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ART “4” “2”-DAY 21 November v.8.a0
^ Died on 21 November 1927: Laurits Regner Tuxen, Danish painter born on 09 December 1853.
— He was instructed in the tradition of academic realism at the Kunstakademiet in Copenhagen between 1868 and 1872, but later studies in Paris, with Léon Bonnat, and Rome (1879–1880) guided him towards naturalism. As professor (1880–1905) at the School of Artistic Studies, Copenhagen, founded to counteract the conversatism of the official Royal Academy of Fine Arts there, Tuxen was able to introduce naturalism to Danish students, making the way for 20th-century modernism. Until the end of the century, Tuxen lived and worked a great deal in Paris, where he adopted a cosmopolitan style that set him apart from his Scandinavian contemporaries. His fame rested on his position as one of Europe’s leading court painters for over 30 years. He introduced relative freshness and modernity to such royal group portraits as Christian IX and his Family at Fredensborg Castle (1886) and the British equivalent, H.M. Queen Victoria and Family at Windsor Castle, Jubilee (1887). With his well-developed feeling for colour harmony and virtuoso manipulation of bright hues, he painted directly on to the canvas without preliminary drawing, although he did produce a number of remarkably free oil sketches, for example Queen Victoria (1894) and a study for The Duke of York’s Wedding (1894). His royal sitters are informally grouped as ordinary human beings and not the sublime divinities celebrated in royal portraits of the absolutist era.
— Tuxen grew up in Copenhagen. His father was an officer in the navy and Tuxen originally wanted to be a marine painter. Together with Krøyer he was recognized as being one of the cleverest students at the Royal Academy of Fine Arts, and was, therefore, encouraged to study figure painting, which was regarded as being the most distinguished genre.
      Tuxen came to Skagen for the first time in 1874, where he met Michael Ancher with whom he developed a life-long friendship. It was, however, 27 years before he came to Skagen again in 1901. In the interim he had studied further in Paris with P.S. Krøyer, and he was the initiator of the Artists Independent Study Schools in Copenhagen. Furthermore, he traveled extensively because of large works commissioned by European royal families. Among other things he painted huge family portraits of the Danish King Christian IX and Queen Louise and their family, Queen Victoria and her family, and the Russian Tzar’s family.
     Tuxen’s first wife, the Belgian Ursule de Baisieux, died from tuberculosis in 1899. In 1901 he married Frederikke Treschow from Norway and they settled in Copenhagen together with Tuxen’s two daughters, Yvonne and Nina. The same year they bought Madam Bendsen’s house in Skagen, which they renovated into a grand summer residence christened “Dagminne”. During the following years, Tuxen painted a large number of paintings in Skagen. Now it was especially the near things that occupied him: the family, friends, landscapes, the sea and the flowers in the garden. He was also very much engaged in the establishment of Skagens Museum.
— Tuxen came to Skagen a couple af times in the 1870's, before becoming a much sought-for portrait painter in the courts of Europe. But after the death in 1899 of his first wife, the Belgian-born Ursula de Baisieux, and his second marriage in 1901 with Frederikke Treschow, he bought a house in Skagen. Here, in the "Tuxen Villa", he spent much of his time together with Krøyer and Michael and Anna Ancher. In this period as an artist he was mainly occupied by the subjects of family life, his wife and daughters, and of Skagen in the changing light of summertime. The "Tuxen Villa" is today a museum.

