ART “4”
“2”-DAY 06 October
v.9.90 |
| BIRTH:
1887 LE CORBUSIER |
| ^Died
on 06 October 1927: Louis Paul
Henri Sérusier, French Nabi painter and theorist
born on 09 November 1864. — {a-t-il jamais peint un cerisier? un serrurier?} — Son of a wealthy perfume and glove manufacturer, he was a star student at the Lycée Condorcet in Paris, early on showing a bent towards philosophy. Having little inclination for business, Sérusier was eventually allowed to follow his chosen career of art. He studied at the Académie Julian (1885–1890), where his popularity and wide-ranging intellectual gifts led to his election as chief student monitor (massier). This position gave him a certain authority, which was increased when his painting of Un Tisseur Breton (1888) won an honorable mention at the Salon of 1888. Paul Gauguin was one of his teachers. — Séjournant pendant l'été 1888 à Concarneau, il se rend à Pont-Aven et fait la connaissance d'Emile Bernard qui le présente à Gauguin. Sur les conseils de Gauguin, Sérusier peint Le Talisman. De retour à Paris, il fonde avec Bonnard, Denis, Ranson, Ibels et Piot le groupe des Nabis ("prophètes" en hébreu). Après le départ de Gauguin, Sérusier abandonne Pont-Aven et le Pouldu et séjourne dans le centre de la Bretagne, au Huelgoat. Puis il s'installe à Chateauneuf-du-Faou. Sa peinture évolue, il peint des sujets religieux, mythologiques et légendaires, décore sa maison de fresques. — The students of Sérusier included Lucia Dem Balacescu and Roger de La Fresnaye. — LINKS — Le Bois d'Amour (Talisman) (1888; 2089x1648pix; 932kb) — Sous la Lampe — Le Pardon de Notre-Dame-de-Portes à Châteauneuf du Faou — L'Incantation ou Le Bois sacré — Jeune Bretonne à la cruche — La Vieille du Pouldu — Paysage ogival — Portrait de jeune Bretonne _ (38x23cm) _ Dans ce portrait, Sérusier procède un peu à la manière des Primitifs italiens du Quattrocento, en plaçant la figure de profil dans un environnement dépouillé. L'élégance figée de cette jeune Bretonne en costume de pardon est caractéristique de la période de Sérusier au Huelgoat et à Châteauneuf-du-Faou. |
| ^>Born
on 06 October 1887: Charles~Édouard Jeanneret-Gris “Le Corbusier”
[–27 Aug 1965], Swiss-born French painter, urban planner, painter, lithographer,
writer, designer, theorist, best known as an architect of the International
Style. He adopted the pseudonym Le Corbusier for his architectural work
about 1920 and for his paintings about 1930.
— He studied engraving and chasing at the art school in his native
La Chaux-de-Fonds, Switzerland. He received his first architectural commission
in 1905. Worked with the architects Josef Hoffmann in Vienna 1907-1908,
Auguste Perret in Paris 1908-1909 and Peter Behrens in Berlin 1910; also
traveled extensively throughout Europe. Settled in 1917 in Paris, where
he met Ozenfant with whom he founded the Purist movement in painting: still-life
compositions of standardized objects such as bottles and musical instruments
in profile. First one-man exhibition with Ozenfant at the Galerie Thomas,
Paris, 1918. Wrote with Ozenfant Après le Cubisme (1918)
and La Peinture Moderne (1925), and founded with him the magazine
L'Esprit Nouveau 1920-1925. Though increasingly active as an architect,
he continued always to paint, signing his works first 'Jeanneret' then from
1928 'Le Corbusier', a pseudonym derived from the name of a maternal grandparent.
From about 1926 began to include the human figure in his compositions and
to work in a freer, more Surrealist style. Took French nationality in 1930.
