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DEATH: 1698 EHRENSTRAHL

BIRTHS: 1852 FORAIN — 1844 LEIBL

^ Born on 23 October 1852: Jean~Louis Forain, French Impressionist draftsman-satirist, painter, etcher, lithographer, and illustrator, who died on 11 July 1931.
— Born in Rheims, son of a house-painter. Studied for a year with J. de la Chevreuse and briefly under Gérôme at the École des Beaux-Arts. Copied drawings and etchings in the Louvre and the Bibliothèque Nationale; also studied modeling for a year under Carpeaux. First began to paint in the studio of André Gill in 1870. Became a friend and disciple of Degas and contributed to four of the last Impressionist exhibitions 1879-1886. From 1887 to 1890 became a prolific and famous contributor of satirical drawings of Parisian life and later political satire to Le Courrier Français, Le Figaro and other papers, accompanying the drawings by his own biting captions; also published two papers of his own, Fifre 1889 and (with Caran d'Ache) the anti-Dreyfus Psst...! 1898-1899. First one-man exhibition at the Galerie Boussod-Valadon, Paris, 1890. After about 1900 he painted a number of law-court scenes influenced by Daumier, but in darker tones. Died at Le Chesnay, near Versailles.
— About 1860 he moved with his family to Paris, where he was taught by Jacquesson de la Chevreuse [1839–1903], Jean Baptiste Carpeaux and André Gill. He participated in the Franco-Prussian War (1870–1871) and was a friend of the poets Paul Verlaine and Arthur Rimbaud; the latter is the presumed subject of a portrait (1874) that may have influenced Manet’s late portrait of Mallarmé (1876). Forain first met Manet through his friendship with Degas in the early 1870s at the salon of Nina de Callias. He continued to associate with Manet, meeting the group of young Impressionists at the Café Guerbois and the Café de la Nouvelle Athènes. In 1878 Forain painted a small gouache, Café Scene, which probably influenced Manet’s Bar at the Folies-Bergère (1882)

— LINKS
–- The Patron and the Artist (1921, 58x48cm; 1175x974pix, 236kb)
–- Danseuse Rattachant son Chausson (27x23cm; 968x746pix, 54kb)
–- Montmartre (51x62cm; 845x1040pix, 73kb _ ZOOM to 1691x2080pix, 726kb, only if you are a masochist) vomit colors, sketchy, messy.
— The Tightrope Walker (1880)
— The Fisherman (1884)
— Music Hall (1895)
— Le Tribunal (1903, 60x73cm)
— Avocat et accusé (1908, 65x81cm)
— {Quoi? Pas de portraits de romanichels?}
—(061019)

^ Died on 23 October 1698: David Klöcker “Ehrenstrahl”, in Hamburg, German Baroque painter, active in Sweden, born on 23 September 1629. Some incorrectly give 27 Apr 1628 as the date of his birth. Also incorrect is 27 October 1698 as the date of his death (it may have been his burial).
Ehrenstrahl stamp — ‘Ehrenstrahl’ was an honorific title received on his ennoblement in Sweden in 1674; his eventual appointment as court steward there in 1690 reflects his status as a founding father of Swedish painting. He initially studied in the Netherlands (1648–1650), but his early works, stylistically undecided, reflect contemporary German painting. Such a work is his equestrian portrait of Field Marshal Carl Gustaf Wrangel (1652), in whose service he went to Sweden in 1651. In 1654 he went to study in Italy. In Rome he learnt from Pietro da Cortona’s allegories and his mastery of compositional devices, movement, color, light and shade. From there he went to Paris, where he became acquainted with the work and career of Charles Le Brun. When Klöcker returned to Sweden in 1661, the influence of Hedvig Eleanora, the Queen Mother, secured him a position as a court painter.
[Swedish stamp from a detail of Ehrenstrahl's 1695 The Great Deeds of Swedish Kings >>>]
— Like many of his North-German colleagues, the Hamburg-born David Klöker sought his way to Holland to study painting. His teacher was Jurian Jacobsz, an animal painter from Amsterdam. In 1652, Klöker came to Sweden in the company of Field Marshal Carl Gustav Wrangel. In Stockholm, Klöker entered the service of the Queen Dowager Hedvid Eleonora, who sent him to Italy in 1654 to learn the skills of a court painter. Klöker spent some time in Rome, Venice, Paris and London and adopted the form and ideology of international Baroque classicism. In 1661, he returned to Sweden to take up the post of court painter. Sweden was at its most powerful at that time. The young King Charles XI took the power into his own hands from the nobility. The autocrat of a great power, he needed someone to provide a worthy setting for him and to create his public image - an artist who had mastered the means of Baroque rhetoric and visual propaganda. David Klöker was just the man for this task. King Charles XI valued the talent and energies of his court painter so much that he raised him to the nobility in 1674 as David Klöcker Ehrenstrahl. Ehrenstrahl was the head of a large studio where he and his numerous assistants produced a remarkable amount of monumental paintings and parade portraits to meet the ever-increasing demand. Ehrenstrahl's court Baroque seems a little clumsy by international standards, but it obviously met the hopes and aspirations of the parvenu great power on the outskirts of Europe. Ehrenstrahl used to distinguish the paintings in which his own work predominated from the studio output by signing the latter "Ehrenstrahl fec." instead of just "Ehrenstrahl". His own works at their best are highly picturesque and surprisingly expressive. Ehrenstrahl's splendid animal paintings are another story completely - the court painter showed exceptional enthusiasm when he returned to the fountainhead of his early student years in Holland.
— Michael Dahl was a student of Ehrenstrahl.

