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ART “4” “2”-DAY  29 October v.9.a0
^ Born on 29 October 1854: Gaston de la Touche, French painter and printmaker who died on 12 July 1913.
— A self-taught artist, he was from childhood determined to be a painter and was supported in this ambition by his well-to-do parents. He admired Zola [1840-1902] and provided drypoint illustrations (1879) for his novel L’Assommoir. His first paintings (1880s) were domestic scenes in the style of the Dutch 17th century. They were vigorous, harsh and somber and met with no success: he burnt most of them in 1891. The influence of his friend Félix Bracquemond prompted him to discard his early style and to use the colors favored by the Impressionists; his brushwork is characterized by small, petal-like strokes of color {de petites touches, quoi?}. In 1890 he showed Phlox and Peonies, both colorful scenes of women, children and flowers, at the Société Nationale des Beaux-Arts, which brought him immediate success. His fêtes galantes and singeries recall French 18th-century art, and he also specialized in Breton subjects, such as Pardon in Brittany (1896).
— Gaston de La Touche was a painter, sculptor and engraver of landscapes, interiors, figures and flowers. In 1890 he was inaugurated into the Palais de l’Industrie, associated with the National Society of the Beaux-Arts, under the aegis of Meissonier and Puvis of Chavannes. La Touche was both the friend and student of the artist Bracquemond He was also a close friend of the famed painter Edouard Manet, who chose to depict him in his very well-known painting of The Bar at the Folies-Bergère. Manet, however, did not prove to be a very significant influence on La Touche’s canvases, for he exhibited at the Salons as well as at the National Society paintings that were often quite realistic yet sometimes dramatic. La Touche painted with a penetrating sincerity, having conquered in the artistic world an unrivaled place until death came suddenly interrupting his career. His clear style displays touches of Impressionism, with dancing reflections in pleasing scenery.
— Born at St Cloud, near Paris, on the 29th October 1854, Gaston La Touche showed an early vocation for an artistic career. From the age of about ten years, he spent every available moment of recreation in drawing, and finally managed to obtain permission from his parents to take lessons from a M. Paul, who quickly discovered his natural aptitude and encouraged the young boy to persevere with his studies.
      Interrupted by the Franco-Prussian war of 1870, the lessons ceased when the family fled to Normandy. La Touche never received any further formal training, but he came under the influence of two older painters, one of whom in particular was to have a profound and far-reaching effect on the development of European painting. The two were Félix Bracquemond and Edouard Manet. After the Paris Commune and the war, Manet, Degas and a group of painters, critics, poets and authors used to gather regularly at the Café de la Nouvelle-Athènes (1877-1879) to discuss art and other topical matters. La Touche also frequented this cafe where those he met included the realist writer Emile Zola; Duranty, a critic, and Theodore Duret, a politician, collector and champion of the Impressionists.
      After 1890, however, there was a radical shift in the subjet matter, palette and technique of La Touche’s work. During the six years to 1896, he gradually, yet steadily evolved from realism to the idealism that was to be the hallmark of his oeuvre; the creation of a harmonious, luminous and charming world of parks and gardens, nymphs and fountains, fireworks and fêtes-champêtres, in which nature is depicted in terms of color and light, yet with an element of fantasy which sets his work aside from that of the earlier Impressionist Group.

Visite de la Princesse Royale
At the Riverbank (111x101cm; 1000x896pix, 421kb)
La Salutation de Pierrot (169x237cm)
Le Gué (172x207cm)
Le Joli Pied (174x211cm)
L'Intrigue Nocturne (209x225cm)
The Boating Party (120x120cm)
The Last Supper (1897)
–- S*>#L'Entr'acte (584x900pix, 81kb)
–- S*>#Untitled (84x90cm; 750x800pix, 66kb) a couple arriving and a couple leaving the audience in a theater.