His later works included a series of woodcarvings made from 1945 with the
aid of Joseph Savina, and a number of designs for tapestries. Le Corbusier
died at Cap Martin. — In the range of his work and in his ability
to enrage the establishment and surprise his followers, he was matched in
the field of modern architecture perhaps only by Frank Lloyd Wright. His
visionary books, startling white houses and terrifying urban plans set him
at the head of the Modern Movement in the 1920s, while in the 1930s he became
more of a complex and sceptical explorer of cultural and architectural possibilities.
After World War II he frequently shifted position, serving as ‘Old Master’
of the establishment of modern architecture and as unpredictable and charismatic
leader for the young. Most of his great ambitions (urban and housing projects)
were never fulfilled. However, the power of his designs to stimulate thought
is the hallmark of his career. Before he died, he established the Fondation
Le Corbusier in Paris to look after and make available to scholars his library,
architectural drawings, sketches and paintings. — LINKS — Femme et Coquillage (2268x1984pix, 1260kb) _ Le Corbusier's paintings are heavily influenced by Picasso, blocks of color and outlines combining to create striking images. The effect is most pronounced in this mural painting from his office in Paris all but concealing a woman's distorted shape amid a chaotic, built-up environment — Abstraction (Violins and Bottles) (1925, 27x21cm, 617x800pix _ ZOOM not recommended to 1233x1600pix, 266kb) sketchily done on the back of a paper whose print shows through. _ The pseudonymous Jeannot Lecorbillard has combined this and several other works of Le Corbusier and metamorphosed them into two related series (you can click instantly from one series to the other at the same level), each consisting of 9 finely detailed symmetrical abstractions with a screen filling background which is part of the overall design (the picture itself on any level does not enlarge the previous one, but adds to its edges and center) (for levels 7, 8, and 9, whose size is required to appreciate the fine details but exceeds most computer screens, there is an alternate image reduced to size 6, 932x1318pix): _ Obstructions, Violations, and Bottlenecks, level 1 (2006; 165x234pix, 14kb _ level 2 to 233x330pix, 24kb _ level 3 to 330x466pix, 37kb _ level 4 to 466x660pix, 64kb _ level 5 to 659x932pix, 124kb _ level 6 to 932x1318pix, 246kb _ level 7 to 1318x1864pix, 629kb _ level 8 to 1864x2636pix, 1466kb _ level 9 to 2636x3728pix, 3178kb ||| _ level 7 size 6, 400kb _ level 8 size 6, 498kb _ level 9 size 6, 435kb) and _ Bottlenecks, Violations, and Obstructions, level 1 (2006; 165x233pix, 14kb _ level 2 to 233x330pix, 24kb _ level 3 to 330x466pix, 37kb _ level 4 to 466x660pix, 64kb _ level 5 to 659x932pix, 124kb _ level 6 to 932x1318pix, 246kb _ level 7 to 1318x1864pix, 629kb _ level 8 to 1864x2636pix, 1466kb _ level 9 to 2636x3728pix, 3178kb ||| _ level 7 size 6, 400kb _ level 8 size 6, 498kb _ level 9 size 6, 435kb) –- Taureau III (1953, 162x114cm) –- La Chute de Barcelone (1939, 81x100cm) –- Guitare Verticale (1934, 100x81cm) –- Nature morte à la pile d'assiettes (1920, 81x100cm) — Nature morte (1920, 81x100cm; 553x680pix, 108kb) _ mostly brown and orange; 2 bottles, 1 guitar, 3 UPOs (Unidentified Pictured Objects); wall, hall, door in top left background; no plate. –- Femme couchée, cordage et bateau à la porte ouverte (1935, 130x162cm) –- La Main Ouverte (1955 color lithograph, 54x40cm; 1152x826pix, 154kb) — Tapisseries (1955 lithograph poster, 48x67cm; 114kb) mostly black, red, and off-white. —(091005) |
| ^
Died on 06 October 1889: Jules Dupré,
French Barbizon
School painter born on 05 April 1811, specialized in landscapes . —
{Lui, au moins, il a fait honneur a son nom. Voyez ses tableaux du pré.}—