Self-Portrait (1911; 314x300pix, 20kb)
The Wedding of Nicholas II and Grand Princess Alexandra Fyodorovna (1895, 66x88cm; 575x776pix, 276kb)
The Coronation of Nicholas II and Alexandra Fyodorovna (1895, 66x88cm; 667x515pix, 93kb) _ The coronation of Nikolay Alexandrovich and Alexandra Fyodorovna took place on May 14, 1896, at the Assumption Cathedral in the Moscow Kremlin. This ceremony was an important state occasion, for it signified acknowledgement of the monarch's power over Russia and consecration of that power by the Church. Nicholas II, Alexandra Fyodorovna, and Dowager Empress Maria Fyodorovna are shown standing on a special platform set with thrones. Among the people depicted are the Romanovs' relations from among the royal families of Europe. The artist chose to show the moment when Metropolitan Palladius of Saint-Petersburg invited Nicholas to recite The Symbol of Faith. The coronation ceremony was followed by a liturgy with the Emperor receiving communion at the altar. Church bells rang out and a 101-gun salute was fired to announce the end of the coronation ceremony to the public outside the Cathedral. In keeping with tradition, after the ceremony the Emperor presented awards, remitted arrears, and pardoned prisoners.
Sildig aften ved Vesterhavet (1906, 50x61cm; 340x410pix, 32kb)
Trankogning ved Nymindegab (1880, 148x199cm; 440x600pix)
First Wife, Ursula de Baisieux (1890; 548x400pix, 21kb)
At the Johannisfeuer in Skagen (1920, 110x88cm; 539x438pix, 257kb)
The Artist's Mother and Daughter (1902; 652x522pix, 29kb)
Efter badet (1908, 46x61cm; 643x893pix, 142kb) _ Nögen kvinde i klitterne ved Skagen strand med liggende hund (blurry detail, 377x381pix, 39kb).
^ Died on 21 November 1717: Jean-Baptiste Santerre, French painter born on 23 March 1651. — {descendant de Jean Sans Terre? John Lackland [24 Dec 1167 – 18 Oct 1216]} {Etait-il sans terre Santerre?} {Un Santerre qui s'enterre sent la terre.}
— The 12th child of a merchant, he was apprenticed to the portrait painter Jean Lemaire before entering the busy studio of the history painter Bon Boullogne [bap. 22 Feb 1649 – 17 May 1717]. Although Santerre made some history paintings, he began to specialize in portraiture early in his career. The Portrait of Two Actresses (1699), clearly influenced by François de Troy, shows Santerre’s interest in the well-known portrait painters of his time. Nevertheless, he was among the first painters in France to absorb the influence of Rembrandt, as in Young Girl at a Window. In such portraits as Girl with a Veil (1699) he made an original contribution to French painting by successfully combining the fantasy portrait of northern tradition with the allegorical portrait currently fashionable in France.

