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ART “4” “2”-DAY  16 November v.7.a0
^ Born on 16 November 1787: François Joseph Navez, French Neoclassical painter, specialized in History Painting, active in Brussels, who died on 12 October 1869.
—      After studying at the Brussels Académie des Beaux-Arts and winning first prize at the 1812 Ghent Salon, François-Joseph Navez received a grant to visit Paris. He was taught by Neoclassical painter Jacques-Louis David [30 Aug 1748 – 29 Dec 1825] and returned to Brussels when David was exiled there in 1816. In technique and naturalism, Navez's works strongly reflect David's influence. While in Italy from 1817 to 1821, he became a fervent admirer of Jean-Auguste-Dominique Ingres [29 Aug 1780 – 14 Jan 1867], and his portraits began to reflect something of Ingres's combined Neoclassical and Romantic sensibilities.
      Upon returning to Brussels, Navez was disappointed to discover he was considered a mere portrait and genre painter rather than a history painter. Being David's heir-apparent also put him out of step with Brussels's new artistic climate, where Romanticism was the fashion. Around 1830 Navez became director of the Brussels Académie. He was able to adopt a sugary Romantic style, but he could not accommodate the vogue for Belgian Realists at the Brussels Salon of 1851. Navez stopped exhibiting but continued painting. He resigned from the directorship of the Académie in 1859. Hard of hearing and blind, he devoted his last years to his correspondence, which is now a rich source of information on mid-nineteenth-century artistic life.

Self Portrait (1826)
–- The Massacre of the Innocents (1824, 117x134 cm). This unusual depiction of the Massacre of the Innocents, signed and dated 1824 on the golden bowl in the foreground, is one of a series of religious paintings which Navez executed following his return from Rome in 1821. Here, the slaughter of the children of Bethlehem of two years old and under, as King Herod sought to rid himself of the Christ Child (Matthew 2:16), is depicted only in a frenzied vignette on the upper left. Rather than mayhem, Navez explored the personal, intensely emotional dimensions of the tragedy. His use of half-length figures close to the picture plane, and of saturated colors reminiscent of 17th-century Flemish traditions, recall the history paintings that David was executing at the same time. The painting moves away from Davidian naturalism, however, towards a more austere purity of line and stylization of form which owe a debt to Ingres, as does the languid arm that the mother in the center folds across her head. The enamel paint surface that Navez achieves is also reminiscent of Ingres. Original to Navez, perhaps, is the anti~clockwise pinwheel movement of the four heads on the right which comes to a halt in the confrontation of profiles on the left.
–- The Gaspard Moeremans Family (1831 and 1833, 223x163cm; 2000x1423pix, 247kb; .ZOOM in on main detail, 2601x1868pix, 299kb) _ Gaspard Moeremans was a successful Belgian banker. When Navez painted this portrait in 1831, Moeremans' wife, Marie Matthieu, was pregnant. The artist left a space in his composition and added the infant son later. He dated the picture for a second time on the hem of the baby's dress.
The Fortune Teller (1849, 117x133cm)
A Woman with a Turban (1826, 42x35cm)
A Lady with a Letter (1827, 71x61cm; 1212x1000pix, 222kb)
Le Massacre des Innocents (1824, 46x53cm)
The Nymph Salmacis and Hermaphroditus (1829, 197x147cm)

Died on a 16 November:

