search 8500 artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 02 Oct
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” OCT 03 ||| ALTERNATE SITES
ART 04 Oct >>>
BAN
ROUTE
abspic1
4~2day2
ART “4” “2”-DAY  03 October v.9.90
SAIL
BEAR
abspic2
4~2day
DEATHS: 1685 CARREÑO — 1860 PEALE1884 MAKART1685 ROOS
BIRTHS: 1835 LÉPINE — 1646 PARROCEL — 1867 BONNARD — 1644 BOUDEWIJNS
^ Born on 03 October 1835: Stanislas~Victor~Édouard Lépine, French Impressionist painter who died on 28 September 1892.
— Originally self-taught, he became a student of Corot [16 Jul 1796 – 22 Feb 1875] and an admirer of Johan Barthold Jongkind [03 Jun 1819 – 09 Feb 1891], who influenced him in his choice of ships as subject-matter. He also learnt from Jongkind not only how to paint ships accurately but also how to render the depth of the sky and the clarity of waves, as in Sailing Boats in Caen Harbor. He produced a number of nocturnes of the port of Caen, including Boats on the River, Moonlight and Port of Caen, Moonlight Effect (1859), the latter painting marking his début in 1859 at the Salon in Paris. He specialized in the depiction of the steep banks of the River Seine and the movement of the water, as in La Seine à Bercy (1872). He also painted views of Paris and was particularly successful in reproducing the atmosphere of the city, especially its overcast days with cloudy skies, as in Nuns and Schoolgirls Walking in the Tuileries Gardens, Paris (1883). He also rendered such picturesque scenes in Paris as the old streets of Montmartre where he lived (e.g. Rue Norvins at Montmartre, 1878). In 1874 in Paris he exhibited Banks of the Seine (1869) with the Société Anonyme des Artistes, Peintres, Sculpteurs, Graveurs etc, the first public showing outside the Salon by the Impressionist painters. Although his work can be said to anticipate the Impressionists’ interest in light effects, his brushwork, as well as his depiction of light effects, is much more delicate and subtle than theirs.

LINKSLYNX
–- La Seine au Confluent de la Marne, Paris (1882, 107x185cm)
Le Port de Caen (1859; 664x850pix, 151kb)
Bassin a Caen. Effet de lune (38x53cm)
Paysage avec un pont
Quais de la Seine, Pont-Marie (1868)
Rue de Norvins, Montmartre (600x441pix, 117kb _ ZOOM to 1400x1048pix, 385kb)
—(061019)
^ Died on 03 October 1685: Juan Carreño de Miranda, Spanish painter born on 25 March 1614 in Avilés.
— En 1623 se traslada a Madrid donde fue discípulo de Pedro de las Cuevas, maestro también de Francisco Ricci. Durante los primeros años de su vida recibe importantes encargos para iglesias y particulares, realizando obras como La Anunciación y Los Desposorios de Santa Catalina, de 1633, La Magdalena penitente, de 1654, San Sebastián de 1656 y La fundación de la orden Trinitaria de 1666, todas ellas influidas por el dinamismo barroco. En sus pinturas murales, se acentúa el gusto por los efectos escenográficos, en 1665 realiza en colaboración con Francisco Ricci la decoración de la bóveda del camarín de la Virgen del Sagrario de la catedral de Toledo. Carreño was a member of a Spanish noble family, whose studies in the royal collection in Madrid caused him to be influenced by Rubens [28 Jun 1577 – 30 May 1640] and Titian [1489 – 27 Aug 1576]. In 1669 Carreño was made a Painter to the King and in 1671 Court Painter. He produced several religious pictures, but was chiefly a portrait painter, adapting the styles of Velázquez [bap. 06 Jun 1599 – 06 Aug 1660] and Van Dyck [22 Mar 1599 – 09 Dec 1641].
— Carreño was one of the most important painters in Spain in the 17th century, he painted many religious works in oils, tempera, and fresco, and was considered to be, after Velázquez, the most accomplished portrait painter of his day.
— Carreño is considered the most important Spanish court painter of the Baroque period after Velázquez. Influenced and overshadowed both by Velázquez and Van Dyck, he was nonetheless a highly original and sensitive artist in his own right. Carreño studied painting under Pedro de las Cavas and Bartolomé Román. He assisted Velázquez in the decoration of the Alcázar in Madrid and the other royal palaces and was appointed painter to King Charles II in 1669 and court painter in 1671.
      Although he is known primarily as a portraitist, he also painted many religious works in oil and fresco that reveal a unique Baroque sensibility. Such works as his masterpiece, Founding of the Trinitarian Order (1666), are marked by mastery of execution, subtle interplay of light and shadow, and inventiveness of scene. Following the tradition of Velázquez' court portraits, he painted many pictures of the queen mother, Mariana of Austria, and traced in oil the decline of Charles II from a handsome child to a decrepit old man. Even the most repellent portraits of Charles possess the aristocratic elegance that characterize Carreño's paintings.
— The students of Carreño included Juan Martín Cabezalero [1633-1673], Mateo Cerezo [bap. 19 April 1637 – 29 Jun 1666], José Jiménez Donoso, Pedro Ruíz González [1640-1706], Francisco Ignacio Ruíz de la Iglesia [–29 Feb 1704].

