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ART “4” “2”-DAY  27 November v.8.a0
^ Died on 27 November 1925: Roger-Noël-François de la Fresnaye, French Cubist-Fauvist painter and draftsman born on 11 July 1885.
— Although he was born at Le Mans, where his father, an officer in the French army, was temporarily stationed, he came from an aristocratic family whose ancestral home, the Château de la Fresnaye, was near Falaise. His education, which was thorough and classically based, was followed by studies in Paris at the Académie Julian (1903–1904) and at the École des Beaux-Arts (1904–1905 and 1906–1908); from 1908 he studied at the Académie Ranson under Maurice Denis and Paul Sérusier, whose joint influence is evident in early works such as Woman with Chrysanthemums (1909), which has the dreamlike Symbolist atmosphere and stylization characteristic of work by the Nabis.

–- Married Life (1912, 99x119cm; 812x1000pix, 95kb — .ZOOM to 1625x2000pix, 383kb)
Sitting Man (1914, 131x162cm; 600x735pix, 70kb _ ZOOM to 1653x2024pix, 302kb)
Guynemer (1923, 55x46cm) _ Refusé dans l'armée pour raison de santé en 1914, Georges-Marie Guynemer [24 Dec 1894 – 11 Sep 1917] devint élève mécanicien en novembre, puis élève pilote l'année suivante. Il a fait son premier vol le 17 Feb 1915. Il a obtenu sa première victoire le 19 Jul 1915, avant d'être blessé devant Verdun en mars 1916. Il reprendrit les commandes de son appareil au mois de mai et enchaîna les victoires avant d'être abattu lors du combat de Poelcapelle, par le lieutenant Kurt Wisseman [20 Mar 1893 – 30 Sep 1917] au dire des Allemands. Ce dernier fut abattu 19 jours plus tard, probablement pas, comme on l'avait cru, par René Fonck [27 Mar 1894 – 18 juin 1953]. Une plaque, apposée dans la crypte du Panthéon reprend les termes de la dernière citation de Guynemer disparu après avoir accumulé 755 heures de vol et 54 victoires: "Mort au champ d'honneur le 11 septembre 1917. Héros légendaire, tombé en plein ciel de gloire, après trois ans de lutte ardente. Restera le plus pur symbole des qualités de la race: ténacité indomptable, énergie farouche, courage sublime. Animé de la foi la plus inébranlable dans la victoire, il lègue au soldat français un souvenir impérissable qui exaltera l'esprit de sacrifice et provoquera les plus nobles émulations."
Le Diabolo (1914)
Artillerie (1911)
Nature morte aux trois anses (1912)
Paysage à La Ferté-sous-Jouarre final version (1911; 504x682pix, 36kb _ ZOOM to 755x1023pix, 77kb) _ Aux confins de la Brie et de la Champagne La Ferté-sous-Jouarre, bâtie sur les deux rives de la Marne, est située au confluent de la Marne et du Petit-Morin. Ses paysages sont très variés, vallonnés, boisés. Au IXe siècle une forteresse, bâtie sur une île au milieu de la rivière, veillait sur les religieux et paysans locaux. Anculfus, chef de guerre franc, lui donna son nom, Firmitas Anculfi, et construisit une ville fortifiée dans une île de la Marne, entre les hameaux de Saint Martin et de Condetz. Plusieures fois au cours des siècles le nom de la ville a été modifiée. Après Firmitas Anculfi elle deviendra Ferté-Ausculphe, puis La Ferté-Ancoul, La Ferté-Aucoul, Ferté-Aucol (nom qu'elle portera jusqu'à la Révolution française), La Ferté-sur-Marne, et La Ferté-sur-Morin. C'est en 1797 que l'administration municipale décidera l'actuelle dénomination de La Ferté-sous-Jouarre.
     Charles de Bourbon [22 Dec 1523 – 09 Sep 1590] est né à La Ferté. Il est devenu évêque à 16 ans, cardinal à 24 ans, a été mis en prison à 65 ans et y est resté jusqu'à sa mort, ayant été entretemps proclamé roi de France Charles X par le Parlement de Paris.
     Dès le XVIe siècle l'industrie meulière donna à La Ferté une certaine renommée, grâce à la qualité de sa pierre (Meulière, de "Meule", 1566: pierre à surface rugueuse, variété de calcaire siliceux) et au savoir-faire de ses meuliers (les moulins, de ce fait, fournissaient une farine d'excellente qualité).
^ Born on 27 November 1853: Francis Bernard “Frank” Dicksee, London Pre-Raphaelite painter and illustrator who died on 17 October 1928. – [Did Dicksee see sissy sea scenes that no one else has been since seen seizing so serene?]
— He studied in the studio of his father, Thomas Francis Dicksee [1819-1895], who painted portraits and historical genre scenes; he then entered the Royal Academy Schools, London, where he was granted a studentship in 1871. He won a silver medal for drawing from the Antique in 1872 and a gold medal in 1875 for his painting Elijah confronting Ahab and Jezebel in Naboth's Vineyard (untraced), with which he made his début at the Royal Academy in 1876. He also began to work as an illustrator during the 1870s, contributing to Cassell's Magazine, Cornhill Magazine, The Graphic and other periodicals. During the 1880s he was commissioned by Cassell & Co. to illustrate their editions of Longfellow's Evangeline (1882), Shakespeare's Othello (1890) and Romeo and Juliet (1884).
      Dicksee's paintings are done with textural fluidity and rich orchestrations of color. They reveal a curious blend of influences, in particular the classicism of Frederic Leighton and the abstracted idealism of G. F. Watts. His predilection for the decorative aspects of painting grew out of his studies with Henry Holiday, a designer of stained glass. He passionately championed the Victorian ideals of High Art and publicly condemned the artistic trends that emerged towards the end of his life. His work covers a wide range of subject-matter and genres, including biblical and allegorical paintings; among those derived from literary sources is Chivalry (1885). He also painted society portraits and social dramas, such as The Confession (1896). Dicksee's sister Margaret Isabel Dicksee [1858-1903] and brother Herbert Thomas Dicksee [1862-1942] were also painters, as was his uncle John Robert Dicksee [1817-1905].