Self~Portrait (90x80cm)
–- Suzanne au Bain (1704, 205x145cm; 785x560pix, 45kb _ .ZOOM to 1080x771pix, 101kb) _ Santerre was mainly a religious painter but his paintings lacked true inspiration. However, his Susanna at the Bath reveals an almost disturbing eroticism and something of that peculiarly chilly Rococo quality which is to be found in Falconet's nude statuettes. Few comparable pictures were to be produced at Venice, whereas Santerre initiates a whole troop of 'baigneuses' who go on dabbling with the erotic possibilities of water as late as Fragonard, all seeming ultimately to derive from Correggio's Leda. And out of this revolution was to come the achievement of Boucher as well as Fragonard.
–- Suzanne au Bain (engraving 44x31cm; 785x572pix, 49kb _ .ZOOM to 1177x858pix, 136kb)
Deux Actrices (1699, 146x114cm)
Marie Adélaïde de Savoie, Duchesse de Bourgogne (1709, 275x184cm)
Sainte Thérèse en Extase (1710, 267x171cm)
^ Died on 21 November 1874: Mariano Fortuny y Marsal (or: y Carbo?), Spanish painter born on 11 June 1838. — {Etait-il fortuné, Fortuny?}
— During his brief but highly successful career he became one of the leading Spanish painters of the mid-19th century. His fame and fortune were primarily the result of his historical genre paintings. His work drew both on earlier Spanish art, especially the paintings and etchings of Goya, and on contemporary foreign works, notably the paintings of the Italian Macchiaioli and those of the French artist Ernest Meissonier. Father of Mariano Fortuny y Madrazo [11 May 1871 — 02 May 1949].
— He was born at Reus to poor parents. He attended the primary school of his native town, where he received some art instruction. When he was twelve years old his parents died and he came under the care of his grandfather, who, though a joiner by trade, had made a collection of wax figures, with which he was traveling from town to town. The boy modeled and painted many of the figures; and two years later, when he reached Barcelona, the municipality gave him a scholarship equivalent to forty-two francs monthly.. He entered the Academy of Barcelona and studied there for four years under Claudio Lorenzale. In March 1857 Fortuny received a scholarship to go to Rome. There, for more than two years, he copied the works of old masters.
      On 22 October 1859 Spain declared war on Morocco. Fortuny was sent by the authorities of Barcelona to document the war in paintings. Spain easily crushed Morocco, which on 25 March 1860 agreed to a cease fire, and on 26 April 1860 signed the treaty of Tetuán. Fortuny returned to Spain in the summer of 1860, and was commissioned by the city of Barcelona to paint the capture of the camps of Muley-el-Abbas and Muley-el-Hamed by the Spanish army. After making a large number of studies Fortuny went back to Rome, and began the composition on a canvas fifteen meters long; but though it occupied much of his time during the next few years, he never finished it.
      He visited Paris in 1868 and shortly afterwards married the daughter of Federico Madrazo Küntz [1815-1894], director of the royal museum at Madrid. Another visit to Paris in 1870 was followed by a two years stay at Granada, but then Fortuny returned to Rome, where he died of malarial fever, contracted while painting in the open air at Naples and Portici in the summer of 1874.
      Fortuny's work is distinguished by facility in painting and brilliant hues, but his art is that of a master of technique rather than of a deep thinker. In such pictures as La Vicaria and Choosing a Model, and in some of his Moorish subjects, like The Snake Charmers and Moors playing with a Vulture, he showed himself to be endowed with a sensitive appreciation of shades of character. His love of detail was instinctive, and he chose subjects where he could displaying his skill as a craftsman.