LINKS
Carlos II (1673; 2301x1502pix, 818kb)
Carlos II (1675; 2362x1625pix, 1612kb)
King Charles II of Spain (1676, 78x65cm; 215kb) _ In 1669 Carreño was made court painter to King Charles II [06 Nov 1661 – 01 Nov 1700]. He made several portraits of the king. {long hair, no trace of beard or mustache, flat chest, looks like a 12-year-old girl to me.} _ “Carlos El Hechizado” was the last Spanish Habsburg king, as he had no children and his death led to the War of the Spanish Succession (1701-1714) and the dismembering of Spain's European possessions.
Duke of Pastrana (217x155cm) _ Carreño painted in Toledo and Madrid. Charles II, successor to Philip IV [08 Apr 1605 – 17 Sep 1665], viewed him with favor, and in 1669 he was made painter to the King. Although his religious paintings are of unusual quality, his main interest was painting portraits, the finest being that of the Duke Pastrana. This mature portrait by Carreño, the impact of the dark and imposing, pyramidal figure of the Duke is counterbalanced by very delicate and melancholic coloring. Carreño's work here recalls the portraiture of Van Dyck in England. _ Gregorio María de Silva y Mendoza [1649 – 10 Sep 1693). Fue quinto Duque de Pastrana a la muerte de su padre, Rodrigo Díaz de Vivar de Silva y Mendoza el Cuarto Duque de Pastrana [1614-1676] y noveno Duque del Infantado en 1686 (y VII Duque de Lerma también) a la muerte de su madre, Catalina Gómez de Sandoval y Mendoza [1616-1686], la Octava Duquesa del Infantado, uniendo en sí y su descendencia estos títulos junto con los de Príncipe de Éboli y de Mélito. Su famoso retrato fue pintado antes de morir su madre. Nacido en Pastrana, fue embajador en 1679, Sumiller de Corps de Carlos II en 1688 y Caballero del Toisón de Oro. Al contrario que su padre, era algo despilfarrador. Tuvo una participación destacada en la Corte, incluyendo el famoso Auto de Fe de Madrid de 1680. Su hermano Gaspar de la Cerda Sandoval y Mendoza, Conde de Galve, fue virrey de Nueva España. Gregorio gustaba de la pintura y protegió al pintor Juan Carreño de Miranda que le inmortalizó hacia 1666. Casó con María de Haro y Guzmán [— 10 Feb 1693] en 1666. Apenas viajó a Guadalajara, aunque naciera en Pastrana, y murió en Madrid.
Portrait of Don Juan José de Austria (?) {1643, 78x61cm) _ This portrait shows the influence of both Velázquez and Van Dyck. The identification of the sitter is doubtful. Earlier the painting was attributed to Juan Bautista del Mazo [1612 – 09 Feb 1667]. {another portrait that looks like that of a girl.} _ Juan José de Austria [07 Apr 1629 – 17 Sep 1679] was the most famous of the illegitimate children of King Philip IV. He served with some success as a Spanish military commander and from 1677 until his death was chief minister to King Charles II.
Queen Mary Anne of Austria as a Widow (1669, 211x125cm) _ In this portrait Carreño follows the tradition of Velázquez.
Saint James the Great in the Battle of Clavijo (1660, 231x168cm; _ ZOOM to 2195x1576pix, 327kb) _ The painting represents the popular saint of Spain arisen from his grave to help the Spanish army against the Moors in the battle of Clavijo (834), he is known since as Santiago Matamoros. The painting is signed on the thong on the chest of the horse.
     Leese commo despues dela muerte del rey don Alfonso el Casto en el Reyno de Leon, don Ramiro primo [regnó en Asturias 842-850] su sobrino regnase e los moros ouiesen embiado a pedir cient donzellas en tributo segund que el rey don Muragato gelas ouiera dado. E commo desto ouiese muy grand pesar ayunto luego sus huestes e fue a correr tierra de moros e commo los moros lo sopieron ayuntaron muy grandes poderes e vinieron contra el e ouieron batalla canpal a cerca de vn logar llamado Clauijo.
     Commo los cristianos fuesen pocos a respecto delos moros ouieron de se vencer. Pero tornando sobre si traxieron a vn otero e los moros cercaron los alli. E enesto anochescio e commo los cristianos estouiesen rogando a dios de corac,on saliendo lagrimas de sus ojos quelos quisiese ayudar, adormesciose el rey don Ramiro e aparescio le en sueños el apostol Santiago, e dixole asi:
     Sepas que Nuestro Señor Ihesu Cristo partio a todos los angeles mis hermanos las prouincias dela tierra e a mi solo dio a España, e sey fuerte e firme en tus fechos, ca yo so Santiago apostol de Ihesu Cristo que vengo por te ayudar. E sepas por verdad que enla mañana venceras conel ayuda de dios todos estos moros que te tienen cercado avnque moriran munchos delos tuyos, a los quales esta aparejada la gloria de parayso. E por que desto seas cierto ver me has enla mañana encima de vn cauallo blanco con vna seña blanca e grand espada reluziente enla mano. E luego enla mañana confesar vos hedes e rescebiredes el cuerpo de Nuestro Señor Ihesu Cristo e fecho esto non dubdedes de ferir enlos moros llamando 'Dios ayuda a Santiago' que sepas cierta mente que todos los venceras e meteras a espada.
     E commo en esto el Rey recordase finco muy confortado e fizo luego llamar los prelados e altos omnes de su hueste e dixo les aquella vision que viera en sueños. dieron muchas gracias a Dios e loaron el su sancto nombre e fizieron lo asi. E como el dia fuese esclarescido, oyda misa e rescebidos los sacramentos, los cristianos fueron fuerte mente ferir enlas hazes delos moros llamando 'Dios ayuda Santiago.' E como estouiesen fuerte mente peleando vieron la vision del apostol con grand conpaña de angeles commo caualleros armados que parescia alos moros que era muy gran gente queles venia en socorro e luego comenc,aron a fuyr e arrancar. Pocos escaparon e fueron muertos delos moros setenta mil e otros muchos captiuos. E cogido el despojo que fue muy rico e grande fue el Rey don Ramiro luego sobre Calahorra e tomola alos moros por fuerça de armas. [in Diego Rodríguez de Almela Valerio de las historias eclesiásticas]

