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ART “4” “2”-DAY  30 October v.9.90
^ >Born on 30 October 1737: Niclas Lafrensen (or Nicolas Lavreince, Lavrince, Lawrence) Jr., Stockholm Swedish miniature painter, active also in France (as Nicolas Lavreince), who died on 07 (06?) December 1807.
— Formé par son père et influencé par la peinture rococo française, il peignit, dans un style raffiné et malicieux, des scènes historiques (série de tableaux sur l'histoire de la Suède) et surtout des scènes galantes, parfois osées (le Billet doux; la Consolation de l'absence).
— He received his first training in miniature painting and gouache technique from his father, Niclas Lafrensen the elder [1698–1756], a self-taught miniature painter who had gained some popularity at the Swedish court. Lafrensen Jr. also attended the Swedish Academy. From 1762 to 1769 he studied in Paris, where French Rococo painting suited his temperament and was to be most important for his future development. His choice of realistic themes rather than those from the antique world led to his becoming a favorite of the public, though not of the academicians.
      On his return to Stockholm he obtained a commission from Crown Prince Gustav (later Gustav III) to paint 12 miniature portraits (1770), in connection with which he was appointed Royal Court Miniature Painter. He was accepted into the Kungliga Akademi för die Fria Konsterna in Stockholm in 1773 but was passed over for a professorial appointment.
      In 1774 he returned to Paris to paint galant subjects in miniature and gouache, many of which were engraved. He left Paris at the Revolution, returning in 1791 to Stockholm where he painted historical subjects in gouache and portraits in miniature, and where he died.
French stamp issued 21 Mar 1994Swedish stamp
     In 1994 France and Sweden celebrated their centuries-old cultural relationship and issued postage stamps featuring Lafrensen's Le Petit Trianon au parc de Versailles (1784) showing the French Court's celebration for Swedish King Gustav III during his 1784 visit to France.

— (conversation galante?) (1176x828pix, 37k) indoors.
— a different Conversation Galante (1785, 17x12cm) out-of-doors.
La Toilette Interrompue (oval 7x5.5cm; 505x375pix, 27kb) _ une scène d'intérieur grivoise : deux femmes à leur toilette surprises par un galant, au sol, empressé.
Le Baron de Montigny dans un paysage (1763, 18x15cm; 73kb) There is a small white Poodle with docked tail and wearing moderate Continental stands at lower left, facing right.
Le Clystère (print; 603x642pix, 128kb)
^ >Born on 30 October 1839: Alfred Sisley, French painter who died on 29 January 1899. — {Des tableaux de Sisley, six laids, y en a-t-il?}
— Sisley was born in Dunkirk to parents of Anglo-French descent. His father worked in the silk business and as an exporter of artificial flowers. From 1857 to 1861, Sisley lived in London and studied for a career in business. A growing interest in art, however, led him to return to Paris in 1862 and enter the studio of Charles Gleyre, where he met Monet, Renoir, and Frédéric Bazille with whom he painted in the Forest of Fontainebleau under the influence of Corot and Daubigny. Together they formed the vanguard of the impressionist movement.
      Sisley exhibited at the Salons of 1866, 1868, and 1870, and at the impressionist exhibitions of 1874, 1876, 1877, and 1882. The Franco-Prussian War brought financial ruin to Sisley's father and left the artist with no means of support, although about 1872 Durand-Ruel began to handle his work. One-person exhibitions were organized by Durand-Ruel in Paris in 1883 and New York in 1889, but sales remained scarce. During the 1870s and early 1880s, Sisley lived and worked in various locations in Paris, the Seine valley, and England as well. In 1882 he moved to Moret-sur-Loing, then to Sablons in 1883, and finally back to Moret-sur-Loing in 1889. Plagued by ill health in his later years, Sisley died after a long battle with cancer.

