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DEATH: 1911 SEROV
BIRTH: 1860 PLA
^ Died on 22 November 1911: Valentin Alexandrovitch Serov, Russian painter specialized in portraits {especially of Mamontovas}, born on 07 January 1865.
—  Serov was born into the family of composer Alexander Nikolayevich Serov [11 Jan 1820 – 20 Jan 1871 Gregorian]. In 1872-1873 the little boy with his widowed mother, née Bergman, lived in Munich, where he had lessons from the artist K. Kepping. In 1874, they moved to Paris, where Valentin regularly visited the studio of Ilya Repin, who was very fond of the little boy. In 1875, the Serovs came to live at Abramtsevo, the estate of the industrial tycoon Savva Mamontov, and the cultural center of the time, where artists, musicians and actors were always welcome.
      Valentin grew up in an atmosphere of constant creativity, which characterized the Mamontovs’ household. He was lucky in getting a professional education from early childhood from the best Russian artists, and he soon showed himself to be a remarkably precocious draughtsman. He would catch the likeness of a model often more quickly and surely than the older artists in the ‘facetious drawing competitions’, which were so much a part of the gay and idyllic life of Abramtsevo. At the age of 15 Serov entered Academy of Arts in the class of professor Pavel Tchistykov. There he met his lifelong friend Vladimir Derviz. His first exhibited works Girl with Peaches. Portrait of Vera Mamontova (1887) and Girl in the Sunlight. Portrait of Maria Simonovich (1888) were a sensation. Critics called them a new word in painting. At the time of painting them Serov was unfamiliar with the works of the French Impressionists, yet he came very close to Renoir in these luminous, sunny, splendidly composed portraits.
      Serov tried himself in different genres: he was a beautiful landscape painter in a more sensuous and less nostalgic vein than another teacher of his, Isaac Levitan: Pond in Abramtsevo (1886), The Overgrown Pond. Domotcanovo. (1888), Village. (1898), Watermill in Finland. (1902). Serov’s historical paintings are also of value and interest: Peter II and Princess Elizabeth Petrovna Riding to Hounds. (1900), Peter the Great. (1907).
      Serov became the most successful and brilliant portraitist in Russia of the 1890s and first decade of the 20th century. His most famous portraits are Portrait of the Actress Maria Yermolova (1905), Portrait of Henrietta Girshman (1907), Portrait of Ida Rubenstein (1910), Portrait of Princess Olga Orlova. (1911).
     He traveled much, participated in exhibitions in Russia and abroad. In 1897-1909, Serov taught in Moscow School of Painting, Sculpture and Architecture. He was a superb technical master of the many media in which he practiced and that too did not fail to impress his students. Among his students were N.N. Sapunov, M.I. Mashkov, P.V. Kuznetsov, N.P. Krymov, K.S. Petrov-Vodkin, C.Y. Sudeykin, K.F. Yuon and others. In 1903, Serov was elected to the St. Petersburg Academy of Arts.

— LINKS
— Self-Portrait (1883)
— Girl with Peaches. Portrait of Vera Mamontova (1887, 91x85cm; 661x589pix, 35kb) _ Vera Savvishna Mamontova [1875-1907], later married to Samarin, was the daughter of patron of arts Savva Ivanovich Mamontov, whose Abramtsevo estate was the center of the Abramtsevo Circle of artists, which sought to revive national traditions.
— Praskovya Mamontova (1889) _ Praskovya Anatolyevna Mamontova [1873-1945] (after marriage Rachinskaya) , was the daughter of Anatoliy Ivanovich Mamontov, brother of Savva Ivanovich Mamontov, and owner of a publishing house and a bookstore in Moscow, who was also the father of Lyudmila Anatolyevna Mamontova [1874-1937] and of Tatyana Anatolyevna Mamontova [1864-1920], the sitter in T. A. Mamontova (1882) by I. Repin [05 Aug 1844 – 29 Sep 1930] and in Tatyana Mamontova by Victor Vasnetsov [15 May 1848 – 23 Jul 1926]
— Lyudmila Mamontova (1894 study) _ Lyudmila Anatolyevna Mamontova [1874-1937], married to Muravyev, was the sister of Praskovya and of Tatyana, and the first cousin of Vera.
— Maria Mamontova Riding a Horse (1884 drawing). Maria Fyodorovna Mamontova [1864-1962] (after marriage Yakunchikova), known for her promotion of folk crafts, was the daughter of Fyodor Ivanovich Mamontov, brother of Savva Ivanovich Mamontov and of Anatoliy Ivanovich Mamontov.
— Fyodor Shalyapin (1905 drawing) _ Singer Fyodor Ivanovich Shalyapin [1873-1938], was one of the best representatives of the Russian vocal school. He sang in opera at Tiflis (1892), Moscow (1896), and London (1913). He left Russia forever after the Bolshevik Revolution. _ See also the Opera Singer Fyodor Shalyapin (1905; 176kb) painting by Korovin [23 Nov 1861 – 11 Sep 1932]
— Dyeti (Aleksandr and Grigory, the artist's children) (71x54cm)
 
