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ART “4” “2”-DAY  14 October v.6.90
^Born on 14 October 1808: Simon Saint-Jean, French painter, specialized in still life and flowers, who died on 03 July 1860.
— A student of the École des Beaux-Arts in Lyon, where in 1826 he won a gold medal for flower painting in the class of Augustin-Alexandre Thierriat (1796-1871), he began his career as a designer for the textile firm of Didier Petit. He first exhibited his flower pieces in 1827 and in the following decade established himself as one of the leading artists and teachers in Lyon, which was renowned for its flower painters. Although he worked mainly in Lyon, he enjoyed the patronage of wealthy collectors in Paris and abroad. Six of his flower and fruit pieces were exhibited in 1851 at the Great Exhibition in London and at the 1855 Exposition Universelle in Paris, where he won a gold medal, nine of his paintings were shown. Lenders to the Paris exhibition included Napoléon III and the Empress Eugénie, the French state and the 4th Marquess of Hertford.

Still Life With Flowers and Wild Raspberries (1845, 122x93cm)
–- S*>#Still Life With Roses (1858, 76x60cm; 800x628pix, 83kb)
Flowers and Fruit (1848, 90x72cm)
— a different Flowers and Fruit (1853, 44x53cm)
Flowers and Grapes (1846, 125x102cm)
Flowers and Grapes by a Window (1844, 124x101cm)
^ Born on 14 October 1824: Adolphe Joseph Thomas Monticelli, Marseille painter who died on 29 June 1886. — {Had he lived 100 years earlier, he might have been the favorite painter of Thomas Jefferson.}
— In 1846, after studying at the École d’Art in Marseille, Monticelli left Provence to study in Paris under Paul Delaroche. Although he had been trained to work in a Neo-classical style by his teachers in Marseille, in Paris he admired the Troubadour pictures of such artists as Pierre Révoil and Fleury Richard and the bold colors and rich surface impasto of Delacroix’s oil sketches. He also copied many of the Old Masters in the Louvre.
      When Monticelli returned to Marseille in 1847, Émile Loubon [1809–1863], newly appointed director of the École de Dessin in Marseille and a friend of many realist landscape painters in Paris, encouraged him and another local painter, Paul Guigou, to record the landscapes and traditional village scenes of Provence (e.g. Rural Scene)
— His finest masterpieces are dreamlike scenes of courtly revels à la Watteau. With thick swirls of paint he created a poetic, visionary impression, with radiant lights and deep shadows. Monticelli was much admired by van Gogh [30 Mar 1853 – 29 Jul 1890] (who said, “I owe everything to Monticelli, who taught me the chromatics of color.” He could also have added that from Monticelli he had learned the technique of thick impasto and the gleaming effects of color half-buried in the matter of paint itself).
      Monticelli had more influence on 20th-century art than on the 19th century's. Monticelli studied under Paul Delaroche [1797-1856] in Paris from 1846 to 1848, but was more influenced by the masterpieces his saw in the Louvre, especially those of Rembrandt [15 Jul 1606 – 04 Oct 1669], the Venetians, and, most of all, Watteau [10 Oct 1684 – 18 Jul 1721]. Living his last years in poverty, he painted also circus scenes, portraits, flowers, landscapes.

Fête champêtre (1869, 39x60cm)
Meeting Place of the Hunt (1878, 19x47cm) _ This small panel is perhaps the companion to Fountain in a Park. In both paintings the artist evokes the 18th-century tradition of the 'fête galante', initiated by Watteau, in which elegant courtiers enjoy themselves in parks and gardens. Monticelli's distinctive painting style, characterized by evident rapidity of execution, thick paint, and blurred forms, was influential in the late 19th century on artists as diverse as Cézanne and Van Gogh.
Fountain in a Park (1878) _ This painting is possibly a companion piece to the artist's Meeting Place of the Hunt. These imagined figure scenes were a favorite subject for Monticelli throughout his career. In his later years subject matter became subordinated to his colorful, thickly painted style.