–- Chivalry (1885; 510x381pix, 47kb _ .ZOOM to 1020x762pix, 137kb _ .ZOOM+ to 2039x1524pix, 299kb)
–- The Mirror (1896, 95x118cm; 525x667pix, 79kb _ .ZOOM to 788x1000pix, 156kb _ .ZOOM+ to 1182x1500pix, 198kb)
Le Belle Dame Sans Merci (102kb)
Romeo and Juliet (88kb)
Yseult (ZOOMable)
An Offering (ZOOMable)
The End of the Quest (1921; 700x495pix)
Funeral of a Viking aka The Last Voyage; The Burial of the Viking (1893, 186x305cm; 257x420pix, 23kb) _ Dark and dramatic depiction of the funeral of a Viking, his body being set to sea on a burning pyre. Standing on the shore, to the right of the composition, are a crowd of Viking men and soldiers with arms and weapons raised as the burning ship carrying the body is pushed out. Most prominent of these figures is that of an armoured man standing forward of the crowd, wearing a crested helmet and a breast-plate with raised ornamentation, with his right arm raised and holding a flaming torch in his left. The boat, with a stern carved into the form of the head of a mythical beast, is hauled into the rough sea by muscular male figures; the recumbent body of the dead Viking, fully armoured, is surrounded by flames. In the background are austere, rocky mountains seen under a dark and stormy sky. Most of the scene is illuminated by the glow of the burning pyre and the torch of the foreground figure, which is reflected in the water and the glistening shore. Frame: designed by the artist: gilt, carved wood; decorated with classical motifs but also with a running chain pattern which is one of the features of the Viking Borre style of ornament, which flourished in the 9th and 10th centuries.
The Magic Crystal
The Confession (1896; 492x700pix, 105kb)
Passion aka Leila (1892, 56x70cm; 779x1000pix)
Elsa (57x43 cm)
Startled (1892, 98x67cm; 600x414pix, 78kb)
— Sylvia _ detail
Harmony (1877, 158x94cm; 800x486pix, 84kb) _ Although Dicksee was of a younger generation, the conspicuously mediaeval setting and costumes in this picture reflect the influence on him of the Pre-Raphaelites. His design for this picture originated in a sketching exercise at the Langham Sketching Club. The theme chosen for illustration by members of the club had been 'Music'. Music had been traditionally associated with the divine, but in the late nineteenth century, aesthetes, such as the writer Walter Pater, focused on its abstract qualities. Immortal ideas are perhaps alluded to in the figure of the girl, who adopts the rapt expression of depictions of Saint Cecilia, patron-saint of music. When Harmony was exhibited for the first time it proved enormously popular. — While a student at the Royal Academy School in London Dicksee joined the Langham Sketching Club. From time to time the club met to sketch certain designated subjects; one evening the subject was 'Music'. Pleased with his sketch, Dicksee decided render it as an oil painting. In 1877, under the title Harmony, it became his first picture exhibited at a Royal Academy exhibition. The painting (hung in a place of honor opposite Yeoman of the Guard by John Millais) was a tremendous success, and provided quite a boost to the career of the young artist, who was only 24 years old. Harmony was selected for purchase as part of the prestigous Chantry Bequest, and as such became one of the first works acquired by the Tate Britain, where it now resides.
The Two Crowns (1900, 231x182cm; 84kb) _ The Two Crowns of the title are the golden crown of a king and the crown of thorns worn by Christ on the cross. Dicksee invented this highly moral scene in which a medieval king, riding in a triumphal procession, is startled by the sight of a crucifix (or perhaps sees a vision of Christ) and is reminded of the transience of earthly power and success. In fact the chivalric, Christian knight had been a role model for the modern gentleman for most of the nineteenth century. This painting was bought for the UK government from the Royal Academy in 1900 for £2000.
My Lady Fair (1903, 126x76cm; 512x312pix, 19kb)
^ Died on 27 November 1833: Philip Reinagle, English painter born in 1749.
— He entered the Royal Academy Schools, London, in 1769 before becoming a student of Allan Ramsay [17 Oct 1713 – 10 Aug 1784], whom he assisted on various portraits of George III and Queen Charlotte and for whom he later worked as deputy. He first exhibited at the Royal Academy in 1773 and showed largely portrait works until 1785, when he diversified into animal painting, producing such works as the watercolor Dead Pheasants . From about 1805 onwards landscapes were his dominant subject. He contributed several plates to Robert John Thornton’s idiosyncratic {but not necessarily idiotic} Temple of Flora (1798–1807), including those for the Blue Passion Flower and the Night Blowing Cereus, and provided drawings for the illustrations to William Taplin’s Sportsman’s Cabinet (London, 1803). His copies of landscapes and cattle pictures by such Dutch artists as Paulus Potter, Meindert Hobbema, and Jacob van Ruisdael were often mistaken for originals.
— Reinagle was the son of an Hungarian musician living in Edinburgh. He came to London in 1763 to be articled to the painter Allan Ramsay, served an apprenticeship of seven years and then stayed with him as his assistant until Ramsay's death in 1784. During this time Reinagle is reported to have made more than ninety copies for Ramsay of his coronation portraits of George III and Queen Charlotte. Thereafter Reinagle specialized in animal painting but also painted landscapes and portraits. He exhibited at the Royal Academy from 1773 to 1827, becoming an Associate in 1787 and a full member in 1812. Italian subjects exhibited in 1799, 1800 and 1806 and a Portuguese one in 1816 suggest visits abroad. Reinagle also exhibited at the British Institution from 1806 to 1829. He died in London. Reinagle married Jane Austin in 1771 and had eleven children.
— The students of Philip Reinagle included his eldest son Ramsay Richard Reinagle [19 Mar 1775 – 17 Nov 1862] (named after Allan Ramsay), two of his daughters, who specialized in landscapes: Charlotte Reinagle (fl 1798–1808) and Fanny Reinagle (fl 1799–1820); and Henry Howard.

Cupid Inspiring the Plants with Love (1797)
A First rate Man-of-War driven onto a reef of rocks, floundering in a gale (1826, 102x127cm) _ The Union flag stands out against the black clouds, indicating the heroism of this lone man-of-war as it braves the storm. Perched on the crest of a wave, it is unclear whether the ship will be engulfed by the sea or whether it will survive the tempest. Reinagle specialised in painting marine battles but this single ship in distress is probably symbolic. The ship might be read as the precarious British state - its survival dependent on a victorious navy.
Members of the Carrow Abbey Hunt (1780, 115x152cm) _ Reinagle was best-known for his landscape, sporting and animal subjects. This splendid conversation-piece demonstrates that he was also an accomplished portrait painter.

^ Born on 27 November 1878: William Newenham Montague Orpen, Irish painter who died on 29 September 1931.
— He attended the Metropolitan School of Art, Dublin (1891–1897), and the Slade School of Art, London (1897–1899), there winning the composition prize of 1899 with The Play Scene from Hamlet. One of his teachers was Frederick Brown. Orpen became a friend of Augustus John and joined the New English Art Club. From very early years he had been an impassioned student of the Old Masters, and he went to Paris with John in 1899 to see Leonardo da Vinci’s Mona Lisa. In the following years his perception of their works–in particular those of Rembrandt, Goya, Velázquez, Chardin, Hogarth and Watteau–became sophisticated. Orpen learnt much from the Old Masters without losing the personal character of his own work. The influence of Velázquez, in particular, is apparent in such early genre subjects as The Mirror (1900). His bravura portrait style was probably also indebted to Manet: his Homage to Manet (1909) was a group portrait of members of the New English Art Club, including Philip Wilson Steer, Walter Richard Sickert, Dugald Sutherland MacColl and Henry Tonks, sitting beneath Manet’s portrait of Eva Gonzalès. Orpen was financially one of the most successful, and eventually one of the most honoured, portrait painters working in Britain in the 20th century. His vast and fashionable portrait practice destroyed his critical reputation, but a number of his portraits are outstanding, such as Ray Lancaster and Lloyd George, and the self-portrait, Orpsie Boy, You’re Not as Young as You Were, My Lad, Paris 1924 (1924).
     In 1917 Orpen was appointed an Official War Artist. An exhibition of his war paintings, watercolors and drawings was held in London in the spring of 1918. He offered all his works in the exhibition as well as all future war works as a gift to the nation, and the collection was accepted by the Imperial War Museum, London. In his illustrations to An Onlooker in France, 1917–1919 (1921), Orpen depicted scenes of trench warfare, often in grim detail, but he found it difficult in his larger paintings to come to terms with the broader implications of the war. In 1919 he was appointed official artist to the British Peace Delegation, and he produced the large and very traditional group portrait, The Signing of Peace in the Hall of Mirrors, Versailles, 28th June 1919 . Orpen's production of paintings and drawings, in spite of the relative brevity of his life, is impressively large: he worked quickly and drew almost daily, usually for long hours.
— Among Orpen's students were Margaret Clarke Dobell, William Dobell, John Keating, Henry Lamb.

