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ART “4” “2”-DAY  19 October v.9.90
^ >Born on 19 October 1882: Umberto Boccioni, Italian futurist painter and sculptor who died on 17 August 1916, having the previous day fallen from his military horse and been trampled, in Verona.
— Umberto Boccioni was born in Reggio Calabria. After falling out with his family he moved to Rome in 1901, learning the rudiments of drawing from a graphic designer. He met Gino Severini and, together, they became students of Giacomo Balla. Boccioni traveled for a couple of years, finally settling in Milan in 1908, which, at the time, was the cultural hotspot of Italy.
      Boccioni, already sympathetic with Futurist ideas, met Marinetti in 1910 and within a month had signed the Manifesto of Futurist Painters. By 1912 he had moved towards sculpture and in April issued his Futurist Manifesto of Sculpture. Like other Futurists, Boccioni was heavily influenced by Cubism but in his painting and sculpture he used the Futurist approach to express dynamism of the human or animal form. He was one of the more rational theorists of the group, and his book Futurist Painting and Sculpture of 1914 was a benchmark within the movement. Politically active, in 1914 Boccioni demonstrated and agitated in favor of Italy's entry into the war. He only painted one work on the theme of war:
      _The Charge of the Lancers. When Italy entered the war in 1915, he joined a battalion of cyclist volunteers.
     “… Per quello che riguarda la nostra azione per un rinnovamento della coscienza plastica in Italia, il compito che ci siamo prefisso è quello di distruggere quattro secoli di tradizione italiana che hanno assopito ogni ricerca e ogni audacia, lasciandoci indietro sul progresso pittorico europeo. Vogliamo immettere nel vuoto che ne risulta tutti i germi di potenza che sono negli esempi dei primitivi, dei barbari d’ogni paese e nei rudimenti di nuovissima sensibilità che appaiono in tutte le manifestazioni antiartistiche della nostra epoca: café-chantant, grammofono, cinematografo, affiches luminose, architettura meccanica, grattacieli, dreadnoughts e transatlantici, vita notturna, vita delle pietre e dei cristalli, occultismo, magnetismo, velocità, automobili e aeroplani, ecc.” — U. Boccioni, Fondamento plastico della scultura e pittura futuriste, 1913

— If Futurism embraced the present, it also rejected the past. Whereas De Chirico looked back nostalgically to the remote Mediterranean tradition of art and humanism that had transformed nineteenth-century Italy into a moribund museum, the Futurists iconoclastically attacked this same tradition with verbal and pictorial proclamations. By affirming so emphatically, in the words of their literary leader, Marinetti, that "a roaring motor car, hurtling like a machine gun, is more beautiful than the Winged Victory of Samothrace, the Futurists hoped to wrench Italy from her languid, retrospective dream of an antique and Renaissance past into the shrill, dynamic realities of the industrial present. To accomplish this aim, they needed to develop a style as aggressive and contemporary as their new urban environment. For this, Cubism was essential.
      If, by 1910, Futurism had already written and shouted its dogma in words, its pictures still lacked an appropriately modern language to articulate their new subjects. The City Rises by Boccioni is a case in point. Against the Milanese urban background of smoking chimneys, scaffolding, a streetcar, and a locomotive, enormous draft horses tug at their harnesses, while street workers attempt to direct the animals' explosive strength. Yet the pictorial means of realizing this veneration of titanic energies and industrial activity are, in 1910, as anachronistic as the prominent role given to horse power. Basically, Boccioni still works here within a modified Impressionist technique whose atomizing effect on mass permits the forceful, churning symbols of horse and manpower to slip out of their skins in an Impressionist blur of moving light.
      By the end of 1911, however, Boccioni, like his fellow Futurists, had visited Paris in order to become acquainted with the avant-garde center of Europe and to prepare for the Futurist exhibition to be held in Paris in 1912. The impact of Cubism on the Futurists was immediate, as may be suggested by Boccioni's scene of railroad-station farewells, the first in his 1911 series, States of Mind. A twentieth-century reinterpretation of Turner's Rain, Steam and Speed or Monet's Gare St.-Lazare series, it plunges the spectator into a raucous, near-hysterical turmoil of machines and people. Yet now, Cubist planes dominate Impressionist dots and yield a metallic harshness far more relevant to the machine world admired by the Futurists. If Monet and Turner interpret the railroad theme as a dazzling luminary spectacle, Boccioni, with his newly acquired Cubist vocabulary, sees it as a collisive confusion in which mass emotions are harshly contrasted with the impersonal automatism of the machine. In the center, the glistening metal engine, with bumpers and headlights, presides over the human scene in which embracing figures flow irregularly around the mechanical sentinel in pulsating waves of emotion reminiscent of the Symbolists use of line around 1890. By employing the Cubist interlocking of angular, fragmented planes, Boccioni creates, not the homogeneous glitter of Impressionism, but a dissonant joining and separation of forms almost audible in their clangorous reverberations. The silent, cerebral dissection of form in Analytic Cubism is converted here into the noisy, assaulting ambiance of acoustic, optical, and kinetic sensations of a modern railroad terminus. Even the engine number, 6943, has a dramatic quality that portends the emotional cleavage of imminent departure rather than suggesting the intellectual quality of metaphysical wit that such numbers have in the works of Picasso and Braque.