^ >Born on 22 November 1860: cecilio PLA Y gAllardo, Spanish painter, who died on 03 August 1934, specialized in scenes “en la PLA Y A” with crowds mostly of wading children. — {C'est si Pla, les images de ce gaillard!}
— Cecilio Pla became a friend of Joaquin Sorolla, native of Valencia like him, and, like his illustrious contemporary, studied first under Emilio Sala. He exhibited at various Exposiciones Nacionales where his work was well received and, while not reaching such international acclaim as Sorolla, his plein air paintings display a similar technical facility and a charming elegance.
— Estudió en la Academia de San Carlos de Valencia, y más tarde en la de San Fernando de Madrid, siendo además discípulo de Emilio Sala. A los 20 años marcha a Roma, donde estudia el arte de los grandes maestros, viajando por el resto de Italia, Francia y Portugal. Desde Italia comenzó a enviar sus obras a las Exposiciones Nacionales de Bellas Artes, de las que fue puntual participante desde 1881 hasta el año de su muerte, siendo galardonado en numerosas ocasiones. La mayoría de las obras enviadas fueron escenas de género costumbrista, con claras influencias postfortunianas. En 1884 y 1887 presenta en la Nacional obras inspiradas en temas italianos, como el Dante y El entierro de Santa Leocadia, ambas premiadas con medallas de tercera clase. Profesor desde 1910 sustituye a Emilio Sala en las clases de la Escuela de San Fernando, siendo él mismo maestro de muchos pintores, como Juan Gris y José María López Mezquita, entre otros, publicando además una Cartilla de Arte Pictórico. Excelente dibujante y decorador, pintó obras decorativas para palacios y edificios públicos de Madrid, como el Casino, el Círculo de Bellas Artes y el desaparecido Palacio de Medinaceli de la Plaza de Colón. Fue académico de San Fernando de Madrid desde 1924.

–- Mujeres en la Playa (1643, 51x74cm; 1575x1955pix, 414kb)
–- Un Paseo en la Playa (1915, 15x25cm; 478x800pix, 45kb) almost monochrome
–- Niños en la Playa (15x24cm; 553x900pix, 115kb)
–- different Niños en la Playa (24x28cm; 350x416pix, 30kb)
–- Día de Playa (13x31cm; 654x900pix, 142kb)
–- Personajes en la Playa (1925, 17x30cm; 467x860pix, 167kb)
–- Mujer y niño en la Playa (24x31cm; 290x382pix, 14kb)
— En la Playa de Valencia (515x850pix, 72kb)
–- Junto al Pabellón de las Arenas, sobre el mar, Valencia (1923, 15x24cm; 510x834pix, 145kb) i.e. “en la Playa” (niños)
–- Mujer jugando al golf (1901, 127x84cm; 432x280pix, 17kb).
— La esposa del pintor, Doña Valentina Navarro (122x151cm; 640x800pix, 250kb)
— La Mosca (1897, 138x77cm; 800x442pix, 124kb)
— Señorita con cohete (1906, 63x40cm; 640x333pix, 35kb)
— Grupo valenciano en fiesta (1907, 52x28cm; 640x341pix, 29kb)
— Cazadores (1908, 52x28cm; 640x340pix, 61kb)
— Paisaje (51x83cm; 391x640pix, 48kb)
–(091121)

Died on a 22 November:

^ >2006 Roy Newell, Manhattan US painter of colorful geometric abstractions, born on 10 May 1914, dies of cancer. He was almost entirely self-taught as an artist, influenced successively by Cézanne, Kasimir Malevich, and the Russian Constructivists; Albert Pinkham Ryder [1847-1917]; Willem de Kooning and the Abstracts Expressionists. Together with New York School artists such as de Kooning, Arshile Gorky, Franz Kline, and Phillip Pavia, Newell was a founding member of the 8th Street Artists' Club. He was unwilling to let an image rest - sometimes through hundreds of reworkings. He made less than a hundred paintings, feeling no financial pressure, as he was supported by his teacher wife. He said that each of his pictures incorporates "dozens of paintings" worked into and buried sometimes more than 2cm deep beneath the final image. Many of the paintings have been reworked over the course of decades.
— #10 (2002; 315x324pix, 26kb)
— #11 (2002, 19x60cm; 111x324pix, 19kb)
— #14 (2002, 32x35cm; 261x324pix, 26kb)
— #15 (2002, 33x37cm; 284x324pix, 31kb)
— #19 (2002, 16x37cm; 144x324pix, 17kb)
— #1A (2002, 52x61cm; 275x324pix, 24kb)
— Silents (1998, 15x25cm; 290x460pix, 27kb)
— untitled (2000, 15x25cm; 249x426pix, 23kb) _ The pseudonymous Cesar Oldam has modified slightly and combined these eight pictures into the super-abstractions
      _ One Noisy Uncle, Age 69 (2007; 550x778pix, 77kb _ ZOOM 1 to 778x1100pix, 142kb _ ZOOM 2 to 1100x1556pix, 266kb _ ZOOM 3 to 1710x2418pix, 569kb _ ZOOM 4 to 2659x3760pix, 1020kb) and
      _ 69 Untreated A-1 Silos (2007; 550x778pix, 77kb _ ZOOM 1 to 778x1100pix, 142kb _ ZOOM 2 to 1100x1556pix, 266kb _ ZOOM 3 to 1710x2418pix, 569kb _ ZOOM 4 to 2659x3760pix, 1020kb). _ Then Oldam surpassed himself by extending the range of colors and introducing fine details and textures, thus metamorphosing these two pictures into their splendid versions (best appreciated at maximum zoom)
      _ 69 Noisy Uncles, Age One (2007; 550x778pix, 196kb _ ZOOM 1 to 778x1100pix, 399kb _ ZOOM 2 to 1100x1556pix, 806kb _ ZOOM 3 to 1710x2418pix, 1967kb _ ZOOM 4 to 2659x3760pix, 4685kb) and
      _ 10+11+14+15+19=69 Untimely A-1 Silhouettes (2007; 550x778pix, 196kb _ ZOOM 1 to 778x1100pix, 399kb _ ZOOM 2 to 1100x1556pix, 806kb _ ZOOM 3 to 1710x2418pix, 1967kb _ ZOOM 4 to 2659x3760pix, 4685kb). _ Finally Oldam has taken a tiny detail of One Noisy Uncle, Age 69, greatly magnified it, and transformed it into
      _ 69 Silent Nephews, Age One (2007; 550x778pix, 148kb _ ZOOM 1 to 778x1100pix, 266kb _ ZOOM 2 to 1100x1556pix, 515kb _ ZOOM 3 to 1710x2418pix, 1327kb _ ZOOM 4 to 2659x3760pix, 3600kb) and
      _ 69 Untreated A-1 Silencers (2007; 550x778pix, 148kb _ ZOOM 1 to 778x1100pix, 266kb _ ZOOM 2 to 1100x1556pix, 515kb _ ZOOM 3 to 1710x2418pix, 1327kb _ ZOOM 4 to 2659x3760pix, 3600kb). —(071123)

^ 2003 Dru Sjodin, US student, amateur artist, murder victim, born on 26 September 1981. — About her murder //
Images of her artwork:
— Pear (438x338pix, 10kb)
— Still Life with Leaf (300x486pix, 13kb)
— Three Raspberries (338x485pix, 8kb)
— Two Pomegranates (338x520pix, 7kb)
— Red Delicious Apple (450x347pix, 10kb)
— Face and Mask (338x464pix, 19kb)
— Man's Face (drawing; 377x338pix, 22kb)