Self-portrait (1924, 79x65cm; 780x636pix, 75kb)
Self-Portrait (1912, 61x50cm; 380x307pix, 22kb) _ This unusual self-portrait by William Orpen, a modernist active in both Ireland and England, depicts the artist looking at himself in a mirror. Orpen portrays himself holding a rag, as if prepared to wipe out the image. Actual ferry tickets, "engaged seat" notices, a personal check, and a page from Orpen's diary (referring to a trip to Dublin in June 1912) are glued to the picture surface. These "intruders" from real life are cleverly arranged to create the illusion of objects pasted or stuck to the mirror. By incorporating real objects into a painting - a medium traditionally devoted to the creation of fictitious illusions, Orpen anticipated the collage experiments begun by Georges Braque and Pablo Picasso in 1912.
Homage to Manet
Master Spottiswoode (96x76cm; 1355x1000pix, kb) {age about 10?}
The Mirror (1900, 51x41cm) _ This painting was one of Orpen's first great successes after leaving the Slade School of Art. The sitter was Emily Scobel, a model from the school, to whom Orpen was briefly engaged. The room is apparently an accurate portrayal of Orpen's lodgings, but the shallow pictorial depth and 'aesthetic' arrangement of objects is based on Arrangement in Grey and Black No. 1 (1871, 144x162cm) by Whistler, the famous portrait of his mother. In a dazzling display of his abilities, the concave mirror on the wall reflects Orpen painting at his easel. This is a device which Orpen borrowed from The Arnolfini Marriage (1434) of van Eyck, which he would have known in the National Gallery, and it is also found in tne work of Velasquez.
Anita (1905, 76x56cm) _ Anita Bartle, the sitter in this early portrait by Orpen, was a journalist and author in Dublin. At the time he painted it, Orpen had just returned from a visit to the Prado in Madrid, where he had studied portrait sketches by Rubens. His training at the Slade in the 1890s had been in drawing rather than painting. He wanted to try a modern version of Rubens's direct technique, and used this portrait of a friend as an exercise. Orpen uses only red, with black and white, and leaves visible the brushstrokes, in the manner of an oil sketch. He later gave the portrait to the sitter as a wedding present.
Lady Orpen (1907, 97x86cm) _ Orpen's portrait of his wife was painted while they were on a holiday at Margate with William and Mabel Nicholson and their children. They had been married only for a few years, and he portrayed her repeatedly. This portrait was studied by artificial light, and the stormy background added later, with its glimpse of sea and sand dune. The Orpens and Nicholsons loved to dress up. This conglomeration of gloves, scarf, veil, black ostrich feather and bonnet may not have been meant seriously, and Orpen often let loose his sense of humour in his private paintings. He was then just beginning his hardworking career as a society portrait painter, which was to lead to a great number of portraits of spectacular but prosaic realism.
Herbert Barnard John Everett (113x108cm) _ A full-length seated portrait, to left, of the marine and landscape painter John Everett [1877-1949], cross-legged and wearing a black overcoat and trousers, a silk hat and grey gloves. His face is bearded and a silver-topped cane rests against his left leg. Orpen produced a preliminary sketch of Everett for this portrait, which shows him as clean-shaven and seated with the gloves, cane and top-hat that feature in this finished canvas. Everett sat for his portrait against a background of his own watercolors and drawings of ships, and with the telescope and roll of maps that can be seen in the corner of the composition. Although the portrait is both direct and simple, it also emulates the swagger and insouciance of the sitter, who was nearly 2 meters tall.
      Everett was a student at the Slade School of Art with Orpen. They were distant relatives and in Everett's early days as an artist they shared a studio. It is likely that this portrait was painted there. Everett departed for his first sea voyage in 1898. Thereafter, he made a speciality of shipboard scenes and always signed his work 'John Everett' since he disliked the name Herbert. He undertook a series of world voyages which inspired his unusual seascapes of the 1920s and 1930s and he produced great quantities of drawings, oil paintings and engravings. During his lifetime he sold some of his landscape paintings but none of his marine work.
      Orpen exhibited the portrait (as of Herbert Everett) at the winter exhibition of the New English Art Club in 1900. Orpen was a fashionable portrait painter who painted in a vigorous style, often using strong chiaroscuro backgrounds, and this portrait shows the influence of both James Abbott McNeill Whistler [1834-1903] and John Singer Sargent [1856-1925]. Orpen later produced memorable work as a war artist.
The Model (1911, 54x69cm)
The Angler (1912, 91x86cm)
Zonnebeke (1918)
Sir William McCormick (1920, 127x102cm)
Dame Madge Kendal (1928, 102x87cm)
— /S#*>35 images at Sotherby's
^ Died on 27 November 1945: Josep Maria Sert i Badia, Barcelona Catalan painter born on 21 December 1874.
— Sert i Badia, va desenvolupar, durant la primera meitat del segle XX, una obra pictòrica per la qual se'l va considerar el millor pintor muralista dels anys trenta. La dimensió internacional del pintor queda patent en el fet que les seves teles es troben tant a Europa com a Amèrica, des del Rockefeller Center de Nova York a l'edifici de la Societat de les Nacions de Ginebra. Vinculat al modernisme català, Sert va viure a Paris on va tenir contacte amb els corrents més avançats del moment. La relació amb Catalunya la va mantenir a través de les seves germanes i, sobretot, pel lligam que va establir amb la ciutat de Vic, on va decorar la Catedral per encàrrec del seu amic i protector Torras i Bages. Les diferents realitzacions d'aquesta obra van ocupar etapes decisives de la seva vida artística i, per això, no és gens agossarat dir que Sert es va fer com a pintor al voltant del projecte decoratiu de Vic.
— Sert i Badía nació en Barcelona en el seno de una acomodada familia dedicada a la industria textil. Se formó en contacto con los círculos modernistas y simbolistas de la capital catalana. En 1899 se trasladó a París, ciudad en la que pasaría largos años decorando los salones de la aristocracia. Por mediación de su amigo Torras i Bages, obispo de Vic, en 1990 recibe el encargo de decorar las paredes de esa catedral. En 1922, sus obras llegan por primera vez a América donde decora un salón palaciego de Buenos Aires. En 1924 hace una gran exposición en Nueva York y comienza a trabajar para clientes norteamericanos. En 1926, a excepción de las bóvedas y los lunetos, la catedral de Vic quedó recubierta con sus pinturas. En 1929 recibe el encargo de la decoración del madrileño Palacio de Liria y a fines de ese mismo año, el Ayuntamiento donostiarra le encomienda las pinturas de la iglesia de San Telmo. En 1930 se le encarga una decoración para el neoyorkino Rockefeller Center. A fines del verano de 1932, J.M. Sert colocó en San Telmo los lienzos que cubren las paredes de la antigua iglesia. En 1936 pinta la Sala del Consejo de la Sociedad de Naciones de Ginebra. Durante la Guerra Civil Española fue incendiada la catedral de Vic destruyéndose los lienzos existentes. Al terminar la contienda en 1939, volvió a pintar la catedral. Murió en su ciudad natal y fue enterrado en la catedral de Vic, a cuya inacabada decoración dedicó 45 años de su vida artística.