–- The Café of the Swallows (1868; 854x621pix, 63kb _ zoom to 1708x1242pix, 252kb _ ZOOM to 2562x1862pix; 559kb _ .ZOOM+ to 3415x2483pix, 1091kb) _ .detail 1 (890x1242pix, 153kb) _ .detail 2 (947x1204pix, 171kb) _ .detail 3 (901x1185pix, 173kb)
–- Moroccan Man (1869; 848x544pix, 48kb_ ZOOM to 2418x1445pix; 595kb) _ .detail 1 (813x725pix, 71kb) _ .detail 2 (888x1088pix, 125kb) _ .detail 3 (860x1201pix, 182kb)
–- The Choice of a Model (1874, 53x81cm; 748x1200pix, 92kb)
–- The Painter's Children in the Japanese Room _ (1874, 44x93 cm; 741x1650pix, 128kb) _ This painting is without doubt a small jewel. Though, because of its size it might be considered a minor work, it is actually one of his most brilliant. The painter, the first Spaniard to become a trully cosmopolitan artist, enjoyed international fame and earned a large number of commissions throughout his short life. However in this small work — Fortuny was certainly a specialist in small formats — he wasn't working "on commission". He painted it just a few months before he died, never really finishing it, and is a reflection of his search in the last years of his life to find new roads and outlets for his painting. Thus, while some elements of the scene — such as the girl's leg — are perfectly drawn with meticulous detail, other parts of the painting show such loose, separated brush strokes that one might say that this presages Impressionism. The children in the painting are Mariano [1871-1949] and Maria Luisa [1868-1936], the product of his marriage to Cecilia Madrazo, the daughter of Federico de Madrazo y Küntz [1815-1894] and grandaughter of José de Madrazo y Agudo [1781-1859].
A Summer Day, Morocco (25x66cm)
Idyll (1868)
The Court of the Alhambra (1871, 75x59cm)
Odalisque (1861, 60x81cm)
–- S*>#Standing Man (33x23cm; 799x549pix, 94kb) he is seen from the back, badly in need of a haircut, wearing camouflage pants and a white shirt stripped down to his waist; he is facing a camouflage-painted wall; on the ground are some other camouflage-patterned things which might be a helmet and a jacket.
–- Pórtico Árabe (14x20cm; 639x900pix, 96kb)
^ Died on 21 November 1849: François~Marius Granet, French painter and sculptor born on 17 September 1775.
— Son of a master mason, Granet received early artistic training from J.-A. Constantin [1756-1844] at the free drawing academy in Aix. A fellow student was the highborn Auguste de Forbin [1777-1841], who became his most important friend and patron. In 1793 Granet participated in the siege of Toulon, where he met Bonaparte and worked as a draftsman with the artillery battery. Three years later he made his first visit to Paris, where he admired and copied Dutch and Flemish paintings in the Louvre.
      In 1798 Granet returned to Paris to join Forbin in the atelier of David, but he had to leave after a few months from lack of funds. The next year, however, he showed at the Salon; his successful Little Cloister of the Feuillants, a Parisian monastery interior, announced the dominant theme of his subsequent work, which owed more to his study of seventeenth-century northern masters than it did to the brief stay in David's studio.
      In 1802 Granet and Forbin went to Rome, where Granet remained generally for the next twenty-two years, making a living during the first years by selling views of ancient monuments. His internationally acclaimed Choir of the Capuchin Church in Rome (1815), of which he painted a later variant, sealed the artist's success.
      His precisely painted pictures appealed through their dramatic chiaroscuro and masterful articulation of architectural forms. In the Italian and French countryside Granet also created many fluid oil and watercolor landscape sketches, whose simplified forms and subtle light effects prefigured the art of Corot. 
      By the end of the 1830s the vogue for Granet's quietly religious paintings waned. In the meantime he had begun an important career as a museum official. Having left Rome in 1824 to accept a position offered by Forbin, Granet became chief curator at the Louvre in 1826 and then curator of Louis-Philippe's new Musée Historique de Versailles in 1833. He was also named, in 1844, honorary director of the museum in his hometown of Aix.
      His long-time friend Forbin died in 1841, and in 1843 Granet married the recently widowed Marie-Madeleine Appoloni ("Nena"), whom he had known since the early days in Rome. Upon her death in 1847 Granet went to his country residence in Aix, where he remained after the revolution of 1848. The next year's bequeathal of studio and collection to the Aix museum constitutes a rare example of the preservation of an artists's atelier at the time.

–- The Choir in the Capuchin Church on the Piazza Barberini, Rome (1815, 132x105cm; 884x769pix, 58kb — .ZOOM to 1964x1538pix, 216kb)
La Trinità dei Monti et la Villa Médicis à Rome (1808)
Crypt of San Martino ai Monti, Rome (1806, 126x159cm; 850x1099pix, 130kb) _ Among the first of a number of artists to take a pictorial interest in Roman ritual, rather than in the traditional Christian iconography, was the young Provençal Granet, who while studying in Rome began painting church interiors with officiating clergy. This new genre anticipated the medievalism of his Troubadour compatriots and found a ready market. His haunting Crypt of San Martino ai Monti, a view of the vaults which were once part of the ancient Baths of Trajan, includes a female corpse in its white shroud, while a hooded priest and his acolyte prepare for the committal.
Stella in Prison (1810, 194x144cm; 958x700, 90kb) _ The French painter Jacques de Stella [19 Sep 1596 – 29 Apr 1657], in prison in Rome as painted by Granet, might seem another persecuted genius. In fact the Madonna and Child that Stella has drawn on his cell walls has attracted the admiration of his jailor and fellow inmates, and there is already the promise of hardship overcome.