A Difficult Crossing (85x101cm; 774x901pix, 187kb)
Les Reliques
Les Jumelles (550x584pix, 246kb)
L'embarquement (68x80cm; 471x564pix, 83kb)
^ Died on 29 October 1933: George Benjamin Luks, US Ashcan School painter born on 13 August 1867. — {Étant donné qu'il appartenait à “l'École Poubelle”, peut-on dire que les tableaux de Luks étaient vraiment de luxe?}
— Luks was born in Williamsport, Pennsylvania, and died in New York City. He studied at the Pennsylvania Academy of Fine Arts, Philadelphia, and later in Germany, London, and Paris. Returning to the United States in 1894, he became an illustrator for the Philadelphia Press. He met the teacher and painter Robert Henri and the newspaper illustrators John Sloan and William Glackens. Luks served in Cuba in 1896 as a correspondent artist for the Philadelphia Bulletin during the Cuban struggle for independence from Spain. After returning to the United States, he worked as a cartoonist for the New York World. In 1908, with Henri, Sloan, Glackens, and other painters, Luks formed a group called The Eight, which others called the Ashcan School, whose exhibition in New York is considered a key event in the history of contemporary painting.
— Born in Williamsport, in a coal-mining region of north-central Pennsylvania, Luks studied first at the Pennsylvania Academy of the Fine Arts, Philadelphia, and later in Germany, London, and Paris. Returning to the United States in 1894, he became an illustrator for the Philadelphia Press. During that period he met the painter and teacher Robert Henri [25 Jun 1865 – 12 Jul 1929] and the newspaper illustrators John Sloan [02 Aug 1871 – 07 Sep 1951] and William J. Glackens [13 Mar 1870 – 22 May 1938]. Luks went to Cuba in 1895 as a correspondent artist for the Philadelphia Bulletin during the Cuban struggle for independence from Spain. After returning to the United States, he worked as a cartoonist, drawing the popular Hogan's Alley for the New York World. Between 1902 and 1903 Luks lived in Paris, where he not only continued his art studies but also became increasingly preoccupied with the depiction of modern city life.
      When he returned to New York City, he settled in the bohemian enclave of Greenwich Village and began to paint realistic pictures of New Yorkers; notable examples from this period are The Spielers (1905), possibly his best-known work, and The Wrestlers (1905). In 1908, with Henri, Sloan, Glackens, and four other painters, Luks formed a group called The Eight, whose exhibition in New York that year marked a key event in the history of modern painting in the United States. After this event, Luks received the support of art dealers and patrons. He and the other members of The Eight were eventually absorbed into a larger group of artists known as the Ashcan school, which continued the exploration of modern, urban realities. Luks continued to pursue his realistic depictions of urban scenes even while new schools of abstraction began to dominate the New York art world. After teaching at the Art Students League from 1920 to 1924, Luks opened his own art school.

–- Innocence (1916, 76x63cm; 839x633pix, 46kb _ .ZOOM to 2123x1583pix, 280kb ) a young girl.
Jack and Russell Burke (1923)
The Miner (1925)
Allen Street (548x780pix; 94kb)
Hester Street (526x780pix, 127kb)
–- The Wrestlers (1905, 123x169cm) _ A twisted, struggling and sweating duo brought to life with a modern splash of color. The picture looks like some gem from the Italian High Renaissance.
^ Born on 29 October 1932: Ronald Brooks “R. B. Kitaj”, US Pop painter, draftsman, and printmaker, who commited suicide on 21 October 2007.
— Born Ronald Brooks and brought up by his mother and Viennese Jewish stepfather, at an early age he developed a cosmopolitan outlook and compassionate socialism that had a permanent effect on him. Fired by discussions about the Republican cause in the Spanish Civil War and by the seam of European history represented by his stepfather and stepgrandmother, who also came to live with the family, he educated himself as much through various voyages as a merchant seaman in Latin America as through spells at art schools, first at the Cooper Union for the Advancement of Science and Art, New York, in 1950 and in 1951–1952 at the Akademie der Bildenden Künste, Vienna, under Albert Paris von Gütersloh. After his marriage in 1953 to Elsi Roessler, a fellow US student whom he had met in Vienna, he made his first extended visit to the quiet Catalan port of San Felíu de Guixols, to which he was to return on numerous occasions over the next 30 years. From 1955 to the end of 1957 he served in the US Army near Fontainebleau, where he drew pictures of the Russian tanks and installations for war games.