— En agosto de 1813, durante la Guerra de la Independencia y como consecuencia de la toma de la ciudad por las tropas anglo-portuguesas, la iglesia del convento de San Telmo fue devastada y saqueada. Desaparecieron todos sus elementos decorativos: pinturas, tallas, retablos..., quedando sus paredes prácticamente vacías. En 1929, al restaurar la iglesia y pensar cómo adecuarla al nuevo destino que iba a tener el convento, como Museo, se acordó, siguiendo el consejo del pintor Ignacio Zuloaga, que las paredes quedaran recubiertas de pinturas en las que se plasmas en las efemérides del pueblo. Esta labor se encomendó a José María Sert, que la realizó en 17 paños - 11 lienzos - sobre una extensión de 784 m2.
     Las once escenas de San Telmo, realizadas a base de veladuras, es decir barniz con color, sobre un fondo de
panes de oro, representan temas de la vida y de la historia gipuzkoana: sus hombres, sus actividades tradicionales,
sus hazañas y sus creencias. La descripción de los lienzos comienza a la derecha de la bóveda que sustenta el coro.
Pueblo de Ferrones (600x700cm; 500x721pix, 87kb) _ Un grupo de ferrones, delante de un inmenso yunque y en medio de un gran resplandor, forja un ancla monumental que evoca los tiempos en que la ferrería Gilisasti enviaba anclas para la armada inglesa.
Pueblo de Santos (600x700cm; 500x701pix, 80kb) _ Ignacio de Loiola escribe las Constituciones de la Compañía de Jesús al dictado de Cristo que, con una mano desclavada, le aconseja desde la Cruz.
Pueblo de Comerciantes (1000x300cm; 500x167pix, 28kb) _ Este estrecho y alargado lienzo está dedicado a la Real Compañía Gipuzcoana de Caracas, entidad que dió a la provincia un auge económico inusitado a lo largo del siglo XVIII.
Pueblo de Navegantes (1000x1000cm; 500x500pix, 73kb) _ Este lienzo representa la epopeya de Juan Sebastián Elkano, marino gipuzkoano de Getaria que navegó por vez primera alrededor del mundo.
Pueblo de Pescadores (500x524pix, 68kb) _ El escenario que nos ofrece esta pintura es el de un puerto gipuzcoano. Vemos un gran número de pescadores que intenta, trabajosamente, subir una ballena por una rampa.
El Altar de la Raza (1000x2000cm; 499x891pix, 134kb) _ Este lienzo ocupa el antiguo ábside de la iglesia. En medio de un mar embravecido un bloque pétreo se yergue sobre el oleaje a modo de atalaya. De él nace un viejo árbol que resiste la embestida temporal. Agarrado al árbol está San Telmo, patrón de los hombres de mar, quien, bastón en mano, salva una barca a punto de naufragar. Sobre él, y enganchado en las ramas del árbol, cuelga San Sebastián, patrono de la ciudad.
Pueblo de Fueros (1000x600cm; 500x480pix, 67kb) _ El tema de este lienzo evoca la pasada vida foral. Así, representa el momento en que Alfonso VIII, rey de Castilla, jura los fueros de Gipuzkoa.
Pueblo de Armadores (1000x1000cm; 500x500pix, 67kb) _ En este lienzo, Sert representa la actividad constructora de los astilleros pasaitarras mediante una larga hilera de navíos. Se trata de la construcción de la Armada “Invencible” (que no lo era).
Pueblo de Libertad (1000x300cm; 500x250pix, 39kb) _ Este estrecho y alargado lienzo está dedicado al árbol de Gernika, símbolo de las libertades de Vasconia. Al pie del viejo roble, un gran libro abierto simboliza el Fuero de Bizkaia.
Pueblo de Sabios (700x600cm; 500x620pix, 72kb) _ Los "Caballeritos de Azkoitia", constituidos ya en la Sociedad Bascongada de Amigos del País, y reunidos bajo la cúpula de su observatorio, reciben la visita de un sabio químico extranjero.
Pueblo de Leyendas (600x700cm; 500x650pix, 72kb) _ Sert nos presenta una escena que hace referencia al tema del akelarre. El origen de este tipo de ritos es remotísimo, constituyendo un signo inequívoco de las viejas creencias del Pueblo Vasco. _ Sert-ek akelarrea gogora ekartzen digun mihisea pintatu du. Hauek bezalako erritoen jatorria aspaldi-aspaldikoa da, eta Euskal Herriko aintzinako sinismenak argi eta garbi agertzen zaigu bertan.

Died on a 27 November:

^ 2004 Gene Howard Greif, born on 11 September 1954, US illustrator of 1970s and 1980s album covers. His witty collage and montage album-cover illustrations for CBS Records helped popularize the retro style of graphic design in the 1980's. Gene Howard Greif was born in Queens, NY. He attended what is now the LaGuardia High School of Music and Art and Performing Arts in Manhattan, and graduated from the Cooper Union School of Art in 1976. While on staff as an artist and designer from 1977 to 1980 at CBS Records, then known as an industry leader for innovative album art, Greif specialized in pop music and designed scores of album covers, including some for Phoebe Snow and the B-52's. But it was his cover for the Clash's album Give 'Em Enough Rope, with its stark flat colors, messy faux-Japanese lettering and eerie image of a slain cowboy being eaten by buzzards while an enigmatic figure on a horse nonchalantly observes the feast, that influenced other punk album graphics. It helped introduce a postmodern graphic style noted for the reprise of passé images and found art. Greif also designed a special Bloomingdale's shopping bag that combined elements of Cubism and Dada into a composition that is now in museum collections.
     "Gene reinvigorated contemporary collage-based illustration in the late 70's to the present by combining visual and typographic puns with Surrealist and Constructivist influences," said the graphic designer Carin Goldberg, with whom he collaborated on book covers and jackets. Greif's recognizable style as an illustrator was also partly a result of his keen expertise with the airbrush, which allowed him to wed disparate images and objects seamlessly into a unified image. In addition to working on records, books and bags, in 1980 Mr. Greif was a staff designer at Rolling Stone magazine and an art director at Vogue and Working Woman magazines.
    Grief wrote: “Some things never change. I still live and work in NYC, where I was born and raised. I didn't plan to be an illustrator, it just happenedàand I am glad it did. I have been solving art directors' problems with my collages for 15 years and I like the problem-solving process enormously...especially when the results surprise and delight both of us. As a collagist, I have slowly become more painterly in my style, using paint, pencil, ink and crayon more liberally. But I have to say, nothing beats a strong idea, elegantly expressed in a simple arrangement of paper elements, cut and pasted. Like I said, some things never change.” {Wrong! The only thing that never changes is that everything changes in this world} —(051122)

