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DEATHS: 1943 “DE FEURE” — 1882 LECLEAR
BIRTH: 1395 PISANELLO
^ Died on 26 November 1943: Georges Joseph van Sluijters “de Feure”, Parisian designer and painter, born on 06 September 1868, son of a Dutch architect and a Belgian mother.
— Joseph van Sluyters was known in France under the pseudonym Georges de Feure. Drawn at first to the art of advertising posters, de Feure painted Symbolist compositions of Baudelairian inspiration on the theme of woman, and showed them at the Rose+Croix Salons. Around 1900 he turned to the decorative arts. His contributions to Bing's Art Nouveau pavilion at the Universal Exposition of 1900 were much admired. Gifted with a highly inventive mind, he was as skillful at designing airplanes as theater sets and costumes.
— Georges van Sluijters started out as an actor, costumier, and then interior decorator in Paris. In 1894 at the Galerie des Artistes Modernes he exhibited watercolours and paintings of a moderate Symbolist style, typically depicting women in a manner reminiscent of Aubrey Beardsley’s work. Capturing the essence of the feminine spirit became his trademark. With Eugène Gaillard and Edouard Colonna he was selected by Siegfried Bing, founder of the Galeries de l’Art Nouveau, to design rooms for his Pavilion Bing at the Exposition Universelle, Paris (1900). De Feure’s carpets, glassware and furniture designs for the boudoir and toilette were based on the theme of woman, emphasizing delicate lines and elegant sensuality. He later left Bing’s gallery and, as an independent designer, created vide-poche furniture, which contained hidden marquetry compartments. This furniture suggested notions of secrecy and coquetry, themes that de Feure pursued throughout his career.

LINKS
La Botaniste (91x72cm)
Swan Lake (1897) Surrounded by flowers and birds, a woman on a boat gazes at her reflection in the water, unable to tear herself away from it. The figure of the peacock, a symbol of vanity, lends meaning to a composition remarkable for its fluid lines and transparent hues.
Les Fleurs du Mal (400x278pix, 48kb) _ Baudelairean characters visualized by the most elegant of the Decadents. The frame, in embossed and gilded leather, is also by the artist.
Fragment d'un tableau “La Voix du Mal” aka Mélancolie (1895; 65x59cm _ ZOOM to 3234x2536pix, 617kb)
La Loïe Fuller dans sa création nouvelle Salomé - tous les soirs à 10 heures à la Comédie Parisienne, rue Boudreau (rue Auber - près l'Opéra) (poster; 640x454pix, 128kb)
Vue d'une Ville (600x736pix)
–(050902)
^ Born in 1395 before 27 November: Antonio Pisanello (or Pisano) di Puccio, Italian painter, draftsman, and medallist, who died on 08 October (or 14 July?) 1455.
— Pisanello was the last and most brilliant artist of the ornate, courtly International Gothic style. Originally named Antonio Pisano, he studied under Gentile da Fabriano, whose graceful, detailed style he inherited.
      Pisanello produced paintings, frescoes, drawings, and portrait medallions for the courts of Milan, Rimini, Naples, Mantua, Ferrara, and Verona. His well-known small painting, Princess of the House of Este (1443), exemplifies his style; it shows a woman in profile against a tapestrylike floral background and is characterized by elegant long lines, clear colors, and exquisite drawing of details.
      His frescoes, such as his masterpiece Saint George and the Princess (1438), show to the greatest extent his precise and loving representation of the natural details of human figures, animals, flowers, and objects. His numerous drawings are also fastidiously detailed, and in some of them, particularly those of female nudes, he achieves a strength of three-dimensional modeling that establishes an important link between the Gothic and Renaissance styles.
— Pisanello è fra i grandi talenti del Rinascimento; ma non potrebbe dirsi affatto ch’egli ruppe col passato. Egli non ha la vigorosa inquietudine d’un innovatore; ma una raffinatezza, una preziosità, da ultimo rampollo d’un nobile lignaggio. L’evoluzione artistica dette nell’opera di Pisanello lo specchio ideale d’un prodotto parallelo dell’evoluzione sociale: la cavalleria, ormai al tramonto nell’interpretazione dei singoli oggetti del mondo naturale, non restò forse addietro a nessun contemporaneo, di qualsiasi parte del mondo. Dipinse uccelli come soltanto i giapponesi. I suoi bracchi e levrieri, i suoi cervi, non la cedono neppure a quelli dei Van Eyck. Il suo posto, approssimativamente, è fra i tardi miniaturisti medievali franco-fiamminghi; i Limbourg da una parte, e dall’altra i Van Eyck.

