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ART “4” “2”-DAY  13 October v.8.90
^ >Born on 13 October 1915: Terence Ernest Manitou “Terry” Frost, English abstract painter, though he began in the Euston Road Group Realist tradition. He died on 01 September 2003.
— Born 13 October 1915 at Leamington Spa, Warwickshire. Attended evening classes in art at the age of sixteen, then worked at various jobs mainly concerned with radio and electricity. Started painting while a prisoner of war in Germany 1943. Moved to St Ives 1946 and studied under Leonard Fuller; then studied from 1947 at the Camberwell School of Art under Pasmore and Coldstream. Member of the Penwith Society, St Ives, 1950. First one-man exhibition in London at the Leicester Galleries 1952 and in New York at the Bertha Schaefer Gallery 1960. Taught at Bath Academy, Corsham, 1952. Gregory Fellow at Leeds University 1954–6; taught at Leeds College of Art 1956–9. Member of the London Group 1958. Lived at St Ives 1959–63, then moved to Banbury.
— Encouraged to paint in a prisoner-of-war camp by fellow prisoner and artist Adrian Heath, he moved to St. Ives in Cornwall in 1946, studying at the St Ives School of Painting. From 1947 to 1950 he attended Camberwell School of Art, which, with Heath’s studio, was the focal point of the Constructivists' tendencies in England. Frost followed their concern for proportion and systematic procedures but he soon rejected their historicist notions of a necessary development towards abstraction from two to three dimensions and the potential relationship between painting, architecture and design. Frost’s paintings relied upon the division of the painted rectangular canvas but the arcs in his work, generated by golden section proportions, were reminiscent of the rocking of boats, as in Movement—Green, Black and White (1951, 109x85cm; 512x396pix, 25kb). His period at Leeds University as Gregory Fellow in painting (1954–1956), which followed his first one-man show in London at the Leicester Galleries (1952), led to paintings that evoked the features of the Yorkshire countryside and harsh snowy winters. He returned to St Ives in 1956 but spent the decade from 1964 teaching at Reading University, before settling back at Newlyn in 1974.
— Abstract painter after beginning in the Euston Road Group Realist tradition. Born at Leamington Spa, Warwickshire. Attended evening classes in art at the age of sixteen, then worked at various jobs mainly concerned with radio and electricity. Started painting while a prisoner of war in Germany 1943. Moved to Saint-Ives in 1946 and studied under Leonard Fuller; then studied from 1947 at the Camberwell School of Art under Pasmore and Coldstream. Member of the Penwith Society, Saint-Ives, 1950. Taught at Bath Academy, Corsham, 1952. Gregory Fellow at Leeds University 1954–1956; taught at Leeds College of Art 1956–1959. Member of the London Group 1958. Lived at Saint-Ives 1959–1963, then moved to Banbury.