Self-portrait (1905; 1562x2064pix, 676kb)
Il Bevitore (1909; 2218x2233pix, 1851kb _ .ZOOM to 3151x3170pix, 929kb)
Sotto la Pergola a Napoli (1914, 83x83cm; 2048x2024pix, 428kb)
La Città Che Sale (1910, 200x301cm; 1229x2048pix, 358kb)
Study of a Female Face (1910)
Street Noises Invade the House (1911)
States of Mind I: Those who Leave (1911)
States of Mind II: Those who Stay (1911; 580x750pix, 177kb) monochrome yellowish green
States of Mind III: Those who Stay (1911; 1155x1572pix, 275kb) monochrome cyan
Visioni simultanee (1912, 60x60cm; 800x800pix, 259kb)
169 images at Ciudad de la Pintura
^ Born on 19 October 1927: Pierre Alechinsky, Belgian painter, draftsman, printmaker, and film maker.
— He studied book illustration and typography at the École Nationale Supérieure d’Architecture et des Arts Décoratifs from 1944 to 1946. In 1947 he became a member of the Jeune Peinture Belge group and had his first one-man exhibition in the Galerie Lou Cosyn in Brussels. In 1949 he became a founder-member of the Cobra movement after meeting Christian Dotremont. With a number of artist friends he set up a type of research centre and meeting-place in Brussels, the Ateliers du Marais. Towards the end of 1951 he went to Paris, moving to Japan in 1955 to study the art of calligraphy, also making the film Calligraphie japonaise (1956). He adopted the Oriental manner of painting, whereby the paper is spread on the floor and the artist leans over the work holding the bottle of ink, allowing a greater freedom of movement. In 1957 he made his first large works on paper in Indian ink and afterwards mounted the paper on canvas.
—Pintor belga adscrito al Grupo Cobra [¿no hace nada gratuito, siempre cobra?], nacido en Bruselas. En 1944 se inscribe en la Escuela Nacional Superior de Arquitectura y Artes Decorativas de Bruselas, donde estudia ilustración de libros y tipografía. Pinta en un estilo postcubista y más tarde recordando a Ensor [Belgian Expressionist Painter, 13 Apr 1860 – 19 Nov 1949].
      En 1947 hace su primera exposición individual en la galería Lou Cosyn de Bruselas. En ese mismo año entra en el grupo Joven Pintura Belga. En 1949 se une al grupo Cobra, en el que asume un papel fundamental. En 1951 organiza la segunda exposición internacional del grupo en Lieja; este mismo año se traslada a París con una beca para estudiar técnicas de estampación.
      En esta época se interesa por la caligrafía japonesa y en 1955 visita Tokio y Kioto. (Véase “Caligrafía Japonesa” en Shodô)
      En los años sesenta Alechinsky viaja mucho por Europa, Estados Unidos y México y participa en diversas exposiciones internacionales. En 1965 el Art´s Club de Chicago le organiza una retrospectiva itinerante por los Estados Unidos. En 1976 recibe el premio Andrew W. Melon y en 1977 hace una gran retrospectiva en el Carnegie Institute de Pittsburg. Actualmente vive en Bougival, Francia.
      La obra de Alechinsky revela interés por la expresión espontánea y por la figuración a un tiempo, combinando efectos gráficos y pictóricos.