^ 1981 Ilya Bolotowsky, US painter and sculptor born Russian on 01 July 1907. Having moved first to Constantinople (now Istanbul) and then in 1923 to New York, he studied at the National Academy of Design (1924–1930). Inspired both by Surrealist biomorphic forms and geometric abstraction, he painted his first non-objective work in 1933 and was a founder-member of American Abstract Artists in 1936. During the Depression of the 1930s he painted numerous abstract murals under the auspices of government-sponsored art programmes. By the late 1940s, when he taught for two years at Black Mountain College, he was concentrating on a coloristically diverse variant of Piet Mondrian’s Neo-plasticism, the style that characterized both the painted columns Bolotowsky began to make in the 1960s (e.g. Metal Column 1966) and the paintings of the rest of his career. — Kenneth Noland was a student of Bolotowsky. — LINKS
— Red, Blue, White Ellipse (1973, 172x101cm; 2372x1392pix, 304kb)
— Large black, red and white diamond (1971, 173x173cm; 3243x2759pixel,1036kb)
— Untitled Oval (810x576pix, 42kb) ) _ This simple geometrical abstraction in primary colors, has been doubled by the pseudonymous Ganiel Grolot, who, introducing bright colors and intricately detailed complex shapes and textures, has transformed it into two related series (you can click instantly from one series to the other at the same level), each consisting of 9 brilliant symmetrical abstractions with a screen filling background which is part of the overall design (the picture itself on any level does not enlarge the previous one, but adds to its edges and center) (for levels 7, 8, and 9, whose size is required to appreciate the fine details but exceeds most computer screens, there is an alternate image reduced to size 6, 932x1318pix):
      _ Oh! Value!, level 1 (2006; 165x234pix, 12kb _ level 2, 233x330pix, 20kb _ level 3, 330x466pix, 34kb _ level 4, 466x660pix, 62kb _ level 5, 659x932pix, 193kb _ level 6, 932x1318pix, 418kb _ level 7, 1318x1864pix, 995kb _ level 8, 1864x2636pix, 1801kb _ level 9, 2636x3728pix, 3236kb ||| _ level 7 size 6, 468kb _ level 8 size 6, 450kb _ level 9 size 6, 385kb) and
      _ Value! Oh!, level 1 (2006; 165x233pix, 12kb _ level 2, 233x330pix, 20kb _ level 3, 330x466pix, 34kb _ level 4, 466x660pix, 62kb _ level 5, 659x932pix,193kb _ level 6, 932x1318pix, 418kb _ level 7, 1318x1864pix, 995kb _ level 8, 1864x2636pix, 1801kb _ level 9, 2636x3728pix, 3236kb ||| _ level 7 size 6, 468kb _ level 8 size 6, 450kb _ level 9 size 6, 385kb)
— Blue Diamond (1030x1280pix, 252kb) _ This tilted near-square is only 734x739pix (measured along its edges), the rest of the rectangular frame is blank. Grolot has straightened out just the near-square, stretched it to a rectangle, and then applied to it a beautifying treatment similar to that in Oh! Value!, resulting in the equally stunning though very different series:
      _ Blew Diameter (2006; 165x234pix, 22kb _ level 2, 233x330pix, 46kb _ level 3, 330x466pix, 85kb _ level 4, 466x660pix, 168kb _ level 5, 659x932pix, 324kb _ level 6, 932x1318pix, 564kb _ level 7, 1318x1864pix, 1001kb _ level 8, 1864x2636pix, 1896kb _ level 9, 2636x3728pix, 3448kb ||| _ level 7 size 6, 598kb _ level 8 size 6, 505kb _ level 9 size 6, 450kb) and
      _ Diameter Blew (2006; 165x233pix, 22kb _ level 2, 233x330pix, 46kb _ level 3, 330x466pix, 85kb _ level 4, 466x660pix, 168kb _ level 5, 659x932pix,324kb _ level 6, 932x1318pix, 564kb _ level 7, 1318x1864pix, 1001kb _ level 8, 1864x2636pix, 1896kb _ level 9, 2636x3728pix, 3448kb ||| _ level 7 size 6, 598kb _ level 8 size 6, 505kb _ level 9 size 6, 450kb)
— Large Blue Horizontal (1975, 71x228cm; 196x650pix, 87kb) _ The unusual proportions of this painting were an added challenge to Grolot, but he succeeded in transforming it into two series of 9 symmetrical abstractions each, in the same format as the above, and equally colorful and rich in fine details and textures, though very different in design,:
      _ Lodge Bruise (2006; 165x234pix, 20kb _ level 2, 233x330pix, 37kb _ level 3, 330x466pix, 66kb _ level 4, 466x660pix, 126kb _ level 5, 659x932pix, 274kb _ level 6, 932x1318pix, 530kb _ level 7, 1318x1864pix, 1011kb _ level 8, 1864x2636pix, 1955kb _ level 9, 2636x3728pix, 3601kb ||| _ level 7 size 6, 477kb _ level 8 size 6, 463kb _ level 9 size 6, 358kb) and
      _ Bruise Lodge (2006; 165x233pix, 20kb _ level 2, 233x330pix, 37kb _ level 3, 330x466pix, 66kb _ level 4, 466x660pix, 126kb _ level 5, 659x932pix,274kb _ level 6, 932x1318pix, 530kb _ level 7, 1318x1864pix, 1011kb _ level 8, 1864x2636pix, 1955kb _ level 9, 2636x3728pix, 3601kb ||| _ level 7 size 6, 477kb _ level 8 size 6, 463kb _ level 9 size 6, 358kb)
     From the same painting, Grolot derived another two series of pictures, this time arranging rectangles in a logarithmic spiral, then, for each level not only adding to the center and edges but also tilting the two symmetrical sides towards or away from each other:
      _ Label Tilt (2006; 165x234pix, 11kb _ level 2, 233x330pix, 20kb _ level 3, 330x466pix, 38kb _ level 4, 466x660pix, 74kb _ level 5, 659x932pix, 151kb _ level 6, 932x1318pix, 303kb _ level 7, 1318x1864pix, 628kb _ level 8, 1864x2636pix, 1347kb _ level 9, 2636x3728pix, 2972kb ||| _ level 7 size 6, 404kb _ level 8 size 6, 462kb _ level 9 size 6, 416kb) and
      _ Tilt Label (2006; 165x233pix, 11kb _ level 2, 233x330pix, 20kb _ level 3, 330x466pix, 38kb _ level 4, 466x660pix, 74kb _ level 5, 659x932pix, 151kb _ level 6, 932x1318pix, 303kb _ level 7, 1318x1864pix, 628kb _ level 8, 1864x2636pix, 1347kb _ level 9, 2636x3728pix, 2972kb ||| _ level 7 size 6, 404kb _ level 8 size 6, 462kb _ level 9 size 6, 416kb) —(061004)