LINKS
Ginevra d'Este (1434, 43x30cm) Eseguito nei primi anni del rapporto di Pisanello con Ferrara, il dipinto mostra l’effigie di profilo di una giovane dama, identificata con Ginevra d’Este, sorella di Leonello. Sulla manica dell’abito della dama appare infatti l’impresa estense con il vaso biansato con le ancore, mentre il rametto di ginepro appuntato sull’abito è un chiaro richiamo al suo nome. La presenza della siepe di aquilegie e garofani sullo sfondo, simboli rispettivamente di fertilità, e di amore e matrimonio, e della farfalla, che può assumere la medesima valenza simbolica, ha condotto all’ipotesi che si tratti di un ritratto matrimoniale, eseguito poco prima delle nozze di Ginevra con Sigismondo Malatesta, nel 1434. Ma la valenza simbolica delle aquilegie, interpretabili anche come simbolo di dolore e morte, ha fatto anche ipotizzare una possibile esecuzione del ritratto dopo la tragica morte di Ginevra. L’identificazione dell’effigiata con Ginevra non è comunque unanimemente accettata, alcuni studiosi hanno infatti riconosciuto nella dama un ritratto di Margherita Gonzaga, figlia di Gianfrancesco e moglie di Leonello d’Este dal 1435 al 1439.
Madonna col Bambino e i santi Antonio abate e Giorgio _ (47x29cm) La tavola, l’unica firmata tra le poche rimasteci di Pisanello, raffigura, nella parte superiore, la Vergine all’interno di un clipeo di luce. Nella parte inferiore, sullo sfondo di un’impenetrabile foresta, appaiono i santi Antonio abate e Giorgio, entrambi accompagnati dagli animali accomunati al loro culto: il maiale e il drago. Nei tratti di san Giorgio, perfettamente abbigliato secondo la moda cavalleresca dell’epoca e con una grande cappello di paglia in testa, è stato talvolta riconosciuto il ritratto del giovane Leonello d’Este. Infatti, secondo alcuni studiosi, l’opera deve essere identificata con la tavola raffigurante la Madonna citata in una lettera di Leonello d’Este del 1432. Non tutti concordano però sulla datazione, che è stata da molti posticipata al quinto decennio del secolo, considerando il dipinto l’ultima tavola nota di Pisanello.
Visione di sant'Eustachio _ Visione di sant’Eustachio 1435-1440 circa tempera su tavola; 65 x 53 Londra, National Gallery Il soggetto del dipinto, la miracolosa visione del crocifisso tra le corna di un cervo apparsa all’ufficiale dell’esercito di Traiano Eustachio durante una battuta di caccia nel bosco, offre a Pisanello l’occasione di impiegare tutte le sue straordinarie capacità di pittore del mondo naturale. Tra tutte le sue opere, infatti, la tavola di Londra è quella per la quale sono conservati il maggior numero di disegni preparatori, che ritraggono dal vero soprattutto i numerosi animali. Anche in questo caso, com’era accaduto per il San Giorgio di Verona, Eustachio appare perfettamente abbigliato secondo i dettami della contemporanea moda da caccia.
Cicogna (1435, 19x21cm) Eccezionale disegnatore, Pisanello riprodusse sovente nei suoi fogli varie specie di animali, seguendo in ciò la pratica dei maestri lombardi. Già Giovannino de Grassi e Michelino da Besozzo avevano infatti mostrato una predilezione per la raffigurazione dal vero del mondo naturale, in particolare animale, che Pisanello deve aver approfondito durante il suo soggiorno a Pavia. Egli si recò nella città lombarda per eseguire la decorazione del castello visconteo, ricordata dalle fonti, ma di cui non rimane alcuna traccia, se non nella successiva produzione del pittore. La Cicogna, messa in relazione da alcuni studiosi con il Sant’Eustachio della National Gallery di Londra, mostra affinità tecniche con i fogli preparatori agli affreschi eseguiti in Sant’Anastasia a Verona.
Madonna della quaglia _ Madonna della quaglia 1420 circa Verona, Museo Civico di Castelvecchio Si tratta della prima opera nota di Pisanello, in cui sono evidenti i legami con l’opera di Michelino da Besozzo, Gentile da Fabriano e i massimi esponenti del “gotico internazionale”. Le affinità maggiori si scorgono con la Madonna del roseto del museo di Castevecchio a Verona, variamente attribuita a Michelino o a Stefano da Verona. Anche la Madonna della quaglia di Pisanello appare in un rigoglioso giardino, sullo sfondo di un roseto, attributo tradizionale della Vergine. I due cardellini rimandano alla crocifissione di Cristo, occasione in cui, secondo la tradizione, si sarebbero macchiati di rosso, mentre la quaglia è simbolo di resurrezione.
San Giorgio, la principessa e il drago _ (1438, affresco, 223x620cm) L’affresco è ciò che rimane di una più ampia decorazione eseguita da Pisanello nell’arco di ingresso della cappella Pellegrini nella chiesa domenicana di Sant’Anastasia a Verona. Le scene perdute raffiguravano l’uccisione del drago da parte di san Giorgio e sant’Eustachio, mentre l’affresco superstite mostra il momento in cui san Giorgio giunge nei pressi della città libica di Silena e si imbatte nella figlia del re, destinata a essere sacrificata a un terribile drago che terrorizzava i cittadini. La storia è narrata nella Legenda aurea di Jacopo da Varagine ed è resa con dovizia di particolari da Pisanello, che, in accordo con la tradizione tardo-gotica, trasforma san Giorgio in un cavaliere del suo tempo e dissemina la composizione di ricercati particolari decorativi. Si conoscono parecchi disegni preparatori alla composizione, tra cui un foglio per le figure degli impiccati, con ogni probabilità preso dal vero.
Saint George and the Princess of Trebizond detail (1430)
Emperor Sigismund (1432)
La lussuria
Studio per la Decollazione del Battista
Madonna col Bambino e i santi Antonio abate e Giorgio
Ginevra d’Este
Visione di sant’Eustachio
Torneo cavalleresco
Ritratto di Leonello d’Este (1441, 28x19cm; 600x381pix, 115kb) _ La piccola tavola mostra Leonello ritratto a mezzo busto, col capo di profilo rivolto verso destra, sullo sfondo di un roseto. La pettinatura “a cappelliera”, che lascia liberi la fronte e la nuca, e la sontuosa veste rossa con sopraveste in broccato, sono rese con grande minuzia e attenzione ai particolari decorativi, come le grandi perle del bordo. L’identificazione dell’effigiato con il principe di Ferrara Leonello non è mai stata messa in discussione, vista l’evidente somiglianza con le medaglie-ritratto eseguite sempre dal Pisanello. Inoltre, in un sonetto di Ulisse degli Aleotti, è ricordata una leggendaria competizione pittorica tra Pisanello e Jacopo Bellini per eseguire il ritratto del principe svoltasi nel 1441: se a parare di Niccolò d’Este, padre di Leonello, Bellini eseguì il ritratto più somigliante, la gara fu vinta da Pisanello, che era riuscito a rendere la “magrezza” e il “candor” del principe, considerati segni di rettitudine e forza morale.
Medaglia di Leonello d’Este
Medaglia di Alfonso V d’Aragona
 
^ Died on 26 November 1882: Thomas LeClear, US genre and portrait painter born on 11 March 1818.
— Born in Oswego, New York, LeClear had studios in New York City and in Buffalo, New York. Considered one of the major artists of Buffalo's first golden age in the mid 1800s, LeClear is nationally recognized for his portraits of children, which document mid nineteenth-century dress and demeanor.
      LeClear was mainly self-taught, but did receive some training in New York City. He began his career in Buffalo, London, and Canada, first painting portraits in Oswego, New York, in 1844, and then in New York City from 1845 until 1847. He settled in Buffalo, where he received a commission to paint decorative panels for a steamboat, and soon found himself part of the artistic nucleus that was forming in that city. Like so many other painters in the country at the time, he painted mostly portraits, but made his reputation with his appealing and refreshing scenes of childhood, such as his Marble Players, Young America, Itinerants, and his best known, Buffalo Newsboy (1853).
      By 1861, Le Clear had left Buffalo and was living in Brooklyn. Two years later he had a studio in Manhattans Tenth Street Studio building, where William Holbrook Beard [1825-1900], noted painter of bears, had lived a year earlier, from 1860 to 1861. Beard was later to marry LeClear's daughter. Despite living in New York City, both Beard and LeClear continued to be closely connected to Buffalo, especially through their involvement with the newly founded Buffalo Fine Arts Academy. LeClear and Beard, along with William John Wilgus and Lars Gustaf Sellstedt, were the major artists of Buffalo's first golden age in the mid-1800s. LeClear taught private students in Buffalo, as did Wilgus and Sellstedt. One of LeClear's students was Albert Samuels, who painted genre and still-life pictures. Buffalo presented its first major art exhibition in December 1861, and a fifth of the works were by Buffalo artists. The exhibition was a financial success and led to the formation in 1862 of the Buffalo Fine Arts Academy under the leadership of LeClear and Henry W. Rogers, one of Buffalo's principal art patrons.