Not to be confused with French Realist artist Julien Dupré [1851-1910] — Dupré was a founder of modern French landscape painting. He was born in Nantes, the son of a porcelain manufacturer. Settling in Paris, he was influenced by 17th-century Dutch landscape paintings in the Louvre, by the early 19th-century English landscapist John Constable [11 Jun 1776 – 31 Mar 1837] and by the leading Barbizon landscapist Théodore Rousseau [15 Apr 1812 – 22 Dec 1867]. Dupré's work expresses the brooding, dramatic aspects of nature. In his later works, the vivid, sharply contrasting colors are applied in thick impasto. — Dupré a laissé une œuvre variée, tant par les thèmes abordés que par le style qui n’a cessé d’évoluer au grés des influences subies (hollandaise, anglaise), et des émotions du peintre. Lié au groupe des artistes de Barbizon tels que Rousseau,Troyon, Daubigny [15 Feb 1817 – 19 Feb 1878], il s’en détache par une perception lyrique très personnelle de la nature qui doit en partie sa puissance évocatrice à Théodore Rousseau. — The son of a porcelain manufacturer, Dupré started his career in his father's works, after which he painted porcelain at his uncle's china factory at Sèvres. He first exhibited paintings in 1831 and in 1834 was awarded a second-class medal at the Salon. Visiting England in the same year, he learned, from the landscapes of John Constable, how to express movement in nature. The districts of Southampton and Plymouth, with their wide expanses of water, sky, and ground, provided his subjects. Late in life, he joined the artists' colony at Barbizon on the edge of the forest of Fontainebleau, where his style evolved, gaining in breadth, or largeness of treatment, and exhibiting greater simplicity in color harmony. — He began his career in Creil, Ile de France, as a decorator of porcelain in the factory of his father, François Dupré [1781–], and later worked at the factory founded by his father in Saint-Yrieix-la-Perche, Limousin. It was in this region of central France that Dupré became enchanted by the beauty of nature. He went to Paris to study under the landscape painter Jean-Michel Diébolt [1779–], who had been a student of Jean-Louis Demarne. Dupré began to see nature with a new awareness of its moods, preferring to paint alone and en plein air. He was fascinated by bad weather, changes of light and sunsets. Many of his paintings depict quiet woodland glades, often with a pond or stream (e.g. Plateau of Bellecroix, 1830). In 1830–1831 he associated with other young landscape painters, including Louis Cabat, Constant Troyon, and Théodore Rousseau, and with them sought inspiration for his study of nature in the provinces, exhibiting the finished paintings at the annual Salons. In 1832 he visited the region of Berry with Cabat and Troyon, and in 1834 he was among the first French landscape painters to visit England. He spent time in London, Plymouth, and Southampton and painted several views of these cities (e.g. Environs of Southampton, 1835). While in England he met, and was influenced by, Constable, Turner, and Richard Parkes Bonington. He traveled to the Landes and the Pyrenees with Rousseau in 1844, and they also explored the forests of the Ile de France in search of motifs. Dupré also painted in Normandy, Picardy, and Sologne. Although he was a member of the Barbizon school, he did not visit the Forest of Fontainebleau as frequently as did others of the group, preferring instead to settle in 1849 in the village of L’Isle-Adam, north of Paris, where he remained for much of his life. — The students of Jules Dupré included his brother Léon Victor Dupré [18 Jun 1816 – 1879], and Louis Valtat. — LINKS –- Paysage au Temps des Foins (66x105cm; 635x1053pix, 53kb _ .ZOOM to 1271x2107pix, 400kb) –- Paysage (43x59cm; 767x1043pix, 44kb _ .ZOOM to 1151x1565pix, 101kb) thatched houses by a canal or pond; seems out-of-focus. –- La Grenouillère (24x35cm; 941x1399pix, 169kb) — Vaches en Paturage (1837; 600x824pix _ ZOOM to 1400x1923pix) — Mer Agitée (1870; 600x772pix _ ZOOM to 1400x1801pix) — Terrain Éboulé en Forêt de Compiègne (1876, 33x42cm; 600x755pix _ ZOOM to 1400x1761pix) — Le Chemin Creux (1850, 101x81cm; 600x481pix _ ZOOM to 1400x1123pix) — Chênes de Fontainebleau (1843, 81x99cm; 960x1170pix _ ZOOM not recommended to 1833x2234pix, 3303kb) — Vue_du_Panthéon_et de_l'Église Saint-Étienne_du_Mont,_Paris. — Les Berges d'une Rivière (1831, 30x54cm) — Vieux Chêne et Troupeau au Bord d'une Mare (32x46cm) — Paysage avec Dame en Rouge (1830) —(061005) |