Still Life with White Pitcher
–- S*>#At the Well (26x40cm; 612x960pix, 138kb)
–- S*>#People in a Garden (122x102cm oval; 799x650pix, 73kb)
–- S*>#Company in a Wooded Glade (36x46cm; 704X900pix, 142kb)
^ >Died on 14 October 1857: Johan-Christian-Clausen Dahl, Norwegian Romantic painter and collector, active in Germany, born on 24 February 1788. His paintings, imbued with Romantic and patriotic sentiments, had a strong influence on the landscape tradition both in Germany (especially Dresden) and in his native Norway.
— The son of a fisherman, Dahl initially was trained as an artisan painter in his home town of Bergen, Norway (at that time still a part of Denmark). At the Copenhagen Academy, where he studied from 1811 to 1817 under C.A. Lorenzen, he won minor and major silver medals and chose to become a landscape painter. He was enormously influenced by Dutch landscape paintings in Copenhagen collections, particularly by Ruisdael [1629 – 14 Mar 1682 bur.] and Everdingen [1617 – 13 Oct 1678 bur.], and by Eckersberg's studies of nature. He exhibited intermittently at Charlottenborg from 1812 to 1855 and at the World Fair in Paris 1855. In 1818 Dahl traveled via Berlin to Dresden, where he met Caspar David Friedrich [05 Sep 1774 – 07 May 1840].
      Dahl spent 1820 and 1821 in Italy, living near the Bay of Naples and then in Rome, where he made friends with Thorvaldsen [13 Nov 1768 – 24 Mar 1844]. He was fascinated by his impressions of the ever-changing landscape in Italy. It was not the classical landscape but the landscape of light and the different morphology between Italy and the North that inspired him to paint, mostly in small format. Dahl soon became the most famous Norwegian artist of his time, and he is often seen as a forerunner of plein air painting. He was a master of vivid sketches from nature, and practiced a more naturalistic painting than Caspar David Friedrich.
      He eventually settled in Dresden, and was appointed professor at the city's Art Academy in 1824. However, his mission in life remained the depiction of the Norwegian landscape, then considered a sublime primordial wilderness. He therefore undertook five long study tours from to his homeland, in 1826, 1834, 1839, 1844 and 1850. J.C. Dahl's artistic expression had parallels in the fierce independence felt by Norwegians and, although most of his Norwegian paintings were done from memory, they never lost the spontaneity and intense feeling which tied him so strongly to his country. The fundamental romanticism and drama of Dahl's works was a decisive inspiration for the Danish nationalist romantic landscape painters of the 1830s and 1840s.
— The students of Dahl included Thomas Fearnley [27 Jul 1802 – 16 Jan 1842], Christian Friedrich Gille [20 Mar 1805 – 09 Jul 1899], Albert Emil Kirchner [12 May 1813 – 04 Jun 1885].

Frederiksborg Castle (1814; 600x906pix, 217kb _ ZOOM to grainy 1400x2115pix, 877kb, not recommended _ much less ZOOM+ to grainier 2261x3415pix, 1766kb)
Landscape with Torrent (1819; 600x884pix _ ZOOM to 1400x2063pix)
View of Honefossen (1847; 600x788pix _ ZOOM to 1400x1839pix)
Wooden Houses in Hjelle in Valdres (1850; 600x972pix _ ZOOM to 1400x2268pix)
–- A Cloud and Landscape Study by Moonlight (1822, 16x19cm; 824x992pix, 59kb)
Cloud Study, Thunder Clouds over the Palace Tower at Dresden (1825, 21x22cm)
Evening Landscape with Shepherd (1822)
Bergfossen Near Tinn (1831, 55x72cm; 585x765pix, 86kb)
Forest Scene near Engelholm (1814, 77x89cm; 585x682pix, 89kb)
View of Fortundalen (1836, 199x265cm; 585x771pix, 71kb)
Hjelle in Valdres (1851, 93x135cm; 550x800pix, 87kb)
Waterfall at Tvinde near Voss (1830, 82x119cm; 555x800pix, 67kb)
View of Dresden at Full Moon (1839, 78x130cm)
–- Forest with a Waterfall (101x88cm; 892x762pix, 66kb) _ copy of a landscape by J. Ruisdael _ Ruisdael painted many waterfalls from the late 1650s onwards (example 1; 970x853pix, 131kb — example 2; 790x672pix, 125kb). In the past it had been assumed that he himself must have traveled to Northern Europe where he would have seen this type of landscape. However, no such trip has been recorded and, instead, his paintings were inspired by the Amsterdam landscape painter Allart van Everdingen, who had visited Scandinavia in 1644 and had made a number of drawings of rocky mountainous scenes with torrents and waterfalls.