Black Circle (31x75cm; 1360x2734pix, 899kb) mostly colorful thick C-shapes turned away from the central black circle. _ This has been metamorphosed by the pseudonymous D. Terence Thaw into numerous superbly colorful and detailed abstractions which can be reached by clicks of the mouse from the first two:
      _ Plaque Cycle (2007; 550x778pix, 124kb _ ZOOM 1 to 778x1100pix, 247kb _ ZOOM 2 to 1100x1556pix, 506kb _ ZOOM 3 to 1710x2418pix, 1249kb _ ZOOM 4 to 2658x3760pix, 2602kb) and
      _ Block Circus (2007; 550x778pix, 124kb _ ZOOM 1 to 778x1100pix, 247kb _ ZOOM 2 to 1100x1556pix, 506kb _ ZOOM 3 to 1710x2418pix, 1249kb _ ZOOM 4 to 2658x3760pix, 2602kb)
–- Lonely One (600x435pix, 22kb _ .ZOOM to 1125x815pix, 89kb)
–- Untitled (black and ochre) (390x1575pix, 58kb)
–- Celebration Spirit (1192x1194pix, 148kb) pink and green spiral, of which an almost microscopic detail has been unrecognizably transformed into
     _ .Pipe Dream After Celebrating With Distilled Spirits in a Refinery aka Ala (2006; screen filling, 194kb _ .ZOOM to 1864x2636pix, 1212kb) by D. Terence Thaw.
–- Blue and White Spiral (1125x1118pix, 119kb) similar to the preceding, but monochrome blue.
–- Blue and Black (1968; 1153x1538pix, 62kb) flat blue and flat black in the two halves of an oval divided by a diagonal line. _ This simplistic picture has been transformed by D. Terence Thaw into a pair of elaborate abstractions:
      _ Blue Bruise and Black Eye (2007; 550x778pix, 262kb _ ZOOM to 778x1100pix, 551kb _ ZOOM + to 1100x1556pix, 3982kb) and
      _ Blew and Back (2007; 550x778pix, 262kb _ ZOOM to 778x1100pix, 551kb _ ZOOM + to 1100x1556pix, 3982kb).
–- Spiral Dreams (1200x470pix, 75kb) 19 small spirals
–- Orange and Yellow (1200x876pix, 87kb)
–- Hanging Forms (1200x893pix, 69kb)
–- a different Hanging Forms (1188x1182pix, 69kb)
–- Untitled (green and yellow swirls) (1200x926pix, 104kb) almost as good as what a kindergartner could do with color crayons.
–- Untitled (brown, black, and white) (1002x1586pix, 169kb)
–- Ochre Yellow (Jul 1958; 859x1648pix, 230kb)
–- Pink Collage (1200x950pix, 104kb)
–- Untitled (1961; 1125x1112pix, 121kb) a car's very dark and light mauve taillights? In any case, Thaw has transformed them into the lights that control cars at intersections, in his
     _ Stop And Go (2006; screen filling, 187kb _ ZOOM to 1864x2636pix, 1435kb)
–- Untitled (1125x791pix, 58kb) on a red background, a rimmed blue circle stabbed by a red and a black sharp angles. _ George Bernard Thaw (brother of D. Terence Thaw and equally pseudonymous) has combined this with several other Frost pictures, changed some of the colors, and ended up with the striking almost abstraction
     _ Until It Led To Music aka Tune Nut (2006; screen filling, 133kb _ ZOOM to 1864x2636pix, 1114kb) which depart from symmetry only in minute ways introduced for the amusement of fans of visual puzzles (“spot the differences”). The same is true of the picture with gloriously enhanced colors and textures into which Thaw evolved Tune Nut, to which he gave the equally absurd title (though much superior to Untitled)
     _ Under Training I Took the Lead in Civilizing Wrestling aka Tame Mat (2006; screen filling, 208kb _ ZOOM to 1864x2636pix, 2735kb).
–- The Lorca Suite (900x802pix, 96kb)
–- Red, Yellow, and Orange (1200x744pix, 70kb)
–- July Red (1200x952pix, 156kb)
–- Untitled (yellow and black) (1185x1341pix, 83kb)
–- Circles (1993; 1120x1200pix, 123kb) _ In collaboration with the pseudonymous Repete Sadglad, George Bernard Thaw has combined this picture with the preceding and with