1979 Wynn Percy Wingfield Bullock, US photographer born on 18 April 1902. —(061114)

^ 1975 Michael Ayrton, London English painter and sculptor of imaginative subjects, printmaker, theater designer, illustrator, writer, and broadcaster, born on 20 February 1921, son of the writer Gerald Gould [1885-1936] and of the suffragette Barbara Bodichon Ayrton [1888-1950], who was the daughter of the physicists William Edward Ayrton [14 Sep 1847 – 08 Nov 1908] and Hertha Marks Ayrton [28 Apr 1854 – 26 Aug 1923]. Because of illness Michael Ayrton left school at 14 and began studying drawing at the Albertina in Vienna. He traveled in Italy, France and other countries. He attended Heatherley's and St John's Wood Schools of Art. He was influenced by Tchelitchew, Sutherland, and Moore. He practiced commercial art. He shared a studio with John Minton in Paris 1939 and held an exhibition with him of their designs for Macbeth at the Leicester Galleries 1942, after returning to England in 1939 and being invalided out of the RAF in 1942.
     He taught drawing and theater design at Camberwell School of Art (1942-1944). As art critic for The Spectator (1944–1946) he was influential in the acceptance of Neo-Romanticism. From 1946 he traveled widely in Italy, admiring the Quattrocento painters, especially Piero della Francesca. At Cumae he began the preoccupation with Greek mythology that continued throughout his life; he visited Greece regularly from 1957. After 1955 sculptures became his preferred medium, although drawing remained essential and he produced etchings and lithographs. His many bronzes of the Minotaur, Daedalus and Icarus (e.g. Icarus III, 1960) are his best-known works. The Arkville Maze (1968), built of brick and masonry, contains two lifesize bronze sculptures, in the estate of Armand Erpf in the Catskill Mountains, New York.
     Ayrton illustrated a number of books. Some of the books of which he was the author are British Drawings (1946), Hogarth's Drawings (1948), Tittivulus (1953), Golden Sections (1957). — LINKS
The Temptation of Saint Anthony (58x75cm; 533x715pix, 143kb) _ Dans sa jeunesse Ayrton a été fasciné par l'histoire de l'hermite Saint Anthony qui avait résisté à la tentation des visions demoniaques. Ayrton a commencé cette version du thème en 1942, pendant la deuxième guerre mondiale, parce qu'il l'a sentie liée à sa propre vie et à l'état du monde. Ayrton rend sa scène foncée et monstrueuse, soulignant la nature macabre et surnaturelle des visions.
The Captive Seven 1949-50 Oil on canvas support: 1220 x 1830 mm; 336x512pix, 24kb) painting Presented by the Friends of the Tate Gallery 1990 T05854 Between 1946 and 1952 Ayrton made several visits to Italy, where he became interested in the Renaissance principles of perspective. 'The Captive Seven' is one of Ayrton's major works and largest paintings. The figures were inspired by the street life of Trastevere, a poor district of Rome, and are arranged in a geometrically structured composition. Ayrton executed the work as a dark allegory of the seven deadly sins - pride, envy, anger, sloth, covetousness, gluttony and lust. Alternatively the seven figures could be seen as being held captive by their poverty. In the paintings of this period Ayrton sought to 'offset unquiet implications by a completely tranquil design'.
Wyndham Lewis (1955,: 80x100cm; 408x512pix, 19kb) Ayrton became friends with the painter and author Percy Wyndham Lewis [18 Nov 1882 – 07 Mar 1957] in the last few years of Lewis’s life. Ayrton illustrated several of Lewis’s books, and was commissioned by his publishers, Methuen and Co., to make this portrait, which he painted from life. Ayrton particularly admired Lewis as the founder of the avant garde art movement, Vorticism: the handkerchief in Lewis’s breast pocket is arranged into the angular ‘V’ often used in Vorticist imagery. In 1953 Lewis had been made blind by a brain tumour, and wore the green plastic visor to protect his eyes. —(061114)

1975 Janos Kmetty, Hungarian artist born on 23 December 1889. —(061115)

^ 1955 John Alfred Arnesby Brown, British painter born on 29 March 1866. Sir John Arnesby Brown was born in Nottingham on 29th March 1866 and spent his early years there. He studied at the Nottingham School of Art under Andrew MacCallum, and went on to study under Herkomer at Bushey from 1889-1892. He exhibited works at the Royal Academy from 1890 as well as the Tate Gallery in London, and further afield in Nottingham, Liverpool and Cape Town. He was elected A.R.A. in 1903, and then R.A. in 1915. He spent the next few years alternating between Haddiscoe, Norfolk and St Ives in Cornwall, and later took a house in Chelsea. A retrospective exhibition of his work was held in 1935 at Norwich Castle Museum, and in 1938 he was knighted. Sir John Arnesby Brown is best known for his Norfolk and Suffolk landscapes although he did paint some portraits. Together with his contemporary, Edward Seago, Arnesby Brown captured the changing seasons and weather conditions of the East Anglian countryside. He is at his best painting the expansive vistas and skies of the region with strong contrasts of light and shadow.
The Line of the Plough (63x76cm; 428x512pix, 21kb) _ Sir Arnesby Brown was a Royal Academician who deliberately resisted Modernist influences, and a landscape painter known for his views of East Anglia. This painting was exhibited in 1919, the year after the end of the First World War. Like other artists of this post-war moment (including Stanley Spencer), Brown enfolds the sweeping movement of the plough into the perspectives of the landscape. This suggests a harmonious integration that may have been particularly appreciated in contrast to the shattered landscapes of the war in France and Belgium.
Full Summer (364x350pix, 24kb)
Summer pastures (16x23cm; 311x450pix, 19kb)
Autumn Morning (1898 lithograph; 584x422pix, 119kb)