–- L'Âge d'Orange (495x655pix,63kb _ .ZOOM to 1154x1526pix, 223kb) The pseudonymous P. R. Beereyesea has thoroughly transformed this into a picture that has a lot more orange, oranges, and Oranges:
      _ La Rage des Oranges aka Garb Rug (2006; screen filling, 192kb _ ZOOM to 1864x2636pix, 1505kb)
–- Rêve Éveillé (492x692pix, 74kb _ .ZOOM to 1146x1498pix, 271kb) _ Beereyesea has combined this picture with L'Âge d'Orange and transformed them into a splendid series of abstractions which can be reached by clicks of the mouse from the first two:
      _ L'Âge Éveillé (2007; 550x778pix, 149kb _ ZOOM 1 to 778x1100pix, 282kb _ ZOOM 2 to 1100x1556pix, 532kb _ ZOOM 3 to 1710x2418pix, 1201kb _ ZOOM 4 to 2658x3760pix, 2214kb and
      _ Rêve d'Oranges (2007; 550x778pix, 149kb _ ZOOM 1 to 778x1100pix, 282kb _ ZOOM 2 to 1100x1556pix, 532kb _ ZOOM 3 to 1710x2418pix, 1201kb _ ZOOM 4 to 2658x3760pix, 2214kb.
Prenez La Porte (1960, 50x65cm; 300x400pix, 62kb)
Untitled {spilled colored inks?} (color lithograph 41x30cm; full size) _ Lower third of page has two columns of printed words, of which here is a small sample:
book coveragain
come back little old cottage
stroke wild grass wild flowers wild butterfly wild bird
old shoes old pipe old table
old cat old heart sing old song look old roof
knock old wood look old moon

