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DEATHS: 1935 THORBURN — 1907 WINDUS — 1874 GOENEUTTE — 1886 CASADO
BIRTHS: 1874 ROERICH — 1840 SOLOMON — 1848 DUVENECK
^ Died on 09 October 1935: Archibald Thorburn, British painter, specialized in birds, born on 31 May 1860. — {Was he born completely hairless? or did he suffer a sore burn over all his scalp before his lisping parents named him?}
— Born in Edinburgh, the son of a miniaturist who worked for Queen Victoria, he was taught to paint by his father and he first exhibited at the RSA at the age of ten. During the 1880's he produced a number of illustrations for books including 268 of the 421 plates in Lord Lilford of Northampton's Coloured Figures of the Birds of the British Islands (1888). He continued to illustrate books and his British Birds, which first appeared in 1915-1916, met with huge popularity. Thorburn settled in London in 1885, moving in 1902 to a country house near Godalming. He returned each year to Scotland to draw, working these drawings into full-scale watercolors at his studio. He rarely worked in oil, preferring the delicacy of watercolor, but he made extensive use of Chinese white and this often has the appearance of oils. Thorburn had a wonderful gift for placing his bird subjects in harmonious surroundings. He often sketched in the Forest of Gaick in Inverness-shire and was able to capture the different seasons. Some of his watercolors of ptarmigan in winter plumage seen against a snow landscape are masterpieces of tonal painting. Although he was best known for his birds, he also painted deer and other Highland animals.

LINKS
–- Cock and Hens Red Grouse High on the Moor (1918, 37x54cm; 1325x2390pix, 241kb, cropped of excess sky _ or complete 1575x2390pix, 262kb) _ In the distance, out of a fold among the purple-clad hillsides a covey of at least 21 red grouse emerges in rapid flight, the birds whirring their way towards a neighboring covey of some 12 taking its ease on the brow of a hill in the foreground. As the passing clouds spread quick-moving shadows across the rolling slopes below, the birds relax for a while on this warm autumn day amid the heather, their home throughout the year.
A Greenland, or Gyr Falcon
Great bustards (1925, 20x28cm)
Bluetits on a Teasel (1922, 37x27cm)
Buffel-headed duck, American green-winged teal and hooded merganser (1922, 35x48cm)
A Golden Eagle (1916, 26x18cm)
Red Partridges (1913, 27x36cm)
Common Eider Ducks (1912, 51x41cm)
Woodcock Nesting On A Beach (1910, 27x37cm)
Pintail, Teal and Wigeon, on the Seashore (1906, 18x25cm)
Magpies (1905, 52x36cm)
English Partridge In Flight (1898, 36x52cm)
Cock Grouse 1893, 34x45cm)
A Cock Pheasant (30x44cm)
A Nepalese black-headed nun in the branch of a tree (25x30cm)
Study of sandpipers, cream-coloured coursers and other birds (33x25cm)
Dormice (1919, 27x19cm)
Indian Houbara Bustard. Otis macqueeni (1920, 15x20cm; 587x800, 43kb)
–- S*>#Peregrine Falcon (23x19cm)
–- S*>#Rabbits (11x11cm)
–- S*>#Red Grouse on the Moor (19x28cm)
–- S*>#A Bramling and a Pair of Chaffinches (28x19cm)