      After his discharge from the army, he attended the Ruskin School of Drawing and Fine Arts, followed by the Royal College of Art in London. Kitaj spent a substantial number of years working in London, and is credited with coining the term School of London, used to describe a group of artists including Francis Bacon, Lucian Freud, Kitaj himself, and others dedicated to the depiction of the human form. Kitaj has also been loosely associated with the British Pop Art movement of the 1960s, though his works differ in their complexity and use of figurative imagery. Kitaj's works feature references to literature, history, and art history, and are often strongly biographical, dealing with themes of nostalgia, loss, and the question of Jewish identity. Kitaj has been the subject of numerous retrospectives, has taught both in London and in the US, and is the third US artist to be elected to England's Royal Academy. Kitaj returned to the United States in 1997 to live and work in Los Angeles.
— Born in Cleveland, Ohio, Kitaj studied at the Cooper Union Institute in New York in 1950-1951 and 1952. As a merchant seaman in the early 1950s he visited Havana, Mexico, and South America. He was a student at the Academy of Fine Art, Vienna in 1951. He attended the Ruskin School, Oxford, in 1958-1959, and the Royal College of Art from 1959 to 1961. It was at the Royal College that he met David Hockney, who became a close friend. His first one-man exhibition was held at Marlborough Fine Art, London in 1963. He taught at the University of California Berkeley in 1967-1968 and the University of California Los Angeles in 1970-1971. In 1972 he returned to London. His 1983 marriage to the US artist Sandra Fisher [1947-1994] is celebrated in his paintings Cecil Court, London WC2 (The Refugees) and The Wedding.
      In 1976 Kitaj selected for the Arts Council of Great Britain a group of British works, connected by a common theme, which formed the core of an exhibition called The Human Clay. The show included works by Bacon, Freud, Auerbach, Kossoff, Moore, Hodgkin, Hockney, Kitaj himself, and others. Kitaj's essay for the catalogue, in which he proposed the idea of a School of London, became one of the key art historical texts of the period. In 1989 he published the First Diasporist Manifesto, the longest and most impassioned of his many texts discussing the Jewish dimension in his art and thought. He moved to Los Angeles in 1997.
Wikipedia biography

The Bells of Hell (1961; 1654x2381pix, 988kb) no Hell, no Noël, no bell, no noble, no Nobel, just unfinished and unrelated sketches of a full length cowboy holding a pistol, and of a random assortment of body parts.
Erie Shore (600x1016pix, 237kb)
The Murder of Rosa Luxemburg (1960, 153x152cm) _ This is an early example of Kitaj's many paintings on the theme of the unjust infliction of human suffering. Its ostensible subject is the murder of the Jewish democratic-Marxist agitator and theoretician Rosa Luxemburg [05 Mar 1871 — 15 Jan 1919], who was killed by troops opposed to the revolutionary movement that swept Germany in the wake of the First World War. In the center of this painting a figure holds Luxemburg's corpse, while at top right is a collaged transcription of an account of the murder. Kitaj associated Luxemburg with his grandmother Helene, who was forced to flee Vienna in the 1930s. The veiled figure at top left represents his maternal grandmother, who fled Russia as a result of earlier pogroms.
Germania (The Tunnel) (1985, 183x214cm; 345x400pix, 98kb) _ This picture shows an imagined glimpse of the path to the gas chambers in the concentration camps. The background is derived from Corridor of Saint-Paul Asylum in Saint-Rémy (1889) by Vincent van Gogh. In Kitaj’s version the interior is changed, and the figures in the picture represent his family and himself. He presents himself as an old man with a walking stick. This painting is an attempt to visualize history and at the same time to confirm his Jewish identity. Kitaj thus creates a dialogue between the present, history, and art.
If Not, Not (1985, 152x152cm) _ This is probably Kitaj's most famous painting. In it he attempted a grand visionary depiction of 20th-century hell: an idyllic, almost Californian landscape of palm trees and sunsets, but littered with alienated ä bodies drifting inexorably toward the gaping maw of the Auschwitz gatehouse. The painting combines various elements. Kitaj reproduces the perspective of a kaleidoscope in which things appear in fragments. The background is said to be derived from the mysterious Tempesta (1505, 82x73cm; 900x798pix, 188kb) by Giorgione {not to my eyes}. The traditional idea of harmony between mankind and nature is upset in this mixture of different cultural elements. Kitaj mixes wallpaper patterns showing Japanese trees with dead bodies and squatting people. The picture reveals different attempts at meaning, held together by the looming gate of Auschwitz. This style of depiction presents historical reality as too diverse to be comprehensible. But the diversity is braced, or rather overshadowed, by the omnipresence of the horror of the Holocaust.