It is page 81 of the “poetry”{?} book 1 Cent Life (1964) by Walasse Ting [1929~], issued in an edition of 2100 copies, with images including over 60 original lithographs by Pierre Alechinsky, Karel Appel, Enrico Baj, Alan Davie, Jim Dine, Oyvind Fahlstrom, Sam Francis, Robert Indiana, Alfred Jensen, Asger Jorn, Allan Kaprow, Alfred Leslie, Roy Lichtenstein [1923-1997] (GirlSpray Can), Joan Mitchell, Kiki O.K., Claes Oldenburg, Mel Ramos, Robert Rauschenberg [22 Oct 1925~], Reinhoud, Jean-Paul Riopelle, James Rosenquist, Antonio Saura, Kimber Smith, K.R.H. Sonderberg, Bram Van Velde, Andy Warhol [06 Aug 1928 – 22 Feb 1987], Tom Wesselmann, and one by Walasse Ting.
^ Died on 19 October 1945: Newell Convers Wyeth, born on 22 October 1882, US painter famous for his illustrations of Treasure Island and Robin Hood. He dies together with his grandson when the car he is driving is struck by a train. — Not to be confused with his son Andrew Wyeth [12 July 1917~]
— N. C. Wyeth was the head of several generations of US artists. He was the father of Andrew, Henriette, and Carolyn Wyeth, the grandfather of Jamie Wyeth, the father-in-law of Peter Hurd, etc. He was born the same year as Bauer, Dulac, and Pogany. An inveterate "drawer" as a child, Wyeth began his formal art training very sporadically, jumping from school to school (including a short stay at the Eric Pape School) and instructor to instructor until, at age 20, he was accepted into the Howard Pyle School for the 1902 sessions.
     Under Pyle's tutelage, Wyeth's innate talent blossomed. Within a year he had his first illustration published and it was a cover for a 1903 issue of The Saturday Evening Post. Another early market was Success Magazine. Soon he was a regular contributor to Harpers, McClures, Scribners and others, and a steady feature at The Saturday Evening Post. Wyeth was graduated from the Pyle School of Art in 1904, which simply meant that he no longer had to attend classes. He continued to paint in a studio at the school for several years. In 1904 and 1906 he took two trips out West to soak up the ambiance. By the time the March 1906 issue of McClures appeared, Wyeth was established as a Western Adventure illustrator. He was much more, but a goodly portion of his early commissions were for paintings to accompany classics like Arizona Nights by Stewart Edward White and the original Hopalong Cassidy yarns by Clarence Mulford.
     In 1907, Outing featured A Wyeth Portfolio, The Indian in his Solitude, which was probably influenced by pictures by George De Forest Brush (see some side-by-side comparisons). Then the publisher Charles Scribner's Sons had Wyeth illustrate books (in the years indicated), with from 8 to 16 color plates each (links with * have the Wyeth illustrations):
_ by Robert Louis Stevenson: *Treasure Island (1911), Kidnapped (1913), The Black Arrow (1916), David Balfour (1924)
_ by James Fenimore Cooper: The Last of the Mohicans (1919), The Deerslayer (1925)
_ by Jules Verne (translated): The Mysterious Island (1918), Michael Strogoff (1927)
_ by Sidney Lanier: The Boy's King Arthur (1917)
_ by Charles Kingsley: Westward Ho! (1920)
_ by Jane Porter: The Scottish Chiefs (1921)
_ by James Boyd: Drums (1928)
_ by Philip Ashton Rollins: Jinglebob (1930)
_ by John Fox, Jr.: The Little Shepherd of Kingdom Come (1931)
_ by Marjorie Kinnan Rawlings: The Yearling (1939)
_ an anthology: Poems of American Patriotism (1922)
     For other publishers, Wyeth illustrated:
_ Pike County Ballads by John Hay (1912)
_ The Mysterious Stranger by Mark Twain (1916)
_ *Robin Hood and His Adventures by Paul Creswick (1917)
_ The Courtship of Miles Standish by Henry Wadsworth Longfellow (1920)
_ *Robinson Crusoe by Daniel Defoe (1920)
_ Rip Van Winkle by Washington Irving (1921)
_ The White Company by Arthur Conan Doyle (1922)
_ Legends of Charlemagne by Thomas Bullfinch (1924)
_ The Odyssey of Homer by George Herbert Palmer (1929)
_ Men of Concord by Henry David Thoreau (1936)
     Wyeth also wanted to be a "fine artist" - an easel painter who would command the respect of the artistic community. But whenever he applied himself to this "serious" art, the life seems to go out of the painting. Thus his fame is as an illustrator and the fine art honors are given to his son Andrew, whose handling of landscape resembles nevertheless more closely N.C.'s illustrations than his easel work.
     In addition to books, Wyeth did illustrations for magazines, calendars, posters, murals, and painted maps for the National Geographic Society.
     Like many illustrators (Abbey, Brangwyn, Cornwell, etc.) Wyeth chose murals as one path to lasting fame. He painted scenes in the Missouri State Capitol building, images for several banks and hotels and for the National Geographic Society. His most ambitious project was a set of murals for the Metropolitan Life Insurance Co. He was working on these at the time of his death.
Photo of N. C. Wyeth

Cream of Wheat Bronco Buster (1907, 105x71cm; 800x542pix, 349kb; ZOOM to 2000x1355pix, 2126kb)
Tam On The Craig Face (86x63cm)
We Were Three Days Taking Out Even What Gold And Gems We Could Load On Ourselves And Our Beasts, The Treasure Of Three Queens' Pardons (76x99cm)
== Robin Hood illustrations:
The road wound in and about the forest (680x472pix, 27kb)
“Catch him by the middle,” he shouted
Marian allowed her eyes to rest fully on young Fitzooth
“Smite them, Warrenton,” cried Robin
the chase grew furious
Nat was swept off the stage
Little John was already so much recovered as to sing them a song
Robin Hood flew his last arrow out through the window
End paper: Nottingham seen from the forest (547x800pix, 26kb)
^ Born on 19 (17?) October 1754: Jean~Baptiste Regnault “Renaud de Rome”, French baron, painter who died on 12 November 1829.
— His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, Regnault transferred to the studio of Nicolas-Bernard Lépicié. In 1776 Regnault won the Prix de Rome with Alexander and Diogenes and returned to Rome, where he was to spend the next four years at the Académie de France in the company of Jacques-Louis David and Jean-François-Pierre Peyron. Joseph-Marie Vien was one of his teachers. While witnessing at first hand Peyron’s development of a manner indebted to Poussin and David’s conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ, then, in Perseus Washing his Hands (1779), to the static Neo-classicism of Anton Raphael Mengs. Until 1787 he would sign his pictures Renaud de Rome, to disassociate himself from the mannered taste of French painting before the time of David.
— Robert Lefèvre was an assistant of Regnault.
— Regnault's students included Jean Victor Schnetz, Lenoir, Théodore Caruelle d' Aligny, Merry-Joseph Blondel, Louis-Charles-Auguste Couder, William Etty, George Foggo, Pierre-Narcisse Guérin, Bon-Thomas Henry, Louis Hersent, Charles Paul Landon, Hippolyte Lecomte, Jules-Eugène Lenepveu, Édouard Henri Théophile Pingret, Jacques Réattu, Stendhal, Pierre-Antoine-Auguste Vafflard, Georg Friedrich Eberhard Wächter.