—(091007)
^ Born on 09 October (27 September Julian) 1874: Nikolai Konstantinovich Roerich (or Rerikh), Russian artist who died on 13 December 1947.
— Nicholas Roerich was a Russian-born artist who became a cultural figure of global significance, a passionate promoter through his art and writings of an increased appreciation of the value to the world of the cultural heritage of all nations, and of the ways in which this appreciation can help to achieve peace in the world.
E A R L Y    Y E A R S
— Roerich was born in St. Petersburg, the first-born son of lawyer and notary, Konstantin Roerich, and his wife Maria. He was raised in the comfortable environment of an upper middle-class Russian family with its advantages of contact with the writers, artists, and scientists who often came to visits. He developed interests in collecting prehistoric artifacts, coins, and minerals, and built his own arboretum for the study of plants and trees. By the age of sixteen he began to think about pursuing a career as an artist. But his father insisted that he study law. As a compromise, in the fall of 1893 Nicholas enrolled simultaneously in the Academy of Art and at St. Petersburg University.
— In 1895 Roerich met the prominent writer, critic, and historian, Vladimir Stasov. Through him he was introduced to many of the composers and artists of the time — Mussorgsky, Rimsky-Korsakov, Stravinsky, and the basso Fyodor Chaliapin. At concerts at the Court Conservatory he heard the works of Glazunov, Liadov, Arensky, Wagner, Scriabin, and Prokofiev for the first time, and developed enthusiasm for music. Wagner in particular appealed to him, and later, during his career as a theater designer, he created designs for most of that composer's operas. Moreover, musical terms and analogies can appropriately be applied to Roerich's painting. He frequently related music to the use of color and color harmonies, and applied this sense to his designs for opera. The original force of Roerich's work consists in a masterly and marked symmetry and a definite rhythm, like the melody of an epic song.
— The late 1890's saw a blossoming in Russian arts, particularly in St. Petersburg, led by the young Sergei Diaghilev,  who was a year or two ahead of Roerich at law school and was among the first to appreciate his talents as a painter and student of the Russian past.
— Diaghilev, with Princess Maria Tenisheva and others, founded the short~lived magazine The World of Art, the enemy of the academicians, the sentimentalists, and the realists. It introduced to its readership European post-impressionism and the modernist movement. Roerich contributed to it and sat on its editorial board. Other Russian painters involved were Alexandre Benois and Leon Bakst, who later became Roerich's co-workers in the early days of Diaghilev's Ballets Russes.
— After finishing his university thesis, Roerich set off for a year in Europe to visit the museums, exhibitions, studios, and salons of Paris and Berlin. On his return he married Helena, daughter of the architect Shaposhnikov and niece of the composer Mussorgsky.
— Later, in New York, Nicholas and Helena Roerich founded the Agni Yoga Society, which espoused a living ethic encompassing and synthesizing the philosophies and religious teachings of all ages.
— Roerich obtained the position of Secretary of the School of the Society for the Encouragement of Art, later becoming its head, the first of many positions that Roerich would occupy as a teacher and spokesman for the arts.
— At the Society Roerich instituted a system of training in art that seems revolutionary even by today's standards: to teach all the arts — painting, music, singing, dance, theater, and the so-called “industrial arts”, such as ceramics, painting on porcelain, pottery, and mechanical drawing — under one roof, and to give his faculty free rein to design their own curriculum.
— In the summers of 1903 and 1904, the Roerichs made an extended tour of forty cities throughout Russia, to contrast the styles and historical context of Russian architecture. Nicholas painted a series of seventy-five works depicting ancient monuments, churches, city walls, and castles.
— In 1904 Roerich painted the first of his paintings on religious themes. These mostly dealt with Russian saints and legends, and included Message to Tiron, Fiery Furnace, and The Last Angel, subjects that he returned to with numerous variants in later years. InThe Treasure of the Angels a host of angels in white garments stand silently row after row guarding a mysterious treasure with which are bound up the destinies of the world. It is a blue black stone with an image of the crucifix cut into it, glowing with emerald hues. The angels are an early depiction of the hierarchical Masters that peopled the heart of Roerich's belief in a Great Brotherhood, watching over and guiding humanity in its eternal journey of evolution. The “stone” pictured by Roerich is the representation of an image that recurs in different forms in his paintings and throughout his writings. The word “treasure” figures prominently in the titles of many of Roerich's paintings, as, for instance, in The Treasure of the Mountain and Hidden Treasure. It is not material wealth that he refers to, but rather the hidden spiritual treasures.
— Meanwhile Roerich's search for archeological treasures continued. The Stone Age particularly intrigued him. His paintings frequently reflected this interest, as in Three Glaives in which the subject matter is archeological in nature, and relates to an ancient legend. Roerich wrote about the unusual similarity of Stone Age techniques and methods of ornamentation in far-separated regions of the globe.
T H E  T H E A T R I C A L   Y E A R S
— In 1906, Sergei Diaghilev arranged an exhibition of Russian paintings in Paris. These included sixteen works by Nicholas Roerich. In 1909 he presented Fyodor Chaliapin in Rimsky~Korsakov's Ivan the Terrible, with costumes and sets designed by Roerich. In the Polovtsian Dances from Borodin's Prince Igor, also designed by Roerich, and in other ballets, Diaghilev introduced a corps of Russian dancers that later became famous as the Ballets Russes. Roerich's designs furthered his reputation for the telling depiction of ancient cultures and their practices.
— Diaghilev pioneered an art form that involved the collaboration of the designer as “auteur.” Thus Alexandre Benois influenced the creation of the ballet Petrouchka, and Nicholas Roerich was the prime mover and, with Igor Stravinsky, the co-creator of the ballet Le Sacre du Printemps, or, The Rite of Spring.
— At first entitled The Great Sacrifice: a Tableau of Pagan Russia, the motif for the ballet grew out of Roerich's absorption with antiquity and, as he wrote in a letter to Diaghilev, “the beautiful cosmogony of earth and sky.” In the ballet Roerich sought to express the primitive rites of ancient man as he welcomed spring, the life-giver, and made sacrifice to Yarilo, the Sun God. It was a story unlike that of any ballet before it. Stravinsky's score and Nijinsky's choreography were equally unusual.
— At the opening in Paris on 29 May 1913, people shouted insults, howled and whistled, drowning out the music.
Sacre represented the culmination of Roerich's collaboration with Diaghilev.
T H E   C L O U D S   O F   W A R
In the years immediately preceding World War I, Roerich's paintings symbolically depicted the awful scale of the conflict he sensed descending upon the world. These works marked the birth of Roerich the “prophet.”
— In Battle in the Heavens Roerich used the violent contrast of light and darkness to suggest the terrible events that would soon overtake Russia and all Europe.
— By this time, in his depiction of both historical and natural themes, symbolism and the use of allegory had become essential ingredients in his work. He populated his world not with participants in transitory dramas and comedies, but with spokesmen for the most steadfast ideas about the truth of life, the millennial struggle of good and evil, the triumphal procession of a bright future for all.
T R A V E L   T O   O T H E R   S H O R E S
— In 1915 Roerich became ill with pneumonia, and was sent by his doctor to recuperate with his family in Sortavala, Finland. This was a period of great unrest the world over, and no less so in the lives of the Roerich family. In Roerich's paintings of the period, such as Karelia — Eternal Expectation and The Waiting Woman the cold, austere countryside of rocks and uninhabited shores of the north seems to express a sense of poignant longing. In The Waiting Woman, her gaze is fixed on the horizon as if she awaits some sign of the return of long-gone voyagers.
— By 1917 the revolution was raging in Russia and returning there would have been dangerous. A Swedish entrepreneur invited Reorich to exhibit his paintings in Stockholm. From there the family proceeded to London, where Sir Thomas Beecham had invited Roerich to design a new production of Prince Igor for the Covent Garden Opera.
A M E R I C A
— Meanwhile, an invitation to come to America was extended by the Chicago Art Institute. The tour opened successfully at the Kingore Gallery in New York in 1920. In addition to exhibiting over 400 paintings there and in many cities throughout the United States, Roerich designed the scenery and costumes for productions of The Snow Maiden, and Tristan and Isolde for the Chicago Opera Company.
      During his travels in the US, Roerich painted a series in New Mexico, and the Ocean Series in Monhegan, Maine, where the family spent a summer.
— In 1921, in New York, Roerich founded the Master Institute of United Arts, in which he planned to realize the educational concepts he had incorporated into the curriculum in St. Petersburg. He attracted a talented group of instructors. They included Deems Taylor, teaching musical theory and composition, Robert Edmund Jones and Lee Simonson, teaching theater design, and top quality instructors in courses that included all musical instruments, aspects of painting and drawing, design and illustration, sculpture, architecture, ballet, drama, journalism, and languages — and lectures were presented by noted individuals such as George Bellows, Claude Bragdon, Norman Bel Geddes, and Stark Young.
— The Master Institute flourished, but it did not survive beyond 1937 during the Great Depression.
— It was not until 1949 that the institution was reborn as Nicholas Roerich Museum.
— An orientation toward Eastern spiritual values is reflected in much of Roerich's creative work of the time. This is seen in his Ocean Series — the three paintings, Himself Came, The Bridge of Glory, and Miracle demonstrate the spiritual power that was beginning to characterize his work. In The Bridge of Glory, Saint Sergius of Radonezh walks in contemplation before a blue bridge formed by the aurora borealis, Roerich's metaphor for the future spiritual bridge that will connect heaven and earth.
— Between 1916 and 1919 Roerich had written a collection of sixty-four blank verse poems that were published in Berlin, in Russian, under the title Flowers of Morya, and subsequently published in English as Flame in Chalice. These poems evoke some of the images that Roerich later used in his paintings.
— At the core of Roerich's belief system is the Hindu concept of a beginningless and endless universe which manifests itself in recurring cycles of creation and dissolution of material forms caused by the pulsation of divine energy. On the human plane, this means the rise and fall of civilizations and, in terms of individual life, the reincarnation of a soul...” As Roerich, the poet, writes, in the poem About the Eternal:
Brother, let us abandon
all that rapidly changes.
Otherwise we will not have time
to turn our thoughts to that
which is changeless for all.
To the eternal.
In May, 1923, the Roerichs were on their way to India.
I N D I A
— The Roerichs landed in Bombay in December 1923, and began a tour of cultural centers and historic sites, meeting Indian scientists, scholars, artists, and writers along the way. By the end of December they were in Sikkim on the southern slopes of the Himalayas.
— They initiated a journey of exploration that would take them into Chinese Turkestan, Altai, Mongolia and Tibet, where they planned to study the religions, languages, customs, and culture of the inhabitants.
— Roerich wrote about this first Central Asiatic Expedition in his book Heart of Asia, and he creates for the reader a vivid account of the wonder of the land and its people. However, the images are nowhere as vivid as in the five hundred or so paintings that resulted from the trek. In Kanchenjunga, Sikkim Pass, His Country, The Great Spirit of the Himalayas, and the Banners of the East series, we can see philosophical concepts and ideas giving birth to visual images, and the splendor of Northern India providing the physical setting.
— In The Path, the figure of Christ leads the way along a tortuous path through crags and peaks of the Himalayas, a metaphor for the hazardous obstacles confronting the spiritual journeyer. Eastern religious figures and concepts appear in the paintings, important among these being the images of the Lord Maitreya — the Buddhist Messiah, the Kalki-Avatar of the Puranas, Rigden Jyepo of Mongolia, or the White Burkhan of Altai — all of whom are described in legends that link them with the Ruler of Shambhala, who is destined to appear on earth for the final destruction of the wicked, the renovation of creation and the restoration of purity.
— Roerich's Banners of the East series of nineteen paintings depicting the world's religious teachers, Mohammed, Jesus, Moses, Confucius, and Buddha, and the Indian and Christian saints and sages, was a testimonial to the unity of religious striving and the common roots of man's faith.
— At counterpoint to these themes in Roerich's painting is the image of Woman and her destined role in the coming era.
— Nicholas Roerich depicted the great female deities in such paintings as She Who Leads, Madonna Laboris, and The Mother of the World. This latter conception, equivalent to the Lakshmi and Kali of India, is one of Roerich's most inspiring images, rendered with majesty in deep tones of blue and violet.
— At the end of their major expedition, in 1928, the family settled in the Kullu Valley at an elevation of 2000 meters in the Himalayan foothills, with a magnificent view of the valley and the surrounding mountains. Under the direction of their father the two Roerich sons, George and Svetoslav, established a collection of medicinal herbs, and made extensive studies in botany and ancient medical lore, as well as in Tibetan and Chinese pharmacopoeia.
— In the following year, on a trip back to New York for the opening of the Roerich Museum's new premises, Roerich, using the Red Cross as an example, proposed a treaty for the protection of cultural treasures during times of both war and peace. He drafted a Pact, and designed a flag which he called the Banner of Peace: three spheres surrounded by a circle, in magenta color on a white background. Of the many national and individual interpretations of this symbol, the most usual are perhaps those of Religion, Art and Science as aspects of Culture, which is the surrounding circle; or of past, present, and future achievements of humanity guarded within the circle of Eternity. The symbol can be seen in the seal of Tamerlane, in Tibetan, Caucasian, and Scandinavian jewelry, and on Byzantine and Roman artifacts. The image of the Strasbourg Madonna is adorned with it. It can be seen in many of Roerich's paintings, most notably Madonna Oriflamma, in which Woman is depicted as the carrier and defender of the Banner. In this sign and the motto, “Pax Cultura”, that accompanies it, is symbolized Roerich's vision for humanity. On 15 April 1935, the nations of the Americas, members of the Pan American Union, signed The Roerich Pact, in the White House in Washington.
— In Roerich's Himalayan paintings can be seen the sense of drama, the urgency of a message to send or receive, a traveler to greet, a mission to perform, a path to travel. The towering mountains stand for the spiritual goals that humanity must set for itself. Roerich urges people on to their spiritual destiny and reminds them of their duty to prepare for the New Era in which Rigden Jyepo will gather his army and under the Banner of Light defeat the host of darkness.
— Nicholas Roerich died in Kullu on 13 December 1947. He had painted nearly seven thousand works.