Interior with Portraits (1865, 66x103cm) _ This is virtual reality, 19th century-style. For three or four centuries, you hired a painter to capture your loved one's features for posterity. But then, after daguerreotypes were introduced in 1839, suddenly you had a choice. You could have a colorful, often life-sized painted likeness that looked more or less like your relative, or you could have a tiny, monochrome, but startlingly REAL photograph. This picture is unsigned and undated. According to family history it was painted by LeClear about 1865. Supposedly LeClear was commissioned to make the picture by an elder brother of these two children in the picture.
     The boy had just died when the picture was requested, but he was not then the young child shown here. He was a 26-year-old volunteer fireman who had just died in a hotel fire. His older sister had already died when she was an adolescent, more than fifteen years before the picture was made. The little boy in the picture looks definitely dead, even stuffed. It is likely that the painter, for lack of live models to get likenesses, used a daguerreotype of them as a substitute. If so, he was not one of the many painters who felt threatened by the new photography and vowed never to use photos as aids, claiming that very special qualities made paintings greatly superior.
     Here's the villain of this game, the photographer himself. Should we read anything into the fact that he's portrayed from the rear and conceals his face from us under his cloth? (Incidentally, his wet collodion camera was not manufactured before 1860, and this helps us date the painting). Landscape painting now becomes merely a background foil for photography. This must have been a rude jibe at all the heroic Hudson River and western landscapes that were dominating the public exhibition rooms just then. This old patriarch with altarlike frame presides disapprovingly over the scene. Could a photographer make a likeness of an ancient patriarch? Unlikely! But now he's almost obscured by the backdrop, relegated to the past. All the paraphernalia of the professional artist is arrayed in this studio, which, by the way, we know was in a famous artists' building called the Tenth Street Studio Building in New York.
     In this painting there is plenty of evidence that the inhabitant of the sky-lit studio was no mechanical hack. And yet, the artist is being asked to make way for an insolent photographer who has only learned to manipulate mechanical devices and chemicals. So, in this painting, LeClear shows a scene within a scene, and then implies yet another still larger view from outside the canvas. Through this technique, LeClear used the occasion of this commissioned portrait to make an homage to the 17th-century Spanish master, Velázquez, whose Las Meninas used the same device. By implication, LeClear could be said to be paying homage to the art of painting.
–- Ulysses S. Grant (standing, 1880, 903x586pix, 29kb) _ Grant posed for this portrait shortly after he returned from a triumphant world tour following his presidency. LeClear painted two portraits of Grant. This one was originally owned by Grant himself, while the second one (sitting, 265x169pix, 45kb gif) became part of the White House collection.
     In the spring of 1861, Ulysses Simpson Grant [27 Apr 1822 – 23 Jul 1885] hardly seemed destined for greatness. Having resigned his army captain's commission in 1854, this West Point graduate was eking out a living as a clerk in his brother's leather shop. But the Civil War marked a dramatic shift in his fortune. Reenlisting in the army, he was soon made a general. By war's end, he was commander of all Union land forces, and as the chief architect of the South's defeat, he had become one of the country's most admired heroes. Grant's popularity inevitably led to his 1868 election as the 18th President of the US. But here he proved less successful, and his weak control over his administration spawned an outbreak of federal corruption that made "Grantism" synonymous with public graft. Nevertheless, Grant's personal charisma waned but little through his two terms (1869-1877). Had he succumbed to talk of running for a third, he perhaps would have won.
_ compare:
_ Photo of Grant (1157x939pix, 347kb) _ Another photo of Grant (1720x1401pix, 1059kb) _ Lithograph of Grant (1000x680pix)
_ Ulysses S. Grant (1868, oval 74x61cm; 735x610pix, 365kb) by William F. Cogswell [1819-1903]
 

Died on a 26 November:

^ >2006 Mário Cesariny de Vasconcelos [09 Aug 1923–], Lisbon Portuguese Surrealist painter, better known as a writer (of poems, novels, and plays).
— “Sou um poeta bastante sofrível, um grande poeta numa época em que o tecto está muito baixo”, "sem Anteros, Pessanhas ou Pessoas", e em que "o surrealismo foi transformado em museu", afirmou Cesariny. Um artista multifacetado Poeta, ensaísta e romancista Cesariny foi o representante máximo do surrealismo português, com marcas também na pintura. Filho de pai beirão e mãe castelhana, nasceu em Lisboa. Estudou no Liceu Gil Vicente, frequentou o primeiro ano de Arquitectura na Escola Superior de Belas Artes de Lisboa (ESBAL) e mudou depois para a Escola de Artes Decorativas António Arroio. Para além das artes plásticas estudou música com o compositor Fernando Lopes Graça. Experiências colectivas: o "cadáver esquisito" Em 1947 foi viver para Paris onde frequentou a Academia de La Grande Chaumière. Conheceu André Breton, cuja influência marca a criação do movimento surrealista em Portugal. O grupo surrealista de Lisboa revoluciona a literatura portuguesa e torna-se uma facção de protesto contra o antigo regime. O "pai" do surrealismo português adopta uma técnica denominada "cadáver esquisito", que consistia na elaboração de uma obra por três ou quatro pessoas, num processo em cadeia criativa, em que cada um dava seguimento, em tempo real, à criatividade do anterior, conhecendo apenas uma parte do que aquele fizera.
     No final das aventuras surrealistas colectivas, Cesariny prosseguiu o seu percurso artístico a sós, abandonando a poesia e refugiando-se na pintura. "A poesia foi um fogo muito grande que ardeu. Depois ficaram as cinzas. Não sou capaz de fazer versos porque sim. Acabou", afirmou. A sátira, o humor, o non-sense, a crítica mordaz e certeira eram marcas da personalidade do génio contemporâneo português. Homossexual assumido, para Cesariny o amor era "um desmesurado desejo de amizade", em que "o outro é um espelho sem o qual não nos vemos, não existimos", além de ser "a única coisa que há para acreditar". Bibliografia vasta “Ama como a estrada começa” é um dos poemas que eternizara a sua obra onde constam vários títulos como Corpo Visível (1950), Manual de Prestidigitação (1956), Pena Capital (1957), Nobilíssima Visão (1959), Antologia Surrealista do Cadáver Esquisito (1961), A Cidade Queimada (com arranjo gráfico e ilustrações de Cruzeiro Seixas, 1965), Burlescas, Teóricas e Sentimentais (1972), Primavera Autónoma das Estradas (1980), O Virgem Negra. Fernando Pessoa Explicado às Criancinhas Nacionais & Estrangeiras por M.C.V. (1989),Titânia (1994).
Self-Portrait at Age 53 (22kb) no portrait, only a simple geometrical design.
Homenagem a M. H. Leiria (40x60cm pillow cover, 1982; 430x653pix, 85kb)
Homenagem a Franz Marc (40x60cm pillow cover, 1982, 479x724pix, 31kb) _ The pseudonymous César Almohada y Sábana has metamorphosed this pale picture into the highly detailed and colorful symmetrical abstractions
      _ My Home, a Gem Frankly Marked aka Cram Marc (2006; 724x1024pix, 192kb _ .ZOOM to 1024x1448pix, 445kb _ .ZOOM+ to 2048x2896pix, 1655kb) and
      _ Oh! Ménage le Franc et le Mark aka Marc Cram (2006; 724x1024pix, 192kb _ .ZOOM to 1024x1448pix, 445kb _ .ZOOM+ to 2048x2896pix, 1655kb)
Untitled (40x60cm pillow cover, 1982, 518x730pix, 47kb)
Untitled (40x60cm pillow cover, 1982, 540x730pix, 31kb) _ Almohada has tranformed this almost minimalist pillowcase into a series of maximalist semi-abstract landscapes which can be reached by clicks of the mouse from the first two:
      _ The Wide-Branched Red Tree (2007; 550x778pix, 122kb _ ZOOM 1 to 778x1100pix, 214kb _ ZOOM 2 to 1100x1556pix, 359kb _ ZOOM 3 to 1710x2418pix, 880kb _ ZOOM 4 to 2659x3760pix, 1752kb) and
      _ The Branchopagus Red Trees (2007; 550x778pix, 122kb _ ZOOM 1 to 778x1100pix, 241kb _ ZOOM 2 to 1100x1556pix, 359kb _ ZOOM 3 to 1710x2418pix, 880kb _ ZOOM 4 to 2659x3760pix, 1752kb). —(071124)

