ART 4 2-DAY 05 October v.9.90
on 05 October 1524: Joachim Patinir (or Patenier),
Flemish painter born in 1485.
Patinir was a pioneer of landscape as an independent genre. Nothing is known of his early life, but in 1515 he became a member of the Antwerp Guild. In 1521 he met Dürer, who made a drawing of him and described him as a "good landscape painter". There are only a very few signed paintings, but a great many others have been attributed to him with varying degrees of probability. Patenier also painted landscape backgrounds for other artists and The Temptation of Saint Anthony (155x173cm; 720x802pix, 110kb) was done in collaboration with his friend Quentin Massys (who after Patenier's death became guardian of his children). Although landscape never constitutes the subject of his pictures, Patenier was the first Netherlandish artist to let it dwarf his figures in religious and mythological scenes. His style combines naturalistic observation of detail with a marvellous sense of fantasy, forming a link between Bosch and Bruegel.
— Patinir or Patenier was born probably in Dinant, near Namur. In 1515, he was elected master to the Antwerp Saint Lukas Guild. He is noted as one of the earliest painters to make landscape a main element of his compositions. The artist developed a so-called “world landscape”, a bird’s-eye view, with a seemingly endless horizon. This brought him international fame during his lifetime. Thus, three of his paintings were mentioned in 1523 in the records of the Palazzo Grimani in Venice, and Dürer also frequently mentioned him in his notes on his travels in the Netherlands. About twenty of his signed paintings cannot be regarded as pure landscapes. He mostly depicted religious scenes, with figures, but they were completely integrated into the landscape, which was an entirely new attitude. The painter created a depth of space by modulating the colors from warm green shades to cold grayish blue. This was an atmospheric perspective which Jan van Eyck had also used in his work almost a hundred years earlier. Patinir had a huge influence on succeeding generations as well as on his contemporaries.
LINKS — LYNX
— The Rest on the Flight to Egypt (1515, main detail 875x1168pix, 103kb — or ZOOM to full original 34x49cm size, 1411x2000pix, 248kb)
— Triptych (867x1100pix, 126kb — ZOOM to 1300x1642pix, 242kb) _ The left panel is The Baptism of Christ, the center panel is Saint Jerome Meditating Before the Crucifix, the right panel is Saint Anthony Victorious over Temptation.
Temptation of Saint Anthony (155x173cm; 1080x1203pix, 120kb) _ This is one of the few paintings that bears the artist's signature.
Baptism of Christ (1515, 60x77cm) _ Patenier lived and worked in Antwerp. He was an influential forerunner of the modern landscape painting. The Baptism of Christ one of his few surviving and signed paintings is a landscape in which the figural subject has only secondary importance.
— Landscape with Saint Jerome (1520)
— Saint Jerome in the Desert
Born on 05 (15?) October 1785: Giovanni Migliara,
Italian painter and teacher who died on 18 April 1837.
— He began his career as a scene painter with Gaspare Galiari [1761–1823] in Milan, working at the Teatro Carcano in 1804 and at La Scala from 1805 to 1809. Owing to illness, after 1810 he turned to small-scale works in watercolor or oil using various supports, including silk and ivory. At this date Milanese painting was dominated by Andrea Appiani and Luigi Sabatelli, both leading Neoclassical artists. However, Migliara remained aloof from this dominant movement and instead drew on medieval and historical subjects with Romantic undertones. His precise, jewel-like technique and choice of subject-matter found favour with aristocratic patrons in Milan. His figures are generally stilted and burdened by their costumes, though the crowd in Sacking of Minister Prina’s House (1814) is depicted with unusual fluency.
In 1822 Migliara was appointed Professor of Perspective at the Accademia di Belle Arti, Milan, and in 1833 he was nominated painter to the court of Charles-Albert, King of Sardinia (reg 1831–1849). More typical of his historical scenes is Entrance to the Castle of Plessis de la Tour, which was exhibited at the Brera in 1833. He also produced many topographically precise pictures of church interiors in which he combined his training as a scene painter with his knowledge of intaglio techniques. In such pen-and-wash studies as Church and Gothic Tomb (1831) he displayed a greater sensitivity to light and tone than in his oil paintings (e.g. Vestibule of a Convent, 1833). He particularly excelled as a painter of small medieval church interiors, as did several of his students, including his daughter Teodolinda Migliara [1816–1866], Frederico Moja [1802–1885], Pompeo Calvi [1806–1884], Luigi Bisi [1814–1886] and Angelo Inganni [1806–1880].
— San Ambrogio a Milano (1822; 529x700pix, 188kb)
— Una Visita Importante (300x404pix, 31kb)
— Veduta dell’Ospedale Maggiore a Milano (34x40cm; 277x330pix, 24kb)
— Piazza San Marco (42x52cm; 403x500pix, 36kb)
— [Mutuo Insegnamento] (engraving; 398x537pix, 80kb) _ rappresenta l'applicazione del metodo Lancaster-Bell di mutuo insegnamento, nell'oratorio della chiesa di Santa Caterina a Milano; fra i personaggi raffigurati sono riconoscibili Silvio Pellico [25 Jun 1789 – 31 Jan 1854] e Federico Confalonieri [1785 – 10 Dec 1846] (respettivamente capo redattore e cofundatore dil giornale liberale Conciliatore) , che cercano di sviluppare in Italia questo sistema di istruzione. pubblica e laica.