LINKS
Message to Tiron (1940, 76x122cm)
Helena Roerich
Fiery Furnace
The Treasure of the Mountain
Hidden Treasure
Three Glaives
Le Sacre du Printemps
Cry of the Serpent
Battle in the Heavens
Snow Slopes
The Great Spirit of the Himalayas
The Path
Command of Rigden Djapo
Mohammed
She Who Leads
Madonna Oriflamma
–- The Battle (lithograph, 13x30cm; 550x1282pix, 133kb) _ a medieval naval battle, mostly monochrome bluish gray, with red sails and shields.
—(061008)
^ Died on 09 October 1907: William Lindsay Windus, English painter born on 08 July 1822.
— Windus worked in Liverpool, where he was elected a member of the Liverpool Academy in 1848. In 1850 he saw a painting by Millais at the Royal Academy in London and joined the cause of the Pre-Raphaelite Brotherhood. His first important work was Burd Helen, exhibited at the Royal Academy in 1856. The harsh criticism of John Ruskin so discouraged Windus that he stopped painting in 1859 and no longer exhibited his work.
— Windus was trained in his native Liverpool, chiefly under a local portrait painter, William Daniels [1813–1880], and at the Liverpool Academy, where he exhibited from 1845 and was an active member from 1848. He first painted figure compositions of historical themes and subjects taken from Shakespeare and Scott, modeled stylistically on William Etty and using bitumen for romantic light effects. An example is the compelling Anne Askew in Prison (1849). At the suggestion of his patron John Miller, in 1850 Windus visited London, where, at the Royal Academy he the controversial Christ in the Carpenter’s Shop (593x942pix, 112kb) by Millais. Windus became the leader of a small group of sympathetic artists at the Liverpool Academy, including William Davis, who emulated the style of the Pre-Raphaelites. During the 1850s they awarded a £50 prize almost annually to Pre-Raphaelite painters, including Holman Hunt, Millais, and Madox Brown, and associated and exhibited with them at the Hogarth Club, London, between 1858 and 1861. Added to his concern for moral seriousness of subject, this Pre-Raphaelite influence led Windus to an exploration of natural lighting in outdoor settings and to fine brushwork, but in a tentative, muted color range. These characteristics first appeared in Burd Helen, an illustration of a Scottish ballad and his first work to be exhibited at the Royal Academy in 1856. There Rossetti brought it to the attention of Ruskin, whose enthusiastic review appeared in his Academy Notes. Ruskin called it the second picture of the year after Millais’s and ‘thoughtful and intense in the highest degree’, although this appraisal was totally reversed in his later dismissal of the modern subject of Too Late, which Windus nevertheless considered his best work. Apart from these works, only two later small landscapes can be called Pre-Raphaelite: The Outlaw (1862) and The Stray Lamb.