>1937 Philip Alexius de László [30 Apr 1869–], Hungarian painter known particularly for his portraits of royal and aristocratic persons. — wikibio
— John Loader Maffey, 1st Baron Rugby (3527x2400pix, 2304kb)
— Arthur James Balfour, 1st Earl of Balfour (3396x2400pix, 2179kb)
— Sir George Henschel (3246x2400pix, 1783kb)
— 124 portraits at wikimedia —(091121)

1907 Paula Modersohn-Becker, German painter born (main coverage) on 08 February 1876. —(090827)

^ 1890 Frank Buchser, Swiss painter born on 15 August 1828. He was self-taught; his career as a painter began in Rome in 1847 while he was serving in the papal Swiss Guard. He lived in Paris between 1849 and 1850 and worked in the studio of his cousin Victor Schnetz. Schnetz’s intensely emotive Romantic style influenced Buchser’s work for many years, even after he had embraced Realism, as can be seen in Salvator Rosa among the Robbers (1857; priv. col., see exh. cat.). He visited England in 1853 and was introduced to landscape painting. Apart from portraits (which accounted for a large proportion of his income throughout his life) Buchser produced several landscapes in England, which already revealed the plein-air elements characteristic of such later works as Landscape near Scarborough (1874) and Storm at Sea near Scarborough (1873 ). — LINKS
— Village Street in Woodstock, Virginia (1867)
— Landscape near Scarborough (1874)
— The Farmer (600x901pix, 213kb)
— The Beggar Girl (600x336pix, 81kb)
— Pastoral Idyll in the Jura (600x800pix, 202kb)

1843 Pieter Frans de Noter, Belgian artist born on 23 February 1779. — {à noter: pas de ce Noter dans l'internet}— Relative? of David Émile Joseph de Noter [1818-1892]?