     _ Composition Orange to Blue (900x885pix, 40kb) of Peter Sedgley [19 Mar 1930~], and radically transformed them into
     _ Learned Circles Who Blew on Decomposed Oranges aka Liar Trail (2006; screen filling, 122kb _ ZOOM to 1864x2636pix, 785kb)
–- Ochre, Red, and Green Diptych (1212x1350pix, 60kb)
–- Em Green (1213x868pix, 79kb) mostly off-white with a rough spiral scribbled in green and black near the bottom.
^ Buried on 13 October 1678: Cesar Boetius (or Bovetius) van Everdingen, Dutch painter born in 1617 (1616?), brother of Allaert van Everdingen [bapt. 18 Jun 1621 – 08 Nov 1675 bur.]. They were the sons of Pieter van Everdingen, a notary and solicitor in Alkmaar; their mother, Aechte Claesdr., was a midwife in the city. The noticeable influence of paintings by Utrecht artists on Cesar van Everdingen's work suggests that he may have served his apprenticeship in that town, possibly under Jan van Bronchorst. Moreover, the van Everdingen family had long-standing ties with Utrecht, and Allart also eventually was trained by a painter from Utrecht. Caesar is best known as a history painter who worked in the classicizing style that became fashionable in Haarlem in the mid-17th century, while Allart made his name as a landscape artist.
— Cesar van Everdingen painted portraits and historical pictures, was attracted by the south not the north. Although he never went to Italy, he captured the spirit of Italian art better than many of his countrymen who crossed the Alps: witness his beautiful Four Muses with Pegasus (1650), part of the decoration of the royal villa Huis ten Bosch in The Hague.
— Caesar Boëtius van Everdingen was born in Alkmaar about 1617. He joined the Saint-Luke's guild of Alkmaar at a remarkably young age in 1632. From 1641 to 1643 he was living in Amersfoort where he worked under the painter and architect Jacob van Campen. In 1648 he returned to Haarlem. There he was commissioned by Van Campen to complete two paintings for the Orange hall of the Stadholder's Den Bosch Palace. In the 1650s Van Everdingen specialized increasingly in history paintings which he painted in the classical style. Beside the high-minded history paintings, Van Everdingen also painted several genre pieces. In 1657, by now an affluent man, Van Everdingen returned to Alkmaar where he died in 1671. Van Everdingen's younger brother, Allart, was also a painter, known for his landscapes.
— Cesar van Everdingen entered Alkmaar’s Guild of Saint Luke at a very early age. There are a number of unsigned but dated works by him from the 1630s. The earliest signed and dated painting is the group portrait of The Officers of the Orange Company of the Alkmaar Civic Guard (1641), both the execution and the composition of which are rather weak. From 1641 to 1643 Caesar lived in Amersfoort, where, under the supervision of the painter and architect Jacob van Campen, he worked on a modello for the exterior decoration of the organ shutters of Alkmaar’s Grote Kerk. The size and shape of these shutters, as well as the great height at which they were to be placed, forced the artist to make allowances for possible distortions of perspective. The highly successful finished result, representing The Triumph of Saul after David’s Victory over Goliath (1644) was partly executed on panel and partly on canvas. The figures forming the procession and the women playing music behind the balustrades have much in common with figures that appear in paintings by the Utrecht Caravaggisti.