–- Les Oies (color lithograph 29x40cm; 3/4 size)
–- Les Oies II (color lithograph 21x32cm; 764x1153pix, 133kb)
Le pont d'Argenteuil en 1872 (1872; 600x964pix _ ZOOM to 1400x2250pix; 832kb)
Le Bac de l'Ile de la Loge - inondation, 1872 (600x793pix _ ZOOM to 1400x1850pix; 887kb)
–- Bords du Loing (1891, 36x45cm; recommended 872x1060pix, 121kb — .ZOOM to 1745x2121pix, 865kb) _ Sisley n'aimait pas être loin du Loing.
Le Loing à Moret (1881, 38x54cm; 555x800pix, 113kb; ZOOM not recommended to blurry 2221x3200pix, 690kb, except for those who are interested in taking a close look at surface defects)
Le Loing à Moret (1883, 51x66cm) (1886; 583x800pix, 125kb)
— different Le Loing à Moret (1886, 54x73cm; 654x900pix, 188kb)
–- Flood at Port-Marly 1 (1872; 597x800pix, 65kb _ ZOOM to 895x1200pix, 105kb) with two persons by the door of the house + ZOOM IN +
 _ Flood at Port-Marly 2 (1876; 600x732pix, 95kb _ ZOOM to 2602x3176pix, 876kb) with one person by the door of the house + ZOOM IN +
 _ Flood at Port-Marly 3 (1876; 559x800pix, 97kb _ ZOOM to 1788x2560pix, 488kb) with no one by the door of the house
_ The 3 different versions are now, respectively, at: NGA-DC, MBA-Rouen, Orsay).
–- .Allée des peupliers près de Moret (1890, 64x81cm; 523x700pix, 74kb) one of several by Sisley with similar titles. This one was stolen in 1978, recovered, stolen again on 21 September 1998, recovered once more, and stolen again on 05 August 2007. Cette toile, qui se situe chronologiquement tard, témoigne des acquisitions fondamentales de l’Impressionnisme : plein air, division de la touche, grande liberté de facture, ombres lumineuses ; mais elle garde une perspective traditionnelle. Dans ce tableau, Sisley a choisi un des paysages qu’il connaît le mieux, celui du village de Moret-sur-Loing où il s’installe en 1879 et ce jusqu’à sa mort vingt ans plus tard. Son art, tout de modestie et de franchise a été masqué par le génie de Monet. Cependant aucun peintre n’a su mieux traduire que lui les paysages de l’Ile-de-France. Sisley est un des plus purs impressionnistes.
72 ZOOMable images at Wikimedia plus a few of moderate size.
^ Born on 30 October 1712: Christian Wilhelm Ernst Dietrich (or Dietricy), German painter and etcher who died on 23 (24?) April 1774.. — [Did he eat a rich diet, or was the family fortune made by running a fat farm?]
— Dietrich spent most of his life in Dresden, where he became a Professor at the Academy in 1764, and where he died. A diverse and eclectic artist, he painted pastiches of, for example, Watteau, Salvator Rosa, Adriaen van Ostade and Rembrandt; he also decorated Meissen porcelain and practiced as an etcher. He died in Dresden.
— Born in Weimar, he received his first training from his father, Johann Georg Dietrich [1684–1752], a court painter at Weimar, and, at the age of 13, was sent to Dresden to study under the landscape painter Johann Alexander Thiele [1685–1752]. In 1728 they traveled to Arnstadt to paint landscapes for stage sets. In 1730 Thiele presented his student to Frederick-Augustus I, Elector of Saxony, as a prodigy. Frederick-Augustus appointed Dietrich court painter and entrusted him to his minister Heinrich, Graf von Brühl, for whom he worked on some decorative paintings.
      From 1732 he used the name ‘Dietricy’ to sign his paintings. He traveled in Germany from 1734 and may have visited the Netherlands, the source of his artistic inspiration. He returned from his travels in 1741 and was appointed court painter to Frederick-Augustus II, Elector of Saxony, (King Augustus III of Poland), who sent him to Italy in 1743 to study. Dietricy visited Venice and Rome but returned to Dresden in 1744. In 1748 he was appointed Inspector of the Gemäldegalerie in Dresden, which had recently become more influential because of important purchases from Italy. The following period saw Dietrich at the height of his success, and his works were in demand all over Europe.

–- Seesturm und Schiffbruch I (801x1099pix, 65kb — .ZOOM to 1201x1649pix, 248kb)
–- Seesturm und Schiffbruch II (883x1198pix, 80kb — .ZOOM to 1178x1598pix, 215kb)
–- Himmelfahrt Christi(1048x570pix, 78kb)
La Transverberation de Sainte Thérèse (75x60cm)
The Wandering Musicians (43x33cm, signed and dated, bottom right: Dietricij fecit 1745) _ The style is an imitation of Adriaen van Ostade's. Dietrich himself later made an etching of the composition as did his friend, the engraver Jean-George Wille. In 1761, he painted a pendant showing a woman selling cakes.
Felsige Landschaft mit Wasserfall (1752; 430x542pix, 50kb)
^ >Died on 30 October 1893: Karl Bodmer, in Barbizon, France, Swiss painter and graphic artist, active in the US and France, specialized in the US West, born on 11 February 1809. — {Pourquoi n'est-il pas devenu un peintre maritime? Parce qu'il n'appréciait pas ce qui est beau de mer, Bodmer?}
— He visited the US (1832 to 1834), and he made important sketches of Amerindians. He was best known for his painting in France as a part of the Barbizon school of painting, working with Millet and Théodore Rousseau.
— His earliest exposure to art probably came from his uncle, the landscape painter and engraver Johann Jakob Meyer [1787–1858]. When Bodmer was 22, he moved to Paris, where he studied art under Sébastien Cornu. In Paris he met his future patron, Prince Maximilian of Wied-Neuwied, who was planning an ambitious scientific expedition to North America. Bodmer was engaged to accompany the expedition and to provide sketches of the US wilderness. After touring the East Coast, the party made their way westward via the Ohio and Mississippi rivers to Saint Louis MO, and in 1833 went up the Missouri River into country scarcely inhabited by White men. On the journey north to Fortt MacKenzie WY, Bodmer recorded the landscape and the groups of Amerindians they encountered. Having wintered in Fortt Clark ND, they returned to New York and then Europe in 1834.
— Article Karl Bodmer's Visionary Years