Passion (1940-45) Writing (1985, 46x27cm) _ This painting centers on a figure writing. Around this figure, signs of death – of the Holocaust – are arranged. Specifically, these are a chimney, a crematorium and the outline of a coffin. In the picture, the act of writing is confronted with the latent influence of past horrors.
The Jewish Rider (1985, 152x152cm) _ The view out of the window opens up to a landscape with the faint but ominous symbols of a cross and chimney in the distance. This arrangement conveys Kitaj’s view of the presence of the Holocaust in Jewish cultures. The small train compartment in which the Jew is uncomfortable conveys the themes of confinement and restlessnesse. The incongruous head of a horse next to his left knee may be an allusion to the Guernica of Picasso. The conductor pulling the emergency cord at the end of the corridor foreshadows that there is worse to come after the abrupt end of this journey.
The Listener (Joe Singer in Hiding) (1980, 103x108cm) _ This painting presents Kitaj's fictional character Joe Singer in an alarming situation. He is apparently seeking shelter in the dark under ground, but the darkness also seems to swallow him. Here, Kitaj suspends memory by translating the persecution of the Jews into the timeless sphere of his picture. The refracted composition of the picture questions whether the cry for help by persecuted people can ever be redeemed. The artist and the observer are confronted with their own powerlessness against history.
–- Barcelonetta (1979 screenprint 66x52cm; 1088x835pix, 101 kb)
Amerika (Baseball)
The Autumn of Central Paris (after Walter Benjamin) _ Here Kitaj tries to fuse all the currents of modernism into a single café scene.
Cecil Court, London WC2 (The Refugees)
Mary Ann
Marynka Smoking
The Oak Tree (1991, 152x152cm; 929x923pix, 188kb)
The Ohio Gang
Isaac Babel Riding with Budyonny (1962, 183x152cm)
George Orwell _ 28 Nov 1983 Time cover.
Vladimir Horowitz _ 05 May 1986Time cover.
16 images at Ciudad de la Pintura61 small images at Marlborough
^ Born on 29 October 1889: Edward Alexander Wadsworth, English painter who died on 21 June 1949. — {What's worth a Wadsworth?} — {In terms of money, do you get wads' worth with a Wadsworth?}
— He was raised in a northern industrial environment that was to appear with great forcefulness in his Vorticist work. He studied engineering in Munich from 1906 to 1907 and, like many other Vorticists, Wadsworth’s interest in the machine showed itself at an early age. He also studied art at the Knirr School in Munich in his spare time, before attending Bradford School of Art; he then studied through a scholarship at the Slade School of Art (1908–1912) in London. Early paintings like Harrogate Corporation Brickworks (1908) show a growing interest in industrial subjects. Under the impact of the Post-Impressionists, he turned for a while to portraiture, beach scenes and still-lifes. His work was included in the final month of the Second Post-Impressionist Exhibition held at the Grafton Galleries in 1912, and in the summer of the same year he joined the Omega Workshops, although his alliance with Roger Fry was short-lived. Wadsworth’s new friendship with Wyndham Lewis led to an abrupt departure from Omega in October, when several of his works were included in Frank Rutter’s Post-Impressionist and Futurist exhibitions at the Doré Gallery in London. His painting L’Omnibus (1913) announced his involvement with motorized themes that clearly derived from Futurism.
      Wadsworth was a member of the committee that organized a dinner in honor of Filippo Tommaso Marinetti at the Florence Restaurant, London, in 1913, but he shared Lewis's growing reservations about the Italian movement. Although paintings of about 1913 like Radiation (1914) and March (1914) show his interest in machine-age subjects, Wadsworth was also fascinated by Vasily Kandinsky's writings and published a translation of them in the first issue of Blast. By that time he had become one of Lewis's associates, joining the activities at the Rebel Art Centre and reproducing several of his works in Blast. They include Cape of Good Hope (1914), which uses an aerial viewpoint to present an austere yet dynamic vision of dockland with moored ships. Wadsworth found great excitement in maritime themes throughout his life, and Blast shared his enthusiasm. The manifestos blessed ‘all ports', praising their ‘scooped out basins' and ‘heavy insect dredgers' as well as the ‘SHIPS which switchback on Blue, Green and Red SEAS all around the PINK EARTH-BALL'.