1822 Peter Paul Joseph Noël, Belgian artist born on 11 April 1789. He was a student of Petrus Johannes van Regemorter [bap. 08 Sep 1755 – 17 Nov 1830] at the Academy in Antwerp.

1781 Jan Ekels I (de Oude), Amsterdam Dutch painter born on 21 November 1724. Father and first teacher of Jan Ekels II (de Jonge) [28 Jun 1759 – 04 June 1793]. Jan Ekels de Oude werd geboren in Amsterdam. Hij was de zoon van een schilder. Jan was drie jaar in de leer bij de landschapschilder Dirk Dalens, na enige jaren op het atelier van zijn vader te hebben gewerkt. Op 28-jarige leeftijd kon hij, door een verlamming, dit werk echter niet meer doen. Als gevolg hiervan kon hij alleen nog lichte werkzaamheden verrichten. Jan Ekels werkte vrijwel uitsluitend in zijn woonplaats Amsterdam. Waarschijnlijk kon hij zich met zijn stadsgezichten nauwelijks in leven houden. Hij vulde zijn inkomen aan door schilderijen te restaureren. Hij werd daar zo bedreven in dat het restaureren snel zijn voornaamste inkomstenbron werd. Vooral doordat hij er perfect in slaagde om barsten uit oude doeken te restaureren, verdiende hij veel geld.
— The Muiderport after 29 and 30 January 1769 when the building subsided (20x25cm; 538x676pix, 66kb)
— Dutch Townscape (22 x 16 1/2 inches; 295x450pix, 50kb) _ The city townscape was a new genre of Dutch painting during the second half of the seventeenth-century and undoubtedly began in response to growing patriotism and nationalistic pride. The previous century had been one of intense turmoil as the Northern and Southern Netherlands entered into the Eighty Years' War with Spain and divided along political, economic and religious lines. City guides and topographical works of the newly formed Republic of the United Netherlands came into great demand and thus, spawned the painting genre of the city townscape. Of great import was the 1612 publication, in Dutch translation, of Lodovico Guicciardini's Descrittione di tutti i Paesi Bassi, by the Amsterdam cartographer and printer Willem Janszoon Blaeu. Guicciardini was an Italian merchant and writer who had been a long-term resident of Antwerp. His book, containing maps of cities and towns, as well as other illustrative material, had first been published by Plantin in 1567, and Blaeu retained part of this original content in his edition, but replaced some of the old maps with new ones and added new engravings, especially of such Dutch landmarks as The Bourse in Amsterdam, by Claes Janszoon Visscher, and the Middelburg town hall, by Pieter Bast. While the inspiration came from the graphic arts, the technical requirements for the completion of such oil paintings was the subject of several artists manuals. The painter Hans Vredeman de Vries, was the first Dutch artist to choose architecture as an independent subject, and shortly before his death published a technical guide in Latin, German, French and Dutch, entitled, Perspective dat is de hoogh-geroemde Conste. His expertise in painting buildings was based upon his experience as an architect and theorist and thus, he was able to impart valuable information, in regard to mastering perspective, to his fellow painters. Other publications followed including a 1614 summary of all the works on perspective by the Dutch mathematician and fortifications expert, Samuel Marolois, and I. De Ville's 1628, T'samen-spreekinghe Betreffende de Architecture ende Schilderkonst. This art was based on observation and geometrical exactitude to create a thoughtful realism, rather than artistic imagination and license. Jan Ekels de Oude's townscape is an excellent example of this genre. The buildings are drawn with exacting attention to detail and the overall composition provides the viewer with an image of eighteenth-century Dutch town life. — (051120)