LINKS
Self-portrait
Burd Helen (1856, 84x67cm)
Too Late (1858, 95x76cm) _ The subject is taken from Tennyson's poem Come not, when I am dead [see below], and represents the belated return of a lover to a woman dying of consumption. The agitated and haunted expression of the central figure tells the story of her ruined health and broken heart. Exhibited at the Royal Academy in 1859, it was demolished by Windus's former admirer, the art critic Ruskin, who claimed that Windus had 'sickened his temper and dimmed his sight by reading melancholy ballads'.
     Come not, when I am dead,
To drop thy foolish tears upon my grave,
To trample round my fallen head,
And vex the unhappy dust thou wouldst not save.
There let the wind sweep and the plover cry;
But thou, go by.
     Child, if it were thine error or thy crime
I care no longer, being all unblest:
Wed whom thou wilt, but I am sick of Time,
And I desire to rest.
Pass on, weak heart, and leave to where I lie:
Go by, go by.

 
^ Born on 09 October 1840: Simeon Solomon, British painter who died on 14 August 1905.
— Two of his seven siblings became painters too: Abraham Solomon [14 May 1823 – 19 Dec 1863] and Rebecca Solomon [26 Sep 1832 – 20 Nov 1886]. Simeon Solomon possessed by far the greatest artistic talent of the family. Having lost his father in early childhood, he looked to his brother Abraham both as substitute father and artistic mentor. He attended F. S. Cary’s Academy in 1852 and followed his brother into the Royal Academy Schools in 1856. However, he preferred the increasingly fashionable Pre-Raphaelite style to the manner of Abraham’s genre subjects. Through Dante Gabriel Rossetti’s influence, he soon mastered the delicacy of Pre-Raphaelite draftsmanship, a talent that is abundantly evident in the pen-and-ink drawing Dante’s First Meeting with Beatrice (1863). Rebecca’s deep Jewish spirituality influenced Simeon’s choice of subjects from the Old Testament and contemporary Jewish life, and he never fully abandoned religious themes. Such biblical oil paintings as The Mother of Moses (1860) and The Child Jeremiah (1861), both exhibited at the Royal Academy, where he showed regularly from 1858 to 1872, reveal his profound spiritual grasp of Hebraic mysticism.
— Simeon Solomon, an orthodox Jew, was an admirer of Rossetti's late aesthetic period. He entered the Royal Academy School in 1855 and exhibited his first picture there in 1860. He was quickly befriended by Rossetti, Burne-Jones and the poet, Algernon Swinburne, along with other members of the Pre-Raphaelite circle. During the 1860s he produced a number of fine drawings, gouaches and oil paintings, mainly of religious subjects, especially depicting Jewish ritual, but also classical and allegorical subjects which combine Pre-Raphaelite and aesthetic ideas in a highly individual way. Although Solomon's pictures owe much to Rossetti and Burne-Jones, especially his allegorical female figures, they have a strong individuality which makes them instantly recognizable. Solomon's career disintegrated when, in February 1873, he was arrested for homosexual offences, after which he was completely shunned by all his former friends, including Swinburne. The remainder of Solomon's career is one of the minor tragedies of the Pre-Raphaelite story. Made a complete social leper by the strength of the Victorian moral code, he steadily gave way to drink and dissipation, ending his days an alcoholic in the Saint-Giles Workhouse in 1905. During his last years he supported himself by making drawings and pastels.

LINKS
Bacchus (1867, 51x38cm; _ ZOOMable to 1614x1220pix, 2028kb) head
— a different Bacchus (600x435pix; 58kb) 3/4 length
‘Babylon hath been a golden cup’ (1859, 27x28cm; _ ZOOMable) monochrome gray with monochrome yellow central figure.
Autumn (_ ZOOMable)
Reverie (_ ZOOMable)
Night (1890, 52x42cm)
Noon (459x576pix, 32kb) mostly a washed-out monochrome.
A Rabbi Holding The Torah (35x25cm)
Shadrach, Meschach and Abednego preserved from the Burning Fiery Furnace (32x33cm)
King Solomon (1874, 40x22cm; 700x598pix)
My Soul and I (551x749pix, 57kb) low-contrast monochrome.
Mary Magdalen (drawing; 600x467pix, 47kb) head
Love Bound and Wounded
(792x463pix, 60kb) low-contrast monochrome.
—(051008)
^ Died on 09 October 1894: Norbert Goeneutte, French painter and engraver born on 23 July 1854.
— In 1871, after working briefly as a lawyer’s clerk, he entered the studio of Isidore Pils at the École des Beaux-Arts. When Pils died in 1875 Henri Lehmann took over the studio and Goeneutte left, moving to Montmartre. There he met Auguste Renoir, for whom he often modeled, and Marcellin Desboutin, who inspired his interest in engraving, etching and drypoint. Although Goeneutte was associated with Manet, Degas, and Renoir, and his work was influenced by them, for instance in the informality of his compositions, he never exhibited with the Impressionist group, preferring instead the official Salons. Every year from 1876 he exhibited several works in the Paris Salon, such as Boulevard de Clichy sous la Neige (1876). He visited London in 1880, Rotterdam in 1887, and Venice in 1890.