      Wadsworth was equally interested in the new vision of the world opened up by air travel. He may have taken a trip in an airplane himself during this period, and he was certainly inspired by the images to be found in aerial photographs. His painting A Short Flight (1914) celebrates the exhilaration of air travel. Since so many of his paintings of the Vorticist period have been lost, woodcuts provide a valuable insight into his approach; in his extended series he often looks down on northern industrial centers from far above. This dizzying new perspective enabled him to organize his forms in a remarkably abstract way, even though he retained reference to factory chimneys, railway lines and striped fields.
      After contributing to the Vorticist Exhibition of June 1915 at the Doré Gallery and reproducing more work in the second issue of Blast, Wadsworth served in the Royal Naval Volunteer Reserve on the island of Mudros until invalided out in 1917. Although Ezra Pound contrasted his work with Lewis's, arguing that they stood for ‘turbulent energy: repose. Anger: placidity and so on', Wadsworth was the painter most closely allied to him in the Vorticist period. Their relationship did not continue for long after the war. Wadsworth's vast painting of Dazzle-ships in Drydock at Liverpool (1919) heralded his return to a more representational way of seeing. Industrial subjects formed the focus of his dramatic Black Country series, which he exhibited in a one-man show at the Leicester Galleries and published as a collection with an introduction by Arnold Bennett in 1920.
     Maritime themes were his principal subjects in the following period. They led him, at first, in the direction of a more straightforward naturalism, exemplified at its most limpid and structurally compact in the Cattewater, Plymouth Sound (1923). A strain of Surrealist unease and expectancy gradually entered Wadsworth's work, most notably in mysterious still-life compositions like Regalia (1928). He corresponded with Giorgio de Chirico about their shared interest in reviving the tempera medium, although his increasingly meticulous attitude towards technique did not prevent him from taking interest in avant-garde developments during the 1930s.
      Wadsworth traveled widely and contributed to the Parisian journal Abstraction-Création. He also became a founder-member of Unit one, a group dedicated to promoting the spirit of renewal in British art between the wars.

Landscape (1913, 28x30cm)
–- Abstract Composition (1915, 42x34cm; 852x715pix, 35kb) _ Vorticism was a short-lived but radical movement that emerged in London immediately before the First World War. ‘The vortex is the point of maximum energy’, wrote the US poet Ezra Pound, who co-founded the Vorticist journal Blast with Wyndham Lewis in June 1914. The journal, opened with the ‘Blast’ and ‘Bless’ manifestos, which celebrate the machine age and Britain as the first industrialised nation. Edward Wadsworth was a contributor and painted this Vorticist abstract composition soon after. With its sharp diagonal lines converging towards a ‘nodal point’ it exemplifies Pound’s definition of the Vortex as ’absorbing all that is around it in a violent whirling – a violent central engulfing’. The group’s aggressive rhetoric, angular style and focus on the energy of modern life linked it to Italian Futurism, though it did not share the latter’s emphasis on speed and dynamism. Other artists associated with Vorticism included William Roberts, Henri Gaudier-Brzeska, CRW Nevinson and David Bomberg. The First World War demonstrated the devastating reality of pitting men against machines and Lewis’s attempts to revive the movement in 1919 came to nothing. _ This picture has been enriched with intricate details and textures and transformed by the pseudonymous Red Axel Watsofunny into the symmetrical abstractions
      _ Composite Abstraction (2007; 550x778pix, 160kb _ ZOOM 1 to 778x1100pix, 300kb _ ZOOM 2 to 1100x1556pix, 564kb _ ZOOM 3 to 1710x2418pix, 1326kb _ ZOOM 4 to 2658x3760pix, 3140kb) and
      _ Composed Attraction (2007; 550x778pix, 160kb _ ZOOM 1 to 778x1100pix, 300kb _ ZOOM 2 to 1100x1556pix, 564kb _ ZOOM 3 to 1710x2418pix, 1326kb _ ZOOM 4 to 2658x3760pix, 3140kb)
View of a Town (1918, 18x13cm) _ This is an impression taken from a woodblock Wadsworth first printed in 1914. Wadsworth was born in Yorkshire, son of Fred Wadsworth who ran an important worsted spinning concern at Broomfield Mill. Although he refused to follow his father's profession he nonetheless retained an affection for the industrial North of England. Wadsworth took Wyndham Lewis on a tour of some of Yorkshire's cities including Halifax where, Lewis recalled, 'He stopped the car and we gazed down into its blackened labyrinth. I could see he was proud of it. It's like Hell, isn't it?' he said enthusiastically'.