–- The Great Deeds of Swedish Kings (1695; 869x625pix, 69kb — .ZOOM to 1738x1250pix, 142kb) _ a ceiling painting at Drottningholm Castle. The central part was engraved by Czeslaw Slania [22 Oct 1921 – 17 Mar 2005] into a postal stamp (see a 5/2 size image; 535x704pix, 104kb).
–- Fox (566x817pix, 29kb)

— Count Johan Jacob Hastfehr (89x72cm; 694x577pix, 35kb) _ This portrait has been left in the sketch stage. The face is fairly accurately completed, but the arms and the breastplate are outlined in vigorous strokes using shades of brown. In the 1680s and 1690s, Ehrenstrahl painted a series of portraits of the generals of King Charles XI, and it is said that the King weeded out some of the paintings before they were ready. This portrait may have been one of them.
      Jacob Johan Hastfehr was born in Tallinn, Estonia. His family belonged to the German nobility in the Baltic States. He went to Stockholm in 1667 to be a junior officer in the King's entourage. He was captain of the Life-Guards when, in 1674, he married Sigrid Gyllenstierna, widow of the Privy Councillor, Klas Fleming. Through her family background, Sigrid belonged to the intimate circles of Charles XI and she arranged for her fiancé to gain the special attention of the King. Hastfehr distinguished himself in the Danish war and truly won the King's confidence when, as commander of the Stockholm garrison, he secured the King's rear during the unstable parliamentary sessions of the Estates in 1680.
      Charles XI had built an autocracy in Sweden and Finland and saved the national economy by the repossession of the lands and fiefs of the nobility. In the Baltic countries, Estonia and Livonia, the ownership of land and political power were still in the hands of the German nobility. Charles XI decided to extend his reforms to the Baltic region as well and needed a loyal, determined man who knew the local conditions to carry out his will there. In 1687, he nominated Jacob Johan Hastfehr governor general of Livonia and soon after that as count and a field marshal as well.
      Hastfehr began to implement the King's policies with full vigor. According to historical accounts reflecting the views of the Livonian nobility, Hastfehr was a gruff braggart and a ruthless, two-faced careerist, who would stop at nothing to achieve his own despicable aims. It is said that he accepted bribes left, right, and center, but when bought he didn't stay bought and did whatever he wanted anyway. Later historical accounts relate that he was a man of action, but in a different way; Hastfehr tried to reach an amicable agreement with the Livonian nobility and pursued hard-line policies only after it became evident that the nobility would not agree to any concessions concerning their lands and powers. Once he had broken the nobility's resistance, Hastfehr opposed all retaliation against them.

— Count Johan Gabriel Stenbock [1629-1705] (147x120cm; 702x571pix, 41kb) _ In the portrait, Count Stenbock is sitting on a red velvet cushion, relaxed and self-confident, leaning against an exuberant, gold-plated console table that might be from Burchard Precht's workshop. The count is wearing a yellowish robe, the free-flowing pleats of which are painted with the firm strokes of a master. In the background, there is red drapery under which, behind a column, a strip of parkland is visible.
      John Gabriel Stenbock was born into one of the oldest and most respected families in Sweden. He began his career at court by charming Queen Christina. When the young count returned from a long tour abroad, he was appointed treasurer to the Queen Dowager. Stenbock showed strong economic sense in his work and became a privy councillor in 1668. In 1692, he resigned from the regency as he opposed its open-handed economic policy. When King Charles XI came of age, he asked Stenbock to join the council again. For the rest of his life, Stenbock remained one of the most influential men at court and in the government. A common interest in economic issues brought Stenbock close to the King. Stenbock warmly supported the economic reforms introduced by Charles XI, the most important of which was the repossession of alienated crown lands from the nobility. However, Stenbock did not neglect his own interests for the benefit of the crown. Through his privileged position, he was able to save much of his own large lands. In fact, he took advantage of the plight of his fellows and redeemed dozens of confiscated estates at very low prices. By the time of his death, he was one of the richest men in the kingdom.
      Stenbock avoided the traps set by his many lady admirers and remained single. He was a hot-tempered and outspoken man, the Queen Dowager nick-named him "grobian". Stenbock had a shrewd and inquisitive mind. He liked to give the impression of being more learned than in fact he was. His habit of dropping cultured details into conversations caught the attention of many diplomats, who mentioned it in their reports. Stenbock's interest in science may have had an influence on his being appointed Chancellor of the Turku Academy.