^ 2006 Dave Cockrum, US comic book illustrator best known for his X-Men characters, whose birth date is listed as 12 November 1943, but he wrote: “I was born 11 November 1943 in Pendleton, Oregon. My dad was a Lt. Col. in the Air Force so we moved around a lot and I got an early acquaintance with aircraft. I discovered comics at an early age, particularly the original Captain Marvel and Blackhawk. The Blackhawks were flying their F-90s at this time, and it was many years before I discovered they'd had earlier aircraft. To this day the F-90 is one of my all time favorite aircraft because the Blackhawks flew it. Growing up, I began showing some artistic ability, and I decided drawing comics was what I wanted to do. I took art as my major in school and on the side discovered the resurgence of such superhero comics as Hawkman, Flash and Green Lantern and later the Marvel line. After spending six years in the Navy I managed to get work at Warren Publishing in New York. They were publishing Creepy, Eerie and Vampirella, and it was my first professional work and a real learning experience. Then I was lucky enough to land a job as background inker for Murphy Anderson, who was then inking Superman and Superboy for DC comics. After a year or so of that I got my first big break--the Legion of Superheroes strip became available and I got it. It was appearing irregularly as the backup feature in Superboy when I got it. By the time I left the strip a year and a half later it had taken the book away from Superboy and he was merely a supporting character in it. After the Legion I went to Marvel and did a number of odd jobs--including penciling two issues of Giant Size Avengers and inking six issues of the regular Avengers book--I was offered the opportunity to help revive the X-Men. We did that so well that 25 years later it's still the best-selling comic in the business and has become the basis of an entire financial empire based on toys, cartoons, action figures video games, and recently, the big-budget film. I ultimately left X-Men after two stints on the book, to create my own group, The Futurians. I did a Futurians graphic novel for Marvel and later did several issues for an independent publisher, Lodestone. When Lodestone folded, I took on various jobs for a number of companies, including DC (again), Valiant, Defiant and Broadway, ultimately winding up spending three or four years doing a book called Soulsearchers and Company for Claypool Comics. Since Soulsearchers I'm currently developing several new series ideas and arranging for my Futurians material to be reprinted in Europe.”
Self-Portrait (630x624pix, 104kb) as the central character in this illustration.
Sky-Wolf (508x686pix, 110kb) with modified F5U planes.
Lockheed F-90 (500x680pix, 115kb)
Cover to Giant-Size X-Men #1 (1975; 700x450pix, 120kb). _ The pseudonymous Abe Hengin has completely transformed this into the fine art abstractions
      _ Recover Dwarf X-Rays aka Ave Eva (2006; 724x1024pix, 343kb _ .ZOOM to 1024x1448pix, 828kb _ .ZOOM+ to 2048x2896pix, 3668kb) and
      _ Over Giant-Size X aka Eva Ave (2006; 724x1024pix, 343kb _ .ZOOM to 1024x1448pix, 828kb _ .ZOOM+ to 2048x2896pix, 3668kb)
Nightcrawler — Storm –(061130)