1940 Gustave Umbdenstock, French artist born on 24 December 1866. —(061115)

1934 Charles Sargeant Jagger, English designer born on 17 December 1885. —(061115)

^ 1917 Leopold Horowitz, Hungarian Jewish painter born on 11 (02?) January (02 February?) 1838 in Kassa (now Kosice, Slovakia). After attending drawing classes in Kassa, he continued his studies at the Akademie der Bildenden Künste in Vienna. In 1860 he won a scholarship, enabling him to travel to Paris, where he settled, painting mostly portraits and genre pictures. In 1868 he moved to Warsaw, where he completed the biblical composition Anniversary of the Destruction of Jerusalem and painted a series of portraits of Polish and Russian aristocrats. Horovitz had his greatest success with his portraits, for which he was internationally renowned. Like Fülöp Elek László, and several other Hungarian portrait painters, Horovitz was able to travel widely in order to carry out portrait commissions. Between 1901 and 1906 he painted Emperor Francis Joseph five times. He also painted a number of leading figures in Hungarian political, scientific and literary circles, for example Ferenc Pulszky (1890).
Self-Portrait (299x299pix, 160kb) . —(051115)

^ 1903 Edwin Lord Weeks, US Orientalist painter born in 1849. He studied under Léon Bonnat. Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston. As a young man he visited the Florida Keys to draw and also visited Surinam. His earliest known paintings date from 1867, although it is not until his Landscape with Blue Heron (1871) and painted in the Everglades, that he started to exhibit a dexterity of technique and eye for composition, presumably after some study. In 1870 he opened a studio in Newton, and married Frances Rollins Hale from New Hampshire. In 1871, accompanied by the illustrator A P Close, he visited Egypt, the Holy Land, and Syria as far as Damascus. His sketchbooks from that visit overflow with North African scenes. At Beirut, Close died of a fever. A painting depicting the port of Tangiers dated 1872 appears to be one of the first of his works in the Orientalist style. During a brief visit to Morocco about this time it is likely that he met the Scottish Royal Academician Robert Gavin [1827-1883] who lived and worked in Tangiers during the 1870's.
     In the summer of 1874 he went to Paris with his wife. There he worked in the studio of Léon Bonnat, a close friend of Gérôme. Bonnat was only 31 at the time and an enthusiastic Realist painter. Weeks stayed with him for about a year-and-a-half. Weeks returned to Cairo in the spring of 1875, the following autum going to Morocco in all likelihood having spent the summer in Paris. Upon his return to the US in February 1877 he held an exhibition at the Noyes and Blakeslee Gallery in Boston. He returned to Paris where he started A Maroccan Camel Driver, destined for the 1878 Salon, his first Salon exhibit. He then went to spend a long winter in Marocco.
    To avoid the northern ports frequented by tourists, he planned to visit Rabat on the Atlantic coast and so crossed the Straits of Gibraltar accompanied by his wife, landing at Tangiers, where his friend Robert Gavin was living and who joined them. It was five days over land and across the flooded rivers (a coaster could have made the journey in a day!) and, not expecting to find a hotel in Rabat, they took with them sufficient supplies for a three month stay. However, reaching Rabat, they found famine. They distributed bread to the needy, in return for which they would pose to be sketched and painted..
     In February, on the day of their intended departure both Weeks and his wife succumbed to typhoid fever and Gavin, who was apparently immune, nursed them until they recovered. It was not before spring that they were able to leave. Weeks returned to Morocco less than a year later. From Tangiers he followed the coast to Mogador where he obtained the governor's permission to enter the interior of the country escorted by an armed guard as far as Marrakesh. There he obtained permission from the local potentate to draw in the streets. He was fascinated by the contrasts between the flourishing commercialism of the bazaars and the ancient monuments in a state of abandon. Weeks didn't exhibit again either in the US or at the Paris Salon until 1880 and then all his compositions were of Maroccan subjects.