Young Woman Warming her Hands over a Brazier (1650, 97x81cm; 1600x1344pix, 158kb) _ A young woman is warming herself by a brazier, a pot containing glowing coals. Her dress forms a screen above the fire trapping and spreading the heat. She is clearly engrossed in what she is doing and her eyes are cast downwards. Van Everdingen, probably did not intend a portrait of a particular person in this picture. He has represented an idea: winter. The woman is a personification of winter. The artist has placed his monogram at the bottom, in the middle of the table's edge. But van Everdingen has departed from the tradition of showing an old man warming himself by the fire as an allegory of winter. Therefore the work perhaps refers to love, its fire reprensented by the glow from the coals. Besides the subject matter, the use of color is also strikingly original in this work. The soft pink and blue-gray tones, little used at this time, provide a beautiful balance with the red-brown brazier and the white cap starkly contrasting with the dark-gray background. The artist has painted the woman with extreme precision: the refined lace along her cap and neck, the cameo earrings with pearls and the string of pearls around her neck. An invisible light source illuminates the woman's face from top left. A shadow falls across her neck. Some light falls upon her lower lip and a spot on her chin. This attention to the fall of the light and shadow display the influence of the Utrecht Caravaggists, by whom the artist probably was trained. Their use of spectacular contrasts between light and shade were more moderately employed by van Everdingen. With its precise details, the use of color and attention to the fall of the light, this work is a good example of the Classicist style in Dutch painting of the seventeenth century. This movement was concentrated in Haarlem, where van Everdingen lived for almost ten years. There is an almost exact copy of this work by van Everdingen himself. The painter made this as soon as he had finished the first, even before it was sold. It suggests that he was probably pleased with the result. Neither example of the painting was sold and both remained part of the artist's estate. Van Everdingen's Classicist work was less well appreciated in the centuries that followed than the 'typically' seventeenth-century Dutch paintings.
Bacchus with Two Nymphs and Cupid (147x161cm)
The Four Muses with Pegasus (1650) _ Besides Flemish masters (among them Jacob Jordaens), eight Dutch artists were selected to participate in the decoration of the royal villa — the Huis ten Bosch — at The Hague. All of them were either familiar with classicistic trends or had close contact with Flemish art. Among them, the most attractive and original was Caesar van Everdingen, brother of the landscapist Allaert van Everdingen. The refined, generalized forms, clear outlines, and sensitivity to the effects of light of his Four Muses with Pegasus shows what sets him apart. Everdingen acquired his interest in representing idealized female and male nudes and classical subjects from his connections with artists in Utrecht and Haarlem.
Count Willem II of Holland Granting Privileges (1654, 220x200cm) _ Corporations of the Dutch Republic commemorated their histories with representations of significant past events. For example, in 1654 van Everdingen was commissioned by the water management board of Leiden to paint the granting of its charter by Willem II [1227 – 28 Jan 1256] in 1255. By clothing the Count in seventeenth-century royal dress and setting the event in a classicizing space that evoked the latest style in public architecture, van Everdingen underscored the importance of water control.
Allegory of the Birth of Frederik Hendrik (1650, 373x243cm)
^ >Born on 13 October 1474: Mariotto Albertinelli di Biagio di Bindo (di Bianchi?), Florentine painter who died on 05 November 1515.
— Albertinelli was trained by Piero di Cosimo and by Cosimo Rosselli [08 Aug 1578 – 18 Jan 1650], in whose studio he met Fra Bartolomeo [28 Mar 1472 – 31 Oct 1517]. The two went into partnership in 1508, their paintings appearing to be the product of a single hand. Not long after this Albertinelli temporarily abandoned painting to become an innkeeper, saying (according to Vasari [30 Jul 1511 – 27 Jun 1574]) that he was fed up with criticism and wanted a 'less difficult and more cheerful craft'. Vasari also says he was a 'restless man, a follower of Venus, and a good liver.' {It is not known whether he took regularly liver pills, but it is known that, if he did, they were not Carter's little ones}. His paintings are elegant but rather insipid. His artistic independence is revealed in certain paintings that are eccentrically archaic and in others that show a preference for conventions more typical of the early Renaissance. His style, similar to Bartolomeo's, is characterized by simple dignity and monumentality and shows particularly the influence of Leonardo da Vinci [15 Apr 1452 – 02 May 1519] in its aristocratic, smiling figures, intimate compositions, and strong contrast of light and dark. His best work is The Visitation (1503).
Franciabigio [30 Jan 1484 – 14 Jan 1525], Innocenzo da Imola [1485-1548], and Jacopo da Pontormo [26 May 1494 – 31 Dec 1556] were students of Arbertinelli.