1985 Ralph Campbell, Kingston artist born on 13 March 1921.

1984 Togo Murano, Japanese artist born on 15 May 1891. –(051125)

1949 Mateo Hernández Sánchez, [21 Sep 1884–], Spanish sculptor. (091225)

1948 Lajos Kozma, Hungarian artist born on 03 June 1884.

1944 Edward Johnston, English artist born in Uruguay on 11 February 1872. –(051125)

^ 1941 Leo (or Leendert) Gestel, Dutch painter born on 22 November 1881.
–- S*>#Sortie de l'Opéra (1910, 98x135cm; 697x961pix, 84kb) _ About the turn of the century, Paris was the center of new developments in art and the place where most new, modern styles originated. Curious of these new developments, Leo Gestel visited Paris various times between 1904 and 1911, together with his artist friend Jan Sluijters. At the time, the artist societies played an important role in the diffusion of new developments in art in Holland. It was especially the Amsterdam Society of St. Luke that was prepared to open its doors to new ideas such as Amsterdam Luminism. The Luminists, under which Gestel, Sluijters and Mondrian were the leading figures, strove for an intuitively experienced atmosphere in their work, in which the perception of light was the most important. Gestel's luminism is characterized by the juxtaposition of stark colours on the canvas, usually applied with small, sometimes with coarser brush-strokes as to be seen in Sortie de l'Opéra. Interested in the juxtaposition of light and dark tones, Gestel depicts a group of people walking into the night after a lovely evening at the theatre. The theater is captured in warm, light and bright tones that contrast heavily with the darker right side of the composition- the street. Sortie de l'Opéra illustrates Gestel's talent to depict the actual mondaine atmosphere. An atmosphere that was also present in his painting of The Rembrandtsplein, Amsterdam (1906) and his drawing Rembrandtfeesten showing a crowd of feasting people striking their poses. Sortie de l'Opéra is an inspiring painting that reminds us of Henri de Toulouse-Lautrec and Steinlen who especially found their inspiration in the streets and cafés of Montmartre.
–- S*>#Landschap met Zandvlakte en Bebouwing, Karretje op de Voorgrond (1909, 26x43cm; 557x961pix, 128kb)
–- S*>#Nabij Montfoort (34x48cm; 670x961pix, 221kb)
– /S#*>Jo Gestel (605x841pix, 96kb)
–- S*>#Brabants Carnaval (841x1107pix, 193kb)
–- S*>#Untitled (841x630pix, 103kb) woman head and shoulder, hand below ear, seen from the left back.
–- S*>#Mallorca (768x1081pix, 203kb) semi-abstraction: simplified trees with violet trunks.
–- S*>#Leaving the Theater (571x841pix, 124kb)
–- S*>#Meta Edel at age 5 (Sep 1921, 76x56cm; 106kb)
–- S*>#Cows in a Landscape (1941, 28x30cm; 780x841pix, 192kb) rough colored sketch
–- S*>#Vrouw met veren hoed op de rug gezien (1908, 30x20cm; 1146x761pix, 158kb) unrecognizable sloppy painted sketch
–- S*>#View of Woerden (1917, 63x48cm; 961x731pix, 177kb) colored sketch
–- Industrial Landscape (1928, 24x31cm; 800x1044pix, 126kb) colored sketch of a road.
–- Vrouw (1906, 35x29cm; 1124x898pix, 134kb)
–- Hollands Landschap (1915, 38x64cm; 557x961pix, 103kb) _ In 1914 Leo Gestel painted a number of cubistic landscapes during a long stay on the island of Mallorca, accompanied by his wife, his close friends Else Berg and Mommie Schwarz and the Boendermaker family. The Mallorca landscapes are regarded as the most exciting examples of Gestel’s cubism. A.M. Hammacher writes: ‘A Cézanne kind of blue dominates, a tender green with warmer touches, sometimes an Ensor kind of clarity, but foremost the psychological atmosphere is quite different. The refined shades of colour are soft and there is a surprising sensitivity in the play of the planes. (cf.lit.A.M. Hammacher, ‘Stromingen en persoonlijkheden, een halve eeuw schilderkunst in Nederland (1900-1950), Amsterdam 1955, pp.104-105). Back in Amsterdam Gestel submitted twenty-five of his Mallorcan cubist landscapes to the first exhibition of the newly founded artist’s society ‘’De Hollandse Kunstenaarskring’. In the following transitional period he began to search for a new grammar of forms in which he could express his experience of what he saw, however he was not able to distance himself completely from cubism. In the present work Hollands Landschap, painted in 1915, we can still discern his preference for the geometrical shapes with which he had dissembled his earlier landscapes. The brushwork at this time and the more robust strokes betray an incipient move to expressionism. His palette has become darker and consists from 1915 onwards mainly of earthly colors. In this, Gestel is following Le Fauconnier who earlier had created a synthesis between cubist and expressionist tendencies.
–- Chatting Ladies (1912, 102x130cm; 768x984pix, 62kb) _ In 1910 Leo Gestel travels for the second time to Paris and again he is overwhelmed with all the new ideas and impressions. This time around he is especially interested in the world of the beau monde. In these years we see in the work of Gestel a lot of anecdotical subjects, depicting the beau monde. Gestel shows people leaving the theater, ladies dressing up to go out or ladies in their boudoir. With very strong and expressive strokes Gestel depicts his models as well in oil as in pastel. Chatting ladies is an example of this period. In this work we see two ladies, in a not very friendly conversation, sitting in a richly decorated boudoir, wearing very mondaine dresses. The two ladies show very strongly their mondaine life-style. The model whom Gestel used for this pastel is probably his wife An Overtoom whom he had met in 1910. An Overtoom is depicted in the pastel Flirtation (1910) with strong similarities to this one.
–- Beemster (1921, 49x64cm; 768x1028pix, 112kb)
–- Het Land van Montfoort (1909, 51x85cm; 764x1320pix, 128kb)
–- Bloemstilleven (1917, 74x52cm; 1080x761pix, 185kb)
–- De Vriendinnen (1927, 56x75cm; 1316x960pix, 122kb)
–- Lanschap bij Montfoort (1909, 45x57cm; 743x960pix, 222kb) _ About 1908 or 1909 Leo Gestel decided to leave the classical way of painting. He turned away from imitating the reality and started to look to Paul Signac´s divisionism, the works of the French Fauves and the style of Vincent van Gogh. Leo Gestel came to a very personal variant of what we call today Dutch Luminism. The luminists were especially interested in the rendering of the light on the external world and also in the inner sensation and emotions induced by light. In 1909 Gestel painted in Montfoort to continue his studies regarding the sun and light. In the begin of this year Gestel painted Landschap bij Montfoort. In this work Gestel showed his ease with divisionism, clearly visible in the landscape and the upper parts of the sky. He painted with cubed strokes and clear colors which gives the work a very strong radiance.
–- Femme à sa toilette (49x55cm; 751x841pix, 67kb) _ She is just applying lipstick, while another woman, bored, fully dressed in black for outdoors, is waiting.
–- Still Life with Fruit and Flowers (1911, 63x90cm; 560x795pix, 100kb _ .ZOOM to 840x1192pix, 239kb _ .ZOOM+ to 1680x2384pix, 454kb) _ In the autumn of 1911 De Moderne Kunst Kring, which had been founded only a year before, organised its first international exhibition. Gestel had been invited to become a member, which indicates that he had by now become one of the leading figures of the Modern Movement in The Netherlands. This exhibition is historically significant as it was the first in which the work of a number of cubists, including Cézanne, Picasso, Braque and Le Fauconnier could be seen in Holland. One of the works exhibited by Gestel was Still-life with fruit. This work reminds us of the still lifes by Cézanne, which Gestel probably had seen from the collection Hoogendijk, shown in the Rijkmuseum before 1911. Still life with fruit and flowers is a composition with fruit and three vases with flowers. The composition and subject are similar to the Still life with fruit. The decorative effect is emphasised by the absence of shadows. The colors Gestel used in this painting are the modernist yellow, pink, green, light-blue, and red. The background consists of soft tones. The outlines again remind us of paintings by Gauguin and Cézanne. Gestel thought of these artists as kindred souls, whom he equates with Van Gogh. Gestel saw these three painters as the pioneers of all the future art forms.
–- Reclining Nude (1911, 65x133cm; 659x1372pix, 51kb _ .ZOOM to 1318x2744pix, 220kb) _ 1911 was an important year for Leo Gestel. Together with Jan Sluijters and his wife An Overtoom, Gestel visited Paris for the third time. This turned out to be a trip that marked a watershed in Gestel´s artistic development; his style developed from luminism to a flat decorative style. In Paris, Gestel was introduced to the latest art developments through the great Parisian collections Uhde, Kahnweiler and Sagot. The art of Picasso, Derain, and le Douanier Rousseau especially attracted Gestel´s attention. Back in Holland this reveals itself in his use of simplified forms. Recline Nude is an example of this new simplified style in which color remains to play an important role. Gestel depicted this nude with a strong juxtaposition of greens, reds, blues and whites in an utmost simplified form. The absence of shadows emphasises the flat decorative composition, from which the pseudonymous O. Leo Just-Tell has derived what he considers to be the more suitable
    _ Reclining Dune (2005; 527x1098pix, 51kb _ ZOOM to 1318x2744pix, 279kb) which he has further evolved into the abstractions:
    _ Done Nod (2005; full-screen, 594kb _or 920x1300pix, 594kb),
    _ Dine Nid (2005; full-screen, 313kb _or 920x1300pix, 313kb),
    _ Don't Nod (2005; full-screen, 351kb _or 920x1300pix, 351kb),
    _ Dim Dam (2005; full-screen, 395kb _or 920x1300pix, 395kb), and
    _ Made Dam (2005; full-screen, 350kb _or 920x1300pix, 350kb). –(061123)