^ 1726 Antonio-Domenico Gabbiani, Italian painter born on 13 February 1652. He was first trained by the Medici court portrait painter Giusto Suttermans and then with the painter Vincenzo Dandini. On 20 May 1673 he arrived in Rome, where he studied for three years under Ciro Ferri and Ercole Ferrata at the Accademia Fiorentina. He responded in particular to the paintings of Pietro da Cortona and Carlo Maratti who were both to be important influences on him. Though not precocious, Gabbiani became one of the most noted painters from the Accademia. After a period in Venice (1678–9) with the portrait painter Sebastiano Bombelli, he was in Florence in 1680. By 1684, the year in which he executed an Annunciation (destr.) for the Palazzo Pitti, he was an independent painter. His first important public commission, the Saint Francis de Sales in Glory (1685) for the church of Santi Apostoli, Florence, shows the influence of Maratti in its grandiose composition and that of Dandini in the treatment of figures. In Prince Ferdinando de’ Medici Gabbiani found a particularly loyal patron, and he painted his portrait, Ferdinando de’ Medici and his Musicians (1685). One of the works executed for Ferdinando was possibly a portrait of his sister, which Chiarini has identified with the painting of Anna Maria Luisa de’ Medici (1685). Further works from this period are the group portrait of Three Musicians at Ferdinando’s court and a Group of Courtiers (1690) — The students of Gabbiani included Giovanna Fratellini, Ignazio Enrico Hugford, Benedetto Luti, Giovanni Battista Ranieri del Pace, Tommaso Redi.
— The Abduction of Ganymede (1700; 451x700pix, 78kb) _ An eagle, who may be Zeus in disguise, or else is sent by Zeus, takes up the young shepherd Ganymede to Mount Olympus to be the immortal cupbearer to the gods. The abduction of Ganymede has been seen as an allegory referring to the flight of the intellect, liberated from earthly desires, toward the heaven of contemplation.
_ Compare:
The Abduction of Ganymede (1532, 163x70cm; 800x331pix, 72kb) by Correggio
The Abduction of Ganymede (1575; octagon 800x798pix, 172kb) by Mazza
The Abduction of Ganymede (1635, 171x130cm; 1090x780pix, 127kb) by Rembrandt van Rijn
The Abduction of Ganymede (1000x453pix, 106kb) by Peter Paul Rubens

^ 1658 Abraham van Cuylenborch (or Cuylenburg), Dutch artist born sometime between 1610 and 1620. _ Cuylenborch studied under the most important of the first generation of the Dutch Italianates, Cornelis van Poelenburch [1594 - 1667]. He was influenced by the Italianate style of his Master, but it is highly unlikely that Cuylenborch ever visited Italy. He was made a Master of the Guild of Saint Luke in Utrecht in 1639.
— /S#*>A Grotto With an Artist Sketching Amongst Classical Ruins (x800pix, 61kb)
–- S*>#Nymphs in a Grotto with a Sculpture of Minerva (61x84cm; 757x1057pix, 180kb) _ almost monochrome
–- Diana and Actaeon (1643, 51x74cm; 510x753pix, 47kb) _ The subject is taken from Book III of Ovid's Metamorphoses. It is a relatively early work, entirely typical of the mythological scenes set within grottoes and caverns, which Cuylenborch was to produce throughout his career. A telegraph wire (not mentioned by Ovid) is stretched across the cavern.
–- Perseus and Andromeda (1652, 30x38cm; 510x659pix, 58kb) —(061119)


Born on a 22 November:

^ 1918 Wilhelm List, Austrian painter who died on 09 February 1918. — {It seems that not many Internet artists' biographies' lists list List} — List studied at the Academy in Vienna, where he was a student of Griepenkerl, and then attended the classes of William Bouguereau in Paris. In 1897 he was co-founder of the Viennese Secession and exhibited there first. Comparable to Gustav Klimt, he revealed himself as a remarkable portraitist, as shown in The Woman in black and white, where his technique of divided colors and fine long brush strokes, with a dominance of blue, evokes the works of Edmond Aman-Jean during the same period. But List is best known for his engravings, where he used wood and lithography in turn. He collaborated on the review Ver Sacrum from 1898 to 1903, and he was one of the twelve illustrators of the 1902 catalogue for the Viennese Secession which was dedicated to Beethoven. He left the Vienna Secession together with the artists around Klimt in 1905. — LINKS
— The Transfiguration of Saint Elisabeth (1905, 161x79cm; 313x640pix, 36kb)
— (Autumn River Landscape) (350x290pix, 46kb)
— Untitled (Love of Music?) (woodcut; 640x599pix, 187kb) —(051121)