Eugenia Martínez Vallejo, called La Monstrua (165x107cm) {I don't know anything about dress sizes, but this must be at least an 80 extra short}
La Monstrua Desnuda (165x108cm) {not for weak stomachs, even with a fig leaf.} _ She was one of the dwarf attendants of the infantes, and the one that, by far, carried the most weight.
Saint Sebastian (1656; 161kb)
Peter Ivanovich Potemkin (1682; 116kb) _ Pyotr Ivanovich Potemkin [1617-1669] was a statesman and diplomat who headed a Moscovite mission sent to France and Spain in 1667-1668 by tsar Aleksey Mikhaylovich [19 Mar 1629 – 08 Feb 1676].
—(081002)
^ Born on 03 October 1646: Joseph Parrocel “des Batailles” ou “le Vieux”, French painter who died on 01 March 1704.
— He belonged to one of the most numerous French artistic dynasties, which from the 16th century produced 14 painters over 6 generations. Starting with him, they were most prominent in the late 17th century and the 18th. He and his son Charles Parrocel [06 May 1688 – 24 May 1752] were notable painters of battles and hunts. His nephew Pierre Parrocel [16 Mar 1670 – 26 Aug 1739] was a prolific painter of religious works, as was Pierre's nephew and student Etienne Parrocel “le Romain” [08 Jan 1696 – 13 Jan 1775]. |
—     Joseph Parrocel was taught by his father Barthélemy Parrocel [1595–1660} and then by his brother Louis Parrocel [1634–1694]. He went to Paris for four years to perfect his work and then, about 1667, to Rome, where he became the student of the battle painter Jacques Courtois and was influenced by Salvator Rosa. Parrocel remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agréé) by the Académie Royale de Peinture et de Sculpture in February 1676 and received (reçu) as a full member in November 1676, presenting Le Siège de Maastricht.
     His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685–1688 he made 11 paintings for the Salle du Grand Couvert at the château of Versailles; in 1699 he painted The Crossing of the Rhine for the château of Marly, Yvelines, and in 1700 he painted The Fair at Bezons, anticipating the fêtes galantes of Antoine Watteau. Parrocel was also the author of a number of hunting scenes. His most important religious paintings were The May of Notre-Dame de Paris (1694), Saint John the Baptist Preaching and Saint Augustin Secourant les Malades (1703). He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of painting and used thick impasto and intense colors. He was also a prolific engraver, producing around 100 plates, among them 25 Mysteries from the Life of Jesus Christ and 40 Miracles from the Life of Our Lord Jesus Christ. Others were for the Missale parisiense of 1685, and some depicted military subjects. — Joseph Parrocel’s students included his son Charles, his nephew Pierre, another nephew, Ignace-Jacques Parrocel [1667–1722], and the landscape painter François Sylvestre.

LINKS

–- Passage du Rhin par l'armée de Louis XIV, à Tolhuis (1699, 234x164cm; 1440x1260pix— or .adjust the size to your liking — 186kb either way) _ Peint pour le château de Marly, ce tableau relate l'épisode militaire du 12 juin 1672. Plus pittoresque et plus tumultueuse que Passage du Rhin par l'Armée Française à Lobith de Van der Meulen [1632-1690] sur le même sujet, l'oeuvre est représentative des scènes de bataille de Parrocel influencées par Jacques Courtois et Salvator Rosa.
–- Bataille pour la salle des gardes du roi (1685; 748x936pix, 89kb)
–- Un Jeu de Dés(962x728pix, 62kb)
 
