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ART “4” “2”-DAY  05 October v.9.90
^Died 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.

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.

Died on a 05 October:

2008 Iba Ndiaye [1928–], Senegalese Modernist painter. He moved to France in 1949 to study architecture. He returned to Sénégal in 1959. After Sénégal gained independence (1960), Ndiaye created a department of plastic arts at the National School of Fine Arts in Dakar, at the request of President Léopold Sédar Senghor [09 Oct 1906 – 20 Dec 2001]. Ndiaye taught there until 1966, influencing a generation of younger artists, among them Mor Faye. During this time he helped found, along with Papa Ibra Tall [1935–], Pierre Lods and others, a Senegalese art movement called École de Dakar, which was aligned with the literary movement of Négritude. But he fundamentally disagreed with the primitivism of many of his École de Dakar colleagues, who believed that new work had to look distinctly non-colonialist to be authentically African. Although Ndiaye made many beautiful drawings based on the forms of traditional African masks, he painted in oil on canvas and in a semi-abstract School of Paris style that made little direct reference to African subjects or techniques. His allusions were often to classic Western painters like Goya [30 Mar 1746 – 16 Apr 1828] and Rembrandt [15 Jul 1606 – 04 Oct 1669], to which he gave a mordant political twist. His 1986 version of the Vélazquez [bap. 06 Jun 1599 – 07 Aug 1660] portrait of Juan de Pareja presented its startled-looking Black subject under attack by dogs. Much of Ndiaye's work was influenced by jazz, which he had enjoyed in Paris as a young man.
     In an interviewhe he said: “Certain Europeans, seeking exotic thrills, expect me to serve them folklore. I refuse to do it; otherwise I would exist only as a function of their segregationist ideas of the African artist.” Today, many younger African-born painters like Moshekwa Langa, Odili Donald Odita, and Julie Mehretu [1970–] have followed his lead. Partly in response to art fashions with which Ndiaye was uncomfortable, he again left Sénégal and returned to Paris to live in 1967. “I need to go back to Paris often,” Ndiaye said during a period in which he was living in Dakar. “If I remained here I would run the risk of going to sleep. But for inspiration, I need Africa.” In France, he painted one of his best-known series, Tabaski. The images are based on the ritual slaughter of sheep for religious purposes, but are actually about human cruelty and oppression.
Jazz Musicians (788x1138pix, 91kb)
Tabaski, la Ronde à qui le Tour (1970, 150x200cm; 448x732pix, 60kb) The paintings of the Tabaski series refer to the Muslim ritual of sacrificing a lamb.
Sacrifice of the Lamb, Variation 1, (2001, 97x146cm; 520x696pix, 33kb) _ _ This has been transformed by the pseudonymous Ira Denocheye into a series of colorful and finely detailed abstractions which can be reached by clicks of the mouse from any one of them, for example the asymmetrical:
      _ Sacrifice of the Lame (2008; 550x778pix, 119kb _ ZOOM 1 to 778x1100pix, 243kb _ ZOOM 2 to 1100x1556pix, 529kb _ ZOOM 3 to 1880x2658pix, 1570kb _ ZOOM 4 to 2658x3760pix, 3838kb) or the symmetrical
      _ Noise Lesion (2008; 550x778pix, 110kb _ ZOOM 1 to 778x1100pix, 222kb _ ZOOM 2 to 1100x1556pix, 480kb _ ZOOM 3 to 1880x2658pix, 1417kb _ ZOOM 4 to 2658x3760pix, 3560kb)
Sacrifice of the Lamb, Variation 2 (2001, 89x130cm; 507x760pix, 40kb) .—(081019)

2007 Matilde Salvador i Segarra de Asencio [1918–], Catalan naïve painter and (mostly) composer. —(091004)

1992 David von Schlegell [25 May 1920–], US painter and sculptor, son of the US Impressionist painter William von Schlegell. —(091004)

