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ART “4” “2”-DAY  02 September v.9.80
^ >Died on 02 September 1943: Sir Arthur Ernest Streeton “Smike”, Australian painter born on 08 April 1867, specialized in Landscapes.
— Streeton began night classes at the Gallery School, Melbourne, in 1882, but his formal art training was limited due to its part-time nature. With the encouragement of Tom Roberts [1856-1931], Charles Conder [1868-1909] arrived in Melbourne from Sydney in the spring of 1888. Streeton and Conder immediately established a friendship and Streeton's landscapes became influenced by the decorative quality of Conder's art. The time Conder spent in Melbourne with Streeton and Roberts is considered the golden-age of Australian painting and is the high point of the so-called Heidelberg School. In late 1888 Streeton established an artists' camp at Eaglemont, near Heidelberg, from which the term Heidelberg School is derived.
      Streeton was mainly influenced by his fellow artists Tom Roberts, Frederick McCubbin [1855-1917] and especially Charles Conder, since they shared his inclination for plein air painting. Streeton also used books of instruction in art for guidance, particularly Hunt's Talks about Art. William Morris Hunt [1824-1879] was a Paris-trained US artist and teacher who encouraged artists to try for simplicity of the whole painting rather than for complexity of the parts. Hunt's admiration of Camille Corot [1796-1875] was also shared by Streeton, who collected photographs of his paintings.
      Streeton's early paintings were mainly plein air works, usually completed in one session. He occasionally made preliminary oil studies or watercolors for his larger paintings. It is known that he sometimes adjusted his paintings in his studio. The 'square-brush' method of his paint application was a legacy of Roberts' training in England.
Portrait of Streeton (1917, 76x63cm; 2079x1400pix, 787kb) by George Lambert [1873–1930]; it was painted while Streeton was in London, a corporal in the Royal Army Medical Corps as a war artist.

Evening with bathers (1888, 41x76cm) _ Streeton captures the evening light and strives for the simplicity of the whole painting, rather than for complexity of the parts
Near Heidelberg (1890, 53x43cm) _ This was painted by Streeton in the summer of 1890, the last summer that Streeton, Roberts and Conder were to spend together. In that year Conder left for Europe never to return, Streeton went to Sydney, where he lived at another artists' camp at Sirius Cove, and Roberts joined him there in 1891. In a sense this small painting, depicting the break-up after a picnic and a stroll back to civilization, is itself a farewell to a brief idyll, the bare eighteen months of the existence of the Heidelberg School. Streeton handles this small canvas with the ease and relaxation born of familiarity with the landscape forms. The broadly stroked-in indigo and purple hills leading back to the distant Dandenongs occur frequently in his other paintings done at the Eaglemont camp. The foreground is equally broadly treated, with Streeton using the device of a path leading the eye into the picture space, up to the clump of gums silhouetted against the sky and then carried deeper into the picture by the line of straggling picnickers heading down the slope. This simple construction, with the paint rapidly and thickly applied, is then enlivened by crisp touches of detail in the immediate foreground, the delicately curving branches of the gums against the sky and by hints of pure color on the white summer dresses of the departing figures. Perhaps the most remarkable thing about this painting is the assurance of its twenty-three year-old creator. Streeton, alone within the Heidelberg group, concentrated on landscapes and with a sureness that captured a feeling for the light and color of the land — a land where by the 1890s man's hand had indelibly set foot.
      Heidelberg was first settled in 1840 on the outskirts of Melbourne. At this time it was accessible by a good public transport system (Melbourne Tramway and Omnibus Pty. Ltd.) and in 1888 the Heidelberg railway opened. By 1890s the population was greater in the capital cities and large country towns than the bush, the pioneering past was rapidly disappearing. There was a strong nationalistic spirit when Australia celebrated its centenary in 1888. The wool industry was thriving, Australia was supplying more than half the world's fine wool. People in the cities enjoyed a higher standard of living than most people in the country. Subsistence farming was spreading, with a middle class of shopkeepers and traders in the cities. Educational institutes were being planned, as were mechanics institutes and schools of art. There was intense political activity and by 1890 all colonies in Australia had responsible government. They had two Houses of Parliament, Legislative Assembly (the Lower House), and the Legislative Council (the Upper House). In August 1890 the General strike, also known as the Mariners' Strike, had begun. This was started by officers and seamen and supported by miners and shearers. Journalism flourished in the weeklies like The Bulletin, Boomerang and The Worker, which reported the early battles of the trade union movement. Unionism and self dependence contributed to the formation of a Commonwealth and Federation in 1901.
The purple noon's transparent might (1896, 123x123cm; 1000x990pix, 456kb _ ZOOM to 2248x2226pix, 1723kb) _ NOT to be confused with
     _ The purple moon's transparent night (2005; 750x1000pix, 145kb _ ZOOM to 1478x1970pix, 726kb) by the pseudonymous Sternest Art Streetoff, and much less with his
     _ The purple moon's opaque knight (2005; 831x552pix, 71kb) or
     _ The purple spoon's transparent spite (2005; 750x1000pix, 145kb) _ or even with the very negative
     _ The purple moon's transparent night (2009; 562x556pix, 30kb _ .ZOOM to 1124x1113pix, 116kb _ .ZOOM+ to 2248x2226pix, 484kb) by the pseudonymous Musicben Sirius Wayoff.
      _ Streeton's picture refers to this poem by Shelley:
Stanzas Written in Dejection near Naples
THE sun is warm, the sky is clear,
The waves are dancing fast and bright,
Blue isles and snowy mountains wear
The purple noon's transparent might:
The breath of the moist earth is light
Around its unexpanded buds;
Like many a voice of one delight—
The winds', the birds', the ocean-floods'—
The city's voice itself is soft like solitude's.