LINKS
La Première Larme (1884)
Reine Goeneutte Washing the Young Jean Gérard in the Artist's Studio (1889, 145x115cm; 1000x799pix, 206kb)
Femme sur la Plage (21x32cm)
.—(061019)
^ Born on 09 October 1848: Francis Decker whose name would change to Frank Duveneck, US painter, sculptor, etcher, and teacher, who died on 03 January 1919. — Husband of Elizabeth Lyman Boott Duveneck.
— Noted member of American Realist group, The Eight, Duveneck studied in Germany and established studios in Cincinnati and later in Italy. He was a much sought after teacher and quickly established a national reputation for his candid portraits and scenes of tenements and city life.
— The eldest son of German immigrants Bernard and Katherine Decker, Duveneck, who assumed his stepfather’s name after his father’s death and his mother’s remarriage in 1850, received his early art training in Cincinnati as an apprentice to Johann Schmitt [1825–1898] and Wilhelm Lamprecht [1838–], decorators of Benedictine churches and monasteries. In 1870 he went to Munich to study at the Königliche Akademie, where he was taught by Wilhelm Diez [1839–1907], among others. The school stressed the study of Old Master painters such as Velázquez and Hals and emphasized bravura brushwork. Duveneck was an adept student. His realistic portraits of the 1870s, such as Professor Ludwig von Löfftz (1873), show the sitter placed against a dark background, the face and hands bathed in an intense light and modeled with thick, broad, fleshy brushstrokes.
— Duveneck's students included Joseph Rodefer DeCamp [1858-1923], Karl Albert Buehr [1866-1952], Elizabeth Stanhope Forbes, John H. Twachtman [04 Aug 1853 – 08 Aug 1902], John White Alexander [1856-1915], Robert Frederick Blum [1857-1903], Elizabeth Boott [1846-1888], Charles Abel Corwin [1857-1938], Mary Jencques Coulter [1880-1966], Kenyon Cox [1856-1919], William Fred Foster [1883-1953], Oliver Dennett Grover [1861-1927], George Edward Hopkins [1855-1880], Charles Alfred Meurer [1865-1955], Louis Charles Moeller [1855-1930], Harper Pennington [1853-1920], Julius Rolshoven [1858-1930], Dixie Selden [1868-1935], Julian Russell Story [1857-1919], Theodore Wendel [1859-1932], Eva Almond Withrow [1858-1928].

LINKS
–- Old Lady with Cap (1875, 51x41cm; 740x590pix, 35kb _ .ZOOM to 1110x884pix, 83kb _ .ZOOM+ to 2220x1768pix, 356kb)
–- Madonna and Child (1867; 828x941pix, 69kb _ .ZOOM to 1870x1656pix, 187kb)
The River in Polling (1878, 79x124cm; 502x800pix, 93kb _ ZOOM to 1285x2048pix, 378kb)
A Girl Reading (1877, 61x51cm; 786x651pix _ ZOOM to 1571x1301pix, 286kb)
Caucasian Soldier (1870, 128x105cm; 790x648pix _ ZOOM to 1579x1295pix, 347kb)
The Old Professor (1871, 61x48cm; 800x633pix _ ZOOM to 1600x1265pix, 206kb)
Lady with a Red Hat
A Child's Portrait
Villa Castellani, Bellosguardo
Siesta (1887, 88x164cm; 532x1011pix, 75kb) on the grass a girl sound asleep, a sickle in the foreground, a satchel in the background.
Siesta, Number 2 (1887, 54x110cm; 534x1131pix, 125kb) same or similar girl (now apparently half awake), clothes (except that the apron is now orange instead of pink), hat, grass, sunlit patches in the background; but no sickle or satchel.
Girl with Orange Shawl (51x41cm)
F. B. Duveneck as a Child (1890; 1132x849pix)
43 images at ARC
—(061008)
^ Died on 09 (08?) October 1886: José María Casado del Alisal, Spanish painter and illustrator born on 24 March 1831.
— He began his studies at the Escuela Municipal de Dibujo in Palencia and continued in 1850 at the Escuela Especial de Pintura in Madrid where he was a student of Federico de Madrazo. In 1855 he was awarded a fellowship by the Real Academia de Bellas Artes de San Fernando in Madrid for his Resurrection of Lazarus. He then spent several years in Rome, where he was impressed by the works of Raphael and Michelangelo and he painted such works as A Prisoner (1856) and Semiramis in Dante’s Inferno (1858), which are notable for their skilful drawing and anatomical correctness. His history paintings of this period include Muerte del Conde de Saldaña, and his treatments of this genre led to numerous other successes, such as the Last Moments of Ferdinand IV, ‘El Emplazado’ exhibited at the Exposición Nacional de Bellas Artes in 1857. When his fellowship was renewed in 1860 he moved to Paris, where he painted Taking the Oath in the Cortes of Cádiz of 1810, for the Congreso de los Diputados in Madrid, a painting clearly reminiscent of David’s work. The composition of his
      _ Rendición de Bailén (1863), another painting from his Parisian period, shows the marked influence of Las Lanzas of Velázquez. This and the splendid Portrait of a French Lady were both exhibited at the Exposición Nacional of 1864.

–- El Poeta Bécquer (774x511pix, 31kb)
–- La Tirana (1875, 83x68cm; 800x602pix, 47kb) _ La Tirana es una de las mejores muestras de las obras de "casacón" pintadas por Casado del Alisal durante su estancia en Roma como director de la Academia Española de Bellas Artes. Nos presenta a una bella mujer sentada en un sillón, vistiendo un escotado traje en tonos azules y una chaquetilla de torero con alamares plateados y fondo azulado en sintonía con la falda. En su dedo meñique de la mano izquierda cuelga un abanico de plumas similar al de la Dama con Abanico que acentúa el aspecto decorativo de la composición. Un cortinaje sirve de cierre a la escena, al igual que observamos en Flora. Una vez más Casado exhibe su pincelada minuciosa y detallista así como sus tonalidades vivas y brillantes, obteniendo un resultado muy preciosista, siguiendo la estela de Raimundo de Madrazo. Las críticas recibidas en el momento fueron favorables a la luz, el color y el estilo pero advirtieron escasez de expresividad en el rostro de la dama, falta de brío. Debemos advertir que Casado sí hace hincapié en el gesto de la dama, resaltando el carácter que hace honor a su apelativo.
–- Dama con Abanico  (1875, 79x62cm; 800x604pix, 47kb) _ Durante su segunda estancia romana, Casado del Alisal realizó una serie de figuras femeninas de rico colorido y factura preciosista que tiene bastante relación con las obras de Raimundo de Madrazo. Flora, La Tirana o esta Dama con Abanico que contemplamos son excelentes ejemplos de estos retratos con cierto aire costumbrista e incluso goyesco. La mujer aparece recostada sobre unos almohadones de estampado oriental, de más de medio cuerpo, apoyando sus delicadas manos sobre su regazo, portando en la derecha un abanico de plumas. Su vestido con chaleco de alamares al estilo torero permite apreciar el amplio escote de blanca piel. Las mangas ablusadas de color rosa contrastan con el mantón de Manila amarillo, cuyos bordados apenas son visibles. La mirada lánguida y distante se convierte en la protagonista de este retrato que fue adquirido por el Museo del Prado en 1982 a un coleccionista holandés por 8 millones de pesetas.
–- Flora (1879, 42x30cm; 800x588pix, 48kb) _ Las escenas más características de Casado del Alisal están relacionadas con la pintura de historia pero también ejecutará retratos anónimos femeninos en sintonía con Raimundo de Madrazo. Así surge esta imagen de Flora donde muestra a una joven sentada en un elegante sillón y portando en su regazo una bandeja llena de flores que hacen referencia a su nombre. Flora viste una elegante falda burdeos mientras que un chal blanco con bordados dorados cubre su torso, dejando el hombro derecho al descubierto para acentuar su sensualidad. Un collar de perlas con varias vueltas y una pulsera similar completan los adornos de la figura. Las tonalidades empleadas por Casado son brillantes, como era habitual en su etapa romana, utilizando una pincelada precisa y minuciosa que detalla a la perfección excepto el cortinaje del fondo, donde la pincelada es más rápida y suelta. Su exquisito dibujo completa una obra de gran calidad y sugerente efecto decorativo.
–- S*>#Odalisque (25x36cm; 510x746pix, 123kb)
—(051008)