^ >Born on 14 October 1618: Pieter van der Faes “Peter Lely”, Dutch English Baroque portrait painter known for his Van Dyck~influenced likenesses of the mid~17th~century English aristocracy. He died on 07 December 1680

— Lely was an English painter of Dutch origin. He went to London in 1641 and lived there until his death. He was a portraitist influenced by Van Dyck [22 Mar 1599 – 09 Dec 1641] and became first court painter in 1661. — He studied in Holland at Haarlem, where he became a guild member in 1637. He probably arrived in England in about 1643, and he soon gained the patronage of the court, painting portraits of Charles I [19 Nov 1600 – 30 Jan 1649] and James, duke of York. He was a buyer at the sale of Charles I's picture collection (1649-1653) and in about 1651 petitioned Parliament for the mural decoration of Whitehall. Lely was a connoisseur and was known for his own fine collection of art. He prospered during the Commonwealth and even more during the Restoration, when he produced his finest portraits. In 1661 he received a pension of £200 a year, “as formerly to Van Dyck.” He was knighted in 1679.
      Lely was the most technically proficient painter in England after the death of Van Dyck. During the Commonwealth he adopted a severe, puritanical style, but his Restoration portraits of women are noted for their subtle coloring, skillful rendering of silk, and the air of sensuous languor with which they invest their subjects - e.g., the portrait series of court ladies entitled The Windsor Beauties (1660s). Simultaneously he painted the portrait series of The Admirals (1666-67) at Greenwich, the best of them rugged and severely masculine characterizations. Lely's late works are marred by stylistic mannerisms and decreasing vitality.

–- The Earl of Arlington (128x100cm; 1177x876pix, 73kb _ .ZOOM to 2403x1772pix, 607kb)
–- Miss Constance Weston (127x102cm; ; 1177x964pix, 73kb _ .ZOOM to 2448x1928pix, 549kb)
Two Ladies of the Lake Family (1660, 127x180cm; 702x946pix, 125kb)
Miss Wharton (1660)
Margaret Hughes (1673)
Henrietta Maria of France, Queen of England (1660, 49x39cm) _ Portraiture, which was to become the single most brilliant achievement of English painting in the 18th century, was a field dominated in the 17th century by foreign artists who received many commissions from the royal court. The leading exponents of this period were van Dyck and Lely. This portrait of Henrietta Maria [25 Nov 1609 – 10 Sep 1669], the daughter of King Henri IV [13 Dec 1553 – 14 May 1610] of France and Marie de Médicis [26 Apr 1573 – 03 Jul 1642] is an idealized portrait. In 1660, when her oldest son succeeded to the throne as Charles II [29 May 1630 – 06 Feb 1685] of Great Britain and Ireland, Henrietta Maria she visited England (October 1660) and was granted a pension of £60'000 a year. She paid two further visits to England but was not comfortable there and finally returned to France in 1665. She had married Charles I in 1625, but soon fell out of favor with Parliament and the people because of her support for English Catholics. Later, she tried in vain and with great personal commitment, to help her husband from the Netherlands. After his execution, she entered a French convent and later lived in bitter poverty in Paris. Lely portrays her here as a beautiful and dignified woman in royal dress with an expression of suffering on her lips and a look of aloof mourning in her eyes. This is no longer a Baroque representative portrait, but tends far more in the direction of an individual interpretative portrayal. The nature of her life's journey is hidden by her reserved facial expression.