Died on a 21 November:

1989 Edward Bawden, English painter born (main coverage) on 10 March 1903. —(061117)

1976 Antonin Raymond Rajman, Czech-born (10 May 1888) US architect, painter, sculptor, and craftsman. —(071118)

^ >1969 Norman Alfred Williams Lindsay, Australian painter, draftsman, illustrator, designer, and writer, born on 23 February 1879. He was born into a family that produced fine artists, and his early skill in drawing and reading was encouraged by relatives. He received his only formal training in 1897 at the art colony run by Walter Withers at ‘Charterisville’ in Heidelberg. In 1899 he moved to Sydney, married in 1900, and began a lifelong association with the Bulletin. He was best known for exquisite pen drawings whose dark areas were enlivened by minute traces of white. In 1906 he began producing wash drawings; during World War I he designed government posters, and after the war he took up watercolor painting. From 1918 to 1938 he concentrated on etchings, which were printed by his second wife, Rose Soady [1885–], whom he married in 1920. She collected the drawings and proofs for his over two hundred published etchings. In 1927 he founded the Fanfrolico Press with his son Jack.— LINKS
Tommy Burns versus Jack Johnson, World Heavyweight Boxing Championship, Rushcutters Bay, Sydney, Saturday, 26 December, 1908 (600x396pix, 42kb) —(061117)

^ 1967 Vladimir Vasil'yevich Lebedev, Saint-Petersburg Russian painter, graphic artist, book illustrator, born on 26 May 1891— Brother? of Klaudi Vasil'yevich Lebedev [1852-1916]? — Not to be confused with US artist Vladimir Lebedev [1910-1991] (a relative?). — Vladimir Lebedev has studied at the studio of Titov, Saint-Petersburg (1909), at the workshop of Rubo (1911), at the studio of Bernstein and Shervud (1912-1914), and at the Academy of Arts (1912-1916). From 1911 he worked as an illustrator for the magazines Galchonok (Young Jackdaw), Satirikon, Novy Satirikon, Argus (1913-1917). Lebedev was a member of the avant-garde OBMOKhU (Society of Young Artists) from 1918, and a member of the POSNOVIS / UNOVIS (Followers of New Art / Affirmers of New Art) group (1921-1922), and Four Arts group (from 1928). Lebedev taught at the SVOMAS (Free Workshops) in Petrograd (1918-1921). With Mayakovsky and Cheremnykh, Lebedev designed propaganda posters for the ROSTA Windows (1920-1921). He has served as art editor for OGIZ / DETGIZ (The State Publishing House of Children’s Books), and worked as illustrator of children’s books. In 1936 Lebedev and the artist Vladimir Konashevich, was branded “Comprachicoses from Art”, and “artists-daubers” for the avant-guard style of their book illustrations for children. Their books already finished of S..Marshak and K.Chukovsky were destroyed. Since then Lebedev never exhibited as a painter, and he changed his book illustration style to realistic. He illustrated hundreds of books. During World War II, Lebedev worked as a poster artist for the TASS Windows (1942-1945).
Young Girl in a Jersey Holding a Bouquet (769x525pix, 37kb) stiff pose
Worker at the Anvil (1921 collage poster, 78x71cm; 561x510pix, 37kb).
Prikliucheniia Chuch-lo (1922 2-color lithograph cover of 11-lithograph album, 17x24cm; 355x500pix, 32kb) poster-like; an Ameridian aiming an arrow at a bison.
22 images at Russian Avantgard —(060118)

1961 Dénes Györgyi, Hungarian architect and designer born on 25 April 1886. —(061118)

^ 1941 Georges Morren, Belgian Impressionist painter of the Belgian Art Nouveau born on 27 July 1868. He was taught by the Luminist painter Émile Claus [27 Sep 1849 – 14 Jun 1924] lui sert de précepteur artistique. — Brother? of Edouard Morren?
Bouquet of Dried Leaves (1922, 45x54cm; 591x714pix, kb) Dried leaves? Flowers rather. —(061118)

1933 Frederick Hollyer, English photographer born in 1837. —(061115)

1909 Feder Severin Krøyer, Danish painter born (full coverage) on 23 July 1851. —(051120)

1895 (21 November) date sometimes given for the death of Silvestro Lega, instead of the preferred date 21 September 1895.