Died on a 09 October:

Mohassess
2008 Ardeshir Mohassess (or Ardashir Mohases or Mohasses) [09 Sep 1938–], Iranian who considered himself a “cartoon reporter”. His cartoons were an almost Surrealist satire of Iran. They were both popular and profound; with slain and mutilated shahs, mullahs, and ordinary citizens; sardonic captions; and stylistic references to ancient art forms.He was often compared with Saul Steinberg [] for the satire and style of his cartoons, but he also drew inspiration from artists such as Daumier [] and Picasso [], as well as from Iranian religious art of the 16th and 17th centuries. His “cartoon reports” are aimed at Iran’s selfishness, tyranny, hypocrisy and injustice, not to mention gluttony and verbosity. Mohassess’s target was broader than any single government, but he fled to New York in 1976, after Shah Mohammed Reza Pahlavi [], who ruled Iran from 1941 to 1979, objected to his work. His transparantly anti-shah cartoons are disguised in settings and costumes of the Qajar dynasty of 1794 to 1925. After the Ayatollah Khomeini [] came to power in the Islamic revolution of 1979, Mohassess took more direct aim at the new religious government: lines of decapitated corpses are laid neatly before seated mullahs (in a 2000drawing); the shah dangles from a noose over a sour-faced mob in turbans; a man wearing a turban draws a picture of his own amputated feet; resting on pedestals which are his own surreally upturned lower legs. The captions are sarcastic, for example: “The convict’s execution coincided with the king’s birthday ceremonies”. There is not much laughter in his cartoons, and where it can be heard it is hard and dry as a bone.The effect is a world torn apart, dismembered, where the frontiers between man and beast have been abolished. The visual metaphors could apply to any number of political situations, though they were aimed at the injustices perpetrated under the Shah. The pictures combine influences from the Islamic miniaturist tradition and modernist Surrealism with ironical titles In Current Event in Iran (1977) shouting demonstrators pass through a shooting spree, a crowd of men lift their right arms in the air, oblivious to the bullet holes in their bodies. During the Shah’s final days, Mohassess draws him dangling from a noose over a mob of sour-faced men in turbans, and captioned this The king is always above the people. Over the years both the change in political rulers and the artist’s own poor health due to Parkinson’s disease, resulted in images increasingly abstract and stark.
      The mother of Ardeshir was a poet and headmistress of the first school for women in Rasht; his father was a judge, and his maternal grandmother painted at home. At 3, the boy began drawing characters from his mother’s bedtime stories. He published his first cartoon in 1951, Mohassess earned degrees in both political science and law from the University of Tehran, then worked as a librarian in the library of Iran’s housing ministry. He quit because he had read most of the books in the library and feared becoming addicted to a monthly salary. He next began to draw cartoons for the daily newspaper Keyhan. He was at first unpaid, but made one demand, that the newspaper not make any modifications whatsoever in his work. He began to get good reviews and published his first anthology in 1971. His popularity provoked interest by Savak, the shah’s secret police. When they saw a reference to tortured political prisoners in his headless and limbless figures, he responded by drawing figures with several heads and many limbs. The pressure worsened when the shah complained to the Keyshan editor that Mohassess was transmitting seditious messages in code. “Don’t print what you don’t understand”, the shah said. With his jobs drying up, Mohassess settled permanently in New York in 1977. His eclectic influences included centuries-old Shiite art depicting eye-popping violence. Despite having Parkinson’s disease, he worked almost until his death. Mohassess had a knack for making controversial remarks, such as his comment that the exploited must share responsibility for their plight with the exploiters. He also said: “I do not believe in an ideal society. I do not need an ideal society either, as there is no need for me in such a society.
–- (strafing Muslims?) (820x1104pix, 80kb) _ A comically dilapidated Iranian government aircraft strafes praying Muslims.
–- Against the Wall (1075x1474pix, 106kb)
–- untitled (1200x569pix, 85kb) Beglari with a giant flower.
(puppet master?) (681x1072pix)
(peacock government?) (1950x1525pix)
(hanging?) (1730x1171pix, 268kb)
book cover (2311x1723pix) of Of Cats and Rats, the tale-poem by Obeyd Zaakaani adapted to English by Esmail Khoi. _ The pseudonymous Hardshirt Molassess is working on transforming this.
Dancers (779x500pix, 155kb) .
The Clowns 1 (1984; 1043x500pix, 169kb) .
The Clowns 2 (522x500pix, 134kb) .
Vis and Ramin (1983; 725x500pix, 169kb) .
Martyrdom in Dance (1987; 751x500pix, 219kb) .
Haji Firooz (752x500pix, 149kb) .
Don Quixote (1983; 663x500pix, 97kb) —(081020)

^ 1984 John Richard Passmore, Sydney Australian painter born on 04 February 1904.
–- S*>#Figures and Trees (407x907pix, 19kb) —(060429)