| ^
>Died on 06 October 1893: Ford Madox
Brown, English Pre-Raphaelite
painter born on 16 April 1821. He was the father of Lucy Madox Brown. His students included Marie Spartali Stillman. — Born in Calais, Ford Madox Brown revealed a precocious talent for art at an early age. From 1836 to 1846 he studied drawing in Europe, first in Bruges with a student of David, later in Antwerp with Baron Wappers. He travelled to Paris and Rome, where he befriended Cornelius and Overbeck, survivors of the German Romantic Nazarene movement. In 1841 he produced his first important oil painting, taking the execution of Mary Queen of Scots as his subject. Back in England, he met Rossetti and became associated with the Pre-Raphaelite Brotherhood, although he never joined it. From 1850 on, however, his works, mainly on historical and religious themes, closely adhered to the Pre-Raphaelite precepts. He executed an important series of frescoes in the Manchester Town Hall (1880-1893), illustrating episodes in the history of the city, and numerous stained-glass designs. His life was a continual succession of adversities and delusions; neglected by both the critics and the public, he never knew real success. He died in London. — He was born at Calais and trained at Antwerp (under Wappers), in Paris, and at Rome, where he came into contact with the Nazarenes. Settling in England in 1846, he became a friend of the Pre-Raphaelites and--with his taste for literary subjects and meticulous handling--an influence on their work, though he was never a member of the Brotherhood. Rossetti studied briefly with him in 1848 and Brown's Chaucer at the Court of Edward III (1851) contains portraits of several of the Brotherhood. In 1861 Brown was a founder member of William Morris's company, for which he designed stained glass and furniture. The major work of the later part of his career is a cycle of paintings (1878-93) in Manchester Town Hall on the history of the city. Brown was an individualist and a man of prickly temperament; he opposed the Royal Academy and was a pioneer of the one-man show. — Always an outsider to the art establishment who viewed him as suspiciously foreign because of his birth outside Britain, although to British parents, Ford Madox Brown studied art in the great schools of Antwerp and Paris and brought their influence to bear in his paintings. His pictures are now much in demand, but his contemporaries largely ignored his work and he never made much money out of painting. After visiting Rome in 1845 he became very influenced by the Nazarene School of painting, as invented and practiced by the German painters Johann Overbeck [1789-1869] and Peter von Cornelius [1783-1875]. Madox Brown's work was highly original at a time when British art was mundane and predictable; his subjects were to do with English literature and language but produced in a dark, highly mannered, and dramatic style synthesized from his early European training and his tours of Italy and Switzerland. His work bore the brunt of his two great weaknesses — finishing and retouching. Even more so than Rossetti, he was almost incapable of finishing his paintings, this meant that he was never able to leave a work alone, even when it was ostensibly finished, he would continually retouch it, even though sometimes the painting was already sold. Ford Madox Brown first met Dante Gabriel Rossetti [09 Apr 1882 – 12 May 1828] in March 1848 and for a short time gave him academic painting lessons. This rather fell on deaf ears and Rossetti moved on, but in time they resumed their friendship. Ford Madox Brown became closely involved with the Pre-Raphaelite Brotherhood through his friendship with Rossetti, but never a member because he was regarded with xenophobic suspicion by William Holman Hunt [02 Apr 1827 – 07 Sep 1910] and John Millais [08 Jun 1829 – 13 Aug 1896]. Ironically it is Ford Madox Brown who in years to come became regarded as the ultimate Pre-Raphaelite because he painted many of their characteristic paintings. One such, the very first shown in the 1852 summer exhibition, The Pretty Baa-Lambs, is a very Pre-Raphaelite-looking