Dazzled-Ships in Drydock at Liverpool (1919, 305x244cm) _ One of the founders of the Vorticist movement, Wadsworth was involved in the first edition of the magazine Blast. He was, along with Wyndham Lewis, among those who used Cubo-Futurism as a basis for developing an art that was geometrical to the point of abstraction. He was drafted into the Navy, and served in the Mediterranean and on the island of Mudros. Then, on his return to Britain, he was appointed to supervise the camouflaging of ships in Bristol and Liverpool.
     It was the British marine painter Lieutenant-Commander Norman Wilkinson who came up with the idea of painting battle ships with huge zig-zag bands and bold diagonals as a form of "dazzle" camouflage at sea. The dizzying stripes and masses of contrasting colors worked to visually break up the ship's forms, making it difficult for enemy submarines to accurately determine its course. Wadsworth was enlisted to oversee the painting of over two thousand ships at major British ports. It is not surprising that his official war commission featured one of these freshly-painted vessels in drydock.
     Wadsworth relied heavily on his artistic experience in order to vary the zigzag patterns aimed at misleading enemy lookouts. This painting is a commemorative commission from the Canadian authorities. It shows four men at work on a hull. Above them rise up the monumental bows to match the format of the canvas. Dissymmetry triumphs with fragmented rectangles and trapeziums, broken diagonals and divided surfaces, and is so effective that the superstructures are hard to make out in the center of the painting. The workers themselves are lost in a mechanical landscape where only reservoirs and chimneys are recognizable. Using the pattern used by Campbell Taylor to produce just one precise illustration, Wadsworth succeeds in a more effective pictorial demonstration, applying camouflage to the canvas itself and playing on figurative legibility.
Granite Quarries, Darby Hill, Oldbury (1919, 25x36cm)
Seaport (1923, 64x89cm) _ In the early 1920s Wadsworth developed a new kind of painting that suited the widespread mood of restlessness and need for escape in the aftermath of the Great War (1914-1918). Hiking home from a holiday in Newlyn in 1920 he decided to paint a series of harbor scenes similar to Turner's engravings of 'The Harbours of England'. His interest in harbors was increased when an inheritance in 1921 enabled him to travel abroad. Seaport was painted early in 1923 from sketches made in France, probably at La Rochelle. Painted in tempera, a technique requiring swift and accurate handling, the composition combines realistic detail with a dream-like atmosphere redolent of the past.
Still Life (1926, 36x25cm)
Regalia (1928, 76x92cm) _ Regalia combines a still life of antiquated and modern marine instruments with a view of the open sea. The sailor’s equipment is elevated to royal status as the shapes subtly echo the regalia of sceptre, orb and chain. Wadsworth was fascinated by technical machinery and collected maritime equipment so that he could paint directly from it. The stark clarity of his style, which was influenced by the Italian painter Giorgio de Chirico, injects a sense of mystery and gives the objects a presence that makes them seem like a monument.
Dux et Comes I: Rebuff (1932, 51x61cm) _ In 1932 Wadsworth became a member of the Paris-based organisation of abstract artists, Abstraction-Création. He joined before both Ben Nicholson and Barbara Hepworth, and, on the Continent, Wadsworth was regarded as the leading English abstract artist. This work belongs to a series of paintings called 'Dux et Comes', a musical term used to describe choral roles in a fugue. It translates from the Latin as leader and companion. The leader (soprano) sings in one key, the companion (alto) replies in another. The series explores human relationships and moods, which are indicated by subtitles. The idea that painting can be like music was important to the development of abstract art.