Confluence of the Fox River & the Wabash
The Delaware Water Gap
Susquehanna near Harrisburg, Pennsylvania
^ Born on 30 October 1842: Thomas Jacques Somerscales, British painter, active in Chile, who died on 27 June 1927.
— Nació en Kingston Upon Hull, un puerto ubicado en el Mar del Norte, a una y otra orilla del estatuario del Humber. Fue el tercer hijo de una familia de siete hermanos. Su padre fue un hábil marino formado en la Academia Naval de Hull. Se educó en el Christ Church School hasta los trece años, siguió estudios de pedagogía en el Tenham College de Gloucesterschire, no tuvo una formación sistemática en las academias o escuelas de Bellas Artes, su actividad artística se desarrolló como una afición, motivado por una familia de larga tradición en el ejercicio de las artes pictóricas.
      1862 Se incorpora a la Armada Británica, siendo destinado a la estación naval del Pacífico, allí enseñó a los guardia marinas: matemáticas, geografía y dibujo, además de maniobras de arboladura y velamen.
      1864 Llega a Valparaíso, Chile, por primera vez, el 18 Dec, viaje que repite a comienzos de la primavera de 1867; dos años más tarde, afectado de fiebre palúdica.
      1869 Llega a Valparaíso el día 07 septiembre, afectado de fiebre pelúdica. Los médicos le recomiendan no regresar a zonas tropicales, por precaución decide quedarse en Chile, abandonando la filas de la Armada real. En Valparaíso hace clases en el Artizan English School y posteriormente en el colegio inglés Mackay, daba lecciones de inglés, aritmética, geografía, dibujo y caligrafía. Vive en el edificio del colegio en el cerro Concepción. Se integra al círculo de Bellas Artes de la ciudad, establece una gran amistad con Manuel Antonio Caro.
      1872 Gana medalla de plata en el Salón de pintura nacional chileno realizado con motivo de la gran exposición de Artes e Industrias en el Mercado Central de Santiago. Pablo Délano, ex guardiamarina del Cochrane le encargó la copia del cuadro La captura de la Esmeralda en el Callao, que se encontraba en el edificio de la Bolsa de Comercio.
      1874 Contrae matrimonio con Jane Trumble Harper, tuvo 6 hijos.
      1892 Se embarca de regreso a Inglaterra para entregarle una mejor formación a sus hijos y conocer a su familia. En Inglaterra hizo clases en el colegio de Manchester al noreste de Liverpool.
      1893 Se presenta en la exposición de la Real Academia donde obtiene tercera medalla.
      1898 Vuelve a participar en la exposición de la Real Academia envía Frente a Valparaíso, es adquirido por los administradores del legado de Chamtvey con destino a la Tate Gallery, esta es una de las obras más conocidas y reproducidas en el mundo. Su obra fue admirada por el público y la crítica en reiteradas ocasiones.
      1911 La cámara de Diputados de Chile le encarga un cuadro para la sala de sesiones en relación a la primera Escuadra Nacional. Permanece hasta hoy bajo la testera de la sala de plenarios de la Cámara.