La liberté ou la mort (1795; 600x489pix _ ZOOM to 1400x1141pix, 384kb _ ZOOM+ to 2566x2091pix, 3347kb)
Allégorie de la proclamation des Droits de l'Homme (1790; 600x979pix, 259kb _ ZOOM to 1400x2284pix, 677kb _ ZOOM+ not recommended to 1796x2930pix, 2051kb)
L'éducation d'Achille par le centaure Chiron (1785; 700x569pix, 56kb) _ détail des bustes (495x768pix, 52kb) _ détail du visage d'Achille (700x609pix, 56kb)
^ Baptized as an infant on 19 October 1633: Benedetto Gennari II, Italian Britishified artist who died on 09 December 1715.
— Gennari was baptized in Cento, a market-town near Bologna, and spent his youth in Bologna. Coming from a family of painters, he trained under his uncle, Guercino, who influenced his early style. When Guercino died, Benedetto and his brother Cesare took over direction of the studio. An admirer of the French king Louis XIV, Gennari went to France in March 1672 with his cousin Francesco Riva, and stayed for over sixteen months painting commissions for the nobility. His records indicate that he painted about fifteen pictures, including religious and mythological subjects and portraits. He went on to London in September 1674, presenting to the King his painting Diana and Endymion, which he had painted for the Duc de Richelieu but not delivered, fearing he would not be paid for it.
      Gennari spent fourteen years in England as a court painter for Charles II and his successor James II, producing over a hundred pictures for Charles and another thirty-five for James. One of his early commissions was for a portrait of Queen Catherine, for whom he also painted altarpieces and other devotional subjects, and four large pictures of scenes from Ovid's Metamorphoses. He also painted several erotic pictures for Charles II, such as Sleeping Shepherd (1682). When the papists were ordered from London in 1689, Gennari followed the Catholic court of James II into exile at Saint-Germain-en-Laye near Paris, producing another thirty pictures for the monarch.
      In Gennari's twenty years away from Italy, his style underwent such change that he appeared almost to be a northern painter. He returned to Bologna in 1692, and in 1709 he was a founder-member of the Bolognese Accademia Clementina.
— Gennari, the nephew and student of the Italian painter Guercino, settled in England in 1674. He was much patronized by Charles II’s court, painting mythological and religious images as well as portraits. Catherine of Braganza and Mary of Modena, consorts of Charles II and James II respectively, relied on him in particular for devotional images for their Roman Catholic chapels. In 1689 he joined the deposed James II’s exiled Stuart court at Saint Germain-en-Laye, near Paris. Gennari holds a significant place in the history of religious and political art patronage in Britain.
— Gennari was taught by Guercino in Bologna, and his early works, such as The Investiture of Saint Chiara (1657), are close to the style of Guercino. On Guercino’s death he and his brother Cesare Gennari [12 Oct 1637 – 11 Feb 1688] directed the studio. In March 1672, motivated by his admiration for Louis XIV, he journeyed to Paris, where commissions from the French nobility encouraged him to extend his stay over 16 months. In Paris he began to keep a diary, which lists his works in chronological sequence. In September 1674 he went to London, where commissions to paint royal portraits inaugurated a lengthy period of residence at the court of Charles II and subsequently of James II (reg 1685–1689). His mythological paintings include four large pictures of scenes from Ovid’s Metamorphoses and Tasso’s Rinaldo and Armida (1678). For the Catholic Queen Catherine he painted devotional pictures and altarpieces, among them The Annunciation (1675) and a series of pictures to commemorate important feast days of the Virgin. A full-length portrait of James II (1686) marked his appointment as First Painter to that monarch. For this court, which zealously promoted the Catholic faith, he continued to paint the traditional subjects of Catholicism, as for example an Annunciation (1686), painted as an altarpiece for the chapel in the palace at Whitehall, London. In 1689 he followed James II in exile to the court at Saint-Germain-en-Laye, remaining there until his return to Bologna (1692). In 1709 he became one of the founder-members of the Bolognese Accademia Clementina. Apart from having the most eventful career of the Gennari family, Benedetto II developed, as a portrait painter, an intriguing eccentricity of style and iconography, diverging considerably from its origins in Guercino.
— Giuseppe Gambarini was an assistant of Gennari.

