Montano (27x37cm; 648x900pix, 150kb)
–- Garden on the Adriatic (1890, 29x49cm; 370x650pix, 70kb)
Madonna del Rosario (423x283pix, 65kb) —(061114)

^ 1928 Louis Mathieu Verdilhan, French painter born (main coverage) on 24 November 1875. —(051123)

1802 George Romney, English painter born (full coverage) on 26 December 1734. —(051114)

1795 Charles-Amédée-Philippe van Loo, French painter, born on 25 August 1719, son of Jean-Baptiste van Loo [11 Jan 1684 – 19 Sep 1745], brother of Louis-Michel van Loo [02 March 1707– 20 Mar 1771] and of François van Loo [1708–1732], nephew of Charles-André van Loo [15 Feb 1705 – 15 Jul 1765]. He studied under his father and at the Académie Royale, Paris; in 1738 he won the Prix de Rome. He spent three and a half years in Italy, and another two and a half with his father in Aix-en-Provence, before returning to Paris in 1745. He was received (reçu) as a full member of the Académie in 1747 and in the same year married his cousin Marie-Marguerite Lebrun, daughter of the painter Michel Lebrun [–1753]. — Portrait of Charles-Amédée-Philippe van Loo (1785) by Adelaïde Labille-Guiard [11 Apr 1749 – 24 Apr 1803].— LINKS
Apotheosis of the Grand Prince Into Olympus (1751 oblong ceiling; 474x777pix _ ZOOM to 1106x1814pix, 676kb)
Ganymede is Brought to Olympus by Hebe (1769 oblong ceiling; image cropped right and left, excessively blue color balance, 538x864pix _ ZOOM to 1256x2017pix, 671kb)
Soap Bubbles (1764, in oval “window” 89x82cm; 369x342pix, 44kb) _ detail 1 _ detail 2 _ detail 3 _ detail 4
The Magic Lantern (1764, in oval “window” 89x81cm; 680x617pix, 32kb) _ detail 1 _ detail 2
Allégorie du pacte de famille (1761, 67x56cm; 512x427pix, 70kb) —(051114)

^ 1791 Edward Penny, English painter born on 01 Aug 1714 — {I can't find many examples of his artwork on the Internet. Could it be because a painting by Edward Penny isn't worth an Edward penny?} — He was one of the twin sons of Robert Penny, a surgeon, and was trained in London by the eminent portrait painter Thomas Hudson. In the early 1740s Penny went to Rome, where he worked in the studio of the Neo-classical decorative painter Marco Benefial {and found it beneficial}. On returning to England in 1743 he first practiced in Cheshire as a portrait painter; his somewhat stiff and formal manner was reminiscent of Hudson’s. He signed these early works Pennee, a practice he abandoned when he went to London. His arrival there is unrecorded, but by 1748 he had established a sufficient reputation to be described as an eminent painter by The Universal Magazine. He specialized in small full-length portraits, the best of which, such as Capt. Philip Affleck, have considerable charm and elegance.
— He was born in Knutsford, Cheshire. His father, Robert Penny, was a surgeon. Penny worked as an assistant under Thomas Hudson [1701-1779], the successful portrait painter who was also master to Joseph Wright of Derby and Joshua Reynolds. Following this training in London, Penny travelled to Rome where he worked and studied in the studio of Marco Beneficiale, who painted in the fashionable Classical style. He returned to England about 1743 or 1748 (sources differ). For some years he ran a portrait-painting practice in his native Cheshire. However, by the time of his marriage to a wealthy widow, Elizabeth, in 1753, he had settled in London. His portraits rivalled those of Johann Zoffany [1734–1810] in their skill and popularity. Indeed, the portrait of Captain Philip Affleck (later Admiral of the White) in the National Maritime Museum, London, displays a lively pose combined with glossy colors and a high level of attention to details, such as the pattern of the rug, the polished table and the background marine painting, framed on the wall. In 1765, Penny was made vice-president of the Society of Artists. He was a founder member of the Royal Academy and its first Professor of Painting, a post which he retained until his retirement due to ill health in 1782. He died in Chiswick, London.
— William Redmore Bigg was a student of Penny {to whom he had to pay a pretty penny? or did he have to paint a pretty Penny?} — Edward II penny (both sides of the coin)
Self-portrait (1759, 84x68cm; 600x488pix, 41kb)
–- A Lady (oval 38x33cm; 847x478pix, 31kb) sold for more than a penny: £1200 at Sotheby's on 29 January 2003.
Captain Philip Affleck [1726-1799] (94x66cm; 981x700pix, 121kb)_ A full-length portrait to left seated at a table. He wears a captain's uniform (over three years), 1767-1774, and a white wig and buckled shoes. His left hand is on his knee and his right rests on a chart on the table. Also on the table is a pair of dividers, a globe, a paper knife and a book. In the right background on the wall is a painting of a ship off the Cape of Good Hope. Affleck spent his early sea training in the service of the Honourable East India Company before transferring to the Royal Navy. He became a lieutenant rather late in 1755. Boscawen made him a commander during the taking of Louisbourg in 1758 and, after following the admiral to the Mediterranean, he was made a captain after the Battle of Lagos in the following year. In the War of US Independence, he commanded the Triumph, 74 guns, and fought at Rodney's two actions with de Guichen in 1780. After getting his flag in 1787, he went as commander-in-chief to the West Indies, 1790-1793. On his return he became a Lord of the Admiralty until he retired in 1796.
Discovery of Imogen in the Cave (140xcm; 908x1000pix, 101kb) (Cymbeline, Act 3 scene 6) —(061114)