^ Born on 14 October 1722: Johann Heinrich Tischbein “Kassel Tischbein”, German painter specialized in Portraits, who died on 22 August 1789. — Court painter in Kassel, Hesse. — {Did he paint a Kassel castle?}
— Not to be confused with more than twenty other painters of the same family, including his nephews the portraitists Johann Heinrich Wilhelm Tischbein “Goethe Tischbein” [15 February 1751 – 26 June 1829] and Johann-Friedrich-August Tischbein “Leipzig Tischbein” [09 March 1750 – 21 June 1812]; and Anton Wilhelm Tischbein [01 March 1730 – 01 November 1804], August Anton Tischbein [09 October 1805 – after 1867]
— Between the early 18th century and the late 19th this family from Hesse produced 28 artists and artisans, a third of them women, who were active throughout Germany and elsewhere in Europe. Johann Heinrich Tischbein [1682–1764], an artisan in Haina, had seven sons:
-- the fifth, Johann Heinrich Tischbein I [the one featured today], was a noted portrait painter in Kassel.
-- the second, Johann Valentin Tischbein [1715–1768], had a son, Friedrich Tischbein, who also established himself as a portrait painter, in Leipzig;
-- the first, Johann Conrad Tischbein [1712–1778], was father to Johann Heinrich Tischbein II [1742–1808], the author of a treatise on engraving, Kurzgefasste Abhandlung über die Ätz-Kunst (1790) and to Wilhelm Tischbein, who worked in Naples and painted Goethe’s portrait.
      The family’s three most famous members are thus known, respectively, as ‘der Kasseler’, ‘der Leipziger’ and ‘der Neapolitaner’ or ‘Goethe Tischbein’. Their portrait work contributed to the transition in German art from the Late Baroque and Rococo to Neo-classicism and early naturalism.
      Christian Wilhelm Tischbein, an architect as well as a painter, was the son of the fourth of the seven brothers from Haina, while the painter August Anton Tischbein was the grandson of the sixth, Jacob Tischbein [1725–1791].
     Die Malerfamilie Tischbein
Die aus Marburg/Weidenhausen stammende Familie Tischbein siedelte 1685 nach Haina, wo Konrad (Curth) Tischbein die Stelle des Hospitalbäckers übernahm. Sein Sohn Johann Heinrich Tischbein (1683-1764) und dessen Ehefrau Susanna Margaretha Hinsing aus Bingen am Rhein (1690-1772) gelten als Stammeltern der Malerfamilie.
     Fast alle Kinder waren künstlerisch begabt. Der Überlieferung zufolge soll 1729 beim Besuch der landgräflich-darmstädtischen Regierungskommission ein (Amts-)Rat den zweitältesten der Brüder, Johann Valentin Tischbein, beim Zeichnen entdeckt haben. Der Junge erhielt daraufhin in Frankfurt eine Ausbildung zum Tapetenmaler und wurde zum Begründer der Malerdynastie, indem er auch für die Ausbildung seiner Brüder sorgte.
      Besonders bekannt wurde Johann Heinrich Tischbein der Ältere [1722-1789], der als Hofmaler in Kassel wirkte. 1762 wurde er Professor am „Collegium Carolinum" und später an der Kunstakademie in Kassel. Ein Jahr vor seinem Tod besuchte der schon fast erblindete noch einmal Haina und schenkte der Heimatkirche das Altarbild Christus am Ölberg.