The Visitation (1503, 232x146cm; 1248x816pix, 168kb) _ Albertinelli ran a workshop with Fra Bartolomeo, and like him shared an interest in the painting of Perugino, whose illuminating example is apparent in this work, unanimously considered to be his masterpiece. However, we cannot fail to notice also the monumentality of the figures and the geometrically divided landscape, influences, these, of Fra Bartolomeo. The spatial breadth is still characteristic of Perugino, but the narrative content is more vigorous.
The Annunciation (1503, 23x50cm; 318x694pix, 57kb)
Baby Jesus adored by Mary and Joseph (1503, 23x50cm; 316x764pix, 63kb)
The Circumcision (1503, 23x50cm; 420x900pix, 92kb) _ The predella of the altarpiece with the Visitation shows three stories from the life of Christ: the Annunciation, the Birth of Christ and the Circumcision. Despite the small size of the three compartments, Albertinelli succeeds in constructing austere, essential spaces which display a great formal balance. The small, full figures are firmly and vigorously placed in scenes which respect the most rigorous perspective laws of the Florentine Quattrocento.
–- different Baby Jesus adored by Mary and Joseph (round; diam. 862pix, 70kb)
–- Virgin and Child adored by Saints Jerome and Zenobius (1506, 186x176cm; 1050x993pix, 131kb) à l'arrière-plan, des épisodes de la vie de deux saints _ Ce tableau était destiné à la chapelle de Zanobi del Maestro, consacrée à saint Jérôme, dans l'église Santa Trinità de Florence. Albertinelli fit appel au talent de Francesco di Cristofano Bigi (Francesco Franciabigio) pour les draperies des deux saints et la mitre de saint Zénobe. L'assistant participa peut-être à la vue imaginaire de Florence à droite et à certaines des petites figures. Les interventions autrefois attribuées à Filippino Lippi, assisté pour certaines parties de Giuliano Bugiardini, sont aujourd'hui remises en cause. Daté et signé sur la base du piédestal MARIOCTI DEBERTINEILIS.OPUS A.D.M.D.VI _ Saint Zenobius [434 – 25 May 417] was a bishop of Florence and is one of the patron saints of Florence. _ Saint Jerome (341 – 30 Sep 420] was a biblical translator and monastic leader, traditionally regarded as the most learned of the Latin Fathers. He lived for a time as a hermit, became a priest, served as secretary to Pope Damasus, and about 389 established a monastery in Bethlehem. His numerous biblical, ascetical, monastic, and theological works profoundly influenced the early Middle Ages. He is known particularly for his Latin translation of the Bible, the Vulgate (405). Other writings of Saint Jerome online: Epistulae Vita Pauli
^ Died on 13 October 1817: Julius Caesar Ibbetson the elder, English painter, printmaker, and writer, born on 29 December 1759.
— He specialized in fairly small landscapes with figures and animals. Benjamin West called him 'the Berchem of England'. Ibbetson worked mainly in his native Yorkshire, but also for a time in London and the Lake District, and he visited Java (1789). He worked in watercolor as well as oil and also made etchings. In 1803 he published a treatise on painting. Like his friend Morland, Ibbetson is said to have been given to dissipation, but his work did not obviously suffer because of this as Morland's did.
— His unusual Christian names were given to him because of his Caesarean birth. The son of a clothier, he was apprenticed to John Fletcher, a ship painter in Hull; in 1775 Ibbetson became a scene-painter there. In 1777 he moved to London, where he worked as a scene-painter and picture restorer. He married about three years later. From 1785 he exhibited landscapes, genre scenes and portraits at the Royal Academy. In 1787–1788 Ibbetson was personal draftsman to Col. Charles Cathcart on the first British Mission to Beijing, a voyage that included visits to Madeira, the Cape of Good Hope and Java. His watercolor False Bay, Cape of Good Hope, made on this journey, shows a picturesque roughness of foliage and rustic staffage adapted from his English landscape style. Cathcart’s death forced Ibbetson to return to England; he exhibited an oil painting of The Burial of Col. Cathcart in Java at the Royal Academy in 1789; thereafter he lived by painting landscape oils and watercolors, the subjects culled from his frequent tours. He painted occasional portraits throughout his career (e.g. Young Man) and contributed to John Boydell’s Shakespeare Gallery (e.g. Scene from ‘The Taming of the Shrew’). In 1789 he stayed with John Stuart, 3rd Earl of Bute, at Cardiff Castle and visited the Isle of Wight in 1790. In 1792 he toured Wales and the surrounding area with the painter John ‘Warwick’ Smith and his companion Robert Fulke Greville, resulting in the publication of his book of engravings, A Picturesque Guide (1793). His oil painting of Aberglasyn: The Flash of Lightning evokes the sublimity of the mountainous Welsh terrain; the drama of the storm over Aberglasyn is conveyed by thick impasto and strong chiaroscuro, a way of handling paint that Ibbetson learnt from copying 17th-century Dutch masters while working for a London dealer named Clarke during the late 1770s and early 1780s. He was also an accomplished figure draughtsman and social observer: he showed four humorous paintings of sailors at the Royal Academy in 1800, a topical theme at the height of the Napoleonic Wars. In 1789 he illustrated Modern Times, a moralizing tract by John Trusler, and about 1790 painted pastoral scenes on plaster for the library ceiling at Kenwood House, London. From 1793 to 1800 he produced illustrations (engraved by J. Tookey) for John Church’s folio A Cabinet of Quadrupeds (1805).