1691 (burial) Aelbert Jacobszoon Cuyp, Dutch painter born (full coverage) on 20 October 1620. —(051017)

^ 1689 Cornelis Mahu, Flemish painter born in 1613. — {Mahu who? Not Mahuhu!}— Relative? of Victor Mahu [–1700]?
–- S*>#Ships in a Stiff Breeze (58x83cm; 593x841pix, 100kb) they include a states yacht and a kaag, there is a town beyond.
–- Peasants in Front of a Cottage (28x35cm; 716x900pix, 123kb) they are eating, drinking, and conversing.
–- Sumptuous Still Life (91x122cm; 720x960pix, 61kb _ ZOOM to 1079x1440pix, 145kb) it includes a silver-gilt beaker, a partly peeled lemon on a silver-gilt 8-pointed dish, walnuts in a porcelain bowl, a silver gilt cup with cover, a silver-gilt mill glass, a quince, an apple, a peach, grapes, and oranges in a basket together with a porcelain bowl, grapes on a pewter plate, a pewter salt cup, a stoneware jug, bread, and a glass, all on a draped table.
–- S*>#after meal Still Life (172kb) _ In disarray on a partly draped table there are a roemer with some wine in it, an almost empty wine glass, an ice bucket, three pewter dishes, a glass jug, a tipped over pewter jug, a spoon, an oyster knife, empty oyster shell, a few nuts,
— (Sailing ship in rough sea) (345x476pix, 33kb) it seems to have been imitated in (Sailing ship in rough sea) (26x37cm; 263x376pix, 27kb) by Peter.Monamy [12 Jan 1681 – 01 Feb 1749] —(061114)

Born on a 15 November:

^ 1845 Regina Leopoldine “Tina” Blau-Lang, Austrian painter who died on 31 October 1916. Tina Blau, born in Vienna, studied under Schaeffer in Vienna and W. Lindenschmitt in Munich. She married Heinrich Long, a painter of battle scenes. A co-founder of the Viennese Art School for Women and Girls, she taught landscape painting for twenty years. Blau is considered one of the most important Austrian painters of the second half of the nineteenth century.
     Schülerin von August v. Schäffer, Lindenschmitt (München) und E. Schindler (Wien), Reisen durch Österr.-Ungarn, Italien, Holland; vermählte sich 1883 mit dem Tier- und Schlachtenmaler Lang, lebte dann 10 Jahre in München und kehrte nach dem Tode ihres Gatten nach Wien zurück; Lehrerin im Künsterinnenver. in München und an der Wr. Kunstschule für Frauen und Mädchen. Sie bevorzugte Landschafts- und Blumenmotive.
     Die Malerin Tina Blau-Lang wohnte nach dem Tod ihres Mannes und ihrer Rückkehr nach Wien an den Anschriften Rasumofskygasse 2 und Erdberger Lände 16; ihr Atelier befand sich im Haus Kegelgasse 24. Von den Einflüssen des Jugendstils blieb Blau-Lang unberührt. — Photo of Blau (292x216pix, 53kb gif) — Photo of Blau (485x375pix, 42kb) pushing her Kinderwagen with a painting in it..
–- Stillleben mit Schwertlilien, Pfingstrosen und Mohnblume (93x70cm; 1190x900pix, 216kb)
Im Prater (519x715pix, 66kb) _ Aus der Vielzahl ihrer Arbeiten sind besonders ihre liebevoll gemalten Ansichten der Praterlandschaft zu nennen.
An der Weißgerber Lände (557x819pix, 96kb) _ Die Malerin verewigte aber auch Wiener Motive, wie das unten stehende Foto des Bildes von der Weißgerber Lände zeigt.
Spring in the Vienna Prater (1895, 110x92cm; 450x376pix, 98kb) —(051114)

1584 Jacob van der Lamen (or Lanen, Laenen, Laan), Flemish artist. — Presumably the father of Christoffel Jacobszoon van der Lamen [1606-1651] — {A Lamen under any other name is equally impossible for me to find on the Internet} —(061114)


updated Sunday 15-Nov-2009 14:01 UT
Principal updates:
v.6.90 Wednesday 15-Nov-2006 2:45 UT
v.5.a1 Wednesday 23-Nov-2005 22:05 UT
Sunday 14-Nov-2004 23:11 UT
Monday 29-Mar-2004 1:56 UT

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