Washington by Rembrandt Peale^ Died on 03 October 1860: Rembrandt Peale, US painter and writer, born on 22 February 1778. He dies the day before the 191th anniversary of the death of Rembrandt van Rijn, after whom he was named by his father Charles Willson Peale [15 April 1741 – 22 February 1827], who died on the 49th birthday of Rembrandt Peale.
— Brother of Raphaelle Peale [17 Feb 1774 – 25 Mar 1825], Rubens Peale [1784-1864], Sarah Miriam Peale [1800-1885], Titian Peale [1799-1881], nephew of James Peale [1749~1831]
     Rembrandt Peale, member of the famous Peale family of artists, painted hundreds of portraits.    [portrait of George Washington >]
     Rembrandt Peale, born in Bucks County, Pennsylvania, was the son of Philadelphia artist and museum proprietor Charles Willson Peale, and his first wife Rachel Brewer, and the nephew of James Peale. He and his siblings, Rubens, Raphaelle (A Dessert), Titian Ramsay (Buffalo Hunt on the Platte), Sophonisba Angusciola, and Angelica Kauffmann (named after Swiss Neoclassical Painter Angelica Kauffmann [1741-1807] ), were born during the most productive years of their father's painting career and were named after European artists.
      Rembrandt Peale was a precocious artist, painting his first work, a self-portrait, at the age of thirteen. He continued to work as a portrait and history painter for almost seventy years, producing more than a thousand works. His most original works date from the first three decades of the nineteenth century. Although Philadelphia was his home town, Rembrandt worked at various times in most of the other major eastern United States cities, including Boston, New York, Baltimore, Washington and Charleston. As a young artist he benefited from his father's friendships and patronage in Federal America. He studied the work of contemporary painters, including Gilbert Stuart and Robert Edge Pine, as well as paintings by European artists that could be found in private collections.
      His father made it possible for him to paint life portraits of George Washington (1795) and Thomas Jefferson (1800, 1805). Charles Willson's ambitions also made him a museum director at times. In 1795-1798, for example, he went to Charleston, Baltimore, and New York City to paint portraits and exhibit sixty copies of his father's museum portraits, painted by himself and Raphaelle. In Baltimore in 1796-1798 he managed the first Peale family museum outside of Philadelphia.
      In 1798-1799 he worked as an itinerant artist in Maryland. In 1801 he assisted his father in unearthing the bones of prehistoric mammals in Newburgh, New York, and the following year he and Rubens took the skeleton assembled from these remains to England for exhibition. From 1813 to 1822 he established and managed the Peale Museum in Baltimore.
      More than was true for his father, Rembrandt benefitted as an artist from extended periods spent in European capitals. He studied briefly at the Royal Academy while in London in 1802-1803. He traveled to France in 1808, and again in 1809-1810, painting portraits of French scientists, artists and writers in Paris for his father's collection of portraits. His third European stay was in Italy, in 1828-1830, where he copied old master paintings for US collectors. On his last European trip, in 1832-1833, he returned to England.
      As a result, especially of the early trips, Rembrandt's style of painting changed, when he was still a young artist, from the tight, closely observed eighteenth century manner of his father, to a style strongly influenced by French neoclassicism and the work of Jacques-Louis David. His first attempt at a grand manner history painting was The Roman Daughter (1811). Even more ambitious was his enormous, multifigured painting of Court of Death (1820), whose theme of individual choice in creating a happy and rational life expressed the tenets of the new, controversial religion of Unitarianism. Next he turned his attention to creating a heroic portrait of Washington. His result was the painting known from its inscription as the "Patriae Pater" portrait — Washington as Father of his Country (1824). Later, in the 1840s, Peale returned to painting replicas of his portrait of Washington, capitalizing on the fact that he was the only living artist who had painted the first President's portrait at life sittings.
      While Rembrandt's ambitions and opportunities were very much derived from his father's energy and drive, the results and the context of his work was of his own generation. After his trips to England and Paris, Charles Willson Peale turned to him to learn new techniques for painting. His creation of an idealized portrait of Washington was a response to the nationalistic demands of the 1820s, marking the end of the Revolutionary era. His subject pictures of the 1830s and 1840s reflected the sentiments of the Victorian era.
     Rembrandt Peale was the husband of Harriet Cany Peale.
      Peale also promoted his theories of art and its role in a democracy by publishing brochures, articles and books. Some, like Description of the Court of Death; an Original Painting by Rembrandt Peale (1820), were written to accompany exhibitions of his work, held in several American cities. Others, including Graphics; A Manual of Drawing and Writing for the Use of Schools and Families (1835) and Introduction to Notes of the Painting Room (1852), were intended as drawing and painting manuals for mechanics and art students. He also wrote reminiscences of his life and family, poems, and accounts of his travels. From 1855 to 1857 he offered a personal history of US art in his Reminiscences and Notes and Queries published in The Crayon, a popular art periodical. He died in Philadelphia on 03 October 1860, the day before the 191th anniversary of the death of Rembrandt van Rijn, after whom he was named.
LINKS
Rubens Peale with Geranium, (1801)
Portrait of Rosalba Peale (1820)
Michael Angelo and Emma Clara Peale (1826)
Falls of Niagara Viewed from the American Side (1831)
Porthole Portrait of George Washington (1795, 90x74cm) _ In 1823 (1853?) Rembrandt Peale announced that he, one of the few living artists who had painted Washington from life, would create a portrait of the subject that would surpass all others in its authenticity and expression. The result was what has become known as the "porthole" Washington, from the trompe-l'oeil stone frame that surrounds the bust. Peale launched a publicity campaign that evidently worked, for it is estimated that between seventy-five and eighty replicas were produced.
_ Although known as a member of one of the US's most famous artistic families, only recently has Rembrandt Peale emerged from the group as an individual who virtually embodied the industrious, experimental, yet above all fickle age of capitalism in which he lived. Ever seeking imaginative means by which to weave the production and appreciation of art into the fabric of the US's democratic enterprise-working in many of America's growing cities and founding a museum to foster national taste-Rembrandt Peale forged a career for himself characterized as much by failure as success. But, whereas such fits and starts were once considered reason to overlook him, the persistence with which he met them can be considered as the quality that makes him a quintessentially US painter. Raised in the long shadows of his accomplished artist-father, Charles Willson Peale, and the heroes and statesmen whose portraits lined the walls of his father's gallery, Rembrandt was, in a sense, surrounded by the achievements of past masters. The challenge to distinguish himself as an artist was compounded by a lack of public interest in the arts, his poor business skills, and his desire to depart from the well-trodden path of portrait painting.
      However, it was as a portraitist that Peale was able to support his large family and combine his high-minded, nationalist ideals with an art that appealed to a large audience. Having first painted George Washington in 1795, and having won acclaim for his Patriae Pater (1824), Rembrandt stated in the 1850s that his true calling was "to multiply the Countenance of Washington.113 By his death in 1860 he had done so no less than seventy-nine times, systematically producing simplified versions of the Patriae Pater that became known as the porthole portraits, of which the Butler Institute's is one. Possibly seeking to surpass his father in painting the US's great figures, Rembrandt sought to capture the visage of the founding father both for the edification of the public and as the crowning achievement of his career. He perceived himself singularly qualified to paint what he called the "standard likeness" of Washington, writing that, 'Among the few persons now living, who can speak of their own impressions . . . concerning the personal appearance of Washington, I may be supposed to have some claim on the confidence of the rising generation-educated to venerate the memory of him, who will always be 'first in the hearts of his countrymen!" Emphasizing the fact that he had painted Washington from life, Rembrandt supported his claim by soliciting testimonials from other men who knew Washington personally and could confirm the accuracy of his portrait. He sought to distinguish himself from other artists who had painted the first president from life, and at last to match the accomplishments of his father, whom he acknowledged as having painted "the first portrait of Washington in 1772. Rembrandt's insistence on the importance of his direct contact with Washington is ironic. With his subject long dead, his Patriae Pater and the subsequent porthole portraits were actually composites of his 1795 portrait and others he had admired, such as the famous bust by the French sculptor Jean-Antoine Houdon. Nevertheless, his enterprise was a success, coming at a time of renewed interest in Washington as a national hero. The importance of Rembrandt Peale's icon-making to the evolution of American culture has been confirmed most recently in the potency of 1960s Pop Art images, and by that movement's revelation of our society's ongoing interest in icon creation.
Gilbert Stuart (1805, 60x50cm) _ Charles Willson Peale accompanied his son and protégé, Rembrandt Peale, to Washington, DC, in 1805 to assist him in obtaining important portrait commissions that would establish him as a painter. It was at this time, for example, that the younger Peale painted the Society's portrait of Thomas Jefferson. This portrait of fellow-artist Gilbert Stuart was also painted in Washington at this time.
Thomas Jefferson (1805, 71x60cm) _ Rembrandt Peale first painted Jefferson in 1800 (oil at Peabody Insitute, Baltimore). In 1805 he and his father, Charles Willson Peale, went ot Washington where Rembrandt painted portraits of national celebrities to hang in their Philadelphia museum. When the Peale Museum was dispersed in 1854 this portrait was purchased by the subject's namesake, Thomas Jefferson Bryan, and subsequently given by him to The New-York Historical Society.
 