Orpheus Playing His Lyre (123x140cm) _ The story of Orpheus and his love for Eurydice is recorded in Book X of the Metamorphoses by Ovid. Gennari retells the story in three moving paintings. The first of the three paintings depicts Orpheus pleading with Pluto, god of the underworld, to allow him to descend into the Inferno to rescue Eurydice. The second painting captures the tragic fate of Eurydice trapped in flames after Orpheus breaks his oath to Pluto and looks back on Eurydice before they are safely out of the Inferno. This, the last painting shows us the lonely, love struck Orpheus playing his lyre for the lost Eurydice.
Elizabeth Panton, Later Lady Arundell of Wardour, as Saint Catherine (1689, 127x102cm) _ The sitter, Elizabeth Panton [–1700], was the eldest daughter of Colonel Thomas Panton, a member of Charles II's life-guards and foot-guards. Panton's success at gambling enabled him to buy property in Herefordshire and London's west end, where he built what is now Panton Street. In July 1681 Elizabeth, with her mother and brother, left England, claiming health reasons but in actuality to escape the persecution they faced as Roman Catholics. The exiled Catholic court of James II at Saint-Germain-en-Laye in France became a natural focal point for English papists abroad. Gennari followed the Stuart court into exile in 1689, and his notebook records that this was the first work he produced from there. Elizabeth Panton is portrayed, in a statement of her Catholicism, as Saint Catherine of Alexandria, holding a martyr's palm and the spiked wheel on which, according to legend, Saint Catherine's body was broken. This theme is seen in portraits of Charles II's queen, Catherine of Braganza, some twenty-five years earlier. It was a popular subject with English court sitters, even used by Lely in paintings of Charles's mistress, Barbara, Lady Castlemaine. Elizabeth returned to England in October 1690, presumably taking her portrait with her. In 1691 she married Henry, fifth Lord Arundell of Wardour. Gennari's combination of French and Italian influences sets him apart from his British contemporaries, and is exemplified in this portrait by the Italianate coloring and strong lighting.
Saint Roch Implores the Virgin Mary to Free Ferrara from the Plague (1668 engraving; ; 600x368pix _ ZOOM to 1400x860pix, 447kb _ ZOOM+ to 3541x2174pix; 6729kb) _ text about Saint Roch [1295-1327], who cured the plague-stricken and made the plague disappear from many Italian cities.

Died on a 19 October:

1942 Jan Trampota, Czech artist born on 21 May 1889.

1897 Anton Müller, Austrian artist born on 29 June 1853.

^ 1785 Jean-Hugues Taraval, French painter born on 27 February 1729. Between 1732 and 1750 he was in Stockholm with his father, Guillaume-Thomas Taraval [21 Dec 1701 – 1750], who was also his first teacher. At his father’s death he went to Paris and entered the studio of Jean-Baptiste Pierre. In 1756 he won the Prix de Rome with Job Reproached by his Wife, and then spent the years 1756–1759 at the École des Élèves Protégés. From 1759 to 1763 he was at the Académie de France in Rome. On his return to France he was approved (agréé) at the Académie Royale in 1765 with Venus and Adonis. He was received (reçu) as a full member in 1769 with The Triumph of Bacchus for the ceiling of the Galerie d’Apollon in the Louvre and was appointed a professor in 1785. His work as a decorative painter, exemplified in The Apotheosis of Psyche (1773) on the ceiling of the Salon Doré of the Hôtel Grimod d’Orsay, Paris, was in great demand: he also received commissions for the Château de Bellevue (1762), the École Militaire (1773), Paris, the Collège de France (1777), Paris, the château of Versailles (1780) and the château of Marly (1781; all destroyed since). He was appointed an inspector of the Gobelins factory in 1783. — Louis Gauffier was a student of Taraval. — LINKS
Two Children (1756, 49x61cm; 480x587pix, 19kb)