^ 1972 Giuseppe Capogrossi, Roman painter born on 07 March 1900. Il padre, Guglielmo, appartiene a un'antica e nobile famiglia romana, quella dei conti Capogrossi Guarna. La madre, Beatrice Tacchi Venturi proviene da una famiglia originaria di San Severino Marche. Una figura determinante per l'artista è costituita da un fratello della madre, Pietro Tacchi Venturi, segretario generale della Compagnia del Gesùe e un noto storico delle religioni. Terminati gli studi classici, nel 1918 combatte sull'Adamello (Trentino). Nel 1922 conseguita la laurea in giusriprudenza lo zio gesuita lo introduce nello studio professionale di Giambattista Conti, affreschista e grafico. Qui ricopre il ruolo di apprendista, ma nello stesso tempo disegna e dipinge dal vero composizioni di oggetti, ritrae compagni di lavoro ed esegue copie dai grandi maestri (Michelangelo, Piero della Francesca). Nel 1923 passa nella scuola di Nudo di Felice Carena, a Roma tra le più accreditate. Qui dipinge nature morte e ritratti femminili e diventa amico del giovane pugliese, Emanuele Cavalli. Intorno al 1925 frequenta la Casa d'Arte Bragaglia. Esordisce nel 1927 in una personale insieme a Cavalli e Francesco Di Cocco organizzata nell' hotel Dinesen. Vi espone opere di piccolo formato: un Autoritratto (acquistato con ogni probabilità da Emanuele Fiano), qualche paesaggio e alcune vedute di Roma. Tra il 1927 e il 1931 compie ripetuti soggiorni a Parigi, dei quali purtroppo manca una ancora una sufficiente documentazione. Nel 1930 è ammesso alla XVII Esposizione Biennale Internazionale d'Arte di Venezia. Nel 1931 stringe un sodalizio con Cavalli, esteso di lì a poco anche a Corrado Cagli. Nel 1932 alla III Mostra del Sindacato Regionale Fascista Belle Arti del Lazio espone sette quadri, tra cui Arlecchino (1931), Donna con velo (1931), che risentono ancora dei suoi studi parigini (gli impressionisti, Picasso, André Derain). Il nuovo sodalizio è appoggiato da Pier Maria Bardi, direttore della Galleria di Roma. Qui nel 1932 espone insieme a Cavalli e Cagli. Agli inizi del 1933 a Milano Capogrossi e gli altri due sodali espongono come "Gruppo dei nuovi pittori romani" nella Galleria del Milione, epicentro dell'Astrattismo italiano. In ottobre decidono di stilare il Manifesto del Primordialismo Plastico, ma in seguito a divergenze teoriche e pratiche sciolgono il sodalizio. In dicembre a Parigi tuttavia prende parte nella Galerie Jacques Bonjean a l"'Exposition des Peintres Romains" con Capogrossi, Cavalli, Cagli e Sclavi, presentati da Waldemar George come "Ecole de Rome". Nel 1935 a Roma alla II Quadriennale d'Arte Nazionale espone un gruppo di opere tra cui Ritratto del pittore Paladini (1933), Giocatore di ping-pong (1933), Ritratto (1934) e Piena sul Tevere (1934) tra i suoi capolavori del periodo tonale. La critica lo riconosce tra i protagonisti del rinnovamento della pittura romana. Nel 1937 è presente in tre mostre internazionali: nel 'The 1937 International Exhibition of Paintings" di Pittsburgh (Ballo sul fiume vince il secondo premio), nell"'Anthology of Contemporary Italian Painting" della Cometa Art Gallery di New York e una rassegna di arte italiana nell'Akademie der Kunste di Berlino. Nel 1939 ha una sala personale alla III Quadriennale di Roma. Nel 1942 vince un premio al IV Premio Bergamo con il dipinto Ballerina.In questi anni nella sua pittura, riflettendo anche su Cézanne, avvia una trasformazione per cui il colore si accende nelle gamme dei rossi, viola e arancio, mentre la pennellata si anima. Nel 1946 inaugura nella Galleria San Marco la sua prima personale: una nutrita rassegna di opere dal 1927 al 1946. Dal 1947 soggiorna ripetutamente in Austria, nei pressi di Lienz, dove disegna cataste di legna, che gli suggeriscono forme sempre più geometrizzate. Nel 1948 alla XXIV Biennale di Venezia presenta Le due chitarre (1948), frutto della nuova fase neocubista. Nel 1950 a Roma con grande scandalo della critica esordisce con la nuova produzione astratta nella Galleria del Secolo.. Nel 1964 Capogrossi dichiarerà di essere semplicemente in una fase più avanti del figurativo, in cui le forme naturali non sono più imitate ma assimilate. Negli anni del dopoguerra le sue ricerche sul segno lo affermeranno come uno dei maggiori esponenti dell’Informale in campo internazionale.
–- Composition (1950; 416x600pix, 34kb_ .ZOOM to 1092x1575pix, 113kb) _ The limited range of shapes and colors in this picture has been extraordinarily expanded by the pseudonymous O. Paco Capogiro as he transformed it into the symmetrical
      _ Campo Sitio aka Pack Cap (2006; screen filling, 199kb _ ZOOM to 1864x2636pix, 1471kb)
Superficie 222 (1957, 85x65cm; 1526x1181pix, 1961kb) —(071007)

^ 1841 Karl Friedrich Schinkel, German architect, painter, and stage designer, born on 13 March 1781. He was the greatest architect in 19th-century Germany, and his most important surviving buildings in Berlin and Potsdam show his sense of German idealism and technical mastery. He became Geheimer Oberlandesbaudirektor of the Prussian state and influenced many architects in Germany and abroad.
      At an early age Schinkel expressed the wish to become an architect. He went for an education to the famous Gilly family. After the death of Friedrich Gilly, Schinkel finished works that his friend and teacher had started. With the money he earned he went on a study journey to Italy. When he returned in 1805, there was no work because Prussia suffered under a Napoleontic occupation, so he started painting. In 1826 he made a journey to England, where he visited the museums and industrial buildings. He was fascinated by the technical progress that was made in Britain. After Prinz Otto of Bayern was chosen as king of Greece, he was asked to build a palace on the Acropolis in 1832. He was the greatest architect in 19th-century Germany, and his most important surviving buildings in Berlin and Potsdam show his sense of German idealism and technical mastery. He became Geheimer Oberlandesbaudirektor of the Prussian state and influenced many architects in Germany and abroad.
— The assistants of Schinkel included Johann Erdmann Hummel, Ludwig Persius, August Soller, Wilhelm Stier, Ludwig Wichmann, Ernst Friedrich Zwirner.
— The students of Schinkel included Friedrich Hitzig, Carl Friedrich Lessing, Ferdinand von Quast.
LINKS
Mittelalterliche Stadt an einem Fluss (1815).
The Banks of the Spree near Stralau (1817, 36x45cm; 800x993pix, 87kb)
The Gate in the Rocks (1818, 74x48 cm; 1171x750pix, 108kb)
Stage set for Mozart's Magic Flute (1815, 46x62cm; 778x1025pix, 125kb)
Medieval Town by Water (1814, 94x126cm; 909x1235pix, 143kb)
Morning (1813, 76x102cm; 770x1055pix, 115kb)
The Queen Of The Night (1815)
Medieval Town by Water (1813, 94x126cm)
Gothic Cloister Ruins and Groups of Trees (600x1612pix, kb)
Der Rugard auf Rügen (1821, 600x1600pix, kb)
Antike Stadt an einem Berg (1807, 600x940pix, kb)
Schloss am Strom (1820; 600x848pix, kb)
Blick auf den Mont Blanc (1813; 600x684pix, kb)
Gothische Kirche auf einem Felsen am Meer (1815; 600x860pix, kb)
The Artist's Daughter, Marie (1816 drawing, 53x42cm; 1074x795pix, 145kb) about 4 years old? —(051008)