^ >Born on 03 October 1867: Pierre Bonnard, French Nabi painter, book illustrator, lithographer, etcher, photographer, and a leader of the French "Intimiste" school of painting, who died on 23 (27?) January 1947. — {C'est du beau, c'est du bon, c'est du Bonnard, du bon art.}— {Aucun rapport avec le roman d'Anatole France Le Crime de Sylvestre Bonnard paru en 1881?}
— He is known particularly for the decorative qualities of his paintings and his individual use of color. During his life he was associated with other artists, Edouard Vuillard being a good friend, and he was a member of the Nabis (Hebrew "Nebiim", "prophets."), a Parisian group of Post-Impressionist artists and illustrators who became very influential in the field of graphic art. Their emphasis on design was shared by the parallel Art Nouveau movement. Both groups also had close ties to the Symbolists. The core of Les Nabis was Pierre Bonnard, Maurice Denis, Ker Xavier Roussel, Félix Vallotton, and Édouard Vuillard.
— Bonnard began law studies about 1885, but abandoned them in 1888 to work for a year at the École des Beaux-Arts, Paris, and at the Académie Julian, where he met Jean Édouard Vuillard (a lifelong friend), Maurice Denis, Paul Ranson, Félix Vallotton, and Paul Sérusier, all of whom formed the "Nabis" group (Hebrew "Nebiim" = "prophets")
      In 1889, after he had sold a champagne poster design, his father allowed him to begin serious training. Japanese art and the precepts of Paul Gauguin then pre-occupied him; his work was characterized by flat, black-outlined areas of warm, decorative color and simplified forms in the current sinuous Art-Nouveau style.
      Humour, allied with keen observation of Parisian life, distinguished his exhibits at the Salon des Independents (from 1891) and his illustrations to La Revue Blanche (from 1893). In 1900 Bonnard's style began to change. His palette became livelier, his brushwork more loose and transparent. He turned more often to landscape and spent long summers in the Seine Valley and southern France. His compositions, deceptively simple in appearance, often embody tricks of perspective the complexity of which he increased by introducing mirrors. For thirty years Bonnard lived with Maria Boursin (known as "Marthe de Méligny") before marrying her in 1925, and she appears in many of his pictures.
— French painter and printmaker, member of the group of artists called the Nabis and afterward a leader of the Intimists; he is generally regarded as one of the greatest colorists of modern art. His characteristically intimate, sunlit domestic interiors and still lifes include The Dining Room (1913) and Bowl of Fruit (1933).
      For his bachelor's degree he studied classics and later law at the insistence of his father, and for a short time in 1888 he worked in a government office. In 1890, after a year's military service, he shared a studio in Montmartre with Denis and Vuillard. Later they were joined by the theatrical producer Aurélien Lugné-Poë, with whom Bonnard collaborated on productions for the Théâtre de l'Oeuvre, in Paris. He was influenced by Japanese prints,. During the 1890s Bonnard became one of the leading members of the Nabis, a group of artists who specialized in painting intimate domestic scenes as well as decorative curvilinear compositions akin to those produced by painters of the contemporary Art Nouveau movement.

LINKS
Self-Portrait in the Mirror (1939, 56x69cm)
Dining Room in the Country (1913, 165x206cm; 473x581pix, 239kb _ ZOOM to 1725x2120pix, 3324kb)
–- Paysage (49x65cm; 551x755pix, 551x755pix, 78kb _ ZOOM to 1102x1510pix, 375kb)
–- Coin de rue vue d'en haut (1899, 37x21cm; 841x493pix, 70kb _ ZOOM to 1262x740pix, 156kb _ ZOOM+ not recommended to scribbly 1736x1008pix, 1692kb)
The Letter (1906)
The Bernheim Brothers (1920)
–- The Woman at the Window (1913, 106x118cm; 738x808pix, 133kb _ ZOOM to 1107x1211pix, 218kb) _ Oblivious to the beautiful landscape behind her, the woman looks mornfully in at the window where she used to stop for a chat with her recently deceased friend.
Un village en ruines près du Ham (1917, 63x85cm) _ Bonnard was one of the group of painters who were assigned at the end of 1916 to go and paint the war. He is also the one who seemed the least prepared for such a task, not that he was indifferent to the war, but because he found his inspiration in an altogether different field, painting female nudes and interior scenes. He did his duty with a single unfinished painting. French troops are waiting among the charred ruins. An old man crouching symbolizes despondency and destitution. In the background, there is a Red Cross van — a sign of more disasters. In the state in which the artist left it — incomplete, blurred in places — this work reveals an even more poignant sense of the desolation that rendered any kind of effort useless. We may suppose that, in Bonnard's eyes, a 'finished' painting would have been misplaced at such moments, with art itself apparently having lost its purpose.
Almond Tree in Bloom (1945) This, Bonnard's last work, belongs to yet another world. A shower of white blobs painted with the tip of the brush settles over a few dark brown strokes that define the tree shape. The ground is done in juxtaposed touches of color. Too ill to hold the brush, Bonnard begged his nephew Charles Terrasse to change a green patch to orange. It is one of the most intensely poetic pictures in this century. The 80-year-old creator had just managed to complete his hymn to joy, discreetly sung in deep solitude.
Women With Dog (1891, 41x32cm) Like many of Bonnard’s paintings from this period, Women with Dog evokes a world of innocence and simplicity, showing children and animals together in a sort of golden age. In this picture the two girls and a dog concentrate on what appears to be a bunch of chrysanthemums. The interest in decorative pattern and the tilted-up perspective show the influence of Japanese prints, which were especially popular in Paris at the turn of the century.
Place Clichy (1907, 102x116cm; 786x900pix, kb). This painting was bought for £4'152'000 at a Sotheby's auction in London on 19 June 2006. _ It depicts a busy Parisian street near Montmartre in the 18th arrondissement, which was a popular artists’ quarter in the early twentieth century. Bonnard and his fellow artist Vuillard, who both lived nearby, took joy in observing and painting the crowded streets around Place Clichy and the bohemian lifestyle of its inhabitants. This painting is dominated by the elegantly dressed ladies in the foreground, talking as they stroll down the street. Behind them are groups of women with children, dogs playing, a cyclist, and a horse-drawn carriage. Place Clichy displays a radically modern approach, shifting the focus away from the center of the composition, towards two groups in the foreground. The positioning of the people, as if leaving the scope of the picture, suggests a chance momentary glimpse, rather than a carefully staged ensemble.
      In the autumn of 1899 Bonnard rented a studio and apartment at 65 rue de Douai, near Place Clichy and Place Pigalle, with a view towards Montmartre. There were canvases. Easels all around, and in an angle a small table where one would have lunch. The balcony was a place that was particularly attractive. From there one could see so many things. A whole world. The street below was bustling. In the early years of the twentieth century, Bonnard divided his time between his Paris studio and the countryside in Normandy, where he usually spent the summers, and his art became increasingly polarised between the passing show of urban life, and the intimacy and stillness of the Normandy interiors.
      Bonnard’s earliest depictions of Parisian streets date from the 1890s, and in 1895 he produced an album of lithographs titled Quelques aspects de la vie de Paris. The spectacle of urban modernity provided a colorful source of inspiration, and Bonnard was fascinated by the variety of subjects it offered, including street vendors, elegant bourgeois ladies, old-fashioned and modern modes of transport, and urban architecture. Returning to this subject throughout his career, Bonnard reflected in his city scenes a certain joie de vivre achieved through the use of bright tones (not notable in this rather grayish painting) and a strong sense of energy and movement. Although painted on a monumental scale and depicting a busy street scene, the present work retains a certain intimate, familiar note of his earlier intimiste style. Rather than representing an impersonal, alienated environment, he pays particular attention to the people’s everyday activities, costume and facial expressions, showing a human aspect of metropolitan life.
      Bonnard shared his fascination with the city with a number of Impressionist and post-Impressionist artists, and in choosing this subject matter he drew on the tradition of depicting the busy streets and cafés of the French capital. Gustave Caillebotte, Claude Monet, and Camille Pissarro all made a number of works depicting Parisian boulevards, squares and bridges, usually characterized by a sense of rich and varied life of the city. No one was quicker than Bonnard to seize the look of the Parisian streets, the silhouettes of a passer-by and the patch of color which stands out in the Metropolitan mist. He seized on all the momentary phenomena of the street, even the most fugitive glances were caught and set down.
–- Frontispiece pour La Lithographie en Couleurs: un homme et une femme dans une loge de théâtre (1898; 835x715pix, 53kb)
–- Renoir (1004x642pix, 50kb) line sketch.
43 images at Bildindex
214 images at Ciudad de la Pintura
—(070122)
^ Baptized as an infant on 03 October 1644: Adriaen Frans Boudewijns, (or Boudewyns, Baudewyns, Baudoran, Bauduins), Brussels Flemish painter, draftsman, and engraver, who died in 1711.
— He was the son of Nicolas Boudewijns and Françoise Jonquin. On 05 October 1664 he married Louise de Ceul, and on 22 November 1665 he became a master in the Brussels Guild of Saint Luke, after having been registered as a student of Ignatius van der Stock (fl 1660) in the same year. By 1669 he had fled to Paris, where he met fellow Flemings, Pieter Boel, Abraham Genoels, Adam Frans van der Meulen, and Jan van Hughtenburgh [1647–1733], and where he was mainly active as an engraver. He engraved van der Meulen’s Battles of Louis XIV and numerous works by Genoels, van Hughtenburgh, and by himself. These prints combine bold execution with careful attention to detail. In 1669–1670 he was sent to the southern Netherlands with Genoels and van Hughtenburgh to draw three views of the château of Mariemont as tapestry designs for the Gobelins. In the Gobelins accounts there is evidence that the three artists were also paid for a series of tapestry designs depicting The Months of the Year. On 12 January 1670 his second marriage took place, to Barbara van der Meulen, Frans’s sister. After her death in 1674, he left Paris and returned to Brussels, where he is first mentioned in 1677. In 1682 he accepted Andries Meulebeeck and Mattijs Schoevaerdts as students, and in 1694 his cousin Adriaen Boudewijns [1673–] was apprenticed to him.