— Karl XII: den nykrönte monarken (1697; 611x400pix, 196kb) _ David Klöcker Ehrenstrahl är mest känd för att ha skildrat Carl Gustaf Wrangel samt Karl XI och hans familj. Han inledde dock sin karriär som skrivare vid kansliet i Osbabrück men blev efter det 30-åriga kriget elev hos porträtt- och djurmålaren Jurian Jacobz. Det visade sig att den unge David Klöcker hade god potential och fick därför anställning hos Carl Gustaf Wrangel i Pommern. År 1653 reste David Klöcker ut i Europa för att bl.a. ta lärdom av den italienska barockkonsten vilket bidrog till att han år 1658 blev det svenska hovets officielle konstnär. Han adlades förövrigt 1674.
      Ehrenstrahls första porträtt av Karl XII följer i många avseenden dåtidens ideal. Men intressant är ändå att många av dessa är mer överensstämmande med originalet än Kraffts och Sparres mer "verklighetstrogna" och råa verk. Proportionerna i kungens ansikte är ofta mer riktiga hos Ehrenstrahls versioner; nässpetsen och munnen sitter inte onaturligt nära varandra, vilket dessa gör hos t.ex. Sparres skildringar. Slutsatsen vi kan dra är alltså att Ehrenstrahl verkligen var mån om realism dock en idealiserad sådan...
      Ehrenstrahls många målningar är även väldigt viktiga i det avseende att de visar oss hur kungens yttre utvecklades; från spädbarn till vuxen man. På de tidigaste porträtten finner man att kungens böjda näsa tar lite för stor plats i dennes smala ansikte, men på de senare är dragen mer proportionella.

— Conrad von Falkenberg [1591-1654] (933x759pix, 123kb) _ Tidigare bl a kapten vid Södermanlands regemente och kommissarie i Holland, begärde avsked p g a sjuklighet.
— Mauritz Posse [1632-1702] (1674, 947x772pix) _ Tidigare landshövding i Kronobergs län, friherre.
— Hans Georg Mörner [1623-1685] (1680; 934x747pix) _ Bl a överste, generalmajor, landshövding i Jönköpings län, guvernör över Kalmar och Kronobergs län, guvernör över Jönköpings län.
— Hans Wachtmeister [1641-1714] (1683; 930x759pix) _ Guvernör över Kalmar och Blekinge län. Orsaken till ändringen av länsdelningen var att man tänkte förlägga den svenska örlogsflottan till Kalmar där bl a ett örlogsvarv anlades 1681.Wachtmeister var även generalamiral över svenska flottan samt generalguvernör. Till sin hjälp hade han Erik Nilsson Ehrensköld 1681-1683 (1634-1684) med titeln ståthållare.

^ >Born on 23 October 1844: Wilhelm Maria Hubertus Leibl, German painter of portraits and genre scenes who died on 04 December 1900. He was one of the most important German Realists of the late 19th century.
Leibl entered the Munich Academy in 1864. He worked from 1866 to 1868 under Avon Ramberg and in 1869 under Karl von Piloty [01 Oct 1826 – 21 Jul 1886]. In 1870 he went to Paris to work with Gustave Courbet [10 Jun 1819 – 31 Dec 1877] but returned to Munich after only nine months because of the outbreak of the Franco-Prussian War. He resided in Munich for three years and then settled in a number of small villages in Bavaria (Berbling, 1878–1881; Aibling 1881–1892; and Kutterling 1892–1900), drawing on the local peasant life for subject matter.
Leibl's painting was in opposition to the Romantic naturalism then prevalent in Germany. Like that of Courbet in France, Leibl's objective style was based on a direct, careful recording of nature, objects, figures, and situations. His most characteristic and popular works are from his “Holbein period,” about 1870–1880 (e.g., Three Women in Church, 1882). Later he abandoned the hard brilliance of his former works and drew softer outlines. He followed his own strong instinct for color, reproducing what he saw with a bold, sure touch (e.g., In the Kitchen, 1898). His superb technique enabled him to paint fluidly and broadly and yet to render detail with the utmost delicacy.

— LINKS
— Selbstbildnis (1871; 600x622pix, 143kb)
— Schlafender Savoyardne Knabe (1869, 44x64cm; 600x884pix, 168kb _ ZOOM to 1400x2062pix, 439kb)
— Die Dorfpolitiker (1871; 693x901pix, 126kb _ ZOOM to 1400x1820pix)
— Bauernmädchen mit weißem Kopftuch (1878; 600x456pix _ ZOOM to 1400x1064pix)
— different Bauernmädchen mit weißem Kopftuch (1885, 25x23cm; 543x500pix, 72kb)
— Das ungleiche Paar (1877, 16x62cm; 600x488pix _ ZOOM to 1400x1139pix) _ The painting depicts the old fisherman Lenz and Theresia Bauer, with whom Leibl had a brief and unhappy love affair. The two persons sit close together in the corner of a rustic room, facing the observer. The old, almost toothless man puts his arm loosely around the pretty young woman. At first sight, she seems to take his importunate manner in her stride. But the impression is false. Theresia holds the glass in her right hand at such an oblique angle that she could at any moment dump its contents, thereby ending abruptly the supposed idyll. However, Leibl was less interested in the moral dimension of this scene than in the opportunity it presented to depict an old and a young face next to each other.
— Frau Gedon (1869, 120x96cm; 900x725pix, 81kb _ ZOOM to 1400x1128pix)
— Lina Kirchdorffer (1872; 118kb)
— Wilhelm Trübner (1872; 127kb)
—(061021)

Died on a 23 October:

^ >1917 Eugène-Samuel Grasset, Swiss-born French illustrator, decorative artist, and printmaker, born on 25 May 1841. Before arriving in Paris in the autumn of 1871, Grasset had been apprenticed to an architect, attended the Polytechnic in Zürich and traveled to Egypt. In Paris he found employment as a fabric designer and graphic ornamentalist, which culminated in his first important project, the illustrations for Histoire des quatre fils Aymon (1883). Grasset worked in collaboration with Charles Gillot, the inventor of photo-relief printing and an influential collector of Oriental and decorative arts, in the production of this major work of Art Nouveau book design and of color photomechanical illustration. Grasset used a combination of medieval and Near Eastern decorative motifs to frame and embellish his illustrations, but most importantly he integrated text and imagery in an innovative manner which has had a lasting influence on book illustration. — Some of Grasset's students were Paul Follot, Augusto Giacometti, Pierre Roy, Eliseu Visconti, Paul Berthon.