1758 Agostino Masucci (or Masucco), Roman painter and draftsman born in 1690 (1691?). He was apprenticed in Rome, first to Andrea Procaccini and later to Maratti. His work is characterized by a classicism derived from Guido Reni and ultimately from Raphael. According to Pio, he was ‘nourished first by the perfect milk of Maratti, and then saturated with the divine nectar of Raphael’. One of the last artists of Maratti’s school, he was also a precursor of the movement known as Proto-Neo-classicism, which flourished in the Roman art world during the 1720s and 1730s, and the inventor of the new code of portraiture that evolved from the Maratti school. — The students of Masucci included Innocenzio Ansaldi, Giuseppe Bottani, Richard Dalton, Gavin Hamilton, Stefano Pozzi, Johan Zoffany.

1553 Bonifazio de' Pitati “Veronese” or “Veneziano”, Italian painter born in 1487 in Verona. He was the son of Marco, an armorer from Verona. Between 1505 and 1515 the family moved to Venice where Bonifazio is first recorded in 1528, when he had probably long been active as a painter, perhaps in the workshop of Palma Vecchio. Works attributable to this period (1515–1528) indicate his thorough understanding of the stylistic idioms dominant in Venice in the early 16th century. In his paintings of The Virgin and Child with Saints Bonifazio responded intelligently to contemporary works of this type by Titian and Palma. He also took note of the styles of older Venetian masters such as Giovanni Bellini and Giorgione: the early versions are characterized by compositional symmetry and a tripartite division of the landscape backgrounds that is reminiscent of Bellini, while the tone of quiet introspection of the assembled saints recalls Giorgione. — The students of de' Pitati included Jacopo Bassano, Antonio Palma, Andrea Schiavone, Jacopo Tintoretto.

Born on a 19 October:

^ 1895 Bram van Velde, Dutch painter and printmaker who died on 28 December 1981. Born into a humble family, brother of Geer van Velde [05 Apr 1898 – 05 Mar 1977], he was apprenticed at the age of 12 to a firm of decorators. He soon developed an interest in painting and was encouraged by his employer to devote himself to it. He therefore moved to Germany, briefly staying in Munich before settling in the artists’ colony at Worpswede, near Bremen. While there he painted brightly colored Expressionist works such as Yellow Nude (1924) as well as making his first lithographs. Later he produced abstractions. — LINKS
Sans titre (1947, 162x130cm; 700x554pix, 229kb) colorful, abstraction of a man and two fish?
Sans titre (1959) looks somewhat like a version of the previous painting.
Sans titre (1960)
–- Sans titre (700x450pix, 40kb _ .ZOOM to 1164x746pix, 78kb)
–- Composition (590x514pix, 35kb _ .ZOOM to 1180x1028pix, 88kb) abstraction of the Greek letter p (pi)?
–- Composition (500x628pix, 55kb _ .ZOOM to 1165x1465pix, 184kb) abstraction of a pelican looking at a pair of eyeglasses in a shop window?
–- S*>#Bauern (Worpswede) (763x841pix, kb)
–- S*>#Bouquet (1041x841pix, 234kb)
–- S*>#Still Life With Flowers (1165x841pix, 222kb)
–- Composition (450x739pix, 63kb _ .ZOOM to 900x1478pix, 230kb) abstraction of two birds pecking at a blindfolded oversized chick wearing a cap?
–- Composition (481x600pix, 38kb _ .ZOOM to 844x1050pix, 83kb) abstraction of a white parrot pecking at an astronaut's helmet visor?
Composition (541x800pix, 112kb) abstraction of the beak-to-beak close encounter of 4 birds, seen from above?
— (untitled?) (1134x742pix, 49kb) an old battered baseball bat on a mostly white, pink, and black background? _ The pseudonymous S. U. V. Welder has introduced a variety of brilliant colors and textures, and thoroughly transformed Van Velde's simplistic picture it into two related series (you can click instantly from one series to the other at the same level), each consisting of 10 stunning symmetrical abstractions, which, on any level, do not enlarge the previous one, but add to its edges and center maintaining a fixed size of the image through level 6. For levels 7, 8, and 9, whose size is required to appreciate the fine details but exceeds most computer screens, there is an alternate image reduced to 932x1318pix:
      _ Splendid Unidentified View, level 0 (2006; 932x1318pix, 343kb _ level 1, 932x1318pix, 289kb _ level 2, 932x1318pix, 277kb _ level 3, 932x1318pix, 287kb _ level 4, 932x1318pix, 301kb _ level 5, 932x1318pix, 347kb _ level 6 to 932x1318pix, 313kb _ level 7, 1318x1864pix, 551kb _ level 8, 1864x2636pix, 1451kb _ level 9, 2636x3728pix, 3277kb ||| _ level 7, 932x1318pix, 348kb _ level 8, 932x1318pix, 447kb _ level 9, 932x1318pix, 378kb) and
      _ Stupendous Ultimate Version, level 0 (2006; 932x1318pix, 343kb _ level 1, 932x1318pix, 289kb _ level 2, 932x1318pix, 277kb _ level 3, 932x1318pix, 287kb _ level 4, 932x1318pix, 301kb _ level 5, 932x1318pix, 347kb _ level 6 to 932x1318pix, 313kb _ level 7, 1318x1864pix, 551kb _ level 8, 1864x2636pix, 1451kb _ level 9, 2636x3728pix, 3277kb ||| _ level 7, 932x1318pix, 348kb _ level 8, 932x1318pix, 447kb _ level 9, 932x1318pix, 378kb)
— (untitled?) (544x745pix, 174kb) 4-color lithograph.
— (untitled?) (1341x730pix, 174kb) monochrome lithograph.
— (untitled?) (1060x735pix, 169kb) 2-color lithograph.
untitled (1971, 102x73cm; 693x800pix, 139kb)
43+43 images at bobvaneck —(071015)