    In 1883 he went to India and spent every day painting and photographing, and every night developing his photographs, on which he based the details of his painting. He was to return again in 1892, commissioned by Harper's Magazine, this time accompanied by the journalist Theodore Child who was to write a series of articles on their travels with illustrations by Weeks. They followed the ancient caravan route from Trebizond on the Black Sea as far as Tabriz and from there across Kurdistan. They arrived in Trebizond in July 1892 and organised a caravan. In an araba (a large covered wagon, probably like those used by the pioneers of the US West), drawn by four horses, they set off in a south-westerly direction accompanied by two other arabas heading for Persia. They spent the nights either in khans (modest boarding houses) or in caravanserai. A week later they arrived at the border with Georgia and crossed the pass of Taya, then past Mount Ararat in Turkey, along Lake Urmia and over the border into Kurdistan.
    Approaching Tabriz, they found themselves in a cholera epidemic. They stayed there almost a month, as his companion Theodore Child and their guide had been taken ill. They decided to set out for Tehran then to head south towards Isfahan and Shiraz, cuting across to Bushir, a port in the Persian Gulf, where they could catch a steam ship to India. Having sold their araba, they traveled on horseback. They arrived at Tehran, a large cosmopolitan city. In contrast, Isfahan seemed to them very spread out and it took them an hour to pass through the surrounding villages and bazaars before reaching the central area.
     Only a day or two after departing for Shiraz, Child began to show symptoms of typhoid fever and Weeks sent back to Isfahan for medication. But it was too late and Child died on the return journey. When Weeks resumed his journey to Shiraz he was equipped with a list of "contaminated villages" which the local consul had given him. At the gates of the city, notified by letter sent in advance, he was welcomed by two men and immediately transported into another universe - that of a foreign colony where one dined at a table and where "men dressed in white flannel played on tennis courts".
     On 29 November 1892 on the marshy coast of Bushir, he boarded the steam ship Occidental and headed for India, where he spent two years before returning home to Paris. His paintings of Indian life became his speciality. He spent the next thirteen years in a splendid residence with a huge studio on the Avenue de Wagram before moving nearer to the Bois de Boulogne. He continued to paint right up to his death, which was probably due to some illness contracted in India.
Royal Elephant at the Gateway to the Jami Masjid, Mathura (1895, 54x34cm; _ ZOOMable)
An Open-Air Restaurant, Lahore (1889, 157x245cm; _ ZOOMable)
–- Blue-Tiled Mosque at Delhi, India (55x46cm; 600x506pix, 51kb _ .ZOOM to 901x760pix, 125kb _ .ZOOM+ to 1352x1140pix, 166kb) _ A party of native trading horses. Just outside the mosque they are haggling and wrangling over the merits of a dappled gray horse, who is peacefully awaiting his fate and only too glad to rest.
–- Feeding the Sacred Pigeons, Jaipur (46x56cm; 662x800pix, 102kb) _ By the liberality of the Rajah of Jeypore hundreds of pigeons were fed twice a day in the great square outside the palace. In the background are seen walls of a Temple entrance guarded by stone elephants.
–- S*>#Indian Horsemen at the Gateway of Alah-Ou-Din, Old Delhi (1244x900pix, 255kb)
–- S*>#Ispahan
76 images at ARC71 images at the Athenaeum . —(061114)