1940 Heinrich Nauen, artist born in Krefeld on 01 June 1880, dies in Kalkar. –(051125)

1936 Victor Léon Jean Pierre Charreton, French artist born on 02 March 1864.

1929 Georges-Daniel de Monfreid, French artist born on 14 Mar 1856. –(051125)

1925 Knut Magnus Enckell, Swedish artist born on 09 Nov 1870. –(051125)

^ 1921 Claude Joseph Bail, French painter born on 22 January 1863 (1862?). He specialized in kitchen staff with pets about to be cooked, and in women sitting by a window doing something or other, for example polishing the copper pans in which to cook pets. He was the son of Jean-Antoine Bail [08 Apr 1830 – 20 Oct 1919]. In a series of compositions – often purchased by middle-class collectors – he perpetuated his father’s involvement with Chardin through studies of cooks playing cards, smoking, preparing a meal or cleaning utensils. Such paintings as The Housewife (1897) also demonstrates his familiarity with the works of Théodule Ribot, and Bail’s works achieved a comparable popularity with the public and critics. His career continued to flourish during the Third Republic and culminated in the award of a gold medal at the Exposition Universelle of 1900. His absorption of past styles and his dedication to Realism also won him a medal of honor at the Salon of 1902. This award demonstrated the Salon’s commitment to Realism at a time when the tradition was being challenged by a reinvigorated modernist movement that viewed the earlier style as conservative and outmoded. — Joseph-Claude Bail was born during a period of intense disagreement in the Parisian art world. For several years the Salon juries had rejected many progressive artists works; printmaking was making a charge at establishing itself as a true art form; the Barbizon group of painters challenged the tradition of historical landscapes with their views of the modern countryside; and Realism was decades old and had brought forth such combative figures as Gustave Courbet. Yet not all artists can be said to belong this modern view of the nineteenth century. Numerous artists found prestige and public acclaim both at the Salons and with the public with works that relied on past styles and traditions influenced by the “Little Masters” from seventeenth century Holland and traditions from eighteenth-century France. Joseph Bail belong to this group; not an artist who sought to align himself with the increasing stylistic anarchy of the late nineteenth century, but one who carefully examined the changing needs of his patrons and gauged the underpinning social propensities of the time. In A Handbook of Modern French Painting, (New York: Dodd, Mead and Company, 1914, pg. 329) D. Cady Eaton wrote, before Bail’s death, that he “… is an attractive and popular painter…His pictures are comfortable and homelike; not startling and ambitious, but social and friendly. His position in French art seems assured.” Bail continued the tradition of Realism exemplified by Théodule Ribot and François Bonvin and received positive feedback which reinforced the continued respect for scenes reminiscent of daily life during the earlier years in France. Joseph Bail was born on January 22nd, 1862 in Limonest in the Rhone region of France. His father, Jean-Antoine Bail, was a trained genre painter who was heavily influenced by the Dutch masters and focused his attention on depicting scenes from daily life. It is clear that Joseph, as well as his brother Frank, followed in the footsteps of his father, as he too would be influenced by these artists despite new interests in subjects and representation during this period in France. Gabriel P. Weisberg (in the primary article on the Bail family, “The Bails of Lyon: the Bails and the continuation of a popular Realist Tradition”, Arts Magazine Vol. 55 (8), 1981, pg. 157) wrote that: While other artists were changing the shape of art through modernist distortions of form, the Bails looked backward, creating a painting style that showed a devotion to the past and reflected the values of former times. In a period of increasing modernity and industrialization, these paintings glorified the past ways of life in France and found a sympathetic audience in bourgeois patrons. Presumably beginning at a young age, Joseph’s initial artistic training began with his father who instilled in him a respect for the eighteenth-century French painters such as Jean-Siméon Chardin and the Dutch masters and encouraged him to view their works at the Louvre. As all three members of the family, Jean-Antoine, Franck, and Joseph, were artists, the Bail family represents one of the few associations of family painters of the Realist tradition remaining during the latter half of the nineteenth century. They could often be found exhibiting alongside one another at the annual Salons, showing work which displayed similar qualities in subject matter. After beginning his training under his father, Bail began studying, presumably between 1879 and 1880, in the atelier of Jean-Léon Gérôme, an accomplished painter and teacher of the period. This was a short-lived period of tutelage as in 1882 he was no longer listed in Salon catalogues as Bail’s teacher, perhaps because Gérôme’s choice of subjects differed quite dramatically from those of his father and those that Bail would follow for the majority of his career. Just after his sixteenth birthday, Bail debuted at the Salon of 1878, alongside both his father and brother, with Nature Morte. The still life tradition in France was invigorated by the work of Jean-Siméon Chardin in the eighteenth century and still lifes continued to be a major interest for many artists and many occupied themselves primarily with this type of painting. They figured as an important element of Bail’s work, and many of his genre scenes also show still life arrangements within the picture, even when they were not the primary focal point. Henry Marcel (La Peinture Française au XIXème Siècle, Paris: A. Picard & Kaan, 1906, pg. 309) remarked that of these that his “Virtuosity rose from the cellars, from the kitchens to the peaceful linen-rooms and the discreet dining-halls, and amuses itself by following from object to object, the caresses of the furtive rays of light.” Bail himself was especially interested in the reflection produced on shiny copper or silver kitchenware, a most poignant suggestion of Chardin’s inspiration in his work. While still lifes dominate Bail’s beginning work shown at the Salon, he expanded his early themes to also include scenes from the countryside, animals, and genre paintings, some influenced by their summer stays in Bois-le-Roi just outside of Fontainebleau. Just as Claude Monet would do, Bail studied the changing effects of light on haystacks in the countryside. But as his style progressed, he showed a stronger affinity with his father’s work and that of the Chardin and the Dutch masters, choosing to portray room interiors illuminated by a strong light source. In recalling these past masters and this type of painting, Bail was appealing to the growing middle class as his work referenced earlier highly esteemed painters. Emmanuel Bénézit in Dictionnaire Critique et Documentaire des Peintres, Sculpteurs…wrote of Bail and his interiors, that: He excels at creating in all of his painting a very lively bright light due to the radiant shine of some brilliant point or to the direct projection of the exterior daylight…it’s assuredly the expression of an original and rather harmonious art. His technique is very delicate and his coloring just right. The composition of his painting, always elegant, is skillfully treated. His interiors often included a figure positioned near a window, illuminated by this strong sense of lighting. He also combined his modeling and placement of objects with his interest in human form and emotion in several of his works, depicting the daily activities of the household as completed by maids and cooks, many of whom were young children, thus continuing the tradition of Théodule Ribot. Bail became best known for these paintings of maids and cooks and with them “Bail continually mirrored the virtues of middle class home life and the traditions of an earlier time,” wrote Gabriel Weisberg (pg. 157). Instead of depicting these figures with solemn expressions that suggested the difficulty of their labor, they often exhibit light-hearted expressions bordering on the humoristic. Weisberg again notes that “Collected by the affluent, Bail’s domestics, like Bastien-Lepage’s urchins, implied a social condition without blatantly revealing the injustices that inflicted the poor. They remain personal and approachable icons to a social order that was to be radically altered by the further mechanization of the twentieth century.” (pg. 159) Bail regularly submitted to the Salons and towards the end of his careers was “hors concours”, or exempt from having to submit his works for jury approval.
     Joseph Bail presents an oeuvre which was inspired by his father’s interest in earlier masters but also used the current trend in Realism, inspired by his earlier contemporaries such as Théodule Ribot and François Bonvin. His playful images of cooks and their young assistants, along with an interest in light effects, established Bail as an artist who not only looked to the past but who used the modern movement of Realism to execute paintings that showed modern-day preoccupations with daily life that was becoming more and more rare in late nineteenth century France.
the cat's dream–- S*>#The Cat's Meal (x800pix, 55kb) the cat seems upset and angry, which may be why it is not eating, or even looking at the chicken leg in the dish before it. What did it expect, a live mouse? Probably, according to the pseudonymous Abby Askorpus, who has provided this picture of what the cat may have been dreaming about >>>.
–- S*>#Blowing Bubbles (x800pix, 47kb) _ Compare:
      _ Bubbles pictures by many other painters and some not listed there:
      _ Blowing Bubbles (2840x1975pix, 217kb) by George Agnew Reid [25 Jul 1860 – 23 Aug 1947],
      _ A Boy Blowing Bubbles (1663, 25x18cm; 2840x1975pix, 217kb) from the studio of Frans van Mieris the elder [16 Apr 1635 – 12 Mar 1681]
–- S*>#Nature morte au pichet (21x25cm; 510x644pix, 50kb)
–- Sewing by the Window (56x46cm; 799x654pix, 31kb)
–- a different Sewing by the Window (38x46cm; 510x625pix, 24kb)
–- La Pêcheuse (56x47cm; 800x662pix, 63kb) _ Her attitude and her clothing seem better suited for posing for a picture than for fishing. _ Not to be confused with
      _ La Pécheresse (movie poster; 768x563pix, 102kb)
Le Cuisinier (37x57cm; 622x1000pix, 321kb) _ With a large copper pot at his side, he is seated holding a fat cat, which is looking anxiously at the viewer, hoping to be rescued from being cooked.
Polishing the Copper (65x54cm; 1000x837pix, 1267kb) by the window, of course.
–- Mother Cat and Kittens in a Pot (25x29cm; 510x636pix, 46kb) The mother cat is not in the pot, but sits next to it worried that the cook will come back and cook the kittens, one of which is yelling bloody murder.
Taking a Break (53x31cm; 734x575pix, 92kb) the cook with, on his shoulder, a cat apparently not yet fattened enough for being cooked.
–- The Kitchen Maid with Three Puppies (100x81cm; 695x562pix, 32kb)
Le Marmiton (1893)
— different Le Marmiton (73 x 60cm)
Marmiton avec chiens et chatons
La Petite Fille au Chaudron (121x65cm)
Le Petit Cuisinier (120x65cm)
Lettre de Son Père (93x74cm) encore le marmiton.
The Cook and the Pug (58x37cm; 1000x630pix, 118kb) _ On a kitchen table next to a cooking pan, the pug (a dog), fat enough to be cooked, is clowning around standing on its hind legs, in the hope of staving off the inevitable.
The Cook's Helper (81x58cm)
The Serving Maid (750x508pix, 236kb)
Interior With Marken Girls Knitting (27x22cm) by the window
La Dentelière by the window
La Menagère (135x100cm)
Woman Sewing in Front of Her Cottage (32x41cm) not enough light inside by the window? —(061122)