>1840 Hjalmar “Magnus” Munsterhjelm, Finnish painter who died on 02 April 1905. His father owned an estate in central Finland, the area that was to inspire most of his landscapes. He admired the work of Werner Holmberg, which prompted him to study at the Kunstakademie in Düsseldorf. He attended the Akademie between 1860 and 1865, first as a student of Hans Fredrik Gude and then under Oswald Achenbach. From 1865 to 1870 he worked under Gude in Karlsruhe, producing such works as Road in Finland (1865). During this period he was influenced by Gude’s Realism as well as by the Nordic Romanticism of the older generation of artists in Düsseldorf.

1767 Karl Gotthard Grass, Serb artist who died on 03 August 1814. — {Karl got hard grass, but did he smoke it? Did he inhale?}

1669 (14 Aug?) Domenico Fiasella “il Sarzana”, Italian painter born in Sarzana on 12 Aug 1589. He was the son of Giovanni Fiasella, a silversmith. At the age of 11 he studied briefly under Aurelio Lomi [1556–1622], who was in Genoa from 1597 to 1604, and then under Giovanni Battista Paggi [27 Feb 1554 – 11 Mar 1627]. About 1607 he left for Rome, where he copied paintings by Raphael [06 Apr 1483 – 06 Apr 1520] and frequented the Accademia del Nudo. His painting of a Nativity was admired by Guido Reni [04 Nov 1575 – 18 Aug 1642] when it was on view for a celebration in Santa Maria della Scala, Rome. Consequently Domenico Passignano [bap. 29 Jan 1559 – 17 May 1638] and Giuseppe Cesari d'Arpino [1568 – 03 Jul 1640] asked him to work with them, and the Marchese Vincenzo Giustiniani commissioned paintings from him. — Gregorio di' Ferrari [12 Apr 1647 – 26 Jan 1726] was an assistant of Fiasella. — Valerio Castello was a student of Fiasella.
sold for 165'002

Happened on a 19 October:

2006 A 1923 watercolor of a couple canoeing on a river, by Frank Weston Benson [24 Mar 1862 – 15 Nov 1951] is sold for $165'002 at an internet auction of Goodwill Industries. The bidding started at $10 on 12 October 2006, and soared after the painting was authenticated. It had been anonymously donated, by someone who probably did not know its value. —(061026)
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updated Monday 19-Oct-2009 18:28 UT
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v.8.90 Friday 10-Oct-2008 20:15 UT
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v.6.92 Thursday 26-Oct-2006 14:55 UT
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