1890 Charles (or Karel) Michel Maria Verlat, Antwerp Belgian painter and teacher, born on 24 November 1824. He studied at the Antwerp Academy. Joseph Lies was one of his teachers. Verlat was admitted to Ary Scheffer’s atelier at the École des Beaux-Arts in Paris in 1850. He discovered Delacroix in the museums and studios of Paris, but he remained Flemish at heart, particularly admiring the colors of Rubens’s Medici cycle in the Louvre. With his contemporary, Eugène Verboeckhoven, he became the heir to the Flemish tradition of genre painting in which animals were the main protagonists, capturing the subtle color and texture of fur with great exactitude (e.g. Pig and Donkey). He remained in Paris until 1868, and from 1869 to 1874 he taught at the Weimar Kunstschule. — The students of Verlat included Floris Arntzenius, Frank Bramley, Norman Garstin, Max Liebermann, Charles Mertens, Walter Frederick Osborne.
–- Jeune Fille de Bethleem (900x621pix, 54kb)
–- Fido (1874, 55x45cm; 765x624pix, 39kb)
— Landscape with tall tree, small stream, sheep (532x340pix, 138kb)
— Halfportret van een Joodse vrouw (1875, 61x45cm; 500x364pix, 43kb)
— Rabbit (76x56cm; 740x531pix, 59kb) _ detail 1 (531x664pix, 54kb) the rabbit _ detail 2 (631x531, 44kb) flowering plant and butterflies. —(091022)

1879 Pierre Justin Ouvrié, French artist born on 19 January (or 09 May) 1806.— {A son oeuvre on connait un Ouvrié} — Ouvrié was a painter of architectural sites, mansions, monuments, and landscapes in France and abroad. With more than forty years of successive Salon entries, Ouvrié’s illustrious career showed that paintings romanticizing architectural landscapes were an accepted tradition of imagery in the Salons. Two dates have been proposed for both: his birthdate is either 19 January or 09 May 1806 and his death is either 23 October 1879 or 1880, though most likely it was in 1879. He was born in Paris and died in Rouen. He was a student of three masters concurrently: Alexandre-Denis Abel de Pujol, Baron Taylor, and the architect Chatillon, most likely André-Marie Chatillon, though no first name is provided in the Salon catalogs. Chatillon was an architect, which may have influenced Ouvrié's depictions of architectural monuments.
      By 1827, Ouvrié had established himself well enough to receive significant commissions. In 1827 he completed Un Portrait du Roi en Pied, for the city of Dôle and in 1829 he completed Un Portrait du Roi, Buste for the city of Villefranche, suggesting that his career was closely linked to the Restoration period of Charles X. At this time Ouvrié was also working in lithography, a medium that was becoming increasingly popular at the time. As many artists of this period, Ouvrié began his artistic career with commissioned portraits, but later found his true passion in paintings of architecture and landscape.
      Ouvrié’s most considerable contribution was to the Salons. Before exhibiting at the Salons, however, he exhibited Vue Prise à Moret, a watercolor, at the Exposition du Luxembourg in 1830. Ouvrié often completed his watercolors on the spot and these would later figure in important aspects of his Salon entries. Over a forty year period of Salon exhibitions, his accepted entries totaled more than 150 paintings, exhibiting as many as six at a time. He exhibited under several names, at times Ouvrié, at other times Pierre-Justin, Justin or Justin Ouvrié, thereby confusing possible attributions. He first exhibited at the Salon of 1831 and received a second class medal for Genre et Paysage, an impressive showing considering it was his first Salon exhibition. By 1833 he had begun his series of extensive travels and that same year exhibited two views of Venice and Naples: his works were inspired by these journeys. Ouvrié’s travels took him throughout France, Holland, Belgium, Switzerland, Germany, England, and Italy and provided him with ample and diverse subject matter. His travels through Italy may have inspired his appreciation of architecture and architectural ruins. Ouvrié’s work glorified architectural details with a reliance on precise representation.
      His work can thus be viewed in the context of the cult of the picturesque, where artists were frequently commissioned to study ruins as one way of providing images fore eventual use in travel publications. Ouvrié translated his travels abroad into romanticized versions of reality. His teacher, if it was indeed André-Marie Chatillon, as is likely, was also a student in Italy, traveling throughout cities such as Naples and Florence. Ouvrié’s depictions of the picturesque are influenced by both travel and tutelage. Ouvrié continued exhibiting both oil and watercolor paintings at the Salons through 1871. He later received a first class medal in 1843 and a third class medal in 1855. His greatest honor came on 30 December 1854 when he received the title of Chevalier de la Légion d’Honneur. Ouvrié died in in Rouen.
— Somerset House and St. Paul's (27x41cm; 750x1117pix, 531kb)
— Market Day (1866, 100x74cm)
— Le Château de Chenonceau (1843, 130x191cm)
–- Un capriccio de Dordrecht (1872, 70x100cm; 440x646pix, 41kb) —(061021)