I see the deep's untrampled floor
With green and purple seaweeds strown;
I see the waves upon the shore
Like light dissolved in star-showers thrown.
I sit upon the sands alone;
The lightning of the noontide ocean
Is flashing round me, and a tone
Arises from its measured motion—
How sweet, did any heart now share in my emotion!
Alas! I have nor hope nor health,
Nor peace within nor calm around;
Nor that content, surpassing wealth,
The sage in meditation found,
And walk'd with inward glory crown'd;
Nor fame, nor power, nor love, nor leisure.
Others I see whom these surround —
Smiling they live, and call life pleasure:
To me that cup has been dealt in another measure.

Yet now despair itself is mild,
Even as the winds and waters are;
I could lie down like a tired child,
And weep away the life of care
Which I have borne, and yet must bear,—
Till death like sleep might steal on me,
And I might feel in the warm air
My cheek grow cold, and hear the sea
Breathe o'er my dying brain its last monotony.
Oblivion (1895, 56x100cm; _ ZOOM to 1225x2261pix, 3287kb) _ A painting best forgotten? The title was suggested by The Lotus-Eaters of Tennyson [1809-1892].
Fire's On (1891, 184x123cm; 718x480pix, 114kb _ ZOOM to 1000x651pix, 312kb _ ZOOM+ to 3026x1970pix, 1935kb)
“Sunlight Sweet” Coogee (1890, 90x49cm; 1495x800pix, 237kb)
Gas alert (1918, 37x55cm; 805x1200pix, 208kb)
At Templestowe (1889)
Golden Summer, Eaglemont (1889)
Eaglemont (1889)
The Selectors Hut: Whelan On The Log (1890)
Above Us The Great Grave Sky (1890)
Still Glides The Stream And Shall Forever Glide (1890)
Near Heidelberg (1890)
Spring (1890, 81x152cm; 255x480pix, 34kb)
Australia Felix (1907)
Golden Afternoon, Olinda (1924)
View From Farmer's, Olinda (1928)
Silvan Dam (1931, 76x64cm; 575x480pix, 76kb)
The Cloud (1936)
^ Born on 02 September 1711: Noël Hallé, French painter, draftsman, and printmaker, who died on 05 June 1781
— He was the son of Claude-Guy Hallé [17 Jan 1652 – 05 Nov 1736], grandson of Daniel Hallé [bapt. 27 Aug 1614 – 14 Jul 1675], brother of Marie-Anne Hallé [15 Nov 1704–] who, in 1729, married Jean Restout [1692-1768] a nephew of Jean Jouvenet [1644-1717]. Noël Hallé was thus part of a network of related artists who dominated the areas of history and religious painting in the early and middle decades of the 18th century. He was one of the major French painters of the 18th century, receiving many commissions from the Crown, from the Church, and from the city of Paris. After studying architecture he became the student of his father and of his brother-in-law Jean Restout. In 1736 Hallé won the Prix de Rome, and he spent the period from 1737 to 1744 at the Académie de France in Rome. There he made a copy of Raphael’s Heliodorus Driven from the Temple, which he intended for a tapestry cartoon for the Gobelins, as well as making drawings and engravings after antique monuments and works of art.
      On Hallé's return to Paris, he was approved by the Académie Royale in 1746 and received (reçu) as a full member in 1748 on presentation of the Dispute of Minerva and Neptune over Choosing a Name for the City of Athens. He became a professor at the Académie in 1755 and was named Surinspecteur de la Manufacture des Tapisseries de la Couronne at the Gobelins in 1770. In 1775 he was entrusted with the reorganization of the Académie de France in Rome, neglected by its aging director Charles-Joseph Natoire [1700-1777]; he was rewarded for his efforts by ennoblement and the Order of St Michel. He was treasurer of the Académie Royale from 1776 to 1781 and became rector in the year of his death.