^ 1893 Reinhard Sebastian Zimmermann, German genre painter born on 09 February (January?) 1815. — Relative? of Johann Baptist Zimmermann [bap. 03 Jan 1680 – 02 Mar 1758 bur.]? of Joseph Anton Zimmermann [1705-1797]? of Theodor Franz Zimmermann [1808-1880]? of Albert August Zimmermann [1808-1888]? of Richard Zimmermann [1820-1875]? of Oskar Zimmermann [1913-1985]? of Aurel Zimmermann? of Carl Friedrich Zimmermann? — He studied at the Munich Academy under Schnorr, Heinrich Hess, and Clem. Zimmermann {a relative?). He was at first active as portrait painter. In 1845-1846 he visited France, England and Belgium, then stayed in Konstanz at Bodensee, but in 1847 moved to Munich again and from then on worked there as genre painter. In 1862 he was appointed a court painter of Grand Duke Friedrich von Baden and dedicated himself to depicting Bavarian and Swabian peasant life. His works of that period were inspired by Adrian van Ostade and David Teniers.
— Zimmermann absolvierte eine kaufmännische Lehre und trat anschließend als Kaufmannsgehilfe in das Geschäft seines Vetters in Meersburg ein. In Meersburg begann er auch erstmals, sich mit der Portrait-Malerei zu befassen. 1837 ging er aus beruflichen Gründen nach Freiburg im Breisgau, wo er auch seine Malerei-Kenntnisse vertiefte. Von 1840 bis 1842 studierte Zimmermann an der Kunstakademie in München, gefolgt von einem Studienaufenthalt in Paris und Reisen nach London und Brüssel. Nach seiner Rückkehr nach München 1847 beteiligte er sich aktiv an der bürgerlichen Revolution von 1848. Inzwischen hatte sich Zimmermanns künstlerischer Ruf so gefestigt, dass er bei der Kunst- und Gewerbeausstellung 1854 in München Jury-Mitglied wurde. Bei der Allgemeinen Deutschen Kunstausstellung in Köln 1861 erhielt er für seine Werke eine Goldmedaille. Ein Jahr später wurde er durch Großherzog Friedrich zum badischen Hofmaler ernannt. Es folgten weitere Studienreisen nach Venedig und Paris. 1873 erhielt er auf der Internationalen Ausstellung in der Royal Albert Hall in London eine Bronzemedaille. Ein Jahr später wurde er vom badischen König Ludwig II. für sechs Wochen zu Studienaufenthalten nach Paris und Versailles entsandt. Später folgten noch weitere Studienaufenthalte in Italien. 1878 baute Zimmermann sich seinen Ruhesitz, das so genannte "Malerhäusle" in seinem Geburtsort Hagnau.
Die Sternsinger aka Kaspar, Melchior and Balthasar - Three Kings (1852, 61x76cm; 649x800pix, 173kb) _ detail 1 (800x519pix, 183kb) _ detail 2 (706x800pix, 217kb) _ detail 3 (660x800pix, 153kb) _ detail 4 (628x800pix, 180kb) _ detail 5 (657x800pix, 149kb) _ detail 6 (661x800pix, 199kb) _ In the kitchen of a rural home depicted in detail, three boys are almost ready for the village Epiphany procession. As a man watches, another man puts the last touch, painting black the face of the boy impersonating Balthasar, whose gilt paper crown is on the floor. Another boy, the White Melchior, is looking into a hand mirror, delighted with his gilt paper crown. The third boy, the Oriental Kaspar, wearing a large turban, is testing the pull string designed to make twinkle the wooden star at the top of a long stick. . —(051115)

1849 (15 Nov?) Etienne-Barthélémy Garnier, French painter born (main coverage) on 24 August 1759. —(051115)

Born on a 16 November:

1937 Gerardo Chávez, artist born in Trujillo. —(061114)

1927 Manuel Chong Neto, Panamanian artist. —(061114)

1909 Christos Capralos, Greek artist who died on 20 January 1993. —(061114)

1909 Acheson Best Overend, Australian artist who died: on 24 July 1977. —(061115)

1905 Ignacio Díaz Morales, Guadalajara Mexican artist who died on 03 February 1992. —(061114)

1898 Jan Bauch, Czech artist who died on 09 January 1995. —(061114)

^ >1883 Martin Bloch, German British Expressionist painter and teacher who died on 19 June 1954. He was born in Neisse, Silesia,.the son of a Jewish factory-owner. Bloch first studied the violin, then architecture in Berlin in 1902, aesthetics under Heinrich Wölfflin in Munich in 1905 and drawing under Lovis Corinth in Berlin in 1907, and art under George Mosson. As a painter he was largely self-taught. His first one-man exhibition (1911) took place at the Paul Cassirer Gallery, Berlin. In 1912 he went to Paris, where he worked in Montparnasse and became a friend of Jules Pascin. Bloch visited Spain in 1913 and was again there 1914–1918, stranded by the war, working with Pascin. In 1923 he founded the Bloch–Kerschbaumer school in Berlin with Anton Kerschbaumer, whose place was taken by Karl Schmidt-Rottluff from 1926. Bloch spent most summers in Italy with students 1924–1930. In 1933 Bloch was declared a ‘degenerate artist’ by the Nazis, and he fled with his family to Denmark, where he spent one year, and thence to London, where, with Roy de Maistre, he opened his School of Contemporary Painting in 1936 and ran it until 1939. In later years Bloch taught at Camberwell School of Art. He painted mainly in London, Dorset and Wales from 1939. He was naturalized British in 1947. He visited the US in 1948, teaching at Minneapolis. Bloch died in London. — LINKS
Afternoon in Bangor (1954, 127x91cm; 512x366pix, 40kb) In 1933 Bloch, without waiting for the climax of the persecution of “Entartete Kunst” by the Nazi regime, fled Germany and set up an art school in London. In the early 1940s he became a close friend of the Polish émigré Josef Herman, through whom he came to visit Wales on a number of occasions. To his Welsh scenes Bloch brought his characteristic high-keyed color, inspired by French Fauvism, and concern with pictorial structure. Although his paintings are informative about the particulars of the landscape and the activities of the people shown, they often also convey the artist's strong feeling for the permanence or continuity of the scenes represented.
The Mississippi at Minneapolis (1950,: 71x92cm; 396x512pix, 37kb) _ In 1948 Bloch visited the US, where he found in the western and southern states a light and a climate similar to the Mediterranean. For a brief period he taught at the Walker Art Center in Minneapolis. The high-keyed color in this work, in particular the juxtaposition of blue and orange, reflects Bloch's aim to use color to represent the light and space of nature. Bloch wrote: “The optical colours observed in nature, [the student] has to translate into the language of pigments. The beginner must recognise the importance of that beauty which is the outcome of understanding and loving the artist's craft”.
Casa Rigo, Lake Garda II (1925,: 91x74cm; 512x404pix, 38kb)
Down from Bethesda Quarry (1951, 123x183cm; 295x448pix, 42kb) _ Born in Silesia, Bloch studied and worked in Berlin, exhibiting at the gallery of Paul Cassirer in 1911-20. In 1934 he emigrated to Britain. Bloch was friendly with Josef Herman and visited Wales several times. This painting of workers at the slate quarry at Bethesda in Gwynedd was included in the Festival of Britain exhibition 60 Paintings for 1951. Its Expressionist style reveals the enduring influence of Edvard Munch [1863-1944], who admired Bloch's work in 1920. —(061114)

1871 Hugo Lederer, sculptor born in Znaim, Moravia (now Znojmo, Czech Republic), who died in Berlin on 01 August 1940. —(061115)