^ 1788 Albertus-Jonas Brandt, Amsterdam Dutch painter, specialized in still lifes of flowers and fruit, who died on 1821. He was a student of J. E. Morel and of van Os.
–- Study of a Red Rose with Four Rosebuds (13x11cm; 610x647pix, 30kb)
— Still Life (1813; 400x320pix, 92kb)
— Still Life with Fruit and Flowers (32x39cm; 249x300pix, 16kb) —(061119)

^ 1787 Anthony-Vandyke Copley Fielding, British painter who died on 03 March 1855. The third son of Nathan Theodore Fielding (fl 1775-1819), he was named after van Dyck and John Singleton Copley. He was the best known and most prolific of the Fielding brothers: Theodore Henry Adolphus Fielding [1781 – 11 Jul 1851], Frederick Felix Ferdinand Raffael Fielding [1784–1853], Thales Fielding [1793 – 20 Dec 1837], Newton Limbird Smith Fielding [1797–1856], and sister Amelia Fielding [1785–]. It is difficult to unravel the Fielding oeuvre, as the family were close collaborators.
     The family moved around England: in 1788 they were in Acton (London), and from 1794 to 1799 they lived in Durham; by 1800 they were back in London and then in 1804 they moved to the Lake District, first living at Ambleside and then at Keswick. Such moves were presumably an attempt to capture the market for picturesque landscape and were not unusual among this class of painter. Fielding Sr. painted small canvases of the Cumberland scenery, which his sons and daughter then copied. After their mother died about 1806, the family moved to Manchester and then to London.
     Copley Fielding was highly proficient, particularly in watercolor. Copley first worked closely with his father, going with him to Liverpool in 1807 and then to Wales in 1808. Their works of 1804 were said to be indistinguishable. He studied under John Varley in 1810 and exhibited at the Society of Painters in Water-Colours for the first time that year. He maintained a lifelong relationship with the Society, acting as treasurer from 1813, secretary from 1815 and president (elected 1831). He married Susannah Gisborne, Varley’s sister-in-law, in 1813 and from 1816 divided his time between Brighton and London. He made frequent sketching tours, exhibiting many hundreds of views at the Water-Colour Society in the course of his life. — The students of Copley Fielding included Theodore Henry Adolphus Fielding, Conrad Martens, John Ruskin. — LINKS
— A View in Sussex (1834, 23x34cm)

^ 1648 Pierre-Antoine Patel II, French painter who died on 15 March 1707. Like his landscapist father Pierre Patel I [1605 – 05 Aug 1676], he was independent of the Académie Royale, and on 23 July 1677 he was admitted into the Académie de Saint-Luc. About 50 paintings by him survive, as well as gouaches such as Landscape, which are usually dated to the last 15 years of his life. He presumably learnt his skill as a painter from his father. Their canvases are often confused and at first sight are very similar. A Landscape with the Vision of Saint Eustace with very brown tonality is his first signed and dated work (1673). In 1699 he painted a series of 12 landscapes representing the months for the Jesuits’ convent of the Maison Professe (now St Paul–St Louis), Paris. These were confiscated during the French Revolution, but nine have been rediscovered, for example his Winter, which has an element of fantasy also present in the later work Dawn (1705). — Comme son père Pierre Patel dont il fut l'élève, Pierre-Antoine se consacra à la peinture de paysages. Il s'éloigna cependant de son maître en se spécialisant, à partir des années 1680, dans les petits paysages peints à la gouache sur vélin, genre pour lequel il connut un certain succès.
–- Personnages dans un paysage de ruines (1705, 39x63cm; 480x771pix, 83kb)
–- S*># Italianate Landscape With Classical Ruins and People Conversing by a Bridge (675x900pix, 79kb)
–- Paysage avec le bon samaritain et des ruines (1705, 36x46cm; 465x582pix, 43kb _ .ZOOM to 698x873pix, 48kb) _ Le sujet du présent tableau illustre la parabole du Bon Samaritain, tirée de l'Evangile selon Saint-Luc, thème que l'artiste a également traité dans une gouache conservée au Louvre. —(061119)

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