^ 1894 Johann Till, Austrian artist born on 19 July 1827. – {Has art been any different since Till than it was 'till Till?}— He was taught by his father, and then at the Viennese Academy. He made several visits to Italy, Düsseldorf, and France.
Little girl beside a grave (1858, 44x33cm; 750x560pix, 50kb)

1733 Louis de Boullogne II, French painter born (main coverage) on 19 November 1654.

Born on a 21 November:

1938 María Robles, Spanish painter. —(081120)

^ 1929 Peter Brüning, German painter who died on 25 December 1970.
Untitled (1963, 120x145cm; 480x577pix, 28kb) disordely scribbles and smears on a pinkish yellow background.
Untitled (100x110cm; 480x519pix, 44kb) disordely scribbles and smears on a bluish gray background.
Nr.69 (1961, 110x130cm; xpix, kb) dull disordely scribbles and smears on a light gray background
Wald- und Wiesenbild (1966, 126x110cm) _ Nachdem Brüning das Sujet der Kartoghraphien Mitte der sechziger Jahre weitestgehend durchgespielt hatte, 'scheint die künstlerische Disposition Brünings wieder auslösender Faktor für eine weitere Veränderung gewesen zu sein. Die Folge ist ein Reihe von Bildern, die sich nicht mehr mit dem Viereck der Leinwand begnügen, sondern über den äußeren Rahmen hinweg in den Raum treten. Diese einerseits expandierende Entwicklung über den Bildrand hinaus ist gekoppelt mit der andererseits zu beobachtenden Reduktion der auch graphischer werdenden Zeichen innerhalb des Bildes (...). Die Bilder [erhalten] Objektcharakter, der sie über das Tafelbild hinaus in die nicht mehr illusionistische zweite Dimension heraushebt (...). Das Zeichen für Wiese, hier als grüner und schwarzer Strich auf der Leinwand dagestellt, wird ergänzt durch drei Laubbaumzeichen aus Spanplatten, die auf den oberen Rand montiert sind, wodurch die unterschiedlichen Dimensionsebenen Wald und Wiese inhaltslogisch wieder zusammengeführt werden.' —(061118)

^ 1915 James Gleeson, Australian Surrealist painter, writer, critic and administrator. He studied at the East Sydney Technical College from 1934 to 1936 and was represented in the first Contemporary Art Society exhibition in 1938. Gleeson is widely regarded as Australia’s leading Surrealist, often compared in style to Dalí. His work is frequently described as macabre, threatening and erotic, and his forms range from the recognizable to indeterminate imagery from the darker depths of the mind, as in The Siamese Moon (1951; 595x800pix, 155kb). Gleeson is highly praised for his superb brushwork and use of colors and textures. Apart from painting, he produced drawings, watercolors, pastels and collages. He wrote numerous books on Australian art and monographs on William Dobell and Robert Klippel.. — LINKS
The Crucifixion (1951; 800x623pix, 142kb)
–- S*>#A Decision of the Clouds (595x800pix, 58kb)
–- S*>#Locale for a Submerging Self-Portrait (533x800pix, 59kb)
–- S*>#Supplication (953x800pix, 77kb)
–- S*>#Figure in Psychoscape (1083x800pix, 186kb)
–- S*>#Man in Psychoscape (1082x800pix, 219kb)
47 images at Ciudad de la Pintura23 images at nicolarandone —(061118)

^ 1910 Frank Graham Bell, Transvaal-born English painter of portraits, landscapes and still life, who died on 09 August 1943. Graham Bell worked in a bank and on a farm before turning to art. He studied at the Durban Art School. He moved to England in 1931 to study under Duncan Grant. Then Graham Bell met William Coldstream and, under the influence of Geoffrey Tibble, showed non-representational works at the exhibition of Objective Abstractions (1934). He abandoned painting for journalism (1934-1937), contributing to the New Statesman. He published The Artist and His Public in 1939. Returning to painting, Bell began working in a naturalist style similar to the artists of the Euston Road School. He associated with Coldstream and others in the Euston Road School from 1937 and with them joined the A.I.A. Bell enlisted in the R.A.F. and died during World War II while on a training flight in England. — His younger brother Geoffrey Graham Bell is also a painter.
Head of an evacuee (2x20cm; 480x379pix, 144kb)
Cows at Rodwell (46x56cm; 480x621pix, 45kb) murky
In the Fields (1936, 53x68cm; 480x608pix, 48kb)
Dover Front (1938,: 63x76cm) _ Bell painted this on a trip to Dover in 1938 to fulfill a commission for the International Business Machines Corporation. The finely-observed detail of the hotel on the left, the chalk white cliffs and castle ramparts is typical of the realism of the Euston Road School, with which Bell was closely involved. —(061118)