^ 1873 George-Henry Laporte, German painter born in 1799. — {Quand des importuns arrivaient chez lui, on leur montrait Laporte?}
— Arab Mare and Foal with Attendant by a Ruined Temple (1835, 49x67cm)

1690 Antonie (or Anthonie) Waterlo (or Waterloo), Dutch draftsman and etcher, born on 06 May 1609. — He was the son of a Flemish cloth-shearer who had fled to Amsterdam for religious reasons. In 1640 Antoni married Cathalyna van der Dorp in Amsterdam, and between 1641 and 1651 they had six children. Although he is recorded as a ‘painter’ in the baptismal registers of his children, his work predominantly consists of landscape drawings and etchings. His earliest known dated work is a sheet depicting a View of the Blaauwbrug in Amsterdam (1649). — LINKS —(071021)

1657 Rafael Govertszoon Camphuysen, Dutch painter born in 1598. Aert van der Neer [1604-1677] was one of his students; his cousin Govert Dirckszoon Camphuysen [1623 – 04 Jul 1672 bur.] was probably another one . — Brother of Joachim Govertszoon Camphuysen [1601-1659].
–- Wooded River Landscape (115x165cm; 896x1320pix, 247kb) _ There is an elegant couple on a path, fishermen near a bridge, a village nearby.
–- Winter Landscape (47x62cm; 440x600pix, 35kb) almost monochrome (due to darkening from aging?) —(061021)

Born on a 23 October:

^ 1920 Lygia Clark, Brazilian painter, sculptor, and performance artist, who died on 26 April 1988. She first studied painting with Roberto Burle Marx in Rio de Janeiro and in 1950 moved to Paris, where she completed her studies with Fernand Léger and Arpad Szènes [1900–]. Under the influence of Soviet Constructivism, the Bauhaus and Neo-plasticism, she abandoned her early figurative style for geometric abstraction, joining the Frente group on her return to Rio de Janeiro in 1954. Between 1954 and 1958 she produced two series of radical experiments in concrete art, Modulated Surfaces and Counter-reliefs. These were followed between 1959 and 1961 by Animals, metal sculptures which the spectator was free to rearrange. Her move to Europe in 1968, marked by a retrospective at the Venice Biennale, where she also showed her installation The House is the Body, confirmed her growing reputation in Europe. Before returning to Rio de Janeiro she taught a course at the Sorbonne, Paris, from 1970 to 1975, entitled Imagery of the Body. In her work she substituted flat surface with unrestricted space so as to invite the physical participation of the spectator, thereby encouraging the spontaneous rediscovery of the body and the transformation of behavior in art. — LINKS
–- Escada, (1951; 98x72cm; 569x416pix, 33kb) _ This has been transformed by the pseudonymous Clara Klygi into the much richer in colors and finely detailed abstractions
_ Escalada (2007; 550x778pix, 149kb _ ZOOM 1 to 778x1100pix, 278kb _ ZOOM 2 to 1100x1556pix, 522kb _ ZOOM 3 to 1710x2418pix, 1220kb _ ZOOM 4 to 2658x3760pix, 3883kb) and
_ Escapada (2007; 550x778pix, 149kb _ ZOOM 1 to 778x1100pix, 278kb _ ZOOM 2 to 1100x1556pix, 522kb _ ZOOM 3 to 1710x2418pix, 1220kb _ ZOOM 4 to 2658x3760pix, 3883kb) and
_ Es Cada Vez Más (2007; 550x778pix, 150kb _ ZOOM 1 to 778x1100pix, 278kb _ ZOOM 2 to 1100x1556pix, 522kb _ ZOOM 3 to 1710x2418pix, 1220kb _ ZOOM 4 to 2658x3760pix, 3884kb). —(071021)

^ 1915 Salvatore Fiume, Sicilian painter, sculptor, architect, writer, and movie director.
— Summit Meeting (106x160cm; 262x400pix, 28kb)
— his web site —(050913)