      Der Sohn seines älteren Bruders, des Hospitalschreiners Johann Konrad Tischbein, Johann Heinrich Wilhelm Tischbein [1751-1829] wurde als Maler Goethes berühmt, den er auf seiner Italienreise begleitete. Das Geburtshaus des „Goethemalers", ein kleiner Fachwerkbau, ist noch heute in Haina erhalten.

Today's featured Tischbein, Johann Heinrich Tischbein I, was apprenticed to Johann Baptist Zimmermann, Johann Georg von Freese [1701–1775] and to his brother Johann Valentin Tischbein [1715–1768] before receiving training from Carle Vanloo in Paris (1748) and from Giovanni Battista Piazzetta in Venice (1749). He copied the Venetian Masters and visited Rome; he returned to Germany in 1751. The following year he settled permanently in Kassel as court painter to the Landgrave William VIII of Hesse-Kassel. He also served as professor of the Akademie in Kassel from 1762. Among his earliest successes was the Schönheitsgalerie for William VIII, a collection of portraits of aristocratic women painted in a conservative Rococo style (1752–1755). The amiable charm of his worldly style and technical virtuosity soon established him among the foremost portrait painters, particularly of women, of the period.

Hirschhatz in der Karlsaue bei Kassel (1200x1600pix, 398kb)
–- S*>#A Lady Wearing a Blue Dress With an Ermine-Lined Fur Mantle and Holding a Letter in Her Hand (1756, 98x73cm; 500x374pix, 38kb _ S*#>ZOOM to 1445x1080pix, 159kb) _ This portrait was painted when Tischbein had settled as a court painter to the landgrave Wilhem VIII of Hesse-Kassel in Kassel. It shows strong similarities with a portrait of the artist's first wife, Marie Sophie Robert [1726-1759], whom he married in 1756.
Jupiter and Callisto (1765; 504x600pix, 49kb)
Kurfürstin Elisabeth Auguste (1752; 444x362pix, 29kb) _ Das Porträt mehr privaten Charakters zeigt die Kurfürstin an einem Spinett, wohl ein zusammengerolltes Notenblatt in der Hand. Außer einer Perlenreihe in der Frisur trägt sie keinen Schmuck, umdie Schultern hat sie einen schwarzen Spitzenschleier gelegt.
Coriolanus Leaves his Family (1775; 520x341pix, 18kb) _ detail (517x476pix, 21kb)
Elisabeth von Breitenbach (1765) _ Der »Kasseler Tischbein«, Onkel des berühmteren Johann Heinrich Wilhelm Tischbein (»Goethe-Tischbein«), malte überwiegend Porträts. Hier hat er eine junge Frau in einem sehr privaten Moment überrascht. Kokett die Füße mit den kleinen spitzen Schuhen übereinander geschlagen, hat sie sich zum Lesen eines Briefes an einen verschwiegenen Ort zurückgezogen. Nun blickt sie mit einem leicht verschmitzten, viel sagenden Lächeln den Betrachter an. Die Anmut der Gestalt entspricht ebenso dem Schönheitsideal des Rokoko wie das grausilberne Kleid in seiner schimmernden Stofflichkeit, dessen raschelnde Seide man fast zu hören vermag.
–- S*>#Prinzessin Maria, Gemahlin von der Landgraf Friedrich II. von Hessen-Kassel, Tochter von König Georg II. (148x114cm; 774x591pix, 104kb) Three-quarter length, wearing a white dress
^ Born on 14 October 1593: Cornelis Janssens van Ceulen, Dutch artist, born in England, who died in 1661.
— Born of Dutch parents who fled to London to escape religious persecution, Cornelis Janssens van Ceulen probably was trained in the northern Netherlands. About 1618 he established himself as a portrait painter in London. His signed or monogrammed portraits number several hundred; he is the first English-born painter known to have made so many.
      Anthony van Dyck's dazzling manner influenced him, but Janssens's style remained more straightforward, a somewhat conservative approach that appealed to his patrons in the higher, but not the highest, social circles. Typically, he painted bust-length representations with sitters looking directly out of the picture, giving close attention to accurately renderings of clothing. Janssens also painted miniatures in oil on copper, some of which were reduced copies of larger paintings.