1900 Gabriel Guevrekian, Turkish architect who died ot 29 October 1970. —(061115)

1898 René François Ghislain Magritte, Belgian painter who died (full coverage) on 15 August 1967. —(051120)

^ 1893 Wladyslaw Strzeminski, Belorussian-born Polish artist who died on 26 December 1952. From the moment of his return to Poland in 1923, Wladyslaw Strzeminski, whose artistic individuality assumed form in revolutionary Russia, painted canvases according to his own doctrine which he subsequently called unism. The latter consisted of total resignation from the depiction of reality and of reducing the structure of the painting to an arrangement of uniform small elements which produced optical unity.
Sun's After-Image (960x760pix, 133kb)
Lodz Landscape (1931; 917x750pix; 126kb) no land, just crowded houses, so poorly drawn that they look like they are being shaken by an earthquake.
Unist Composition II (10) (1931; 950x750pix, 142kb) mostly in shades of dirty vomit-yellow, a small monotonous pattern clumsily repeated hundreds of time; .
Unist Composition 14 (1934; 759x750pix) monochrome greenish gray, with a monotonous pattern of hundreds of small rough circles, decreasing in size from the center.—(061118)

^ 1891 Karl Hubbuch, Karlsruhe German artist who died on 26 December 1979. Hubbuch studied at the Akademie in Karlsruhe from 1908 to 1912: Then he switched to the school of the Museum der angewandten Künste in Berlin and became a student of Emil Orlik. His training was interrupted by 4 years of military service, but he continued studying in 1920 at the Landeskunstschule in Karlsruhe as a master student in Walter Conz und Würtenberger's engravings class. Hubbuch encountered Georg Scholz' and George Grosz' works. There are parallels on a formal level - the combinative composition of elements in different scales and points of view and the separating of motifs are comparable. In 1922 the artist moved to Berlin. There Hubbuch, inspired by Orlik and Grosz, depicted city life, which also show sociocritical and political points of view. In 1925 he was asked to teach at the Karlsruhe Landeskunstschule where he was appointed professor in 1928. The artist was able to attend to oil painting, mainly objective scenes from every-day life came into being. During the 1920s and early 1930s Hubbuch's works were shown in numerous exhibitions, e.g. the 'Neue Sachlichkeit' in Mannheim in 1925. Already at the end of the 1920s Hubbuch's style changed again, which was manifested in a loosening up, a pastose painting style and a more unified body and space conception in his panel and canvas paintings. In 1933 he was suspended in Karlsruhe and had to live on occasional jobs. In 1947 he resumed his teaching position and switched to the academy one year later to become professor. From 1957 the artist worked again freelance. Hubbuch dealt intensively with Max Beckmann's work during the 1950s and developed an expressive form language. At the same time he also turned to woodcuts. In his last style period Hubbuch tied up to the 1930s, was again the physiognomic who described classes with his figures and who connected social and historic interrelations. He worked with repetitions and overworks of earlier paintings.
— Hubbuch studied art at the Karlsruhe Academy from 1908 to 1912. He continued his studies with Emil Orlik at the Berlin Museum of Arts and Crafts School, followed by military service (from 1914 to 1918) in the First World War. Having contracted malaria, he spent the period after the war recuperating before resuming his studies in a master class at the Karlsruhe Academy. In 1924, he was given a position as an assistant lithography instructor at the Karlsruhe Academy, and he was appointed professor in 1928. During this period, Hubbuch was much more active as a draftsman than as a painter. His drawings and prints of the early 1920s, sharply realistic in style, are highly critical of the social and economic order. During a period spent in Berlin in 1922 he met George Grosz and Rudolf Schlichter, two of the leaders of a new movement in German art. The three of them were among the artists who participated in the "Neue Sachlichkeit' ("New Objectivity") exhibition at the Kunsthalle in Mannheim in 1925. During the next few years Hubbuch published collections of satirical drawings. As a known antifascist, Hubbuch was dismissed in 1933 from his teaching position and forbidden to paint by the Nazi authorities. Until 1945 he would support himself with commercial jobs which included decorating ceramics and painting clock faces. After the war he was able to resume his post as a professor of painting at the Karlsruhe Academy of Fine Arts, where he would teach until 1957. He was still painting and drawing during this later period, now in a style close to expressionism, but he was nearly forgotten. In the 1960s the revival of interest in figurative art brought new attention to his work, along with a reevaluation of the artists of the New Objectivity in general.
–- S*>#Laufsteg (900x1289pix, 275kb) very pale colors
–- S*>#Strassenmädchen (900x781pix, 132kb) unfinished
–- S*>#Der Strassenbahnschaffner (600x900pix, 129kb)
Aufmarsch II (1935 40x52cm; 416x550pix, 29kb) —(061118)