>1910 Richard Strange Mortensen, Copenhagen painter and stage designer who died on 12 January 1993 (some say 06 Jan 1993). He studied at the art academy in Copenhagen from 1931 to 1932. In 1932 he visited Berlin with the painter Ejler Bille and saw paintings by Vasily Kandinsky, after which he began to make strange abstract pictures with pure, geometrical forms. He was also attracted by Surrealism and in his paintings of 1933–1934 sometimes incorporated fragments of reality, such as an eye and a pair of lips, in otherwise abstract compositions, which gave them a fantastic and erotic character. In 1934 he made some paintings that were purely Surrealist (influenced by Salvador Dalí and Yves Tanguy) as well as drawings of an automatist nature; his works were already exceptionally striking in color.
–- Coudes (1954, 46x55cm; 1282x1540pix, 84kb) _ Since Mortensen includes not one elbow in his simplistic abstract picture, the pseudonymous Drachir Nesnetrom has decided to remedy that deficiency and has produced the semi-realistic
_ C'est des coudes, ça! (2005, 920x1300pix, 148kb) _ However the pseudonymous Pauvret Vifenloir has opted for a whole series of adaptations of Mortensen's abstractions, which can be accessed by clicks of the mouse from any of them, such as for example the asymmetrical:
_ Onze Cent Likud (2008; 550x778pix, 176kb _ ZOOM 1 to 778x1100pix, 325kb _ ZOOM 2 to 1100x1556pix, 723kb _ ZOOM 3 to 1880x2658pix, 2252kb _ ZOOM 4 to 2658x3760pix, 5093kb) or the symmetrical
_ 1100 les Coudes (2008; 550x778pix, 186kb _ ZOOM 1 to 778x1100pix, 382kb _ ZOOM 2 to 1100x1556pix, 802kb _ ZOOM 3 to 1880x2658pix, 2664kb _ ZOOM 4 to 2658x3760pix, 5406kb) and the smaller series accessible from
_ Coudre (2008, 1282x1540pix, 199kb)
— Torsdag (1976; 100x81cm; 1565x1275pix, 122kb)
— Bomber over lande (1940; 76x91cm)
— Abstrakt komposition (1946)
— Triptykon (1972) Ved Axel Larsens død.
— Uden titel (1938, 132x80cm; 503x300pix, 38kb) at least it does not pretend to show any elbow nor anything else. —(090104)

1898 Werner Scholz, German artist who died on 05 September 1982. — Relative? of Georg Scholz [1890-1945]? — The 17-year-old Werner Scholz goes to war as a volunteer directly after school - a decision, whose consequences leave their mark on his entire personality. He loses his left forearm by a shell in 1917. His experiences of the war and the social misery of the city that Scholz encounters after the war when he is at the Hochschule der Bildenden Künste in Berlin, mainly find expression in black-and-white depictions in his early works, which are soon appreciated by artistic circles and critics. When he leaves the academy in 1920 and moves into his own studio, he is interested in the Brücke-painters and Emil Nolde, who is enthusiastic about Scholz's works as well. At the end of the twenties socially committed oil paintings of Berlin's city environment emerge, before Scholz devotes himself to some triptychs, of which the majority is lost without a trace. In 1930 the Nationalgalerie Berlin and the Wallraf-Richartz Museum in Cologne purchase pictures of the artist. From 1933 on the Nazis make public exhibitions more difficult for him or even stop them, but Scholz continues to work in Berlin and Alpbach/Tyrol. In 1937 the artist is forbidden to exhibit. The Nazis display two of his pictures at the exhibition "Entartete Kunst". When his studio in Berlin is destroyed by bombs, Scholz moves to Alpbach for good. After the war Scholz deals with topics such as the apocalypse, the old Testament and the Greek Mythology, which he depicts in pastel cycles. The first exhibitions after 1946 show his creations in many German cities. Scholz consequently follows the way he pursued in the twenties: His articulateness in painting, which has its roots in German expressionism, gets a serious and often melancholic undertone through a dark coloration. In 1954/55 Scholz paints the "Steel-triptych" by order of Krupp, which is followed by a large number of pictures of the industrial world of the Ruhr area. From 1957 until 1966 large-format landscapes arise as a result of his frequent trips to South Tyrol and Northern Italy. Scholz's last pictures - people, nudes and landscapes - are painted in his studio in a former cloister in Rott near Wasserburg on the Inn in 1978. Werner Scholz died in Schwaz, Tyrol.
— Das Paar (1430x897pix, 174kb)
— Untitled Still Life (1946, 36x50cm) _ main detail (766x1024pix, 89kb)
— Piave (340x410pix, 71kb) —(051022)