      When the English Civil War began in 1643, Janssens moved to the northern Netherlands, where he helped to popularize van Dyck's airy, liquid touch. He stopped first in Middelburg and later in Amsterdam, The Hague, and finally Utrecht. His half-length and three-quarter-length portraits were notable for their elegance and for his characteristically precise rendering of his sitter's features and clothing.

George Villiers, 1st Duke of Buckingham (78x64cm) _ Buckingham [1592 – 23 Aug 1628] was a statesman who exerted a strong influence during the reigns of James I and Charles I. Introduced to James I in 1614, Buckingham became Master of the Horse in 1616, Earl of Buckingham in 1617, Lord High Admiral in 1619, and a Duke in 1624. After a series of disasters brought about by his poor leadership, a bill to impeach him was introduced to Parliament in 1626. He was saved by the then King Charles I and the charges were dismissed, although the Parliament of 1628 again tried to force his dismissal. Though Charles managed to block the dismissal, Buckingham was stabbed to death. Janssens painted several portraits of Buckingham. This one was auctioned at Christie's on 05 Feb 2003.
–- S*>#A Lady (1632, 77x62cm oval; 799x643pix, 77kb)
–- S*>#A Lady in Orange Silk Dress (1657, 75x61cm; 900x706pix, 81kb) half-length, with a green silk shawl.
–- S*>#A Gentleman (1630, 66x50cm oval; 900x739pix, 46kb) half-length, wearing a black tunic, sad-looking, as if regretting not having commissioned a double portrait of himself and his wife, as she kept asking him to do, but he instead told her that he preferred to wait until after the baby's birth and make it a triple portrait; and now that will never be, because she died together with their child to whom she was giving breech birth, for which he blames himself, because in order to save money for the triple portrait, he had called in a novice midwife instead of an experienced gynecologist, and that money will now pay for the portrait of himself alone, and the long sitting gives him time to reflect that the money might have been better spent on a fancier funeral monument to his wife and child, if he had not paid an advance to Janssens, when the artist made a sketch of the pregnant mother's hands. Or it may be that he is just suffering from a toothache.
Study of a Woman's Hands (1646, 19x30cm) _ Using broadly applied black chalk, Cornelis Janssens van Ceulen suggested deep shadows at the waist, where this young woman folds her soft hands. Subtle highlights pick up the gleam of the pearl strands looped around her wrists and the shimmering highlights on her skin and sleeves. With few strokes, only two colors, and much use of blank paper, Janssens effectively rendered both texture and volume.
     Janssens probably learned the technique of drawing hand studies in chalks on blue paper from Anthony van Dyck while both artists were in London. The pinholes along the drawing’s outer edge suggest that he attached the sheet of paper to a board or easel as he drew the sitter's hands from life. He made this study in preparation for a half-length portrait painting. Scholars know little about the subject, referred to as “Jefrow Raphune” in the inscription at the bottom of the drawing. She must have been a married woman from the northern Netherlands; it was the custom in that area to wear one’s wedding ring on the right index finger, as she does. The two elaborate rings and expensive pearls suggest that she was a relatively wealthy member of the landed gentry.

Died on a 14 October:

^ 1995 Bernard Safran, US Canadian Contemporary Realist painter born on 03 June 1924. Husband of painter Adele Safran. Of the artists who were alive after 1936, the Safrans are among the few who produced real art that merits being looked at and is beyond the abilities of elephants, chimpanzees, gorilas, pre-schoolers and other untrained humans.
Biography with Self Portrait (1967, 64x51cm; 302x243pix, 45kb)
Adam Clayton Powell Jr. (1959, 43x61cm; 761x546pix, 164kb) _ Powell [29 Nov 1908 – 04 Apr 1972] was a US Black public official and pastor who became a prominent liberal legislator and civil-rights leader.