The Beached Margin (1937, 71x102cm) _ Wadsworth was never a Surrealist, although he was sometimes categorised as such by contemporary critics. His startling and sometimes threatening still lifes of the late 1920s and 1930s often have a surreal air. The fishing floats and starfish that hang from seemingly nautical constructions in this work have been painted on an unreal scale, and the whole scene has an hyper-clarity suggestive of an hallucination or dream. The vivacious serpentine line linking the constructions is a device derived from the eighteenth-century Rococo style, which enjoyed a revival in Britain in the late 1920s
Bronze Ballet (1940, 63x76cm; 394x479pix, 30kb) _ This harbor scene is based on Le Havre in France. Despite its apparent calm it conceals an anxiety that is suggested by an unusually choppy sea. Wadsworth painted it in May 1940 at Maresfield, Sussex, where he could hear the bombardment of the French ports by the advancing German forces that were encircling the British at Dunkirk. Wadsworth was interested in animism – the attribution of life to inanimate objects – and metamorphism and painted many such collections of marine objects. Here the dynamic forms of the propellers suggest a dance, while hinting at the function they will perform beyond the harbor mouth on the horizon.
Floats and Afloat (1928, 30x23cm)
Signals (1942, 102x71cm)

Died on a 29 October:

1804 George Morland, English painter born (full coverage) on 26 June 1763. —(051018)
Village du Bruit

Born on a 29 October:

^ 1929 André Brasilier, French painter specialized in sloppy pictures without details or variety of hues. — {pas Brésilien}
–- Le Village de Bruys (1959, 40x60cm; 1036x1565pix, 179kb) _ NOT Le Village du Bruit and NOT to be translated as in this book title >>>. To make this obvious, the pseudonymous Cendré Mexiquier and Solon Witland have created
        _ Not Bruys Village
aka Égal Livre Sciure Baton (2005; 920x1300pix, 312kb) which you can bring up by clicking on the Noisy Village image >>>.
–- Nature Morte aux Deux Chevaux (1968, 46x55cm; 742x900pix, 150kb) _ The French title is misleading because there is still life in those two horses, which are pink. So Cendré Mexiquier made a picture with a truer title:
Nature Morte aux Fruits et aux Deux Chevaux Vraiment Morts (et de Couleur Rose) (2005; 920x1300pix, kb) in which the only things in which there is still life are the weeds (old weeds never die, they just keep growing back).
–- Mareuil en Dôle (Aisne) (1965, 98x131cm; x799pix, 75kb)
–- Chevauchée Sauvage (46x55cm; 747x900pix, 139kb)
–- Paddock à La Solle (près de Fontainebleau) (1963, 60x73cm; 737x900pix, 168kb)
–- L'été à Loupeigne (1979, 100x73cm; 800x567pix, 45kb)
–- Nature Morte devant la Fenêtre à Loupeigne (1966, 116x89cm; 800x613pix, 110kb)
–- Homage à Mozart (1978, 97x130cm; 1116x1500pix, 129kb) _ Mozart would probably have appreciated more the musical Homage à Mozart (for his 200th birthday) composed by Jacques Ibert, or even the improvement on this picture made by Mexiquier:
Fromage à Mozart (2005; 920x1300pix, 105kb)
–- S*>#Le Cadre Noir Saluant - Saumur (1963, 73x92cm; x800pix, 91kb)
–- S*>#Chantal au Bouquet Blanc (1967, 81x100cm; x800pix, 68kb)
–- S*>#Jeune Fille aux Lilas Blancs (1970, 61x46cm; 900x671pix, 69kb)
–- S*>#Village aux Toits Jaunes (800xpix, 63kb)
–- S*>#Rivages (900x655pix, 94kb) —(091128)

^ 1912 Bruno Cassinari, Italian painter and sculptor who died on 27 March 1992. He was trained initially at the Gazzola school of art in Piacenza and from the age of 17 took evening classes at the Accademia di Belle Arti di Brera in Milan. He made his début as a painter in 1940 with a one-man show in the Galleria di Corrente. At that time the Corrente was the artistic circle most concerned with introducing Italian culture to the rest of Europe. During World War II Cassinari moved first to Brianza, then to Venice and finally to Milan where he settled in 1945. In 1946 he was one of the signatories of the manifesto of the Nuova Secessione Artistica Italiana, which became known as the Fronte Nuovo delle Arti in 1947, in which year Cassinari resigned from the group. The work of van Gogh and then Modigliani exercised a profound and liberating influence on Cassinari. However, after meeting Picasso in 1949 in Antibes, he abandoned the tonal qualities in the spirit of the traditional Lombard painters in favour of a prismatic and strident coloration (e.g. Still-life in Pink, 1952). His friendship with Picasso led to a one-man show in 1950 at the Musée Picasso in Antibes. Cassinari remained in Antibes until 1953. In 1950 he was awarded the Gran Premio for painting at the Venice Biennale, and in the following year he was invited to exhibit in a one-man show at the São Paulo Biennale. Cassinari also worked in other media and techniques, including sculpture, illustration, printmaking and design, and as a designer of cartoons for tapestries.