Going to Market (1785)
Returning from Market (1785)
George Biggins' Ascent in Lunardi's Balloon (1785, 50x61cm, 807x987pix, 103kb) _ In addition to an ironic and self-critical attitude of British painting to modern technology, there was an objective documentation of technical innovations in the second half of the 18th century, as in this painting.
A Beached Collier Unloading into Carts (1790, 31x42cm) _ This narrative depicts a collier brig lying aground on a beach in shallow water, at low tide. Coal is being 'whipped' out of her hold in baskets, using the large iron pulley suspended from a jeer or whip footed on her deck, and tipped down a chute over her side into a cart waiting in the water below. A man mounted on a cart-horse in the central foreground carries a metal bucket of coal in his right hand and a long horse-whip over his shoulder (possibly a visual pun on the process being shown), from the ship towards the cart on shore to the right, which is waiting its turn to be loaded. The horses are all have colorful ruff-like padding of some sort behind their working collars, in blue yellow or red. The ridden horse also has a red cockade on the headband of its bridle. Other shipping has been depicted in the distance, the vessel to the right apparently being another brig, though over-scaled for the type. The scene shown is a frequent subject in coastal marine art of the late-18th and early 19th centuries, especially in watercolors and drawings. The north-eastern, cat-bark brigs employed in the coal trade were capacious, flat-bottomed and solidly built precisely for the purpose of 'taking the ground' to load and unload in this way, in places without deep-water quay installations.
Sailors Carousing in the Long Room at Portsmouth (1802, 432x584cm) _ A scene in an unspecified tavern at Portsmouth after one or more ships have been paid off. The painting may be a retrospective celebration of the Battle of the Glorious First of June 1794 since, although executed much later and after Ibbetson had moved to the north of England, it reuses elements of a watercolor by him showing a similar scene and dated 03 July 1794. The room is crowded with sailors and men and women carousing. The ceiling, floors and walls enclose the action and a single lamp hangs from the ceiling to the right. The outline of a carriage, with several revellers alighting or departing frames the door on the right. The opening to the left shows a seaman wearing a hat and chain, with a boatswain's whistle, borne aloft on a chair. Two bare-headed women are highlighted in the foreground: the one to the right has two men paying attention to her, and the woman on the left sits on a sailor's knee. Impropriety is implied in their conduct. Although sailor's pay was low and often in arrears, prize money provided welcome bonuses after victorious actions, but it was rarely saved. The narrative indicates a group of three seamen in the foreground to the left of centre both pretending to fry their watches or play 'conkers' with them. This refers back to a celebrated incident in 1762 when, after capturing a Spanish galleon, seamen of the Active and Favourite were so loaded with prize money that they were recorded as frying watches, as shown. One of the women in the foreground wears a watch around her waist.
      In the Dutch 17th-century tradition, the artist incorporates a still-life in the foreground, with a clay pipe, discarded playing cards showing each of the four suits, coins and bottles. Sailors, several with their arms around women, sit on low benches around a table to the right. This bears a china punch bowl and drinking mugs, with a sailor boy dancing on also dancing on it. To its left, a group are dancing to the music of the two fiddlers on the far left. Some of the dancers are in couples and others are groups of men carousing (including a sailor dancing with a Jewish pedlar, a class well-known as purveyors of frippery to seamen). In the foreground on the right a woman attends to a sailor lying on the ground. An empty bottle to the right indicates that he has had too much to drink, and the young woman is attempting to revive him. The painting, which hovers at the interface of celebration, disorder, chaos and disruption, was regarded as a fine example of Ibbetson's work in his own time. It was engraved as a mezzotint by William Ward RA in August 1807, with the title given here, and when sold at Christie's on 19 March 1808 fetched the highest price of the sale, an extraordinary £79. The catalogue on that occasion described it as 'Sailors Carousing, treated with infinite humor and spirit. The pencilling is delicate, and the color clear and brilliant.' It has sometimes been called Sailors carousing in the long room at Portsmouth, which is indeed likely, but this appears to be a later conflation from a different image, though one possibly influenced by it; George Cruikshank's caricature of Sailors carousing, or a peep in the Long Room (1825). Many inns had 'long rooms', meaning simply their largest public space, but those shown by both artists are not identifiable. The painting is signed and dated October 1802.
^ Born on 13 October 1840: Mosè di Giosuè Bianchi, Italian painter and etcher who died on 15 May 1904, son of Giosuè Bianchi [1806–1875], a painter of portraits and religious subjects in the academic style.
     Mosè enrolled at the Accademia di Belle Arti di Brera, Milan, in 1856. In 1859 he temporarily abandoned his studies to fight in the second Italian War of Independence, returning to Milan to study under Giuseppe Bertini. Among his fellow students was Tranquillo Cremona, whose involvement with the Scapigliati later had an impact on Bianchi’s work.
     In 1862 Bianchi exhibited his first large-scale independently painting, The Priest Stefano Guandeca Accusing the Archbishop of Milan, Anselmo Pusterla, of Sacrilegious Betrayal (1862). He continued to exhibit regularly and in 1866 he was awarded the Pensionato Oggioni for his Conversion of Saint Paul (1866), which enabled him to visit Venice, Paris and Rome.
     During this period Bianchi met the artists Mariano Fortuny y Marsal and Ernest Meissonier, and the dealer Goupil, who inspired him to produce a series of 18th-century genre scenes such as Leaving for the Duel (1866). Eighteenth-century influences, especially the work of Giovanni Battista Tiepolo, were also important for his many fresco cycles, starting with those in the Villa Giovanelli in Lonigo in the Veneto (1870). Bianchi continued to attract attention with his views of Chioggia and Milan, these frequently providing the background for genre scenes (e.g. Porto di San Felice at Chioggia, 1885).
     He also made etchings, largely on urban genre subjects. In 1890 Bianchi extended his interest to rural scenes, following Eugenio Gignous and visiting Gignese on Lake Maggiore, where he painted works of great charm such as Goats at Gignese (1895). Notwithstanding his intense activity and continued public success (he was awarded the Premio Principe Umberto in 1874, 1894 and 1900), Bianchi spent his final years in poverty, assisted by his nephew, the painter Pompeo Mariani [1857–1927].
Mosè Bianchi (540x362pix, 133kb; with thumbnail link to detail) portrayed by his nephew Pompeo Mariani. Mariani è nipote del pittore Mosè Bianchi, uno dei maestri della pittura italiana del secondo Ottocento. In questo ritratto il celebre zio viene raffigurato ormai vecchio, reduce da un ictus che ne ha menomato la facoltà di movimento e di dipingere. Vediamo il pittore seduto, di tre quarti, in una posa rigida. La sua figura viene tratteggiata per sommi capi negli stessi toni dello sfondo, quasi un monocromo. Da questo sfondo cupo si stacca la macchia chiara del volto dell'anziano pittore, che emerge precisato nella sua pensosità. Mariani, con grande partecipazione emotiva, all'inizio del nuovo secolo, celebra lo zio e suo riconosciuto maestro, in un sapiente ritratto, che getta uno sguardo retrospettivo e affettuoso su un'epoca ormai giunta a conclusione.