1820 Laurent Julien, Toulon French painter and teacher, born on 27 June 1740, brother of Simon Julien [28 Oct 1735 – 24 Feb 1800]. — Relative? of Pierre Julien [1731-1804]? — Except for a visit to Rome in 1764, where he made a small copy of Raphael’s Transfiguration (1517), he seems to have remained in the area of Toulon for most of his life. In 1765 he made a large painting of Saint Carlo Borromeo with Angels for Toulon Cathedral, but no other works by him are known, except for a Self-portrait. From 1778 he was a drawing instructor at various schools in the region of Toulon.

^ 1537 Hans Cranach, German painter and draftsman, born in 1513, son of Lucas Cranach I [1472 – 16 Oct 1553] and brother of Lucas Cranach II [04 Oct 1515 – 25 Jan 1586]. The earliest documentary references to him, from 1533 and 1534, concern his receipt of payments for his father. In 1536 Hans was working at the castle in Torgau with his father, brother and other assistants from the Cranach workshop. Only two signed paintings are known: the monogrammed Bearded Man (1534) and the monogrammed Hercules at the Court of Omphale (1537). His signature also appears in a sketchbook with studies in silverpoint of portraits and some landscapes of places seen on route to Italy. This evidence reveals that Hans was trained by his father in Wittenberg and began his brief career in the family workshop, before going to Italy, where he died. At the time of Hans’s death, Johann Stigel [1515–1562], who became a professor in Wittenberg, eulogized him in a long poem and favorably compared his inventiveness to that of his father.
Bildnis eines Prinzen (1529, 37x29cm; 600x399pix, 39kb) —(051008)


Born on a 09 October:


1936 Jan Voss, German painter.
Gemischte Gefühle (1988, 195x130cm; 3521x2355pix, 1649kb). —(090225)

^ 1833 Felix Schlesinger, German painter who died in 1910. Schlesinger studied at the Düsseldorf Academy, and also under genre and landscape painter Rudolf Jordan. He produced most of his best work in Paris and Munich. Schlesinger specialized in sentimental genre scenes featuring children, particularly with rabbits.
–- Besuch beim Grossvater (39x52cm; 1112x1500pix, 132kb)
Children Playing with a Guitar (1849, 29x39cm)
The Mushroom Gatherers (50x60cm)
The Peddler's Wares (43x56cm)
The Pet Rabbit (31x25cm)
Two Children Playing with Rabbits (37x41cm)
Feeding the Rabbits (389x500pix, 36kb)
–- S*>#The Country Doctor (36x31cm; 900x777pix, 91kb)
–- S*>#Flower Picking (44x54cm; 521x650pix, 70kb)
–- S*>#Removing the Splinter (45x65cm; 346x488pix, 36kb)
—(091007)

^ 1805 August Anton Tischbein, German painter who died after 1867. He studied at the academies in Berlin, Dresden, and Munich from 1833, after numerous trips to the Netherlands, London, Rome, Calabria, Milan, and Venice. In 1839 he settled in Trieste and painted mostly genre scenes and landscapes with Bavarian and Tyrolean subjects, as well as some portraits. He published a volume of architectural views in 1831. — He belonged to a family from Hesse which, between the early 18th century and the late 19th produced 28 artists and artisans (a third of them women), who were active throughout Germany and elsewhere in Europe. His great-grandfather Johann Heinrich Tischbein 0 [1682–1764], was an artisan in Haina, who had seven sons, the sixth of which, Jacob Tischbein [1725-1791], was August's grandfather. The more famous Tischbeins were Jacob Tischbein's brother Johann Heinrich Tischbein I “Kassel Tischbein” [14 Oct 1722 – 22 Aug 1789], and their nephews Johann-Friedrich-August Tischbein “Leipzig Tischbein” [09 Mar 1750 – 21 Jun 1812] and Johann Heinrich Wilhelm Tischbein “Goethe Tischbein” [15 Feb 1751 – 26 Jun 1829]. Their portrait work contributed to the transition in German art from the Late Baroque and Rococo to Neo-classicism and early naturalism.
Emma Teodorovich and Child at Chircovich (1850, 188x150cm; 1497x1181pix, 186kb).
Trieste (381x668pix, 63kb)
–- S*>#Mother and Child (1836, 47x33cm; 900x653pix, 90kb) —(091008)

^ 1726 Josef Roos, Viennese painter who died on 25 August 1805, great-grandson of Johann Heinrich Roos [27 Oct 1631 – 03 Oct 1685]. Joseph Roos was taught by his father Cajetan Roos and at the Vienna Akademie. He worked at the court in Dresden from about 1750, and was involved especially in alterations to the Opera under Giuseppe Galli-Bibiena. In 1757 he visited Berlin. Between 1760 and 1769 he created the 15 large landscapes in what are known as the Rosa rooms at Schloss Schönbrunn. From 1772 he was Director of the Kaiserliche Gemäldegalerie in Vienna. — LINKS
Landscape (drawing; 560x422pix including margins, 52kb) —(051008)
–- S*>#Landscape with a Herder and his Dog Tending to his Arimals (49x59cm; 510x621pix, 104kb) more accurately: Landscape with a cow, a bull, four sheep, and a dog resting, to which the herder is offering a tidbit.


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updated Friday 09-Oct-2009 3:06 UT
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