— Hallé's students included Jean-Simon Berthélemy, Vivant Denon, Balthazar Anton Dunker, Clément-Pierre Marillier.


–- La course d'Hippomène et d'Atalante (1765, 321x712 cm; 873x2000pix, 200kb) _ In the Boeotian version of the legend, followed by Ovid (Metamorphoses 10:560-707), Atalanta was an athletic huntress. She consulted Apollo about taking a husband, but he warned her: “Coniuge nil opus est, Atalanta, tibi: fuge coniugis usum. Nec tamen effugies teque ipsa viva carebis.” Therefore she hid in the deep woods and when suitors found their way to her, she would challenge them: “Non sum potiunda, nisi victa prius cursu. pedibus contendite mecum: praemia veloci coniunx thalamique dabuntur, mors pretium tardis: ea lex certaminis esto.” Many suitors lost their lives and Atalanta remained unbeaten and a virgin until Hippomenes, great-grandson of Neptune, insisted on taking her on, though she tried to discourage him.
      Before the race, Hippomenes invoked Venus, the goddess of love: “Conprecor, ausis adsit nostris et quos dedit, adiuvet ignes.” Venus got three apples of gold from the Tamasene field in Cyprus and gave them to Hippomenes with her instructions. Accordingly, after the race started, as Atalanta was about to pass him, Hippomenes dropped one of the apples of gold. Atalanta could not resist slowing down to pick it up, but then she speeded up again and was about to pass him when he dropped the second apple. Once more Atalanta was delayed picking it up. And once more she was about to catch up with Hippomenes, now near the finish line. Hippomenes implored Venus: “Nunc ades, dea muneris auctor!”, and threw down the last apple, which Venus caused to be extra heavy. Delayed and weighed down by the apples of gold, Atalanta lost the race, not altogether unhappily, as she felt attracted to Hippomenes, and they married.
      But Venus was angered when Hippomenes failed to offer her thanks and incense. She caused Hippomenes to go hunting, out of season, near a temple of Cybele, the Great Mother of the Gods, and inflamed his passion so that he made love to his wife inside the temple, defiling it. Whereupon Cybele inflicted this punishment upon the couple: ‘levia fulvae colla iubae velant, digiti curvantur in ungues, ex umeris armi fiunt, in pectora totum pondus abit, summae cauda verruntur harenae; iram vultus habet, pro verbis murmura reddunt, pro thalamis celebrant silvas aliisque timendi dente premunt domito Cybeleia frena leones.’
      In the picture Atalanta is shown in the act of stooping to pick up the second apple as Hippomenes pulls ahead and prepares to drop the third and last apple.
_ Compare: Atalanta and Hippomenes (1612, 206x297cm; 637x851pix, 89kb) and the practically identical .Atalanta and Hippomenes (1625; 801x1092pix, 99kb) both by Guido Reni [04 Nov 1575 – 18 Aug 1642]
Atalanta and Hippomenes (1660, 123x200cm; 654x1095pix, 79kb) by Johann Heinrich Schönfeld [1609-1683]
Hippomenes and Atalanta (1630; 274x343pix, 30kb) by Jacob Jordaens [1593-1678].