^ 1866 François Charles Cachoud, French painter who died on 29 January 1943. François Cachoud reçut l’enseignement de Benoît Molin à l’École de Peinture de Chambéry, sa ville natale. Entré aux Ponts et chaussées en 1883, il suivit les cours de l’Ecole des Beaux-arts à Paris en 1889, grâce à une bourse du Conseil général de la Savoie. Partageant avec le sculpteur chambérien Mars-Vallett la vie d’artiste à Montparnasse, il devint élève d’Elie Delaunay [1828-1891] puis surtout de Gustave Moreau [1826-1898]. L’art de ce maître coloriste inspira sa production tout autant que “les délicieux paysages du grand Corot” ou que la Nature sincère et panthéiste de l’Ecole de Barbizon. L’œuvre de Cachoud est alors éclectique, mêlant paysages, natures mortes et portraits intimistes. Il obtint le prix de la fondation Guy en 1889. En 1891, il débuta véritablement au Salon des artistes français avec Un effet de matin et reçut un prix de la fondation Troyon pour A la nuit tombante, un bouvier et ses bœufs quittent les champs , réitéré en 1892 avec un Soleil couchant à Vanves. Il obtint une mention honorable au Salon des Artistes français en1893 avec Une Matinée de septembre au lac d’Aiguebelette. Lors de séjours chez son oncle à Chindrieux, il peignit le motif du lac du Bourget qui inspira sa vision rustique et vespérale. En 1896, Cachoud proposa à la Commission d’Instruction publique présidée par Jules Daisay, conservateur du musée, un tableau, Soleil couchant, un coin de Chautagne, exposé au Salon. “Dans cette œuvre, M. Cachoud se révèle artiste audacieux, mais sincère, épris des effets les plus grandioses de nos montagnes. Ce tableau… montre la voie qu’il veut suivre : consacrer son talent à notre Savoie et contribuer à la faire connaître”.Une médaille de 3e classe récompensa en1896 Le Lac de Lamartine qui fut exposé en1900 lors de l’exposition décennale au Grand Cercle d’Aix-les-Bains et médaillé de bronze lors de l’Exposition universelle de Paris de 1900. Enfin son oeuvre Brume et rosée fut primée au prix Royoncourt-Goyon.
      Nommé peintre du Ministère de la Marine, il réalisa les panneaux de décoration du paquebot La Savoie en 1901. Les paysages du Pas-de-Calais, pays natal de son épouse, Rosine Veleine, l’inspirèrent également. L’heure du grillon, son œuvre hors concours au Salon de 1902, fut achetée par le peintre étatsunien Alexander Harrison pour le musée de Philadelphie. C’est à partir de 1905 que l’artiste voua sa palette aux motifs campagnards nocturnes; il affectionnait la poésie de la nuit, au clair de lune, les effets diaphanes et ombreux, les lueurs vacillantes et réconfortantes dans l’obscurité. En 1910, Cachoud fit construire une maisonde campagne, Le Grillon, à Saint-Alban-de-Montbel, près du lac d’Aiguebelette, qui deviendra, chaque été, le lieu de son inspiration. Un de ses paysages nocturnes, Miroir de lune, Saint-Alban-de-Montbel fut présenté au Salon des Partis. L’artiste en accrochant une série de Nocturnes en 1908, 1911, et 1914 à la Galerie parisienne Georges-Petit, gagna la reconnaissance de la critique suivie par les achats officiels des musées. Il reçut des commandes dela société P.L.M, pour des affiches publicitaires etdes panneaux décoratifs. Cachoud, surnommé alors “Le Corot de la nuit”, exposa au Salon des artistes français jusqu’en 1940, devenant membre du comité. Vers 1913, il se lia d’amitié avec Victor Charreton [1864-1936], un paysagiste dans la tradition de l’Ecole lyonnaise, attaché aux effets de crépuscule, membre du comité, l’un des fondateurs du salon d’Automne.
      Il exposa et vendit beaucoup en France mais aussi à l’étranger, notamment à New-York en 1931 et 1935. Après sa mort, quelques-unes de ses « Nocturnes » y seront encore vendues en 1943, 1960 et 1966.Cachoud obtint la médaille d’or à l’Exposition universelle de Paris en 1937 pour un de ses paysages nocturnes, Eclaircie, nuit de lune.
      La palette de Cachoud recèle une riche gamme de couleurs froides pour travailler les effets diaphanes, les ombres parsemées de reflets lunaires et moirés, de lueurs ténues apportant unetouche de clarté et de poésie ; elle dénote l’influence de son maître, Gustave Moreau, unpeintre symboliste renommé qui maîtrisait les clairs-obscurs, les rutilances émaillées, grâce àson talent de coloriste. Cachoud fut un peintreintimiste attaché au rendu singulier des “belles simplifications que la nuit apporte à toute chose”.Sa recherche perfectionniste exprimait une poésie terrienne, son attachement au charme et à la douceur de vivre de l’Avant-pays savoyard. La traduction de ce sentiment de la campagne, plus humaniste que panthéiste, ne fut pas pour autant une recherche formelle, au-delà du rendu technique du genre du paysage animé. Lors de ses promenades vespérales et nocturnes, l’artiste saisissait le motif sur le vif ; l’esquisse était annotée, suivie d’un pastel sur canson, lui-même corrigé et repris en étude de petit format sur bois. En atelier, cette étude servait à l’exécution {guillotine?} de la toile définitive.Une annotation manuscrite sur une oeuvre accrochée au Salon de 1929, La fresque lunaire (23x32cm) décrit le sentimentd’intimité liant Cachoud au terroir de Saint-Alban-de-Montbel: “La pleine lune enchante l’horizon, elle descend lentement sur les coteaux voisins. C’est au village en fête: l’on boit et l’on danse. Et les ombres trainantes des danseurs rencontrent une façade et se profilent capricieusement en véritable fresque lunaire. Un soir de lune avec un ami, nous nous promenions dans le jardin à Saint-Alban-de-Montbel. Soudain, nous aperçumes nos ombres qui se dessinaient sur le mur de la maison; un peu fous, nous nous prîmes à danser, regardant amusés nos silhouettes mouvantes; ainsi est venue l’idée de ce tableau”.
— A Starry Night (65x81cm; 770x1000pix, 462kb) no stars, no night, it seems like a sunlight day, with a man leading a yoked pair of oxen along a road. Compare:
_ Starry Night (834x1013pix, 213kb) by Van Gogh
_ Starry Night (1893, 136x140cm; 622x640pix, 77kb) by Munch
— Clair de Lune, Savoie (63x76cm)