LINKS
–- L'Oiseau de Bonne [sic] Augure (etching, 27x36cm; 851x1109pix, 408kb) _ De ce petit Oiseau l'innocent badinage, / Les accents amoureux et le tendre ramage, / Vont insensiblement, Iris, t'accoutumer / Aux gentilles façons, au séduisant langage / Du jeune et beau Tirsis, que te craignois [sic] d'aimer: / L'Amour pour prendre un cœur, sçait [sic] tout mettre en usage.
Vue de l'Armée du Roy campée devant Douay, du costé de la porte de Nostre Dame (en 1667) (1685)
Port de Mer (40x54cm)
Italian Landscape I (63x51cm)
Italian Landscape II (63x51cm)
8 images at Ciudad de la Pintura
—(060620)

Died on a 03 October:


2007 Pablo Palazuelo, Madrid Spanish painter born (main coverage) on 06 October 1916. —(091003)

^ 2003 William Steig, US cartoonist born on 14 Nov 1907. From 1930 he made for The New Yorker more than 1600 cartoons and 120 covers, many of which were later published in books of collected drawings. He was also the author of more than 25 children's books, about brave pigs, dogs, donkeys, etc. One of the most popular was Shrek!. He also drew symbolic drawings which he published in books: About People (1939), The Lonely Ones (1942) and All Embarrassed (1944).
New Yorker cover 06 Jul 1968
New Yorker Cover 02 Sep 1933 — Dog making painting of a bone — Nagging Questions: color spread showing a man writing a letter asking himself, “How should I say it?” _ A man standing behind a tree saying, "Should I kill him now?" _ A man sitting at a bar saying, "Why do I take so much of his crap?" _ A man sitting at home next to his wife asking himself, "What did I ever see in her?" _ A woman sitting on a sofa saying, "Just whom did she mean when she said, 'There are some people who...'?" _ A man looking around his house saying, "Where the devil did I put my glasses?" _ A woman in the kitchen cutting bread saying, "Why did I marry such a jackass?" _ A man lying on a sofa saying, "Am I as stupid as I feel?" — Man in a deep depression _ (man in a trench) — A fork in the road _ (man stares at a table fork on the road)

^ 1961 Harold Knight, British painter born on 27 January 1874, in Nottingham, the son of an architect. He studied at Nottingham School of Art under Wilson Foster. It was at the School of Art that he met his future wife, Laura Johnson, who he married in 1903. Harold was a quiet character who is largely remembered, unfairly, as an adept but unexciting painter, while Laura Knight [04 Aug 1877 – 07 Jul 1970] was flamboyant in both her life and art and achieved greater public renown. After spending time in Paris and at Staithes on the North Yorkshire coast, Harold Knight moved to Newlyn, with Laura, in 1907. The couple mainly lived and worked in Lamorna, becoming key figures in the Lamorna group, and they remained in Cornwall until 1918. During the First World War, Knight’s high principles led him to be a conscientious objector, which earned him the rebuke of many of his colleagues and former friends, and put a strain on his physical and mental health as he was forced to work as a farm laborer. When the War ended, he and Laura moved to London, although they frequently returned to Lamorna to paint. — LINKS
In the Spring (1908, 132x158cm; 510x600pix, 106kb)
–- S*#>/S#*>Mrs. Johnson (51x41cm; 510x392pix, 35kb) the artist's mother-in-law.
–- S*>#The Letter (1924, 45x45cm; 350x351pix, 45kb) _ The model shown is the artist's wife, who was to achieve great artistic reknown in her own right. Harold and Laura Knight first met in 1889 at Nottingham School of Art, when Harold was seventeen and Laura just thirteen. He was a great support to her in the midst of successive family tragedies, and their friendship blossomed. A portrait of Laura, painted by Harold at that time, shows her to be a robust, solid-looking girl with rosy cheeks and long, fairish hair; she had a pleasant face with strong features. Having spent time working in Staithes on the Yorkshire coast in the 1890s, the two were married in 1903, and spent their honeymoon in London, visiting exhibitions. They saw Dutch paintings at the Guildhall and this inspired the first of their three visits to Holland, in 1904, where they particularly admired the work of Rembrandt, Frans Hals and Verneer; the present work suggests a debt to the latter. Upon their return, the couple lived in Newlyn until the end of the War, when they moved to London, the setting for The Letter.