La Prédication de Saint Vincent de Paul
The Death of Seneca (154x122cm; 520x422pix, 14kb)
^ le rêveclick for LE RÊVE >Died on 02 September 1910: Henri Julien Félix “le Douanier” Rousseau, French painter born on 21 May 1844. — Not to be confused with Orientalist painter Henri Émilien Rousseau [17 Dec 1875 – 28 Mar 1933]
[click on tiger for .Le Rêve >]
      Henri Rousseau was born in Laval in northern France. His nickname refers to the job he held with the Paris Customs Office (1871-1893), although he never actually rose to the rank of "Douanier" (Customs Officer). Before this he had served in the army, and he later claimed to have seen service in Mexico, but this story seems to be a product of his imagination. He took up painting as a hobby and accepted early retirement in 1893 so he could devote himself to art.
     Rousseau had been a minor customs employee (percepteur de l'octroi) and did not begin to paint until 1885, at the age of 41. It was in the six or seven years before his death in 1910 that he produced the majority of his exotic landscapes upon which his fame has rested. He called these landscapes with their exuberant trees, flourishing flowers and playful animals, his "Mexican pictures". He thus fostered the romantic belief that in his youth he had served in the army of Maximilian in Mexico. This was not true, and his real inspiration came from the Paris botanical garden and zoo. Rousseau was a strong believer in spirits, the world beyond and interior communication. Contemporaries record how he sometimes became so terrified by the exotic landscapes he was painting, that he would rush to open his window to prevent himself from suffocating. However, his method of creating these scenes was totally controlled. The composition is built in layers of parallel planes, all ordered within the shallow space. Although considered a "primitive," he was greatly admired by the young avant-garde painters including Picasso and Braque.
click for self-portrait      His character was extraordinarily ingenuous and he suffered much ridicule (although he sometimes interpreted sarcastic remarks literally and took them as praise) as well as enduring great poverty. However, his faith in his own abilities never wavered. He tried to paint in the academic manner of such traditionalist artists as Bouguereau and Gérôme, but it was the innocence and charm of his work that won him the admiration of the avant-garde: in 1908 Picasso gave a banquet, half serious half burlesque, in his honor. Rousseau is now best known for his jungle scenes, the first of which is .Surprise! (Tropical Storm with a Tiger) (1891) and the last .Le Rêve (1910). These two paintings are works of great imaginative power, in which he showed his extraordinary ability to retain the utter freshness of his vision even when working on a large scale and with loving attention to detail. He claimed such scenes were inspired by his experiences in Mexico, but in fact his sources were illustrated books and visits to the zoo and botanical gardens in Paris.
      His other work ranges from the jaunty humor of .Les Joueurs de Football (1908) to the mesmeric, eerie beauty of .La Bohémienne Endormie (1897). Rousseau was buried in a pauper's grave, but his greatness began to be widely acknowledged soon after his death. He died in Paris.
— One artist who prefigured the Surrealists' idea of fantasy with his fresh, naïve outlook on the world was Henri Rousseau. Like Paul Klee, he defies all labels, and although he has been numbered among the Naïfs or Primitives (two terms for untrained artists), he transcends this grouping. Known as “Le Douanier”, after a lifelong job in the Parisian customs office, Rousseau is a perfect example of the kind of artist in whom the Surrealists believed: the untaught genius whose eye could see much further than that of the trained artist. Rousseau was an artist from an earlier era: he died in 1910, long before the Surrealist painters championed his art. Pablo Picasso, half-ironically, brought Rousseau to the attention of the art world with a dinner in his honor in 1908: an attention to which Rousseau thought himself fully entitled. Although Rousseau's greatest wish was to paint in an academic style, and he believed that the pictures he painted were absolutely real and convincing, the art world loved his intense stylization, direct vision, and fantastical images. Such total confidence in himself as an artist enabled Rousseau to take ordinary book and catalogue illustrations and turn each one into a piece of genuine art: his jungle paintings, for instance, were not the product of any first-hand experience and his major source for the exotic plant life that filled these strange canvases was actually the tropical plant house in Paris. Despite some glaring disproportions, exaggerations, and banalities, Rousseau's paintings have a mysterious poetry. Boy on the Rocks is both funny and alarming. The rocks seem to be like a series of mountain peaks and the child effortlessly dwarves them. His wonderfully stripy garments, his peculiar mask of a face, the uncertainty as to whether he is seated on the peaks or standing above them, all comes across with a sort of dreamlike force. Only a child can so bestride the world with such ease, and only a childlike artist with a simple, naïve vision can understand this elevation and make us see it as dauntingly true.