1914 Frans van Leemputten, Belgian artist born on 29 December 1850. — Relative? of Cornelis van Leemputten [1841-1902]?. –(051125)

1882 Kai Nielsen, is born in Svendborg. He died in Frederiksberg on 02 Nov 1924. –(051125)

1875 Mary P. Rossiter Harrison, English artist born in 1788.

^ 1861 Wilhelm Hensel, German painter and draftsman born on 06 July 1794. From 1811 he studied painting at the Kunstakademie, Berlin. From 1818 to 1820 he worked on the decoration of Schinkel’s Schauspielhaus, Berlin, painting scenes from tragedies, and in 1821 he was commissioned to execute 12 pictures of tableaux vivants from Lalla Rookh, an oriental romance (May 1817) by Thomas Moore [1779 – 25 Feb 1852], a book-length set of four narrative poems, connected by prose, with an Indo-Persian setting (which had many editions illustrated by prominent artists). These were to be presented to guests attending a festival in honor of the visiting heir to the Russian throne, Crown Prince Nicholas (later Nicholas I), and his wife, Princess Charlotte of Prussia. He also produced 53 portraits of members of the nobility who were attending the festival in Oriental costume. In 1823 he was awarded a royal grant to study in Italy, where he remained until 1828. While there he painted a copy of Raphael’s Transfiguration for the Prussian court and Christ and the Woman of Samaria (1828). He returned to Berlin and became a member of the Akademie der Künste and court painter in 1829, the year of his marriage to Fanny Mendelssohn-Bartholdy, sister of the composer Felix Mendelssohn-Bartholdy. He became Professor of History Painting at the Akademie in 1831.

1852 Pavel Andreyevich Fedotov, Russian artist born on 04 July 1815. –(051125)

1851 Louis-Philippe Crépin, French artist born in 1772.

1838 Erik Gustav Gothe, Stockholm Swedish artist born on 26 July 1779. –(051125)

1827 José Alvarez Cubero, Spanish artist born on 23 April 1768.

1788 George Robertson, British artist born in some year from 1742 to 1748. — Relative? of Archibald Robertson [08 May 1765 – 06 Dec 1835]? Christina Robertson?

1779 Pieter Jan van Liender, Utrecht Dutch draftsman born on 23 December 1727, brother of Paulus van Liender [25 Sep 1731 – 26 May 1797].