1866 Henri-Jules-Charles De Groux (or Degroux), Belgian artist who died on 12 January 1930. —(061114)

^ 1865 William Samuel Horton, US Impressionist painter who died in 1936. He studied under Benjamin-Constant and Jean-Paul Laurens [28 Mar 1838 – 23 Mar 1921]. Horton was born into a wealthy Grand Rapids, Michigan family and brought up in Lisbon, North Dakota. He began to paint at an early age, for at the age of seven, he apparently won a prize at a state fair with a composition of roses. In 1877, Horton began to work for North West Magazine as an illustrator, a position he held for two years. At fourteen, he taught drawing. His parents were opposed to his choice of profession and in 1883, he left home without family support to attend the Art Institute of Chicago. By 1886, Horton was in New York to study at both the National Academy of Design and at the Art Students League. He exhibited at the National Academy of Design for the first time in 1888. Horton married Lottie Gray in 1892; she was from a well-off New York family. In 1895, Horton went to Paris where he studied under Benjamin-Constant [10 Jun 1845 – 26 May 1902] at the Académie Julian. His first one-man show was held back in New York in 1897 at the Salmagundi Club and he exhibited both at home and abroad throughout the rest of his career. He won a gold medal at the International Exposition in Nantes in 1904 and a bronze medal in 1905 at Orleans. After the death of his wife in 1932, Horton made three trips around the world including Norway as part of his itinerary. He died in London in 1936. Horton worked in oil, pastel, and watercolor. He developed his hallmark impressionist style using a bold, bright palette while studying in Paris; later his work would become more expressionistic. Since he was financially secure, Horton sold few of his works during his lifetime. — LINKS
A Country Road In England (64x78cm) snow landscape.
Fjord, Norway (1935; 300x363pix, 69kb) —(051011)

1852 Jules Brunfaut, Brussels Belgian artist who died on 04 January 1942. —(061114)

^ 1722 Clément-Louis-Marie-Anne Belle, Parisian history painter and tapestry designer, who died on 29 September 1806, son of Alexis-Simon Belle [12 Jan 1674 – 21 Nov 1734].— {Paris being in the northern third of France, neither of them could correctly be called a southern Belle. But were their mothers belles before they became Belles as the bells rang to celebrate their marriages?} — Clément Belle was trained by the history painter François Lemoyne and visited Rome. From 1755 he worked for the Gobelins, painting tapestry cartoons adapted from pictures by his contemporaries and from his own designs. In 1759 his altarpiece The Atonement, a work that demonstrates Belle’s gifts as a colorist, achieved great success at the Salon. Two years later he was received (reçu) as a history painter by the Académie Royale. Among his surviving works for the Gobelins is a cartoon of Leda and the Swan (1778) in the manner of François Boucher, designed to add a new subject to the famous tapestry series The Loves of the Gods. In 1788 Belle was commissioned by Louis XVI’s Directeur des Bâtiments, the Comte d’Angiviller, to design cartoons in triptych format for tapestries to decorate the Palais de Justice, Paris. He was later called on to transform them into Republican allegories by the Revolutionary authorities. The resulting monumental canvases, Allegory of the Republic and Allegory of the Revolution (both 1794), display the classicizing yet dynamic characteristics that Belle could achieve in his compositions. In 1790, shortly before its dissolution, he became Rector of the Académie Royale. Clément Belle's son Augustin-Louis Belle [1757–1841] was also a history painter, working in the Neo-classical style. — Portrait of Belle (1779; 700x560pix, 199kb) by Alexis III Loir [1712-1785] —(051011)

^ 1682 Jan Josef Horemans I “le Brun” or “le Sombre”, Antwerp Flemish artist who died on 07 August 1752 (1759?). He was a student of the sculptor Michiel van der Voort I and then of the Dutch painter Jan van Pee [<1640–1710], who was active in Antwerp. Horemans joined the Guild of Saint Luke in 1706–1707. He appears to have followed in the footsteps of the 17th-century Flemish genre painters, executing a few portraits and a large number of small anecdotal pictures that were highly prized on the market. In paintings such as The Village School and The Cobbler’s Shop (both 1712), The Musical Company (1715) and The Card-players he represented scenes from contemporary everyday life that combine observation with a certain degree of stiffness. Most of his paintings are signed. In 1746, together with his son Jan Josef Horemans II “le Clair” [bap. 15 Jan 1714 – >1790], he painted The Abbot of Saint Michel Visiting the Order of the Fencing Oath. — Peter Jacob Horemans [26 Oct 1700 – 1776] was the brother of Jan Josef Horemans I
Garden with People on a Terrace (1735)

updated Wednesday 16-Apr-2008 2:09 UT
Principal updates:
v.7.a0 Friday 16-Nov-2007 3:03 UT
v.6.a0 Thursday 16-Nov-2006 1:28 UT
v.5.90 Wednesday 16-Nov-2005 3:20 UT
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