Reclining Figure (1890, 28x23cm; 528x409pix, 55kb) _ The sitter, in a long white dress, is asleep in an armchair.
Chioggia, figure sulla spiaggia. (50x75cm; 320x494pix, 39kb)
Alberto Bianchi, the artist's nipóte [grandson or nephew] (drawing, 46x34cm; 600x447pix, 43kb)
–- S*>#Verso Chioggia (559x900pix, 106kb)
–- S*>#Ritorno dal Pascolo (900x637pix, 184kb)
La vita semplice (50x35cm; 566x800pix) bambine giocano a mosca cieca.
Chioggia d'inverno (1884, 49x75cm; 410x640pix, 48kb)
— (messy still life with old sailor holding a glass of wine?) (90x58cm; 645x409pix, 107kb)
Sulle montagne di Stresa (Gignese) (1897, 83x116cm; 359x500pix, 69kb)

Died on a 13 October:

^ 1948 Ulisse Caputo, Italian artist born on 04 November 1872. — {Il suo cognome non è Caputo-Capito, è soltanto Caputo, capito?}
A Puppet Show in a Park (19x29cm)
Before the Masked Ball (74x60cm)
–- Panorama sulla Scogliera (24x32cm; 658x900pix, 79kb) —(061012)

^ 1914 Walter Herbert Withers, English-born (22 October 1854) Australian painter. He studied at the Royal Academy and South Kensington Schools (1870–1882) in London and arrived in Melbourne on 01 January 1883 to work on the land for 18 months. He joined the life classes at the National Gallery of Victoria (1884–1887), while employed as a lithographic draftsman, and returned to Europe in 1887–1888 to attend the Académie Julian in Paris. Back in Australia, he exhibited with the Victorian Artists’ Society and painted with the Heiderberg School artists, based at Eaglemont, from October 1889 to June 1890. He was nicknamed ‘the orderly colonel’ for his organized habits. He leased the south end of the Heidelberg mansion ‘Charterisville’ from September 1890, painting prolifically, teaching and accommodating numerous fellow artists. With Arthur Streeton he was a leader of the Heidelberg School, for out-of-door painting. Withers remained mainly in Heidelberg until 1903, painting lyrical, essentially Barbizon-inspired, landscapes.
–- S*>#Eltham Pastures (40x50cm; 638x800pix, 73kb)
–- S*>#Mornington Pier (15x33cm; 368x800pix, 61kb) _ The ironclad steam turret ship Cerberus arrived, eagerly awaited, in Hobson's Bay on 09 April 1871, to serve in the Victorian Colonial Navy in response to perceived threats from US commerce raiders and the Russian presence in the Pacific. 'There was a general rush to Sandridge in order to have a look at the novelty' (Illustrated Australian News, 22 April 1871). Taken over by the Commonwealth Naval Forces in 1901 and the Royal Australian Navy from 1913, the ship was eventually sold to a salvage company and in 1926 scuttled off the coast at Half Moon Bay to form a breakwater
Eltham Farmhouse (23x36cm; 575x900pix, 68kb)
The Market Garden (16x34cm; 403x900pix, 51kb)
Gathering the Harvest (20x35cm; 400x691pix, 242kb)
— (Landscape with a dirt road) (600x774pix, 91kb)
Approaching Storm (600x823pix, 55kb) seems unfinished
Young Girl on Hillside (400x272pix, 17kb) —(051012)

^ 1893 Barthélémy Menn, Swiss painter born on 20 May 1815. — {In his family there were only Menn; even the women were Menn, at least until they married, and then they ceased being Menn only if the men they married were not Menn.}— Menn began his career with drawing lessons from W. A. Töpffer but c. 1831 began painting under Léonard Lugardon [1801–1884], who had studied with Ingres and Antoine-Jean Gros. In 1833 Menn went to Paris to study with Ingres; when Ingres became Director of the Académie de France in Rome in 1835 Menn followed him to Italy, where he met such artists as Léopold Robert, Alexandre-Gabriel Decamps, the Flandrin brothers, Xavier Sigalon, Bertel Thorvaldsen and Dominique Papety (with whom he later shared a studio). In 1838 he returned to Paris, where he was attracted to the works of the landscape painters François-Louis Français, Charles-François Daubigny, Théodore Rousseau and Jean-Baptiste-Camille Corot, whom he especially admired for his control of tonal values. In Paris Menn was also introduced to George Sand, whose son Maurice Dudevant became his student. As many other men, Menn attended her salon and met Chopin, who bought some of his works, as well as Delacroix, who later asked him to assist in the decoration of the Palais Bourbon, an invitation that Menn declined.
+ ZOOM IN on portrait ++ ZOOM IN on background  +
— One of Menn's assistants was Friedrich Rudolf Simon.
— Menn's students included Albert Bartholomé, Ferdinand Hodler, Auguste Baud-Bovy, Eugène Burnand, Édouard Castres.
Self-Portrait with Straw Hat (1872; click on the part of the image on which you want to zoom: the portrait at the left or the dark blank space at the right >) {here's a special treat for those who might love a lot of extra blank dark space together with the portrait: 600x8000pix, 309kb and 1400x3500pix, 538kb). The pseudonymous abstract artist who on this occasion used the name Manny Ymelethrab wondered what could be done with that blank dark space, so he decided to spiff it up a bit, and at first he came up with the palindromic
      _ Back Cab (2005; 920x1300pix, 330kb) just by intensifying the color and by using symmetry. Still that was not colorful enough. Pushing the intensification further yielded
      _ Buck Cub (2005; 920x1300pix, 584kb). By adding one color, he obtained
      _ Bilge Glib (2005; 920x1300pix, 606kb). Magnifying the center, and adding fake scroll bars, produced
      _ Slide Edils (2005; 768x1024pix, 288kb), which by a change of colors became
      _ Slag Gals (2005; 768x1024pix, 308kb). More colors and greater complexity of design resulted in
      _ Barge Grab (2005; 920x1300pix, 645kb) and finally
      _ Burg Grub (2005; 920x1300pix, 513kb).
— earlier Self-Portrait (52x42cm; 377x300pix, 8kb)
Farm Near Coinsins (1865, 32x72cm; 569x800pix, 119kb _ ZOOM to 1442x2024pix, 293kb)
–- Groupe d'Arbres (42x28cm; 900x603pix, 83kb) watercolor sketch. —(061012)

^ 1883 August Friedrich Siegert, German painter born on 05 March 1820. After initial doubts whether to become a history or a genre painter Siegert finally chose the latter and became one of the most successful genre painters of the Academy of Düsseldorf. During his educational journeys to Antwerp, Holland, Vienna and Munich in the late 1840s he saw outstanding examples of 17th century Dutch and Flemish genre painting which without no doubt impressed him deeply and inspired his choice of subjects.
–- S*>#Bei der Blumenpflege (71x59cm; 576x472pix, 165kb) _ The subject of this painting reminds us of Dutch genre paintings, but it is done in the typical style of the Düsseldorf School
Entrance to the Grand Canal, Venice (46x79cm)
Dreaming on the Windowsill —(051012)