1997 Eduardo Kingman, Ecuadorian artist born on 03 February 1913. –(051126)

>1992 Sidney Robert Nolan [22 Apr 1917–], Australian painter and printmaker.
–- Dreaming (1988; 900x716pix, 36kb)
–- Kelly's Ghost (1113x1400pix, 179kb)
— Theseus and the Minotaur (1955) )
–-Luna Park (1941) _ Although Nolan admired what he saw of Cezanne, Gauguin and Van Gogh and so on, and his very early abstracts were mainly homages to Paul Klee, Picasso was to him the most persuasive voice of the 20th century. Picasso is evident in this painting where the tent form and the big dipper from Luna Park - Nolan's so-called 'kitsch heaven' because it was so close to where he grew up and formed his idea of the illusion of a magic world - became blended into a hybrid.
Wail (Railway Station, Wimmera) (1943) _ Two Wimmera landscapes of 1943. Firstly this, depicting the railway station Wail. Patches and stripes, high horizon and a very elemental, untutored looking. Nolan wrote a note on a postcard many years later recalling the influence of van Gogh on his Wimmera compositions, with his use of diagonals and horizontals, and a slightly untutored, naive rendering of figures. )
–-Kiata (1943) _ Here, in Kiata, is a contrast in the use of Ripolin enamel paint, thinner, more translucent, like watercolor; railway lines pushing upwards in emphatic stripes, a horse and cart completely out of scale like a surrealist dream; trees dotting the distance like notes of music; and lovely, radiant, subtly inflected swathes of yellow in the foreground. )
–-Robe Street, St Kilda (1945) _ Once Nolan left the Wimmera in 1944, deserting the army for fear of being sent to the war front in New Guinea, he returned to St Kilda with a vengeance. He produced these larger scale paintings, magnificent cacophonies of city life; colored banners and slabs of buildings, along the street in which the working class community celebrated carnivals, and where they had recently congregated to cheer the end of the war
Central Australia (1950) _ His series of landscapes painted during a trip in 1949 through central, north and north-west of Australia… were exhibited to great acclaim. There was a huge impact on both critics and popular taste, suddenly wresting the mantle of principle iconographer of the continent from Drysdale. He had arrived. People were bowled over by the radiant power of paintings like this… Significantly, Nolan now had the income from sales to plan his first trip to Europe, followed by permanent departure from Australia in 1953. )
–-Perished (1949) _ You will have noticed that that previous landscape was uninhabited, an impression enhanced by the fact it was seen from an airplane at a great height, but it is unlikely that there was much sign of human presence below anyway. It was not long before Nolan introduced his dramatis personae. Here an explorer is dying or dead and about to be absorbed by nature back into the soil.
–- After Glenrowan Siege (1955) _ Nolan was now settled in England and embarked on a new series of Kelly images, mostly vertical compositions which show Kelly rising up with messianic force - or in some cases as this with the red eyes, demonic - out of the ruins of Glenrowan. A new sophistication is in evidence with this 2nd Kelly series, reflecting Nolan's familiarity with contemporary European painting and the mainstream of abstraction making its presence felt even in entrenched figurative artists. Local critics began to regard him as a genuine force in the British school. )
–-Baboon (1963) _ In Africa, 1962, traveling through Abyssinia, Nolan became obsessed with the phenomenon of camouflage, and the ebb and flow through it of predator and victim, life and death, and the capacity of nature to renew itself. He depicted creatures against vibrating stripes and patches of color representing the eternal forces to which their destinies were linked. He wondered if what he was witnessing would no longer be there in some distant future; as it was for the woodlands of Ancient Greece; as it will be for the Amazon forests. This was not environmentalism. It was about a detached observation of the inevitability of rise and fall. He rediscovered in these works the pleasure of oil paint )
–-Self portrait in youth (1986) _ And finally, the self portrait presented to the Royal Academy; a ghost-like image of a man about to dissolve into vapor as he contemplates to one side the stripes of his parallel universe; who never, like Rimbaud, became disillusioned with the creative possibilities of his craft, and what it might tell him about himself. This portrait is prophetically like the way Lady Mary described his last moments in London: 'He just vanished' she said. 'He was no longer there'. Nolan, spray-painting with a sense of serene nostalgia about his beginnings, fabricating signs in the Fayrefield Hat factory, remembered himself as an adolescent dreaming of what could be. —(081128)

1965 Jean Philippe Dallaire, Canadian artist born on 09 June 1916. –(051126)

1958 Lucy Elizabeth Kemp~Welch, British painter born (full coverage) on 20 June 1869. —(080618)

1934 Mitrofan Borisovich Grekov, Russian artist, born Mitrofan (Pavlovich) Martyshchenko on 15 Jun 1882. –(051126)

1933 Robert Anning Bell, London English artist born on 14 April 1863. –(051126)

1930 Lumbur-Jacques-Wolfpack-Deuxnids Jiyev, pseudonymous pseudo-artist, born on 30 February 1852 (sic). His recently discovered pseudo-masterwork and only known work is a series of colorful and finely detailed pseudo-abstractions which can be reached by clicks of the mouse from any one of them, for example the asymmetrical:
      _ Too Sick to Fight Six Sikhs (1908; 664x940pix, 324kb _ ZOOM 1 to 939x1328pix, 692kb _ ZOOM 2 to 1328x1878pix, 1246kb _ ZOOM 3 to 1878x2656pix, 2730kb _ ZOOM 4 to 2656x3756pix, 5413kb) or the symmetrical
      _ Sikh Kiss (1908; 664x940pix, 325kb _ ZOOM 1 to 939x1328pix, 696kb _ ZOOM 2 to 1328x1878pix, 1258kb _ ZOOM 3 to 1878x2656pix, 2768kb _ ZOOM 4 to 2656x3756pix, 5496kb)