^ 1652 Adriaen van Utrecht, Flemish painter born on 12 January 1599. He was apprenticed to Herman de Ryt in 1614 and later visited France, Italy and Germany before returning to Antwerp by 1625. He painted pantry scenes, farmyards with poultry, fish markets, game pieces, garlands and diverse still-lifes of fruit and vegetables. Game paintings are most frequent and reflect the influence of Frans Snyders. Adriaen adopted the same abundant displays of game, fruit and vegetables, usually set on a table parallel to the picture plane. Compositions typically fall in horizontal and vertical lines in contrast to the dynamic diagonals of Snyders. In large works, such as the Still-life with Game, Vegetables, Fruit and a Cockatoo (1650), Adriaen’s accessories overflow the table on to the floor below. Baroque devices, such as a sweeping curtain and background window view, add movement and depth. Van Utrecht favoured warm earthen tones, especially grey-green, and a strong chiaroscuro light in his still-lifes; the latter may derive from his knowledge of Italian painting. The artist’s style changed little during his career, save for the gradual elimination of figures in his paintings. The influence of Jan de Heem and Jan Fyt can also be seen in his later work. Van Utrecht is known to have collaborated with Jacob Jordaens, Thomas Willeboirts Bosschaert [1614–1654] and Erasmus Quellinus II. — LINKS
–- Fruit Still Life (57x74cm; 831x1100pix, 64kb _ ZOOM to 1668x2200pix, 568kb)
The Pantry (1642, 221x307cm)
Fishmonger's Stall (215x298cm)
Kitchen with Still Life, Maid by the Fire (159x211cm) —(051004)

1650 Guy François “Le Grand François”, French painter born (full coverage) on 20 November 1580.

1557 Francesco Ubertini Verdi “Bacchiaca”, Italian painter born (full coverage) on 01 March 1494. —(051004)

Born on a 05 October:

^ 1946 Pacita Abad, Filipina artist who died on 07 December 2004 after producing many works that are almost as good as those of elementary school children.. — her site
–- The Four Seasons (98x68cm; 1056x731pix, 155kb)
–- Market River Scene in Thailand (1979; 89x127cm; 538x770pix, 81kb _ .ZOOM to 1074x1539pix, 200kb)
–- Pink Sherbet (57x77cm; 700x528pix, 105kb)
–- Seventeen Came ((2000; 99x99cm; 57x77cm; 840x845pix, 152kb)
–- Somewhere Over the Rainbow (2001; 99x99cm; 840x840pix, 143kb). —(071004)

^ 1930 Kala Yaan, pseudonymous artist (pseudoborn on this pseudodate) whose only known works are a masterful series of interrelated abstractions:
      _ Abra (2007; 550x778pix, 126kb _ ZOOM 1 to 778x1100pix, 239kb _ ZOOM 2 to 1100x1556pix, 501kb _ ZOOM 3 to 1710x2418pix, 1354kb _ ZOOM 4 to 2658x3760pix, 3124kb) and
      _ Barra (2007; 550x778pix, 126kb _ ZOOM 1 to 778x1100pix, 239kb _ ZOOM 2 to 1100x1556pix, 501kb _ ZOOM 3 to 1710x2418pix, 1354kb _ ZOOM 4 to 2658x3760pix, 3124kb)
      _ Acá (2007; 550x778pix, 128kb _ ZOOM 1 to 778x1100pix, 238kb _ ZOOM 2 to 1100x1556pix, 468kb _ ZOOM 3 to 1710x2418pix, 1148kb _ ZOOM 4 to 2658x3760pix, 2452kb) and
      _ Carro (2007; 550x778pix, 128kb _ ZOOM 1 to 778x1100pix, 238kb _ ZOOM 2 to 1100x1556pix, 468kb _ ZOOM 3 to 1710x2418pix, 1148kb _ ZOOM 4 to 2658x3760pix, 2452kb)
      _ Boda (2007; 550x778pix, 124kb _ ZOOM 1 to 778x1100pix, 240kb _ ZOOM 2 to 1100x1556pix, 534kb _ ZOOM 3 to 1710x2418pix, 1561kb _ ZOOM 4 to 2658x3760pix, 3794kb) and
      _ Debo (2007; 550x778pix, 124kb _ ZOOM 1 to 778x1100pix, 240kb _ ZOOM 2 to 1100x1556pix, 534kb _ ZOOM 3 to 1710x2418pix, 1561kb _ ZOOM 4 to 2658x3760pix, 3794kb) —(071003)