Deng Xiaoping [22 Aug 1904 – 19 Feb 1997] Top ruler of Communist China from the late 1970s until his death. He abandoned many orthodox Communist doctrines and attempted to incorporate elements of the free-enterprise system into the Chinese economy.
King Hussein of Jordan [14 Nov 1935 – 07 Feb 1999] His reign started in 1953; his policies greatly increased the Jordanian standard of living. After conflict, he ended up making peace with Israel.
Adolf Eichmann _ Karl Adolf Eichmann [19 Mar 1906 — 31 May 1962] was a prominent German Nazi official who was hanged by the state of Israel for his part in the extermination of Jews during World War II.
The Aga Khan (Jul 1959, 43x61; 391x280pix, 50kb) _ Karim Al-hussain Shah [13 Dec 1937~] became the Aga Khan IV (49th imam of the Nizari Isma'ilite sect) at the death of his grandfather the Aga Khan III, Sultan Sir Mohammed Shah [02 Nov 1877 – 11 July 1957].
Mohammad Ayub Khan () _ Mohammad Ayub Khan [14 May 1907 – 19 Apr 1974] was president of Pakistan from his taking power under martial law in 1958 to his resignation on 26 March 1969 amid riots protesting his continued throttling of democracy.
Patrice Lumumba _ Patrice Hemery Lumumba [02 Jul 1925 – Jan 1961] was an African nationalist leader, the first prime minister of the Democratic Republic of the Congo (Jun 1960 – Sep 1960). Forced out of office during a political crisis, he was assassinated a few months later.
Lord Home (1964, 61x43cm; 382x251pix, 36kb) _ Alec Douglas-Home [02 Jul 1903 – 09 Oct 1995] was British foreign secretary from 1960 to 1963, prime minister from 19 October 1963 to 16 October 1964, and, after the fall of his government, Conservative opposition spokesman on foreign affairs in the House of Commons. He was also foreign secretary from 1970 to 1974.
Valenti Angelo (1968, 36x31cm; 397x358pix, 74kb) _ Born in Italy, Angelo [23 Jun 1897 – 03 Sep 1982] came in 1905 to the US, where he became an illustrator of books, mostly children's books, some of them written by him, such as Nino (1938) and The Bells of Bleeker Street (1949).
Betty (1968 drawing, 23x15cm, the artist's daughter at age about 8)
Adele (1989, 53x41cm, the artist's wife at age 63)
Medea (with her two sons, whom she would soon murder, all three in modern dress) _ In a play by Euripides, Medea is deserted by her husband Jason (the one of the Golden Fleece) for the daughter of King Creon of Corinth; in revenge, Medea murders Creon, his daughter, and her own two sons by Jason.
The Fish Store (1970, 46x61cm) _ compare Passerotti's The Fishmonger's Shop (770x1064pix)
The Old Lady (1970, 61x46cm)
A Surgeon Working (1982, 94x122cm) _ compare Eakins's The Gross Clinic (1875, 244x198cm)
Embroidering (1983, 89x84cm; 519x499pix; 56kb)
Springhill Miners, Ernie Banks and Jim Spence (61x76cm; 387x500pix, 65kb) —(051013)

^ 1917 Nathaniel Hone II, Irish painter born on 26 October 1831. He was a great-grandson of Brindley Hone, who was a brother of Nathaniel Hone I [24 Apr 1718 – 14 Aug 1784]. Nathaniel Hone II studied engineering at Trinity College, Dublin, and in 1853 went to Paris to study art, first with Adolphe Yvon, then at Thomas Couture’s atelier, where he was a contemporary of Edouard Manet and Pierre Puvis de Chavannes. He copied works in the Louvre, where he especially admired the Venetian masters. In 1857 Hone settled at Barbizon, meeting Jean-François Millet, Théodore Rousseau, Jean-Baptiste-Camille Corot and Henri-Joseph Harpignies. He painted village and forest scenes, at first in the manner of Courbet but then in a broader, lighter style influenced by Corot, with a harmonious use of green tones, as in Banks of the Seine (1866). In the 1860s he lived at Bourron-Marlotte and also visited Brittany and Normandy, painting coastal scenes, often of fishing boats. He exhibited seven works at the Paris Salon (1865–1869) and one at the Royal Academy, London (1869). After a visit to Italy he returned to Ireland in 1872, married and settled at Malahide, Co. Dublin. From 1876 he showed at the Royal Hibernian Academy, where he was elected Academician in 1880 and became Professor of Painting in 1894. In 1892 he visited Greece and Egypt, painting landscapes and archaeological subjects in watercolor and oil. His Irish marine and pastoral subjects, often scenes of cattle under cloudy skies, reveal his mature style, which is characterized by a freedom of manner and breadth of vision. Although Hone was a significant member of the Barbizon school and the greatest Irish landscapist of the late 19th century, his work is virtually unknown outside Ireland.