Cattle watering in a River Landscape (1887, 50x75cm)
Off Valparaiso (1899, 96x180cm) _ Somerscales was as a naval teacher at sea, but he gave this up after suffering from malaria. He found a job in Chile as a schoolmaster, and began to paint as an amateur, specializing in South American landscapes and sea pictures. When he was in his fifties he returned to Britain to live in Hull, where he painted most of his best pictures as souvenirs of Chile. In Off Valparaiso and other such paintings he emphasized the jade green and blue of the Pacific Ocean. This full rigged iron ship was used for bringing minerals from Chile. It is shaking out top gallants and royal sails, while hoisting a goose-winged flying jib. The whaler is a pilot boat, with standing oarsmen, being greeted but refused.
Combate Naval de Iquique (84x145cm) _ detail 1 _ detail 2
A Barque Running Before a Gale (1910, 41x56cm; 517x700pix, 74kb) _ A four-masted barque wearing foul-weather rig is shown making its way through a heavy sea in this port-bow view. Ships such as this were used as trading vessels, including in the grain and nitrate trades to South American ports round Cape Horn. Since this British-born artist lived in Valparaiso, Chile, where he ran a painting school from 1874 until he returned to England in 1892, it is likely that portraits such as this were made from personal observation. By placing the ship high on the horizon, the artist has used a curious sense of perspective to create the illusion of movement and the power of the ocean. The painting is an evocation of the era of sail, which by 1910 was giving way to steam. Somerscales excelled at creating paintings of ships under sail.
Sinking of the Scharnhorst at the Battle of the Falkland Islands, 8 December 1914 (1915, 61x110cm; 389x700pix, 59kb) _ On 01 November 1914, the German Far-Eastern squadron commanded by Vice-Admiral von Spee was brought to battle by an ill-assorted British force commanded by Rear-Admiral Sir Christopher Cradock, off Coronel on the coast of Chile. After a decisive victory for the German squadron it was decided that there was no future for cruiser warfare and von Spee was ordered to take his squadron home. He decided to make one call on the way at Port Stanley in the Falkland Islands to destroy the radio station and take the Governor prisoner, as an act of a reprisal for the British capture of the German governor of Samoa. He was confronted there by a superior British force. The main targets for the British ships were the Scharnhorst, commanded by von Spee and Gneisenau and they were the targets of the two battle-cruisers. The Invincible concentrated on the former and the Inflexible on the latter. After four hours, the Scharnhorst capsized and sank with no survivors. An hour later the Gneisenau also sank. On the left of the picture is Scharnhorst, in port-bow view, listing to port and sinking by the stern, her bow out of the water. She is on fire aft and about to capsize, smoke pouring from the fires and her funnels over the starboard side. In the extreme right background, the smoke and gun flashes of the Invincible commanded by Vice-Admiral Sir Doveton Sturdee and Inflexible, commanded by Captain Redare Beamish. The British-born artist lived in Valparaiso, Chile, where he ran a painting school from 1874 to 1892, when he returned to England. In 1893, he began to exhibit at the Royal Academy but kept his contacts in Chile and subsequently made a number of visits there.
^ Born on 30 October 1843: Alexandre-Georges-Henri Regnault, French painter who died in 1871, specialized in Orientalism, son of photographer-scientist-physician Victor Regnault [21 Jul 1810 – 19 Jan 1878].
— Henri Regnault showed exceptional abilities as a draftsman from an early age. After a traditional classical education he was sent in 1860 to the École des Beaux-Arts, Paris, where he studied under Louis Lamothe [1822–1869] and Alexandre Cabanel. In 1866 he won the Prix de Rome competition with Thetis Giving the Weapons of Vulcan to Achilles. In Italy he began several other ambitious history paintings, including Automedon Taming the Horses of Achilles (1868) and Judith and Holofernes (1869). He died on 19 January 1871, in the battle of Buzenfal of the Franco-Prussion war, in which he was fighting even though he was exempt from compulsory military service because of his artist status.