^ >1892 Paul Peel, Canadian painter, active also in France, specialized in children, born on 07 November 1860. He was born of English parents who had settled in Canada in the early 1850s, and his early artistic ambitions were encouraged by his father, a stone-carver and drawing instructor. From 1877 to 1880 he studied at the Pennsylvania Academy of Fine Arts in Philadelphia, learning particularly from the progressive Thomas Eakins. He was elected a member of the Ontario Society of Artists in 1880, and later that year he left for Europe, possibly stopping in London on his way to France. He spent the first part of 1881 in Pont-Aven in Brittany, where he produced the religious work Devotion (1881).
— Peel was born in London, Ontario, son of John Robert Peel [1830-1904] and Amelia Margaret Hall Peel [1833 – 06 Oct 1890 bur.]. His early art training was provided in London by his father untul 1874, and from 1874 to 1877 by William Lees Judson [1842-1928]. In October 1877 he enrolled at the Academy of Fine Arts in Philadelphia where at first he studied under Christian Schussele [1824-1879] and then, from 1878 to 1880 .under Thomas Eakins [1844-1916]. In October 1880 he went to London, England. In 1881 Peel joined the US artists' colony at Pont Aven, France. In 1882 he entered the École Nationale des Beaux-arts in Paris, where he studied under Jean-Léon Gérôme [1824-1904]. He then traveled widely in Canada and Europe exhibiting as a member of the Ontario Society of Artists and the Royal Canadian Academy. He also exhibited at international shows like the Paris Salon. He married Isaure Verdier in England on 16 January 1886. In 1887 he started studying at the studio of Benjamin Constant [1845-1902], with whom he moved in 1888 to the Académie Julian, where in 1889 he also studied under Jules Lefebvre [1836-1922] and Henri Lucien Doucet [1856-1895]. Peel died in Paris after a short illness, possibly influenza (one source gives his date of death as 11 Oct 1892, another as 17 Oct 1892; might one of these be the date of his funeral?). Peel's work was very popular in both his lifetime and today. It is done mainly in oil and employs genre, landscape, marine and portrait subjects. His conservative style reflected the official one then taught in the French government academies, but at the time of his death, Peel appeared to be changing his style toward impressionism.— LINKS
Robert André Peel (1892, 130x98cm) the artist first child, born on 22 October 1886.
Bedtime (1890, 116x93cm) _ Compare S*#>A Bedtime Prayer (63kb) by Auguste Toulmouche [21 Sep 1829 – 16 Oct 1890].
21 images at ARC —(061016)

1884 Hans Makart, Austrian painter born (full coverage) on 29 May 1840. — (051002)

1856 Rafael Tejeo, Spanish painter born (main coverage) on 27 November 1798.

^ 1830 Robert Jacques François Faust Lefèvre, French painter born on 24 September 1755. He was the son of a Bayeux draper and originally worked as a law clerk before learning to paint, possibly in the studio of Pierre de Lesseline in Caen. Lefèvre quickly made a reputation for himself and established a sizeable practice in Normandy. About 1784 he went to Paris and entered the studio of Jean-Baptiste Regnault, where he formed a close friendship with the artist and critic Charles-Paul Landon. — LINKS
Letitia Bonaparte (1813; 2475x1576pix)
Woman with a Lyre (1808)
Jean-Baptiste-Claude Odiot (1822, 157x123cm) _ Odiot was one of the most celebrated European goldsmiths of the period. His work was sought by courts throughout Europe. He created table services for the nobility of France, Naples, Poland, Germany, and Russia, including the czar.

^ 1747 Johann Grimm, Swiss artist born in 1675. — {I suppose he painted Grimm pictures. They could not have been Grimmer, whether Abel Grimmer [1570-1619] or his father Jacob Grimmer [1525 – <May 1590]} — Relative? of Samuel Hieronymous Grimm [bap. 18 Jan 1733 – 14 Apr 1794]? — Johann Grimm war Schüler von Joseph Werner [bap. 22 Jun 1637 – 1710] und führte dessen Zeichenschule weiter. z Aberli zählte zu seinen Schülern. Grimm betätigte sich als Miniaturist, als Heraldiker und Porträtzeichner.
Ansicht der Spitalgasse in Bern (483x693pixels, 37kb)

1685 Johann Heinrich Roos, German painter born (full coverage) on 27 October 1631. —(051001)


Born on a 03 October:


^ 1922 (30 Oct?) John Craxton, English painter. Rejected from military service in 1941, he shared a studio in London with Lucian Freud, provided by their patron and friend Peter Watson, a figure of immense importance to Craxton’s early development. Through Watson he met with other artists associated with Neo-Romanticism and like many of his generation he fell heavily under the influence of Graham Sutherland and Samuel Palmer, as seen in Poet in a Landscape (1941). By 1943, in such works as Welsh Estuary Foreshore, a marked departure could be recognized. Its reference to the work of Pablo Picasso and Joan Miró placed him in a more European context. After World War II he traveled around the Mediterranean, finally settling in Crete in 1960, where he continued to develop his Romantic pastoral themes. The influence of William Blake gave way to that of Cubism, and he also became interested in Byzantine art. His paintings of Cretan life, such as Vokos II (1984), still reveal a humanist if not pantheist philosophy. LINKS
Still Life with Cat and Child (1959, 122x100cm)
Pastoral for P.W. (1948, 205x263cm)

^ >1865 Gustave Loiseau, French painter who died on 10 October 1935. — {avait-il un tempérament volatile?}— He was apprenticed first to a butcher and in 1880 to a house painter. It was not until 1887, when he received a small inheritance, that he was able to devote himself to painting. He spent a year studying modeling and design at the Ecole des Arts Décoratifs in Paris and then entered the studio of the French landscape painter Fernand Just Quignon [1854–1941] for six months in 1889. After settling in 1890 in Pont-Aven in Brittany, where Loiseau met the painters Maxime Maufra [17 Jun 1861 – 23 May 1918] and Henri Moret [12 Dec 1856 – 05 May 1913], he produced such carefully done works as The Green Rocks (1893). It was not until 1894, however, that he met Gauguin [07 Jun 1848 – 08 May 1903] on the latter’s return from Tahiti, and though he did not accept Gauguin’s synthetist ideas the encounter led to a stronger structure and freer brushstrokes in his subsequent work. — LINKS
Self Portrait with Statuette (1916, 61x49cm; 901x698pix, 176kb)
–- Rue de Village (1925, 50x62cm; 1200x1462pix, 218kb)
Les Falaises de Saint-Jouin (1908, 65x92cm; 810x1138pix, 80kb).
36 images at the Athenaeum —(081002)