^ 1930 Abe Strakshun, pseudonym of an Erewhonian artist (who died on this pseudo-date) best (and only, if at all) known for an amazing series of interrelated abstract pictures which can be reached by clicks of the mouse from any one of them, for example the asymmetrical:
      _ The Sea aka C (1908; 656x928pix, 152kb _ ZOOM J to 928x1312pix, 226kb _ ZOOM K to 1312x1856pix, 938kb _ ZOOM L to 1856x2624pix, 1887kb _ ZOOM M to 2624x3712pix, 3401kb) or the symmetrical
      _ The Eye aka I (1908; 656x928pix, 148kb _ ZOOM J to 928x1312pix, 220kb _ ZOOM K to 1312x1856pix, 904kb _ ZOOM L to 1856x2624pix, 1826kb _ ZOOM M to 2624x3712pix, 3297kb) —(081121)

1927 (25 Nov?) József Rippl-Rónai, Hungarian painter, printmaker, pastellist, ceramicist, and designer, born on 23 May 1861. — [He made so little of a ripple in art history that I cannot find any example of his work on the internet.] — In 1881 he graduated in pharmacy from the Budapest University of Sciences. He worked as a pharmacist for a short time and then became tutor to Count Ödön Zichy. In 1884 he registered at the Akademie der Bildenden Künste in Munich, becoming a student in the life class and studying under Johann Caspar Herterich [1843–1905] and Wilhelm von Diez [1839–1907]. In 1887 he went to Paris to work in the studio of Mihály Munkácsy, for whom he copied and finished paintings for export to the US. In 1889 Rippl-Rónai went to Pont-Aven, where he painted In a Pont-Aven Bar (1889) and Woman in a White Spotted Dress (1889), which shows the influence of Whistler (which persisted throughout his career) and in which, as in many of his paintings of this period, the dominant color is black. In 1890 he studied at the Académie Julian in Paris and became friendly with James Pitcairn-Knowles, Aristide Maillol and Edouard Vuillard. Between 1890 and 1900 he made a number of embroideries and tapestries with the help of his wife.

1918 Bohumil Kubista, Czech artist born on 21 August 1884. — {He was a Kubista, but was he a cubist?}. –(051126)

1901 Antonio Gisbert Pérez, Spanish painter born (main coverage) on 19 December 1834, dies in Paris. –(091125)

1900 Anton Seitz, German artist born on 23 January 1829.

1894 Charles Burton Barber, British artist born in 1845.

1889 Nicolaas Riegen, Dutch artist born on 31 May 1827.

^ 1862 Armand Julien Pallière, (=? Arnaud Julien Pallière?), French painter born in 1784 in Buenos Aires.
–- S*>#La gallerie d'Apollon au musée du Louvre (1850, 148x180cm; 622x800pix, 126kb) —(051027)

1836 Antoine~Charles~Joseph “Carle” Vernet, French painter born (full coverage) on 14 August 1758. —(060809)

1796 Karl-Sébastien von Bemmel, German artist born on 01 April 1743.

1684 Pierre Gole (or Golle), artist born in Bergen, near Alkmaar, dies in Paris. –(051126)

1679 (burial) John Hayls (or Hales), English artist active since 1645. –(051126)

^ 1673 Anthonie Palamedeszoon “Stevaerts”, Dutch painter born in 1601. He was the son of a gemcutter. Shortly after his birth, his father was recorded in the service of James I of England, and his brother, the battle painter Palamedes Palamedeszoon I [1607 – 26 Mar 1638], may have been born in London. Anthonie’s teacher is unknown, but it has been speculated that he may have studied in Delft under the court painter Michiel van Mierevelt and/or Hendrik Pot, who was in the city in 1620. Palamedesz. joined the Delft Guild of Saint Luke in 1621 and was head man in 1653 and 1673. He had three children by his first marriage in 1630 to Anna Joosten van Hoorendijk [–1651] and a son by his second marriage in 1660 to Aagje Woedewart. In 1673 Anthonie was residing in Amsterdam, probably with his eldest son (nephew?), the painter Palamedes Palamedeszoon II [1633–1705]. An inventory of Anthonie’s estate is preserved. — LINKS
Party Scene with Music (1640, 65x90cm) _ Anthonie Palamedeszoon repeatedly made social scenes of groups. The window which is the source of the light that gives his pictures their blond tonality is frequently (but not always) visible. The dominant hues in his pleasantly colored pictures are a blue and yellow of low intensity.
Elegant Company Gaming and Drinking (1634, 144kb)
Family Portrait (1635, 80x107cm; 770x1081pix, 115kb) _ The genre of portrait was also practiced in Flanders, yet there are distinct differences between the North and the South in the Netherlands. Middle-class and Calvinist tendencies are particularly evident in the Dutch preference for mock-realism and intimacy, and it is these characteristics which predominate in this Family Portrait. The family, with numerous children, sits primly in a room with the air of a peep-show; Palamedeszoon is not particularly interested in the actual portrait aspect of the work.
Sight (1640, 35x26cm; 700x530pix, 134kb) _ A woman at a mirror. The series on the 5 senses is painted in the manner of Codde and of Dirck Hals
Taste (1640, 35x26cm; 700x530pix, 140kb) _ A woman nursing a baby (who looks like a monkey) and, hard to see in the deep shadows in the lower right corner, a monkey eating fruits. The pseudonymous Paul-Amédée Stevedore has remedied this, and cropped off most of the vast expanse of useless black in the original picture, thus providing
      _ Allegory of Taste With a Woman Nursing a Baby Who Looks Like a Monkey or It May Be a Monkey That Looks Like a Baby, and With a Plainly Visible Authentic Monkey Eating Fruit (2005; 483x429pix, 18kb) which he further evolved into the fantasy
      _ Taste? What Taste? aka Fruit Turf (2005; 920x1300pix, 167kb)
Touch (1640, 35x26cm; 700x530pix, 144kb) _ A (blind?) peasant holding a chicken.
Smelling (1640, 35x26cm; 700x530pix, 134kb) _ A pipe smoker.
Hearing (1640, 35x26cm; 700x530pix, 152kb) _ A guitar player.
–- S*>#Brothel Scene (798x960pix, 122kb) A woman is seated in front of a mirror combing her hair, two men are at a table.
–- S*>#A Kortegaardje (771x961pix, 141kb) Soldiers are smoking and playing dice on a drum, a woman is holding a jug, a man is playing the violin, a Black is seated on a chair, a dog is gnawing a bone.
–- S*>#A Guardroom (679x900pix, 54kb) Nine persons and three dogs are idle, standing or sitting, conversing (the dogs are silent).
–- S*>#Officer Blowing a Trumpet (1200x986pix, 197kb) He is standing in a window with a balcony. –(060207)