Self-Portrait with a Maulstick (1863, 54x45cm; 380x318pix, 11kb)
Execution without Trial under the Moorish Kings of Granada (1870, 302x146cm; ZOOMable)
Automédon ramenant les coursiers d'Achille des bords du Scamandre (1868, 315x329cm; 395x416pix, 38kb) _ Full of youthful fire and passion, this mammoth painting—more than ten square meters — {to which the puny reproduction does not do justice} was painted while Regnault, the son of the director of the Sèvres porcelain manufactory, was a student in Rome. Several years later, the artist returned home to fight in the Franco-Prussian War and was killed during the siege of Paris at the age of twenty-seven. Derived from Homer’s epic, the Iliad, the painting depicts Automedon, chariot driver for Achilles, struggling to control Xanthos and Balios, the horses that will carry the Greek hero into his final, fatal battle. Exhibited around the United States in the 1870s and 1880s, the painting was called both “the grandest painting in America” and “highly seasoned and unhealthful food which renders the palette insensitive to the milder flavors of what is wholesome.”
Jean-Baptiste Biot [1774-1862] (1862, 33x25cm; 512x368pix, 48kb)
Madame Mazois (1866, 66x63cm; 512x482pix, 65kb) _ morte, sur son lit.
Salomé (1870, 160x102cm; _ ZOOM to 1987x1256pix, 313kb) _ Henri Regnault wowed the art world with this painting owing to it's unusual color scheme. The science of oil painting came to it's full fruition in the nineteenth century. The palette now included dazzling colors which could electrify a painting. Letters that Regnault wrote to his father in 1869 and 1870 recount the evolution of this picture. It began as an oil sketch of the head of a young peasant whom Regnault met in Rome in 1869, which was subsequently enlarged to a bust-length composition called "Study of an African Woman." He then added canvas to three sides of the work and painted the complete figure, holding the knife and basin, against the present yellow background. Regnault considered several titles before adopting "Salomé." It was shown in the Salon of 1870. First a student of Cabanel's and later influenced by Mariano Fortuny y Marshal, Regnault was one of the rising stars of the Romantic movement. He lived a passionate life, traveling to the Middle East even though he was broke, hanging out in Spain as it rose up against Queen Isabella the Second, he loved excitement and adventure.
^ Born on 30 October 1740 (1741?): Maria Anna Angelica Catharina Kauffman (or Kauffmann, Kaufmann), Swiss Neoclassical painter and etcher born on 05 November 1807.
— Angelica Kauffmann was one of the most celebrated artists of her time, winning high praise from Goethe (whose portrait she painted), Herder and other literary figures. Her popularity was not entirely due to the fact that by the end of the eighteenth century women had been to some extent emancipated by the Enlightenment, for her surviving pictures, particularly her portraits, show that she was an exceptionally gifted artist who consistently and effectively expressed in her works the approach of the new era of Neoclassicism. Most of her historical compositions are based on classical and literary themes, while her portraits are characterized by lucidity of form, noble poses and cool, limpid colors.
— Angelica Kauffmann was a painter in the early Neoclassical style who is best known for her decorative wall paintings for residences designed by Robert Adam. The daughter of Johann Joseph Kauffmann, a painter, Angelica was a precocious child and a talented musician and painter by her 12th year. Her early paintings were influenced by the French Rococo works of Henri Gravelot and François Boucher. In 1754 and 1763 she visited Italy, and while in Rome she was influenced by the Neoclassicism of Anton Raphael Mengs. She was induced by Lady Wentworth, wife of the English ambassador, to accompany her to London in 1766. She was well received and was particularly favored by the royal family. Joshua Reynolds became a close friend, and most of the numerous portraits and self-portraits done in her English period were influenced by his style of portrait painting. Her name is found among the signatories to the petition for the establishment of the Royal Academy, and in its first catalogue of 1769 she is listed as a member. During the 1770s Kauffmann was one of a team of artists who supplied the painted decorations for Adam-designed interiors (e.g., the house at 20 Portman Square, London; now the Courtauld Institute Galleries). Kauffmann retired to Rome in the early 1780s with her second husband, the Venetian painter Antonio Zucchi. Kauffmann's pastoral and mythological compositions portray gods and goddesses in a delicate and graceful if somewhat insipid fashion. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann's portraits of female sitters are among her finest works.
— She was a serious and prolific painter of portraits and one of relatively few women artists painting in the Neo-classical style to specialize in subject pictures as well. She attracted glittering and international patronage (the family of George III in Britain, Grand-Duke Paul and Prince Nikolay Yusupov in Russia, Stanislav II Poniatowski and Stanislav Kostka Potocki in Poland, Queen Caroline of Naples and Emperor Joseph II of Austria) and was much admired by her fellow artists. In Rome she was accepted into the Accademia di San Luca at the precocious age of 23, and in London she was a founder-member of the Royal Academy and an invited participant in virtually every important public project involving painting, from the abortive scheme to decorate Saint Paul’s Cathedral to the decorations for the Royal Academy’s own rooms at Somerset House and John Boydell’s Shakespeare Gallery. The final tribute paid to Kauffman in Rome at her funeral, which was arranged by Antonio Canova and attended by representatives from both the Roman and foreign academies, was the carrying along in triumph of two of her own works, in obvious emulation of Raphael’s funeral.

Selbstbildnis mit Hut (1785; 560x463pix, 44kb _ ZOOM to 3026x2536pix, 412kb)
Selbstbildnis am Scheideweg zwischen Musik und Malerei (1792; 600x669pix _ ZOOM to 1400x1562pix)
Selbstbildnis als Zeichnung mit der Muse der Poesie (1782, round; 600x582pix _ ZOOM to 1400x1359pix) _ The largest magnification may require a long download, but you will be rewarded with the opportunity to decide for yourself whether this image was obtained by photographing the painting through a glass sprinkled with drops of water and a lot of fine dirt.
Ferdinand IV, King of Naples, and his Family (1783, 72x99cm; 1785x2500pix, 5147kb) This is the preliminary painting which summarizes the results of the initial sketches and the portrait sittings for the large-format portrait which Kauffmann painted in Rome (1783, 310x426cm). It shows Ferdinand IV, King of Naples (1751–1825), Queen Marie Carolina, a daughter of Empress Maria Theresa, and their six children in life-size, full-length figures against the backdrop of a park landscape. In her list of works the painter includes a detailed description of the completed family portrait: ‘The King is represented in a standing pose, as if he had just returned from the hunt, the Queen sits surrounded by her children, next to her is a cradle, or rather a child’s wagon... The entire royal family is simply clothed and the painting depicts a rustic scene.’ The history behind this painting, the principal work of the artist’s portrait oeuvre, is exceptionally well documented. The royal couple’s seventh child was stillborn during the preparation phase for the painting. The artist then painted a veil over the child already in the cradle..
Bacchus entdeckt die von Theseus verlassene Ariadne auf Naxos (1764; 600x454pix _ ZOOM to 1400x1059pix)
Sir Joshua Reynolds (1767; 600x492pix _ ZOOM to 1400x1148pix)
David Garrick (1764; 600x494pix _ ZOOM to 1400x1152pix)
Antonio Zucchi (1781; 600x493pix _ ZOOM to 1400x1128pix)
Antonio Canova (1796; 600x496pix _ ZOOM to 1400x1158pix)
Erminia (1783, oval; 600x462pix _ ZOOM to 1400x1077pix)
Louise Henrietta Campbell, Later Lady Scarlett, as The Muse of Literature (74x61cm; 1000x806pix)
— Portrait of a Woman (1795, 131x103cm, 891x702pix, 80kb) _ This portrait of a middle-aged woman in front of her dressing-table was for many years believed to be a self-portrait, but comparison with authentic self-portraits disproves this. The inscription tells us that the portrait was painted in Rome in 1795, so it is more likely to have been a likeness of Princess Esterházy, for whom Angelica Kauffmann is known to have worked at that time.
— Portrait of a Woman Dressed as Vestal Virgin (92x72cm, 1050x822pix, 159kb)
Papirius Pratextatus Entreated by his Mother to Disclose the Secrets of the Deliberations of the Roman Senate (125kb)