^ >1884 Glyn Warren Philpot, British painter who died on 16 December 1937. — {It is not true that he consumed large quantities of coffee and that his most common command to Philip, his assistant, was: “Phil, fill Philpot pot.”} — He was trained in London and Paris and quickly established himself as a successful society portraitist in the years before the First World War; elected A.R.A., 1915 and full R.A., 1923. In 1931-1932, Philpot made the courageous step of embracing modernist influences in his art, producing a body of work marked by a new simplicity of form and technique. — Portrait of Glyn Philpot (1920, 100x75cm) by Sir Oswald Birley. — LINKS
–- Negro Model in Studio (1936, 76x64cm; 1925x1575pix, 265kb) _ The sitter is Henry Thomas, the young Jamaican who worked for Philpot as a houseman and model from 1929 after Oliver Messel had found him wandering the halls of the National Gallery having missed his boat home. He first appeared in Philpot's work in 1929, as Balthazar, and was Philpot's constant source of inspiration from 1932 until his death. While a male black sitter had been a popular subject with Philpot since the early and Rembrandt-esque Head of a Negro (1912), it was in the last two years of his life that Philpot painted a series of half-length sitting Blacks which, for variety and certainty of mood, occupy a high position in his oeuvre. Some of them are Melancholy Negro, Negro Sitting, and Negro Thinking of Heaven.
–- Mythological Scene (1933, 92x51cm; 1575x872pix, 116kb)
Italian soldier no. 2 (1918, 77x62cm; 700x535pix, 90kb)
Lady Witt (1925, 96x77cm; 700x549pix, 98kb)
–- S*>#Tropical Garden (1935, 217x183cm; 784x661pix, 104kb) dull, almost monochrome brown, almost no green. To remedy this, the pseudonymous M. T. Jarr has created the almost palindromic and incomparably lusher Tropical Lacy Port (2005; 920x1300pix, 308kb) and its abstraction Trop Port (2005; 920x1300pix, 468kb) as well as what it might look like after a few drinks too many: Trop Port Sicks (2005; 920x1300pix, 38kb)
–- S*>#Lord Kimberly (1918, 76x64cm; 900x741pix, 90kb) _ The sitter is presumably the politician (MP; Secretary of State for the Colonies) and polo player John Wodehouse, 3rd Earl of Kimberley [11 Nov 1883 – 16 Apr 1941] (he was killed while serving in the air force), though he inherited his title only at the death of his father John Wodehouse, 2nd Earl of Kimberley [10 Dec 1848 – 07 Jan 1932]. He was also portrayed by Kenneth Hauff as S*#>John Wodehouse, later 3rd Earl of Kimberley, on his polo pony (102x127cm; 900x1144pix, 127kb) and by Alfred Munnings [08 Oct 1878 – 17 Jul 1959] as John Wodehouse, 3rd Earl of Kimberley, on a polo pony
–- S*>#(uniformed officer) (1918, 77x64cm; 690x550pix, 73kb)
–- S*>#Martyn Coleman (1936, 109x74cm; 900x601pix, 109kb)
–- S*>#Lieutenant Aymes (1915, 122x68cm; 113kb)
–- S*>#Dawn (1929, 113x142cm; 510x646pix, 56kb) —(091004)

^ 1851 Thomas Pollock Anshutz (or Anschutz), US painter and teacher who died on 16 June 1912. — [anschutz? incipient protection?] — Born in Kentucky, he moved in 1872 to New York, where he enrolled at the National Academy of Design. By 1875 he had advanced to the life class but found the Academy ‘a rotten old institution’. Moving to Philadelphia, Anshutz entered a life class taught by Thomas Eakins at the Philadelphia Sketch Club and transferred to the Pennsylvania Academy of the Fine Arts when it opened its new building in 1876. Continuing to study under Eakins and Christian Schussele [1825–1879], Anshutz soon became Eakins’s assistant demonstrator for anatomy courses taught by the surgeon William Williams Keen.— The students of Anshutz included Alexander Stirling Calder, Stuart Davis, Charles Demuth, William J. Glackens, Robert Henri, John Marin, John Sloan. — LINKS
The Ironworkers' Noontime (1880, 43x61cm)
Man and Woman
Pennsylvania Scene (1893).

^ 1850 William Hamilton Gibson, US illustrator, author, and naturalist who died on 16 July 1896. — Relative? of Charles Dana Gibson [1867-1944]? of William Alfred Gibson [1866-1931]? — His well-received images reached a large audience through the popular magazines of his day. As a child, Gibson sketched flowers and insects, developed an interest in botany and entomology, and acquired great skill in making wax flowers. His first drawings were published in 1870 and were of a technical character. He rapidly became an expert illustrator and a remarkably able wood engraver, while also practicing lithography with great success. He drew for many periodicals, his most popular works being a long series of illustrations for nature articles published in Harper's Weekly, Scribner's Monthly, and Century. Gibson was also an expert photographer: his drawings reflect this knowledge in their nearly photographic and almost microscopic accuracy of detail. In 1893, three years before his death, Gibson made drawings of the buildings and landscape of the grounds at the World's Columbian Exposition in Chicago, which were used for an article in Scribner's entitled “Foreground and Vista at the Fair.”
MidSummer, Washington, Connecticut (1880, 10 x 14 in; 213x300pix, 8kb).