^ 1670 Jacob van Loo, Flemish French painter born in 1614. — {It is a stinking lie that the family got its name from an ancestor, Walter Claus, who made his fortune by franchizing his fertilizer business, which improved on an idea he got from China. He would not just get the raw material free, but actually be paid for collecting it in the suitably equipped twelve compartments of a horse-drawn van marked with the letters W.C., which he would take to large public gatherings devoid of convenient bushes or other facilities for people to... oh! never mind. But don't eat raw vegetables imported from countries where similar practices may have survived, lest you find yourself in urgent need and nowhere near to a W.C. or a van loo.} — He was first trained by his father, the genre painter Jan van Loo [1585–], and seems to have been influenced in his youth by Thomas de Keyser and Jacob Backer. From 1642 he lived and worked in Amsterdam, where he married a sister of the painter Maerten Lengele [–1668]. The works of his first ten years in Amsterdam are Flemish in feeling, as is demonstrated by a comparison between his Coucher à l’italienne (1650) and Jacob Jordaens’s The Wife of King Candaules. The provocatively posed figure of a naked woman seen from behind, portrayed by Jordaens with Baroque exuberance, receives a somewhat calmer treatment from van Loo in terms of line and composition; nevertheless, the motif of the naked woman turning towards the viewer and the structure of the painting are clearly inspired by Jordaens. The same ten years produced more complex figure compositions based on mythological themes, in which Flemish monumentality and animation were again translated into quieter compositions of a more classical nature. Examples of this development include van Loo’s portrayals of Diana with her Nymphs. Similar stylistic features can be recognized in the Allegory of Wealth.  Van Loo then moved to Paris, where he died.
     His two sons were both painters in southern France: Jean van Loo (fl 1682–1694) worked in Toulon, and Louis-Abraham van Loo [1656–1712] in Nice, Toulon and Aix-en-Provence.
     Louis-Abraham van Loo had three sons: painter Jean Baptiste van Loo [11 Jan 1684 – 19 Sep 1745], painter Carle van Loo [15 Feb 1705 – 15 Jul 1765], and engraver Joseph van Loo (fl about 1732).
     Jean-Baptiste van Loo had three painter sons: Louis-Michel van Loo [02 Mar 1707 – 20 Mar 1771], François van Loo [1708–1732], and Amédée van Loo [25 Aug 1719 – 15 Nov 1795].
     Carle van Loo had a painter son: César van Loo. [20 May 1743 – 01 Jul 1821]
1654 Pieter Meulener (or Meulenaer, Molenaer), Dutch artist born on 18 February 1602. — Relative? of Jan Miense Molenaer [1610 – 19 Sep 1668 bur.]?

1570 Jacopo d'Antonio Sansovino Tatti, Italian artist baptized as an infant on 02 Jul 1486..

Born on a 27 November:

1936 Brian Bourke, Irish artist. –(051126)

^ 1929 Robert Slutzky, US painter, writer, and educator, who died on 03 May 2005.
Palazzo Fuga (1000x876pix, 341kb gif)
Trias=2 (777x894pix, 268kb gif)
Untitled A (1999; 395x400pix, 38kb)
Untitled F (1999; 401x400pix, 29kb)

1894 George Rayner Hoff, British artist who died in Sydney on 19 Nov 1937. –(051126)

1886 Tsugouharu Foujita (or Tsuguharu Fujita), Japanese artist who died in Switzerland (full coverage) on 29 January 1968. —(060809)

1884 José de Creeft, Spanish artist who died in New York on 11 September 1982. –(051126)

1870 Ferdynand Ruszczyc, Bohdanów (near Vilnius, Lithuania) Polish painter, printmaker, and stage designer, who died in 1936. In 1890–1892 he studied law at the University of Saint-Petersburg, but from the autumn of 1892 dedicated all his time to painting classes at the Academy of Fine Arts. He was a student of the Russian landscape painters Ivan Shishkin and Arkhip Kuindzhi. During his studies Ruszczyc went twice to the Crimea (1894 and 1895) to paint seascapes. In 1896 and 1897 he went to the Baltic islands of Rügen and Bornholm and to the southern coast of Sweden to paint studies of northern landscape. He also went several times to Berlin, where he first saw works by German Symbolist painters. The influence of Arnold Böcklin may be detected in works on fantastical themes, while Spring (1897) recalls Kuindzhi’s luminism and the lyrical Russian landscape tradition. After graduation Ruszczyc made an extensive tour of western Europe, thus substantially enlarging his knowledge of contemporary European art. At the end of his journey (1898) he settled on his family estate at Bohdanów.

1851 Giovanni Battista Castagnetto, known as João Batista Castagneto in Brasil, to which he moved, and where he died on 29 December 1900. –(051126)

1834 Jules-Bertrand Gélibert, French artist who died in 1916. –(051126)

^ 1827 Maxime-François-Antoine Lalanne, French artist who died on 29 July 1886. (b Bordeaux, 27 Nov 1827; d Nogent-sur-Marne, 29 July 1886). French etcher and draughtsman. He went to Paris after 1848 to join the studio of Jean Gigoux, and made his Salon début in 1852. He made an important contribution to the etching revival in France with his illustrated manual Traité de la gravure à l’eau-forte (1866) and with his participation in the founding in 1862 of the Société des Aquafortistes, with whom he published seven prints in their L’Eaux-fortes modernes series (1862–6). He provided drawings for the Society’s journal, L’Illustration nouvelle (1868–81), and made prints after paintings by such artists as Corot and Constant Troyon for L’Artiste and the Gazette des beaux-arts. His etched book illustrations (e.g. Chez Victor Hugo, 1864), collections of prints (e.g. Souvenirs artistiques du siège de Paris, 1871) and plates for the Société des Aquafortistes (e.g. Rue des Marmousets, 1862, see 1982 exh. cat., pl. 69) display his opposition to the Second Empire which extended to dark and sombre views of the industrial and slum areas of Paris, executed with great delicacy and technical assurance. Lalanne’s sketches were the subject of his second technical manual Le Fusain (1869) and served as illustrations to journals and such books as Henry Havard’s topographical Hollande à vol d’oiseau (1881).— Alfred-Louis Brunet-Debaines was a student of Lalanne. — LINKS
55 prints at FAMSF..