picture with its brilliant color (painted on a white ground), naturalistic detail and contemporary subject matter. He had often painted out of doors before but this was the first time he had painted in natural light and it showed to anyone who looked properly. Unfortunately few did, the painting was hung in a poor position and went largely unnoticed. The same year he enjoyed perhaps his best period and produced three of his finest paintings, all of them Pre-Raphaelite in everything except name: The Last of England, An English Autumn and Work. The latter, landmark, painting took him 13 years to finish. It is a modern allegory of society and a literal rendition of Heath Street, Hampstead. In it he shows ordinary people as heroes, but without a shade of sentimentality: at the center are common navvies digging. They are surrounded by a thronging crowd of contemporary people: ragged working class children and beggars alongside street traders and smart upper class ladies. The muscle workers are the navvies and itinerant farm workers, while the brain workers are two of Brown's heroes - the Reverend F.D. Maurice, a pioneer of working class education and Christian socialist, and Thomas Carlyle, the author of Past and Present. Ford Madox Brown eventually made enough money from his paintings to buy a house in Fitzroy Square which became a lively center for artists and writers to gather together and swap ideas and gossip. |
| After
receiving little notice for his work Brown gave up exhibiting at the R.A.
after 1853; and by 1856 he had lost his belief in the Pre-Raphaelite ethos
of painting modern morality works, instead he started collaborating with
Morris and Co., working on designs for art glass and illustrations. He was
commissioned to paint 12 large murals inside Manchester Town Hall showing
the glorious history of Manchester, and he spent a great deal of time on
the project, after which he played no significant part in artistic development. Browns later career is peripheral to the Pre Raphaelite story although he lived until 1983. He taught at the Working Men's College and he was involved with design work for Morris and Company. In time, Brown achieved a level of financial security and his house in Fitroy Square became a noted rendezvous for artists and writers subsequently recalled by his grandson and biographer Ford Madox Ford. The later part of his career is taken up with work on his twelve murals in the Manchester Town Hall which illustrate the history of the city. The combination of a heroic style and local history proved not to be a success and the work is not among his best. However, Madox Brown retains his place as a seminal figure in the Pre Raphaelite movement and an artist of great power and originality. — Dates on Ford Madox Brown's paintings are odd because he never felt finished with a painting. He would keep making changes years later, even after a picture had been sold. So often a definitive date is just impossible to establish. — LINKS — Jesus washing Peter's feet at the Last Supper (1865) _ Brown's first religious painting in the Pre Raphaelite style. Here we can also see the other side of the Pre Raphaelite style and its effect on Brown in that in the same way as Millias details in 'The Carpenter's Shop' Brown shows Christ and his disciples as ordinary people. Christ is deliberately betrayed in a humble, unflattering way and his treatment of the figures is bold and realistic. Brown continued to paint religious and historical pictures of this style, blending Pre Raphaelite realism with his own highly academic mannerism. — The First Translation of the Bible into English: Wycliffe Reading His Translation of the Bible to John of Gaunt Date (1848, 119x154cm) — William Tell's Son — The English Boy _ Note the similarity and subtle differences between these two portraits. — Manfred on the Jungfrau (1861) _ Inspired by Byron's Manfred. — The Finding of Don Juan by Haidee (1878) _ The subject of this painting is taken from Byron's Don Juan, Canto II, verses 110-112. — Lear and Cordelia (1854) _ text of Shakespeare's King Lear Act I Scene 1 — Romeo and Juliet (1870) _ text of Shakespeare's Romeo and Juliet — William Shakespeare — The Seeds and Fruits of English Poetry (1853, 34x46cm) _ This painting shows Chaucer reading at the court of Edward III with his patron, the Black Prince, on his left. In the wings appear the 'fruits' of English poetry: Milton, Spenser and Shakespeare on the left; Byron, Pope and Burns on the right; Goldsmith [10 Nov 1730 – 04 Apr 1774] and Thomson [11 Sep 1700 – 27 Aug 1748] in the roundels; and the names of Campbell, Moore, Shelley, Keats, Chatterton, Kirke White, Coleridge, and Wordsworth are written on the cartouches held by the standing children in the base. — The Last of England (1855, 81x74cm) _ This is his best-known picture. It was inspired by the departure of Woolner, the Pre-Raphaelite sculptor, for Australia, and deals with the great emigration movement which attained its peak in 1865. Social realism is one more area of the Pre Raphaelite movement where Brown made an important contribution. It is also prominent in the picture Work. — Stages of Cruelty (1890) _ The title refers to William Hogarth's engravings on the theme of cruelty of animals leading to cruelty to humans. — The Pretty Baa-Lambs (1859, 61x76cm; _ ZOOMable) _ detail _ One of his first Pre Raphaelite paintings was The Pretty Baa-Lambs first exhibited in 1852 which he painted outdoors in full sunlight. It is an uncompromisingly truthful picture and shows how determined Brown must have turned to the Pre Raphaelite style. Browns first important landscape in the Pre Raphaelite style. It was painted at Stockwell, in South London where the artist had been living and exhibited at the Royal Academy in 1852. Brown wrote in his diary that the picture 'was painted almost entirely in sunlight which twice gave me fever while painting ... The lambs and sheep used to be bought every morning from Clapham Common in a truck; one of them ate all the flowers one morning in the garden, and they used to behave very ill.' His wife and daughter modeled for the figures. — Chaucer at the Court of Edward III (1851, 372x296cm; _ ZOOMable) — Work (1863, 135x196cm) _ detail (_ ZOOMable) _ Ford Madox Brown had the idea for Work after seeing a group of navvies laying water pipes in Heath Street, Hampstead, London. Much of the painting was done on the spot in the open air. The famous anthology piece Work shows Brown's dedicated craftsmanship and brilliant coloring, but is somewhat swamped by its social idealism. Brown describes how the picture was painted 'To insure that peculiar look of light all round which objects have on a dull day at sea, it was painted for the most part in the open air on dull days, and, when the flesh was being painted, on cold days. Absolutely without regard to art of any period or country, I have tried to render this scene as it would appear.' This comment reflects the fearless honest search for reality which was also typical of Holman Hunt. — Head of a Page Boy (1837, 36x31cm; _ ZOOMable) — May Memories (43x33cm) — Elijah Restoring the Widow's Son (1868, 94x61cm) — The Coat of Many Colors (1867) |
| Fit fuga regis apparitorum atque comitum; ipse prope exsanguis cum sine regio comitatu domum se reciperet ab iis qui missi ab Tarquinio fugientem consecuti erant interficitur. Creditur, quia non abhorret a cetero scelere, admonitu Tulliae id factum. Carpento certe, id quod satis constat, in forum invecta nec reverita coetum virorum evocavit virum e curia regemque prima appellavit. A quo facessere iussa ex tanto tumultu cum se domum reciperet pervenissetque ad summum Cyprium vicum, ubi Dianium nuper fuit, flectenti carpentum dextra in Vrbium clivum ut in collem Esquiliarum eveheretur, restitit pavidus atque inhibuit frenos is qui iumenta agebat iacentemque dominae Servium trucidatum ostendit. Foedum inhumanumque inde traditur scelus monumentoque locus est — Sceleratum vicum vocant — quo amens, agitantibus furiis sororis ac viri, Tullia per patris corpus carpentum egisse fertur, partemque sanguinis ac caedis paternae cruento vehiculo, contaminata ipsa respersaque, tulisse ad penates suos virique sui, quibus iratis malo regni principio similes propediem exitus sequerentur. |
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