Died on a 30 October:

^ >2006 Mose Tolliver “signature”, untrained US “primitive” painter born on 04 July 1924 in Alabama. He painted crude (some in more senses than one) pictures with house paints on wood. He had little formal education. He left school after third grade to work in the fields. Later, he sold vegetables and painted houses to support his wife and 13 children. While Mose was working for a Montgomery furniture company in the late 1960s, a load of marble fell on his legs and crippled them for life. His boss, who painted for a hobby, suggested Mose try art as part of his recuperation. By the 1990s, several of Mose's children were following in his footsteps. For several years, at the annual Kentuck Festival of the Arts in Northport, the Tolliver clan - including Annie T, Jimmy T and Charlie T - would sell their work alongside Mose. Annie went on to make a name for herself in the folk art world. Both she and Mose acknowledged that, as demand for his work rose in the mid 1980s, she painted many of the pictures bearing the "MozeT" signature.
–- Moose Lady 1 (61x61cm; 800x795pix, kb _ .ZOOM 1 to 1248x1241pix, 135kb _ .ZOOM 2 to 2240x2228pix, 314kb)
–- Moose Lady 2 (61x61cm; 800x817pix, 63kb _ .ZOOM 1 to 1231x1258pix, 139kb _ .ZOOM 2 to 2212x2260pix, 291kb)
–- Moose Lady 3 Mating (61x61cm; 800x797pix, 74kb _ .ZOOM 1 to 1328x1334pix, 189kb _ .ZOOM 2 to 2240x2230pix, 353kb)
Figure (1990, 48x30cm; 1686x1014pix, 1498kb)
— (George??) (973x629pix, 107kb)
Sea Fish (38x61cm; 431x700pix, 94kb)
Night Garden (61x61cm; 473x429pix, 107kb)
Watermelon (20x28cm; 460x640pix, 280kb) —(091029)

^ 1895 Adolf Stademann, Munich German artist born on 19 June 1824.
A winter's day in the village (20x30cm; 367x529pix, gif 90kb) _ a snowy landscape of a country village with thached roof houses and a church in the background.
Wintervergnügen (22x36cm; 312x500pix, 56kb)

^ 1848 Martinus Schouman, Dutch marine painter born on 29 January 1770, great-nephew and student of Aert Schouman [04 Mar 1710 – 07 May 1792].
Explosion of Dutch Gunboat No. 2, Commanded by Jan van Speyk, 5 February 1831 (1832, 53x75cm) _ In 1830, the Belgians, who had formed part of the united Kingdom of the Netherlands since 1815, rose in revolt against King William I. On 05 February 1831 a Dutch gunboat was caught in a storm and forced up against the Schelde quayside in Antwerp, where it was boarded by a party of Belgians. The ship's commander, Lieutenant Jan van Speyk did not hesitate. He and his fellow officers had sworn never to let their ships fall into enemy hands. In fact, Van Speyk had declared that he would rather blow his ship and himself to smithereens, than surrender. This was no idle threat. The blast killed almost everyone on board, including Van Speyk and several Belgians.
     A sense of patriotic pride swept over the Dutch nation. Van Speyk became a national hero and paintings of the incident were in great demand. Many artists depicted the scene, for example J. Schoemaker Doyer in his Van Speyk Putting the Spark to the Tinder (1834, 26x21cm).
      Schouman took a unique approach: instead of depicting the dramatic moment when Van Speyk ignited the powder, he painted the fatal consequences.
–- Shipping by a Jetty in a Calm; Sailing Vessels in an Estuary (35x48cm; 650x938pix, 39kb)
–- Ships at anchor with two men in a boat fishing in the foreground (856x1201pix, 160kb) monochrome.
–- River Landscape with two men and a dog in the foreground (959x1560pix, 78kb) sketchy. —(061028)