^ 1798 Rafael Tejeo y Díaz, Spanish painter who died on 03 October 1856. — {En el internet, no te veo, Tejeo, te leo nada más.}— He began his studies with the Sociedad de Amigos del País in Murcia under the direction of Santiago Baglieto and later moved to Madrid, where he continued to study under José Aparicio and at the Real Academia de San Fernando under the patronage of the Marqués de San Mamés. In 1824 he received a grant to go to Rome, where he remained for three years, working under Pietro Benvenuti and Vicenzo Camuzi. Tejeo became an academician of the Real Academia on 21 September 1828; he was made Assistant Director on 23 August 1839 and Director on 11 August 1842; he renounced these titles after he had been involved in a violent incident. Tejeo was named Pintor de Cámara to Isabella II. He was perhaps the leading perpetuator of Spanish Neo-classicism, as is seen in the painting made to mark his entry into the Academia, Hercules and Antaeus (1828). He was also an excellent portrait painter, as shown by Los Duques de San Fernando and the delightful portrait of Pedro Benítez and his Daughter.
— Nació en Caravaca de la Cruz el 27 de noviembre de 1798, siendo bautizado dos días después en la parroquia del Salvador. Era hijo de Pedro Luis Tejeo y Maria Ana Díaz, ambos naturales de Lorca. Casó en Madrid con la hacendada Maria de la Cruz Benítez Bragaña, quien le sobrevivió nueve años. Murió en Madrid. Fue alumno en Murcia de Santiago Baglieto en la Sociedad Económica de Amigos del País. En la Academia de San Fernando de Madrid tuvo por maestros a José Aparicio y al perspectivista Fernando Brambila; y en Roma (desde 1824 a 1827), a Benvenuti y Camuccini, epígonos del gran David. Fue teniente director de San Fernando al ocupar la dirección de esta Academia José Madrazo en 1839, y pintor de cámara de Isabel II. No obstante, el talante liberal del que hizo le había traído problemas en la época absolutista de Fernando VII, cuando aspiró, sin éxito (precisamente por su alineación política), al nombramiento como académico de mérito de San Fernando, e incluso hubo de huir de la Corte en 1814 y refujiarse en Caravaca de la Cruz. Su exquisita sensibilidad de artista se puso de manifiesto tanto en su vinculación a la última etapa del Neoclásicismo como en su ilusión por la incipiente época romántica. Como pintor neoclásico fue un inmejorable intérprete de los cuadros de asunto y de tema mitológico; ejemplos cercanos los tenemos en su Hércules y Anteo, cuadro que le valió el reconocimiento de la Academia, o en el Tobías. En ambos, el academicismo imperante, la perfección de lineas, la fidelidad temática y el juego cromático son claro ejemplo de la normativa vigente. Como pintor romántico logró captar a través del retrato la esencia de una sociedad artificial entre la que no tuvo más remedio que desenvolverse. De sus magníficos retratos no quedan muchos ejemplares en la Región Murciana: dos retratos de su familia política llegados al Museo de Bellas Artes capitalino tras su adquisición en Madrid a doña Luisa Benítez Zorraquino por la Junta de Patronato en 1928, así como el del niño D. Santos de Cuenca, en una colección particular de Caravaca, y el de doña Magdalena de Cuenca, en Cehegín, ambos fruto de su estancia en el Noroeste murciano mientras duró su voluntario exilio.
José Patiño (1828; 600x483pix, 51kb) after Jean Ranc [28 Jan 1674 – 01 Jul 1735] _ José Patiño [1666-1736], nacido en Milán, vino a España tras la campaña de Felipe V en Italia. Fue intendente general de la Armada, secretario de Marina e Indias, de Guerra y de Hacienda con Felipe V. Destacó su gestión durante la Guerra de Sucesión y, al acabar ésta, reorganizó por completo la Armada y potenció la construcción naval, logrando el resurgir de España como potencia marítima, aun a costa de afrancesarla en demasía.
Cardinal Julio Alberoni (1828, 71 x 56cm) after an unknown original _ Julio Alberoni [1664-1752], ministro del Estado español en el reinado de Felipe V, llegó a España con el séquito del duque de Vendôme. Influyó en la boda de Felipe V con Isabel de Farnesio, hija del duque de Parma. Buen político, se puso al servicio de la ilimitada ambición de la reina desde que fue nombrado ministro de Estado en 1717. Su política expansiva, que tendía a hacer de España una primera potencia bélica, recuperando los reinos italianos perdidos en la Guerra de Sucesión, chocó con la oposición de la Cuádruple Alianza (Inglaterra, Francia, Austria y Holanda). Al fracasar militarmente, fue destituido de todos sus cargos, el 05 Dec 1719, y obligado a abandonar España.

^ 1789 Jakob Alt (or Altamura), Austrian landscape painter and watercolorist who died on 30 September 1872. He was one of the first to use lithography. He was the father and teacher of Rudolf Alt [28 Aug 1812 – 12 Mar 1905]. — {On computer keyboards, right and left of the space bar, there are two keys which are named after him} LINKS
— F#*>/F#*>Courtyard of the Borghese Palace, Rome (1835, 22x27cm; full size)
The Monastery of Melk on the Danube (1845)
Die Cholerakapelle nächst Baden bei Wien (1832; 600x808pix, 200kb)

1729 Pedro Alexandrino Carvalho, Lisbon Portuguese artist who died on 27 January 1810. –(051126)

^ 1666 Georg Philipp Rugendas I, Augsburg German painter, specialized in cavalry battles, who died on 09 May 1742. His father, a watchmaker, trained him in copper engraving, but after a fistula on his right hand forced him to abandon this he was apprenticed (1683-1687) to the Augsburg painter Isaak Fisches I [1638–1706]. Following this he went to study in Rome (1689), Vienna (1692), Venice (1693) and then back again to Rome. Here he studied the work of Michelangelo Cerquozzi and Antonio Tempesta and joined the Schildersbent, the confraternity of northern painters in Rome. Back in Augsburg in 1695, he married Anna Barbara Haid, of the print publishing family, became a master, and from 1710 was Protestant director of the city’s art academy. He established a print publishing house in 1735. His sons Georg Philipp Rugendas II [1701-1774], Christian Rugendas [1708-1781] and Jeremias Gottlob Rugendas [1710-1772] helped with this business, as did their descendants, including Georg Philipp II’s grandson, the engraver Johann Lorenz Rugendas II [1775–1826], whose son was the painter Johann Moritz Rugendas [29 Mar 1802 – 29 May 1858] — Johann Lorenz Haid [1702-1750] and Johann Elias Ridinger [16 Feb 1698 – 10 April 1767] were students of Georg Philipp Rugendas I. — LINKS
Kriegslager (76×94cm; 600x741pix, 75kb _ ZOOM to 2051x2536pix, 311kb) severe brownish aging discoloration, needs restauration.
–- S*>#Battle (148x262cm; 460x813pix, 83kb) _ It is unlikely that the painting is based upon a specific historical incident, but it is more probably inspired by generalized impressions of actions during campaigns such as the War of the Spanish Succession (1701-1714).
–- S*>#Cavalry Battle Between Turks and Christians (145x192cm; 910x1201pix, 140kb) with a town in the background.
–- S*>#A Cavalry Battle — Another Cavalry Battle (in one image 2 pictures, each 16x25cm; 479x777pix and 476x767pix, together 131kb)
The Pandurs (52x36cm; 800x680pix, 48kb _ ZOOM to 1427x1213pix, 113kb)
    _ detail 1 (800x848pix, 55kb _ ZOOM to 2000x2120pix, 208kb) the two foreground horsemen
    _ detail 2 (723x984pix, 84kb _ ZOOM to 1085x1476pix, 132kb) close-up of the two men and the head of one horse
    _ This is from a series of 8 paintings with the title Panduren, which became well-known through the etchings of Jacob Andreas Friedrich [1684-1751]. Pandurs were originally the armed servants of the Croatian noblemen, becoming then in the 17th and 18th centuries also a designation for Austrian soldiers who come from the Slavic-Romanian parts of South Hungary. –(051126)

1597 (infant baptism) Pietro Berrettini da Cortona, Italian artist who died on 16 May 1669. He was born in Cortona, possibly on 01 November 1596. –(051126)

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