Natura Morta (1980, 60x70cm; 468x550pix, 41kb)
Composizione frutti e foglie (1957, 89x116 cm; 252x406pix, 15kb)
Cavaliere verde (1967 sculpture, height 100cm)

^ 1855 Hugo Karl Wilhelm Schnars-Alquist, German painter, specialized in ships, who died in 1939.
A Boat (473x707pix, 133kb)
A Four-Master (448x707pix, 118kb)
A Three-Master (420x557pix, 37kb) _ If a three-master is good, how about three three-masters? three VERY tall three-masters? on the Red Sea? at sunset? It's questions like these (and a few shots of a certain drink) which have provoked the pseudonymous Yougo Atthehelm Schnaps-Allquest into creating
Very Tall Triplet Three-Masters on the Red Sea at Sunset (2005; 920x1300pix, 234kb)
A Narrow Escape (1285x972pix, 394kb) engraving for the World Columbian Exposition of 1893. A small sailboat barely gets out of the way of a paddle-wheel steamship.
Going Freely (xpix, 282kb) engraving for the World Columbian Exposition of 1893.—(051028)

^ 1659 Thomas van der Wilt, who died in 1733, Dutch portrait, genre, and marble painter; also engraver; expert in perspective. He was a student of Jan Verkolje [1650-1693] in Delft, and, after 1677, entered St. Luke's guild, of which he was several times headman (1690-1714) and for which he painted an Anatomy Lesson.
–- A Lady With a Young Black Boy Servant and Two Dogs Near a Classical Fountain (418x375cm; main detail; 784x980pix, 119kb _ .full picture; 1440x1292pix, 275kb)
–- The Annunciation (64x46cm; main detail; 752x960pix, 71kb _ .full picture;1330x960pix, 100kb) —(061027)

^ 1652 Jan Wyck (or Wych), Dutch Baroque painter, is born in Haarlem; he moved to England early in his life and died there on 17 May 1700. {Less reliable sources give his birth year as 1640 or 1645, or his death date as 26 Oct 1702}. — Son and student of Thomas Wijck [1616 – 19 Aug 1677 bur.] — A marriage certificate issued on 22 November 1676 describes the artist as ‘Jan Wick of St. Paul’s Covent Garden, gent., widower, about 31 ...’, suggesting that he was born about 1645, but his correct birthdate is known from the inscription on a 1730 mezzotint portrait of him by John Faber II [1684–1756] after a painting by Sir Godfrey Kneller. Jan is first documented on 17 June 1674, when he appeared before the court of the Painter-Stainers’ Company in London and vowed to pay both his own and his father’s quarterly fees. The certificate of 1676 relates to his second marriage, to Ann Skinner (d 1687), who between 1678 and 1683 bore him four children, all of whom died young. After Ann’s death in 1687, he married Elizabeth Holomberg [–1693] in 1688 and moved to Mortlake. Between 1689 and 1693 they had two sons and a daughter. — (Only a witch would know which Wych preferred the spelling Wych.) — John Wootton was a student of Wyck. — LINKS
A Grey Arab Stallion in a Landscape (74x88cm)
Full Cry
King William III [1650-1702; reigned 1688-1702] (74x92cm) and a slightly different King William III (52x40cm), both on horseback. —(050929)

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updated Saturday 28-Nov-2009 19:29 UT
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