Summer Pastures (18x25cm; 320x450pix, 27kb)

^ 1875 Anton van Ysendyck, Belgian painter born on 13 January 1801. He was a student of van Bree. Van Ysendyck won the Prix de Rome in 1823, so that he completed his painter´s studies in Italy. Ysendyck lived in Paris until 1835 after being in Rome. In 1841 he came back in Belgium to take the direction of the Fine Arts Academy in Mons.
A Girl (age about 5) (1824, 96x80cm; 478x352pix, 139kb) _ detail (902x600pix, 81kb)

^ 1870 Georg Bergmann, German painter born on 06 April 1819. — Relative? of Max Bergmann [1884-1955]?
Der Erzahler (122x155cm)

^ 1844 Jean Baptiste de Jonghe, Flemish painter and lithographer born on 08 January 1785. He was a student at the Courtrai Academie and then at the Antwerp Academie where, under the direction of Balthasar-Paul Ommeganck [26 Dec 1755 – 18 Jan 1826], he discovered his talent for landscape. In 1812 he received a first prize in Ghent for Approach of a Storm (1812). From then on he assiduously submitted works to all the Salons in the north of France and the Netherlands. Little is known about his travels; he must have been to France, England and Scotland, and probably also Italy. Most of his canvases depict his local landscape, views of Flanders or the Ardennes, and are inspired by the 17th-century Dutch school, elements of which he transformed into a 19th-century language. De Jonghe shared with the 17th-century Brabant landscape painters a predilection for forest scenes, in which he often placed wild and domestic animals and, more rarely, human figures (usually added by Eugène Verboeckhoven). His paintings are particularly reminiscent of the works of Jan van Goyen and Jacob van Ruisdael, but they also express a new perception of nature dictated by a concern for objectivity. In such works as Ardennes Landscape each detail is treated with an almost obsessive meticulousness, quite unlike earlier Dutch landscapes, in which leaves, plants and trees are merged together. About 1823 de Jonghe was involved in illustrating a Collection historique des vues principales des Pays-Bas. Half of the lithographs in this collection are by him and reveal in particular his knowledge of Gothic architecture. At the end of his career he produced more markedly romantic canvases, such as View of the Ruins at Villiers-la-Ville (1834). Other notable paintings by de Jonghe include View from the Outskirts of Tournai (1834) and In the Ardennes. Recognized as a specialist in landscape, in 1826 he was appointed to the teaching staff at the Academie in Courtrai. At this time he published, doubtless with his students in mind, his Principes de paysages dessinés d’après nature et exécutés sur pierre. In 1841 he succeeded Ommeganck as professor at the Academie in Antwerp.
Porte du Maillet à Huy (1823 color lithograph, 16x22cm; 575x800pix, 80kb) d'après le capitaine Roloff.
Ruines de Franchimont (1823 color lithograph, 15x21cm; 575x800pix, 75kb) d'après le chevalier de La Barrière.
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