1666 Willem Gilleszoon Kool (or Koolen), Dutch artist born in 1608. — {He must have painted some Kool pictures, but I cannot find much of him or on him}. —(061028)

^ 1661 Alexander Adriaenssen, Flemish painter baptized as an infant on 16 January 1587. He was the son of the composer Emanuel Adriaenssen and brother of the painters Vincent Adriaenssen [1595–1675] and Niclaes Adriaenssen [1598–1649]. In 1597 he was apprenticed to Artus van Laeck [–1616] and in 1610 became a master in the painters’ guild. In 1632 he took on Philips Milcx as apprentice, and in 1635 he painted the coats of arms of the 17 provinces on the triumphal arches in honor of the new governor. Adriaenssen’s many signed and often dated oil paintings on wood and canvas are all still-lifes, mainly of food on tables with copper- and tinware, glass and pottery (e.g. Still-life with Fish, 1660). There are four paintings of vases of flowers, but vases of flowers, as well as single flowers on the table, also appear in other still-life combinations. Only two canvases are known in which he worked with figure painters: a garland of flowers around a painting of The Holy Family by Simon de Vos and a porcelain bowl of fruit beside a Virgin and Child attributed to a follower of Rubens. His compositions are graceful and balanced but somewhat stereotyped, and they are bathed in a soft chiaroscuro. Adriaenssen depicted with great skill the moist waxiness of fish and oysters, the luminous transparency of drops of water and glasses filled with liquid, as well as crisp, juicy fruit, downy feathers and velvety fur. — LINKS
Still-Life with Fish (55x76cm; 800x1133pix, 130kb) —(051029)

1429 Ambrogio di Baldese, Italian artist born in 1352.

Born on a 30 October:

^ 1956 Frédéric Berger, Swiss artist.
His site.

^ >1895 Mario Tozzi [–08 Sep 1979], Italian painter.
–- Natura Morta (787x900pix, 166kb)
–- L'Assenza (900x754pix, 164kb)
–- Paesaggio Montano (900x639pix, 225kb)
–- Imbarcadero a Suna (900x713pix, 160kb)
–- Busto di Donna (1911x1575pix, 370kb)
Figure al Bagno (1950, 40x58cm; 1418x950pix, 615kb)
Figura (1966, 27x36cm; 1333x1025pix, 292kb)
–- altra Figura (900x745pix, 204kb)
–- Giovanna (863x672pix, 95kb) —(091029)

^ 1858 Louise Abbéma, French painter and designer who died in 1927. Louise Abbéma began painting in her early teens, and studied under such notables of the period as Charles Chaplin, Jean-Jacques Henner and Carlus-Duran. She first received recognition for her work at 18 when she painted a portrait of Sarah Bernhardt, her life-long friend, and many believe, her lover. Biography She went on to paint portraits of other contemporary notables, and also painted panels and murals which adorned the Paris Town Hall, the Paris Opera House, numerous theaters including the Théatre Sarah Bernhardt, and the Palace of the Colonial Governor at Dakar, Sénégal. She was a regular exhibitor at the Paris Salon, where she received an honorable mention for her panels in 1881. Abbéma was also among the female artists whose works were exhibited in the Women's Building at the 1893 World Columbian Exposition in Chicago. A bust Sarah Bernhardt sculpted of Abbéma was also exhibited at the exposition. Abbéma specialized in oil portraits and watercolors, and many of her works showed the influence from Chinese (Chinoiserie) and Japanese (Japonism) painters, as well as contemporary masters such as Édouard Manet. She frequently depicted flowers in her works. Among her best known are The Seasons, April Morning, Among the Flowers, Winter, and portraits of Emperor Don Pedro of Brazil, Ferdinand de Lesseps, and Charles Garnier. Abbéma was also an accomplished printmaker, sculptor, and designer, as well as a writer who made regular contributions to the journals Gazette des Beaux-Arts and L'Art. Among the many honors conferred upon Abbéma was nomination as official painter of the Third Republic. She was also awarded a bronze medal at the 1900 Exposition Universelle and in 1906 was inducted into the Légion d'Honneur. Abbéma died in Paris. — LINKS
At the Piano (50x41cm)
Flora (1913, 156x167cm)
Jeanne Samary [1857-1890], sociétaire de la Comédie-Française, spécialisée dans les rôles de servantes et de soubrettes.
Elégante, place de la Concorde (1895) —(051029)

^ 1853 Ottokar Walter, Austrian artist who died on 15 December 1904. — {Quand il voyageait, c'était en Ottokar.}
Ein Leutnant des k. u. k. Dragonerregimentes VI. zu Pferd (39x50cm; 312x400pix, 24kb)
Letter (9x7cm) —(051029)