1848 Jean-Baptiste-Édouard Détaille, French painter who died (full coverage) on 23 December 1912.

^ 1845 Josef Wenglein, German landscape painter who died on 18 January 1919. He was a student of Adolf Lier. Neben Johann Sperl gilt Wenglein als letzter bedeutender Landschafter der Muenchner Schule. Seine Malweise ist bei aller Tonigkeit kraeftig und zeichnerisch bestimmt. Er kann als Typus jener Maler gelten, die nach Abklingen der klassisch-romantischen Richtung dem Bedeutungsvollen, dem Vedutenhaften in der Landschaft ausweichen, aber gerade im Abseitigen die unberuehrte Natur aufsuchen und im Unscheinbaren neue malerische Schoenheiten entdecken. Sein einflussreichster Lehrer, Adolf Liehr, fuehrte ihn schon 1868 nach Pang, suedwestlich von Rosenheim gelegen. Niemand hat mehr in Pang und Aising eine Erinnerung daran, dass von 1860 bis 1900 die beiden Doerfer den Malern in den Sommermonaten als Herberge gedient haben. Neben Wenglein und Lier arbeiteten dort auch Anton Braith und Christian Mali, Albert Kappis, Carl Ebert, Richard von Poschinger, August Fink, die Brueder Josef und Ludwig Willroider. Hans Heyn "Die maeandernde Kalter, der permanente Wechsel der Bachlandschaft, die wandernden Lichter und Schatten in einer noch nicht gestoerten Natur, uebte auf die Maler, die damals der dekorativen Muenchner Atelierkunst entflohen, grosse Anziehung aus. Ihre Bilder sind die einzigen Zeugen. Beweise, die uns Vergangenheit ins Bewusstsein ruecken."
–- S*>#The Herd Watering (24x36cm; 564x900pix, 73kb)
Huetetub bei Pang (1878; 382x531pix 64kb)
Adolf Henrich Lier beim Malen an der Kalter
— (plain with stream and woods, under billowing clouds) (1819, 62x80cm; 457x618pix, 208kb)
(beach at low tide?)
(cliff side?)
Landschaft mit Viehherde
Abend am See
An der Isar (1901)
Children picking flowers in sunny automn forest (1875, 65x101cm; 413x620pix, 52kb)

^ 1829 Ludwig Knaus, German painter who died on 07 December 1910. After early training in Wiesbaden, he went to the Kunstakademie in Düsseldorf in 1845 to study under Carl Ferdinand Sohn. There he met Jakob Becker [1810–1872], Johann Peter Hasenclever, Julius Hübner, Rudolf Jordan [1810–1887], and Adolph Schrödter, who were the leading exponents of genre painting in Düsseldorf at that period. His differences of opinion with the director of the Akademie, Wilhelm von Schadow, about the importance of study from nature led Knaus to abandon his course in 1848. With Becker’s encouragement he went to Willingshausen in the Schwalm Valley in Hesse to study rural life. He subsequently spent a period in the Black Forest. He achieved his first major success with Funeral Procession in the Forest (1852). — LINKS
Ein Mädchen auf dem Feld (1865, 50×59cm; 600x717pix, 100kb _ ZOOM to 2122x2536pix, 447kb)
Feuer im Dorf aka Die Feuersbrunst (1854, 135×198cm; 540x800pix, 82kb _ ZOOM to 2560x1730pix, 289kb)
“Mein Napf ist leer” (1886; 556x413pix, 61kb)
Kinderfest (Wie die Alten sungen) (1869 print; 800x1145pix; 219kb)
In the Shtetl (1896, 107x146cm)
Die Naschkatze (1897, 51x40cm)
Ein Forsterheim (1886, 101x142cm)
A Tyrolean Girl (1874, 35x24cm)
Spring Time (1868, 66x50cm)
Zigeuner im Walde, vom Ortsschulzen über ihre Legitimation Ausgefragt (1855, 110x151cm)
Der Dorfprinz
Peace (343x173cm)
The Birthday Party (59x91cm) —(051004)

^ 1597 Franchoys Elout (or Eloutsz, Eloudt, Elaudts), Dutch artist who died before 1641.
Still Life with Oysters, lemon on pewter plate, olives, bread, and candleholder (30x53cm; 270x500pix, 115kb)

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ART 06 Oct >>>
updated Monday 05-Oct-2009 1:52 UT
previous updates:
v.8.91 Monday 20-Oct-2008 2:54 UT
v.7.90 Friday 05-Oct-2007 21:28 UT
v.6.90 Wednesday 04-Oct-2006 20:41 UT
v.5.90 Sunday 09-Oct-2005 15:31 UT
Monday 04-Oct-2004 17:48 UT
Friday 16-Jul-2004 16:27 UT