^ 1769 James Ward, English Romantic painter and engraver, specialized in animals. He died on 23 (17?) November 1859. He was the most important animal painter of his generation. Many of his dynamic compositions depict horses, dogs or wild animals in agitated emotional states, the sense of movement being reinforced by vigorous brushwork and strong colors. With their sweeping landscapes and dramatic skies, his canvases epitomize Romanticism. Not content to excel merely as an animal painter, Ward also produced portraits, landscapes and genre and history paintings of varying quality. A prolific artist, he was a frequent exhibitor at the British Institution and at the Royal Academy, London.— Ward was born in London, the son of a warehouse manager. He was apprenticed to John Raphael Smith in about 1782, but left after a short time to assist his brother, William, an engraver. He learned from him the process of mezzotint, in which he came to excel. Ward's early work was much influenced by the rustic genre of George Morland [1763-1804], who married his sister. Ward was appointed mezzotinter to the Prince of Wales in 1794. He first showed his own work at the Royal Academy in 1792, and abandoned engraving to paint animals, first livestock portraits, and later animal subject pictures with heroic landscapes. In 1811 he began painting his enormous canvas of Gordale Scar. Thereafter his work aspired consistently to the sublime, and he made many history pictures. He outlived the fashion for his work and died impoverished and neglected. — William Say was a student of Ward. — LINKS
–- What Is It? (85x111cm; 507x667pix, 51kb _ .ZOOM to 760x1000pix, 124kb _ .ZOOM+ to 1619x2000pix, 181kb) _ Emerging from their lair, puzzled young panthers look at a rearing snake.
— Gordale Scar (A View of Gordale, in the Manor of East Malham in Craven, Yorkshire, the Property of Lord Ribblesdale) (1814, 333x422cm; 405x512pix, 33kb _ ZOOM to 600x758pix, 91kb _ ZOOM+ to 1604x2024pix, 252kb) murky monochrome _ The “scar” is a gorge or narrow mountain pass. Ward was predominantly known for his depictions of animals, and had originally gone to West Yorkshire in 1812 to paint Lord Ribblesdale’s roan horse; however, he was diverted by Gordale, which the art collector Sir George Beaumont had told him was unpaintable. As a challenge he spent four days sketching there, then returned to London where he painted this huge picture. Gordale is the Romantic idea of the ‘Sublime’: contemplating the vastness of nature and deliberately giving yourself a fright. Ward, like other painters such as Joseph Wright and Turner, was discovering the landscape at a time when the countryside was considered uninhabitable. The gorge is on private land, with a path leading through it, and water tumbling down. It’s a bit like a vast cave with the roof fallen in. Ward draws our attention to the sky. After showing Gordale Scar at the Royal Academy in 1815, James Ward gave his painting of the gorge to the landowner Lord Ribblesdale, but because of its size it didn’t fit in his house and remained rolled up and stored away. Ward was incredibly upset by this, and grew bitter towards the art world, which he described as a rattlesnake; he even disuaded his son from becoming a painter. It wasn’t until 20 years after his death that this painting was exhibited again.
— A Spaniel Frightening Ducks (1821, 122x182cm)
— The Deer Stealer (1823, 229x366cm)
— Miranda and Caliban
— Sheep
— Regent's Park, Cattle Herd (1807, 74x118cm; 475x800pix, 84kb _ ZOOM to 1217x2048pix, 259kb) —(051022)

1677 Giuseppe Antonio Petrini (or Pietrini), Swiss painter who died in 1758. Now considered one of the most gifted and original artists of the Baroque from the Ticino, he was almost totally unknown before the exhibition of his work held at Lugano in 1960. However, neither a precise chronology of his life nor a comprehensive catalogue of his paintings has yet been established. He studied under Bartolomeo Guidobono [1654–1709] after 1700. His early works also suggest other Lombard, Venetian and Roman influences. His late works imply a knowledge of mystic Spanish painting, especially in the austere settings he favored. He painted works in Como, Bergamo and perhaps Milan, but most of his pictures are located in Lugano and the surrounding area. He is also listed in at least three documents between 1711 and 1753 as fabbriciere of the church of Madonna d’Onegro, Carona, suggesting he had some architectural training. — LINKS
— The Holy Family (92x74cm; 600x481pix, 51kb _ ZOOM to 1565x1256pix, 131kb)
— Saint Jerome (1735, 90x118cm; 572x760pix, 71kb)
— The Slumber of Saint Peter (1740, 85x115cm) —(051022)

Happened on a 23 October:

^ 23 Oct 2001: The art of Andy Warhol, who once said "being good in business is the most fascinating kind of art," may soon grace dishes, bedding, wallpaper and other items under a licensing agreement announced on 23 October 2001. The foundation dedicated to Warhol, who died in 1987, agreed to license images created by the prolific artist for reproduction on retail goods ranging from clothing to jewelry, and from wallpaper to greeting cards. Ubiquitous Warhol images of Marilyn Monroe [or 50 Monroes] and Campbell Soup cans could be joined on retailers' shelves by reproductions of lesser-known works such as "Fairy on a Horse," featuring a curly-haired fairy armed with arrows and a bouquet atop a horse; the artist's own brand of camouflage pattern; arrays of multicolored lips, signs bearing the message, "This Side Up," or Beethoven, or Lenin, or flowers, or a butterfly, or electric chairs, or even (blech!) spam.
The deal was signed with the Beanstalk Group, a large licensing company that promotes Coke, Harley-Davidson and other companies who want to extend their logos. Proceeds from the licensing pact would be used by The Andy Warhol Foundation for its cause to provide funding for the arts, the licensing company said.

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