1771 William Mosman, British artist active since 1727. –(051125)

1757 Jan Jakob Spoede, Flemish artist born in 1680.

1627 Juan de Mesa, Spanish artist baptized as an infant on 26 June 1583. –(051125)


Born on a 26 November:


1944 Arnoldo Ramirez Amaya, Guatemalan artist. –(051125)

1923 Bazile Castera, Haitian artist who died in 1966. —(051125)

1918 Inge Neufeld King, German artist. –(051125)

1901 Krsto Hegedusic, Yugoslav artist who died on 07 April 1975. –(051125)

^ 1876 Bart Anthonij van der Leck, Dutch painter and designer who died on 13 November 1958. He served his apprenticeship in several stained-glass studios in Utrecht (1891–1899), after which he received a scholarship to study at the Nationaal school voor Kunstnijverheid, Amsterdam (1900–1904). At the same time he attended evening classes at the Rijksakademie van Beeldende Kunsten, Amsterdam, under August Allebé. His earliest work reflected several stylistic sources. His paintings were influenced first by the Symbolists Anton Derkinderen and Jan Toorop and then by the Amsterdam Impressionists George Hendrik Breitner and Isaac Israëls, while his designs for a collector’s edition of the Song of Solomon, which he produced in 1905 in collaboration with his close friend, the architect and furniture maker Piet Klaarhamer, showed an Egyptian influence. Following a brief and uninfluential visit to Paris in 1907, van der Leck spent the next nine years moving between Amsterdam, Utrecht, Amersfoort, The Hague and the province of Overijssel. — LINKS
Composition (1918, 54x42cm) _ Bart van der Leck came into contact with Mondrian and van Doesburg in 1916–1917 and helped to found De Stijl. He was already using pure color and flattened shapes in his paintings. After meeting Mondrian, however, his work briefly became totally abstract and he reduced the fundamental elements of realistic images to geometric forms.
Composition 1 (1920)
Horseman (2949x1386pix, 1637kb)
Composition: Mountains and a Village in Algeria (482x700pix, 105kb) geometrical abstraction of line segments, horizontal, vertical, and at a 45º angle.
Woodcutter (663x800pix, 110kb) —(061123)

1873 Olaf Gulbransson, Norwegian artist who died on 18 September 1958. –(051125)

1861 Guido Rey, Turin Italian artist who died on 24 June 1935. –(051125)

1860 Stefan Simoni (or Simony), Austrian artist who died in 1950. –(051125)

1841 Eduardo (or Edoardo) Dalbono, Naples Italian artist who died on 23 Aug 1915. –(051125)

1816 Joseph Édouard Stevens, Brussels Belgian artist who died on 02 Aug 1892. –(051125)

1807 William Sidney Mount, Setauket, NY, US artist who died on 18 November 1868. –(051125)

1775 Carl Philipp Fohr, German artist who died in Rome on 29 June 1818. – (051125)

^ 1751 Edward Savage, Princeton, Massachusetts, painter, engraver, and museum keeper, who died on 06 July 1817. Although nothing is known about his artistic training, his earliest dated painting, a copy of John Singleton Copley’s portrait of the Reverend Samuel Cooper, signed and dated July 1784, shows that he was an accomplished artist. His original portraits also show the influence of Copley. The stiff poses and expressionless faces of his sitters reveal his limited anatomical knowledge. In 1789, Harvard University accepted Savage’s offer to paint for it a portrait of George Washington. This gave him the opportunity to paint his best-known work, The Washington Family, from which his engraving of 10 March 1798 was taken. Contemporary critics regarded this portrait as portraying Washington as serene and venerable, but comparisons with his later portraits show the expression to be wooden and stoic. On 14 November 1794 he married Sarah Seaver [08 Sep 1765 – 27 Jan 1861] — LINKS
The Stedman Bust Portrait Of George Washington (1796, 76x63cm)
The Washington Family (1796, 213x284cm; 390x514pix, 75kb _ zoom to 633x480pix, 34kb) _ detail (700x524pix, 306kb) Martha Washington [02 Jun 1731 – 22 May 1802], her adopted granddaughter Eleanor Parke “Nelly” Custis [21 Mar 1779 – 1852], and the faceless slave William Lee [–1828]. _ This painting quickly became a veritable icon of early national pride in the US. In the winter of 1789-1790, President Washington and his wife posed for Savage in New York City, then the nation's capital. Mrs. Washington's grandchildren, adopted by the Washingtons after the deaths of their father, probably also sat for their oil portraits in New York. Savage began to incorporate the separate life studies of their faces into a group portrait engraved on a copper plate. The boy at the side of George Washington [22 Feb 1732 – 14 Dec 1799] is George Washington Parke Custis [30 Apr 1781 – 19 Oct 1857], brother of Nelly and son of John Parke Custis [1755 – 05 Nov 1781], who was the son of Martha Washington through her first marriage, to Daniel Parke Custis [15 Oct 1711– 26 Aug 1757] whom she married on 01 June 1747.
     After a stay in England, Savage resumed the family portrait in Philadelphia -- this time, however, in large format as an oil on canvas. The Washington Family was exhibited in 1796. Savage's catalogue states that Washington's uniform and the papers beneath his hand allude to his "Military Character" and "Presidentship" respectively. With a map before her, Martha Washington is "pointing with her fan to the grand avenue," now known as Pennsylvania Avenue. A slave overdressed in livery and a supposed vista down the Potomac complete the imaginary scene. Savage's self-taught ability to distinguish between satins, gauzes, and laces is nothing short of astonishing. However, the anatomy alternates between wooden and rubbery, and the family strangely avoids eye contact. Despite Savage's lack of experience, his huge Washington Family remains one of the most ambitious projects ever undertaken by a federal artist.
The Savage Family (1779; 407x549pix, 27kb _ ZOOM to 550x744 pix, 102kb) not to be confused with
      _ Family of Savages (1825, 24x32cm; 369x530pix, 61kb), an illustration by Henri “Jacques Messidor” Boisseau [1794-1848] in the book Voyage autour du monde: entrepris par ordre du Roi...executé sur les corvettes de S M L'Uranie et La Physicienne pendant les annees 1817, 1818, 1819 et 1820 by Louis Claude Desaulses de Freycinet [1779-1842].
Edward Savage, Jr. (1801, 77x64cm; 550x454pix, 35kb) a boy, about 7, caught raiding a still life of apples and peaches.
Mary Stiles Holmes aka Mrs. Abiel Holmes (1794; oval 530x435 pix, 39kb)
Thomas Jefferson (1800 engraving; 101kb). –(061123)

1637 Antonio Carneo (or Carniello), Italian artist who died on 16 December 1692. –(051125)

1508 Cristofano Gherardi “dal Borgo” “il Doceno”, Italian artist who died on 04 April 1556. –(051125)


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