^ 1882 (1883?) Jean Hippolyte Marchand, Parisian painter, printmaker, and illustrator, who died in 1941 (1940?). He studied part-time at the École des Beaux-Arts in Paris from 1902 to 1906 under Léon Bonnat and Luc Olivier Merson and briefly in 1909 at the Académie Vitti under Henri Martin. He experimented with Cubism and to a lesser extent with Futurism and participated in the Salon de la Section d’Or in 1912, but his subsequent work showed a greater affinity with that of Cézanne and with the revival of classicism sometimes referred to as the ‘retour à l’ordre’. He remained faithful in his later paintings to an essentially naturalistic style, which he applied to both landscapes, such as Landscape at Vence, and studies of the human figure, for example Maternity, which combine a serene mood with a monumentality of form. Marchand visited Syria en 1928.
–- S*>#Céret (672x900pix, 85kb)
–- S*>#Nue Assise (900x739pix, 77kb)
–- S*>#Le Quai de la Seine (716x900pix, 95kb)
Vue Dans le Midi (1913; 512x407pix, 27kb)
La Source (1911, 64x51cm; 480x352pix, 26kb) aka Trois femmes dans un paysage
Vue de Moscou (1911, 85x112cm; 480x638pix, 46kb)
Paysage aux Peupliers (1911, 59x72cm; 480x592pix, 70kb)
A Woman (393x327pix, 31kb) —(061118)

1879 Raul Lino, Lisbon Portuguese artchitect who died on 13 July 1974 . —(061115)

^ 1821 Jean-Baptiste Robie, Belgian still life painter who died on 08 December 1910. — LINKS
A Bouquet of Roses and other Flowers in a Glass Goblet with a Chinese Lacquer Box and a Nautilus Cup on a red Velvet draped Table (1891, 49x38cm)
A Still Life With a German Cup, a Nautilus Cup, a Goblet and Cut Flowers on a Table (1864, 77x60cm)
Hommage à Bacches (100x82cm)
A Still Life with Roses, Grapes and a Silver Inlaid Nautilus Shell (71x55cm; 1071x837pix, 170kb) dominated by an ornate (urn?) in the same style, gilt not silver.
Still Life with Game and a Rifle on a Marble Ledge with an Urn in a Flowery Landscape (1852, 107x86cm; 978x791pix, 118kb)
Still Life With Japanese Vase and Flowers (78x56cm) almost monochrome. —(061118)

1724 Jan Ekels I (de Oude), Amsterdam Dutch painter who died (main coverage) on 22 November 1781. —(051120)

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