^ 1758 Louis Auguste Brun de Versoix, Swiss painter who died on 09 October 1815. He came from a prosperous Huguenot family and got trained to be a merchant before deciding to become an artist. His first tutor was Nicolas Henri Joseph Fassin [1728–1811], who was staying in Geneva at the time; under his guidance, Brun made copies of Flemish masters. In Geneva he became friendly with Pierre-Louis De La Rive [21 Oct 1753 – 7 Oct 1817], worked in his Geneva studio and accompanied him on a journey to Mannheim and Dresden. In his own painting Brun soon specialized in charming hunting scenes with Rococo overtones in the style of Philips Wouwerman [bap. 24 May 1619 – 19 May 1668]. In 1779 he set out on an Italian journey that lasted several years. In 1783 he went from Turin to Paris, where his hunting scenes soon became very popular with the French court: he painted portraits of Marie-Antoinette Hunting and Louis XVI Hunting. He became a member of the Académie Royale in Paris in 1788 but in 1792 fled from the French Revolution to his homeland; there he took part in the Vaudois independence movement. He was burgomaster of Versoix from 1801 to 1807, eventually known as ‘Brun de Versoix’. In 1815 he returned to Paris after the fall of Napoléon, in order to claim from Louis XVIII the pension that Louis XVI had promised him.
Marie-Antoinette à cheval (1783; 450x500pix, 57kb) _ Marie-Antoinette est ici en costume de chasse et monte un cheval qui porte le harnachement des Gardes-Nobles hongrois à la Cour d'Autriche. —(081002)

^ 1749 Georg Karl Urlaub, German artist who died on 26 October 1811.
Bildnis eines adeligen Herrn in rotem (97x77cm; 380x301pix, 25kb)

^ 1703 (10 Oct?) Franz-Christoph Janneck, Austrian painter who died on 13 January 1761. In his native Graz he was a student of Matthias Vangus (fl 1716) in Graz before he went to Vienna, where he was first mentioned in documents of the 1730s. His younger brother, Mathias Jakob Janneck, studied at the Viennese academy in 1728–1730 and in 1733. About 1735 Franz-Christoph Janneck traveled in Austria and southern Germany; in Frankfurt am Main he met Karl Aigen [1684–1762], Christian Hilfgott Brand [16 Mar 1694 – 22 Jul 1756], and Josef Orient [1677–1747]. In 1740 he studied at the Viennese academy, joining the ‘Frey-Compagnie’ (a voluntary military company) in 1741. With Paul Troger [bap. 30 Oct 1698 – 20 Jul 1762], and later with Michelangelo Unterberger [11 Aug 1695 – 27 Jun 1758], he held the office of assessor at the academy between 1752 and 1758. Janneck is known for his cabinet pictures illustrating mythological, religious and conversation scenes. His style reflects the works of French and Netherlandish painters such as Watteau [bap. 10 Oct 1684 – 18 Jul 1721] and van Mieris [02 Jun 1662 – 26 Jan 1747].
— Janneck was born in Graz. He was trained by Matthias Vangus in his native city but by the 1730s had established himself in Vienna, studying at the Vienese Academy in 1740 and subsequently becoming an assesor to the Academy from 1752 until 1758. The artist's earliest known works date from the late 1720s and consist predominantly of village landscapes in the tradition of Jan Bruegel the Elder [1568–1625]. He also painted a small number of religious scenes, many of which are dated and belong to the late 1730s and 1740s
–- Crucifixion (50x41cm; 900x737pix, 50kb _ .ZOOM to 1575x1290pix, 140kb)
–- S*>#Elegant Company (45x61cm; 589x799pix, 130kb) indoors
–- S*>#Bacchus and Ariadne (45x62cm; 549x900pix, 105kb)
–- S*>#Elegant Company, People Playing Music and Merrymaking (40x58cm; 609x900pix, 110kb) fête galante champêtre. The tradition of the fête galante is strongly rooted in the French rococo, notably the work of Antoine Watteau, however Janneck's miniaturist technique and predilection for the use of copper as a support also reveals a clear debt to the work of the Leyden fijnschilders of the 17th and early 18th century. Along with the work of his companion Johann Georg Platzer, Janneck's fête galantes are among the finest examples of the Austrian Rococo.
–- S*>#Allegory of Autumn — Allegory of Summer (two pictures in one image, each 24x31cm; each 303x425pix, together 104kb) _ Janneck was a painter of the Austrian Rococo; his cabinet pictures done on copper depicting mythological subjects and allegories such as the present pair are a far cry from the religious theatricality of contemporaries such Maulpertsch, for example, and Janneck's fellow Assessor at the Vienna Academy, Paul Troger. While his works often shows awareness of the French Rococo, Janneck's real artistic forebears are the late 17th Century Dutch classicizing painters such as Schalcken, Willem van Mieris, Gerard Hoet and Adriaen van der Werff. —(081002)

^ 1684 Peter Casteels, Flemish painter who died on 16 May 1749. Brother-in-law of Peter Tillemans [1684 – 05 Dec 1734], with whom he went to England in 1708 to work for a picture dealer named Turner as copyists of Old Master paintings.
Birds, including a peacock, chicken, and a hawk flying off with a chick (587x729pix, 36kb)
Still Life of Roses (52x42cm; 315x250pix, 89kb) — (051001)


click click

<<< ART 02 Oct
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” OCT 03 ||| ALTERNATE SITES
ART 04 Oct >>>
TO THE TOP
PLEASE CLICK HERE TO WRITE TO ART “4” OCT
http://www.safran-arts.com/42day/art/art4oct/art1003.html
http://www.intergate.com/~canu/art/art4oct/art1003.html
http://www.ifrance.com/ojourdui/art/art4oct/art1003.html
updated Saturday 03-Oct-2009 16:36 UT
Principal updates:
v.8.90 Friday 03-Oct-2008 2:32 UN
v.7.00 Friday 05-Oct-2007 21:28 UT
v.6.91 Thursday 19-Oct-2006 14:24 UT
Sunday 17-Jul-2005 22:01 UT
Friday 16-Jul-2004 16:03 UT