^ 1827 Leopold Baron of Löffler-Radymno, Austrian Polish artist who died on 06 February 1898. Syn wyzszego urzednika we Lwowie, przyjaciel Artura Grottgera, studiowal 1845-1846 w Akademii wiedenskiej u F.G. Waldmüllera, pózniej w Paryzu i w Akademii monachijskiej. Po otrzymaniu w 1866 czlonkowstwa Akademii wiedenskiej, Loeffler powrócil do Wiednia, intensywnie oddajac sie malarstwu historycznemu, takze z dziejów Austrii. W 1877 Jan Matejko sciagnal Loefflera do kraju na profesora krakowskiej Szkoly Sztuk Pieknych. Malowal poczatkowo niewielkie, drobiazgowo wykonczone obrazy rodzajowe, pózniej przewazaly sentymentalne w nastroju kompozycje historyczne. Malowal takze portrety.
Portret Andrzeja Grabowskiego (1859, 53x43cm; 800x627pix, 40kb)
Placz na pogorzelisku po napadzie Tatarów (1860, 64x87cm; 606x800pix, 80kb)
Smierc Stefana Czarnieckiego (1860, 125x165cm; 597x800pix, 69kb)
Portret Marii Sawiczewskiej, siostry Artura Grottgera (1861, 140x103cm; 800x601pix, 41kb)
Powrót z jasyru (1863, 598x800pix, 69kb)
Dziewczynka z psem (53x43cm; 800x625pix, 63kb)
Dziewczynka z ksiazka (22x18cm; 400x324pix, 13kb) —(051029)

^ 1799 Emilius-Ditlev Baerentzen, Danish portrait painter and lithographer who died on 14 February 1868. Portrætmaler og Lithograf, er født i Kjøbenhavn 30. Okt. 1799; hans Fader, Christian B., var Fyrbøder i Kancelliet. 1813 kom han i Apothekerlære i Nykjøbing paa Sjælland, men et Par Aar efter til Christianssted paa St. Croix, hvor han fik Plads i et af Regeringskontorerne. Efter 5 Aars Ophold i Vestindien kom han tilbage til Kjøbenhavn og tog dansk-juridisk Examen. Nu kastede han sig imidlertid over Kunsten, som han tidligere havde dyrket i sin Fritid. 1821 begyndte han at besøge Kunstakademiet, vandt 1826 dets lille Sølvmedaille og Aaret efter den store. Samtidig begyndte han at male Portrætter og blev en meget søgt og meget frugtbar Portrætmaler. 1835 blev han agreeret ved Kunstakademiet, men opnaaede ikke at blive Medlem. 1837 henvendte han sig med et paa Sten tegnet Portræt til Grosserer H. L. Danchell for at faa det trykt; Danchell bestyrede nemlig sin afdøde Svigerfader, Malermester S. Hambroes Voxdugsfabrik, i hvilken der brugtes flere Stentrykpresser til at lægge de farvede Tegninger paa Voxdugene med. Udfaldet blev tilfredsstillende, og denne Tilfældighed førte til, at B. og Danchell sammen oprettede et lithografisk Etablissement under Firmaet Em. Bærentzen & Komp, Danchell aftraadte i 1843 sin Andel til Grosserer Emil Winning, der 2 Aar efter ogsaa kjøbte sin Svoger B.s Andel. Derfor ophørte det fortjenstfulde Firma Em. Bærentzen & Komp. imidlertid ikke, det vedblev under forskjellige Indehavere (Chr. M. Tegner, Adolf Bull, J. P. Trap), til det i 1874 indlemmedes i det større Firma Hoffensberg, Jespersen & Fr. Trap. I sine sidste Aar led B. meget af legemlig Svaghed, men malede dog endnu i 1866 Gehejmeraad Bræstrups Portræt til Frimurerlogen i Helsingør. Han døde 14. Febr. 1868. 1829 ægtede han Frederikke Helene Winning (f. i Marts 1801 d. 13. Sept. 1849), Datter af Proviantforvalter i Marinen Poul W. og Johanne Marie f. Lund.
Self-Portrait (1825, 29x25cm; 480x422pix, 29kb)
Admiral Peter Fredrik Wulff [26 Nov 1774 – 02 Feb 1842] (985x865pix, 413kb)
Physicist Hans Christian Ørsted [1777-1851] (1468x1000pix, 102kb) lithograph by Peter Henrik Gemzoe [1811-1879] after Baerentzen. —(051029)

^ 1657 Jacques Autreau, French painter, poet, and playwright, who died on 16 October 1745. — {He may be rated somewhere between Aupa and Augalleau, but not much is known about these two}
Bodin, médecin du Roi, en compagnie de Dufresny et Crébillon à la maison d'Auteuil (1716; 406x512pix, 134kb).

1629 Jan Wouverman, Dutch painter who died (main coverage) on 01 December 1666. —(051130)

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updated Friday 30-Oct-2009 3:48 UT
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v,7,70 Tuesday 07-Aug-2007 22:06 UT
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