1785 Guillaume Jean Joseph de Spinny, Flemish artist born in 1721.

Born on a 13 October:

^ 1835 François-Alfred Delobbe, French academic painter who died in 1920. Delobbe was born in Paris. In 1851, he entered the École des Beaux-Arts where he studied under Thomas Couture [1815-1879] and William Adolph Bouguereau [1825-1905]. He also studied in the Imperial School of Drawing. In 1861, he presented at the Salon a portrait of his mother. Delobbe painted only what was in fashionable at the time: academic subjects. During the 1860s he presented at the Salon mostly mythological and similar scenes. At first he painted in the classical manner of his teacher. But soon he escaped from the constraints of his Paris schooling, official commissions, and portraits. He returned to the countryside and became very sensitive to everyday life, using the colors of the skies in Britanny and of its peasants. Delobbe came to know Brittany; only after meeting Alfred Guillou [1844-1926] in a Paris workshop, when Guillou took him to Concarneau, his native city. From then on Brittany, Concarneau especially, took a very important place in his work. He painted a magnificent portrait of Mélanie Guillou, sister of Alfred Guillout. From the 70s the female figure dominated his oeuvre. He inserted into his landscapes women and children, pensive, or working, and always barefoot. This body of work will be presented to the Salon from the 1880 to1920. When Delobbe and his family visited Brittany they would frequently stay at the Concarneau Hotel La France, near the train station, also, sharing these visits with friends and fellow artists such as Charles-Henry Fromuth [1858-1937], Ernest Germain Vauthrin [1900–] and Emil- Benedikt Hirschfeld [1867-1922]. He often went looking for models in Beuzec and Lanriec; he would do many studies in plein-air, that he work up in his Parisian workshop in the winter. He met Gauguin during a visit in Pont-Avon, but Gauguin have no influence on Delobbe's work, which always remained strictly academic painting. Delobbe painted many portraits.
A Young Girl feeding Baby Chicks (1879, 64x54cm)
Maternité (74x56cm)
The Offering (1892, 131x97cm)
Young girl seated on blue floor cushion with cats (1877; 56x47cm; 501x413pix)
— (Cupid and What's-Her-Name) (300x385pix, 28kb)
Un Moment de Reflection (64x 43cm) –(061019)

^ 1782 Joseph Nigg, Austrian {not African~Austrian} porcelain painter who died on 19 September 1863. — {Is there some Nigg art niggard who keeps it much of it off the Internet?} — Nigg is the best flower painter ever employed by the Viennese manufactory, where he was active between 1799 and 1848. Recognized for his depictions of lush arangements of flowers and fruit, often in vases perched on a marble slab, Nigg was following a tradition practiced at Meissen, Fürstenberg, and numerous other European porcelain factories. Nigg reproduced the work of flower painters like Van Huysum, as well as his own easel paintings. Whilst generally known for his plaques, Nigg also painted on vases and other forms at the Vienna factory.
— S*#>Still-Life of a Bouquet in a Vase (1835 porcelain plaque 69x55cm; 201kb) _ There is a bouquet of garden flowers displayed in a two-handled vase {only one handle and very little of the vase is at all visible} standing on a marble surface next to grapes and a few leaves, a snail on the left side. —(051012)

^ 1756 Augustin van den Berghe, painter born in Brugge in the Austrian Netherlands, who moved to France, where he died in Beauvais on 11 April 1836. He won the Prix de Rome in 1786. Father of Charles-Auguste van den Berghe [1798-1853]. — Relative? of Frits van den Berghe [1883-1939]? — Opleiding aan de Academie te Brugge o.l.v. J. Garemijn. Ging zich in 1779 bekwamen aan de École Académique te Parijs en werd er leerling van J.B. Suvée. Voorkeur voor historische, allegorische en mythologische onderwerpen, landschappen, etc.
–- S*>#Venus and Adonis (100x152cm; 526x799pix, 78kb) and two swans, and Cupid struggling with three dogs. —(051012)

1746 Johann-Christian-Jacob Friedrich, German artist who died on 03 June 1813. — Relative? of Caspar David Friedrich [1774-1840]?

1713 Allan Ramsay [–1784], Scottish painter. —(081010)

Happened on a 13 October:

1953 The Artmobile starts going on tour: The "Artmobile," a novel way of exposing fine art to the public, was conceived of and designed by the Virginia Museum of Fine Arts located in Richmond, Virginia. On this day the Artmobile, the world's first mobile art gallery, begins touring Virginia with an exhibition of art objects, making its first stop in Fredericksburg. The Artmobile is an all-aluminum trailer, measuring over 10 m in length with an interior height of over 2 m.
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updated Friday 10-Oct-2008 22:55 UT
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v.7.90 Saturday 13-Oct-2007 20:14 UT
v.6.91 Friday 13-Oct-2006 3:29 UT
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