–- Moi: Portrait~Paysage (1107x831pix, 92kb _ .ZOOM to 2214x1662pix, 221kb)
Self-Portrait with a Lamp (1903)
The Painter and His Wife (1899)
–- Le Rêve (1910, 204x298cm; 742x1100pix, 108kb _ .ZOOM 1 to 1481x2200pix, 254kb _ ZOOM 2 to 3035x4500pix, 3348kb)
–- Surprise! (1891, 130x162cm) _ A tiger stalks through a jungle, its eyes bulging and whiskers upright with terror, presumably at the flash of lightning in the sky. The drama of the moment is enhanced by the strong wind and lashing rain which is applied on top of the painting with a translucent varnish-like material. Rousseau claimed his jungle pictures were inspired during his time in Mexico with the French army. In fact he had never been abroad and had to make his studies of exotic flora and fauna at the Jardin des Plantes in Paris.
–- Les Joueurs de Rugby (1908, 1105x881pix)
–- La Bohémienne Endormie (1897, 130x201cm)
–- Boy on Rocks (1897, 55x46cm)
–- Éclaireur attaqué par un tigre (1904, 120x162cm)
–- Combat Entre Tigre et Buffle I (1908, 883x1056pix)
–- Combat Entre Tigre et Buffle II (1908, 46x55cm, 993x1132pix)
–- Les Artilleurs (1893, 876x1103pix, 112kb)
–- La Tour Eiffel (1898)
–- Femme se Promenant dans une Forêt Exotique (1905, 100x81cm, 1095x890pix)
–- Le Repas du Lion (1907; 667x965pix, 82kb _ .ZOOM to 1333x1928pix, 193kb)
–- La Guerre
Le Lion Affamé (600x896pix _ ZOOM to 1400x2091pix)
La Chasse aux Éléphants (600x900pix _ ZOOM to 1400x2100pix)
L'Octroi (1895, 1104x889pix)
La Chasse au Tigre (1896, 909x1106pix)
Tropical Forest with Apes and Snake (1910)
Apes in the Orange Grove (1910, 771x1059pix)
Horse Attacked by a Jaguar (1910)
Woman with an Umbrella in an Exotic Forest (1907)
Exotic Landscape (1908)
— different Exotic Landscape (1909, 927x851pix)
Jungle with Lion (1910, 766x952pix)
— Surprise Désagréable (1901) {might have been titled: Bare Gets Shock, Bear Gets Shot.}
The Snake Charmer (1907, 964x1083pix)
The Flamingos (1907, 768x1102pix)
L'Enfant à la Marionette (600x492pix _ ZOOM to 1400x1148pix)
The Little Cavalier, Don Juan (1880, 1104x819pix)
Happy Quartet (1902)
The Representatives of Foreign Powers Coming to Greet the Republic as a Sign of Peace (1907, 891x1104pix)
Old Junier's Cart (1908, 824x1110pix)
Joseph Brummer (1909, 116x88cm)
64 images at Wikimedia some very large
101 images at Ciudad de la Pintura
mais c'est plus joli
Died on a 02 September:

1932 Jules Charles Clément Taupin, French painter born (main coverage) on 08 August 1863. —(080901)

1919 Georges Jules Victor Clairin, French painter born (full coverage) on 11 September 1843. —(050831)

^ >1865 Henri Auguste Calixte César Serrur, French painter born on 09 February or 11 February 1794. — LINKS
–- Dame et Chien, Assis Dans un Salon
Ajax (1820)
    –- Not Serrur (2010; 1200x656pix, 122kb _ ZOOM to 3000x1640pix, 364pix) and
    –- Neither This (2010; 1200x656pix, 415kb _ ZOOM to 3000x1640pix, 2345kb) are by the pseudonymous Janri Juillet Camixte Brutus Cadena. —(100404)

1677 Wallerant Vaillant, Flemish painter born (full coverage) on 30 May 1623. —(060912)

^ 1652 Jusepe de Ribera “Lo Spagnoletto” [12 Jan 1591–] (baptized 17 Feb 1591), Spanish painter and printmaker noted for his Baroque dramatic realism and his depictions of religious and mythological subjects. He was born in Spain but spent most of his life in Italy. Little is known of his life in Spain, except that he received his first training there under Francisco Ribalta. As a young man he worked in Parma and Rome. In 1616 he married in Naples, then under Spanish rule, where he remained the rest of his life. In 1626 was a member of the Roman Academy of St. Luke and in 1631 he was a knight of the Papal Order of Christ, but he always retained his Spanish identity. All of Ribera's surviving work was done after he settled in Naples. It is mostly religious compositions, along with a number of classical and genre subjects and a few portraits. He did much work for the Spanish viceroys, by whom many of his paintings were sent to Spain. He was also employed by the Catholic Church and had numerous private patrons. His paintings were widely imitated and copied in Spain. From 1621 onward there are numerous signed, dated, and documented works from Ribera's hand. Ribera's paintings are austere or gloomy in mood and can be rather dramatic. The chief elements of Ribera's style, tenebrism (dramatic use of light and shadow) and naturalism, are used to emphasize the mental and physical suffering of penitent or martyred saints or tortured gods. Realistic detail, often horrific, is accentuated by means of coarse brush marks on thick pigment to represent wrinkles, beards, and flesh wounds. Ribera. Ribera was one of the few 17th-century Spanish artists to produce numerous drawings, and his etchings were among the finest produced in Italy and Spain during the Baroque period. . — LINKS
Saint Bartholomew (130x103cm; 2500x1966pix, 670kb _ or, for more fun than watching the paint dry, but not a better picture, the same 2500x1966pix, but 4220kb) _ Color is almost monochrome brown. Crakling in the dark areas make it look as if rain was falling on his upward-looking face. In the lighter areas the crackling looks line a network of dark lines.
El Martirio de San Felipe (1639; 764x910pix, 148kb) _ The pseudonymous Ed Arebir has transformed this picture into a series of colorful and elaborate abstractions, which can be reached by clicks of the mouse from any one of them, for example the asymmetrical:
      _ Oir y Tramar Su Epilepsia (2009; 928x1312pix, 504kb _ zoom down G to 328x464pix, 59kb _ zoom down H to 464x656pix, 123kb _ zoom down I to 656x928pix, 244kb _ ZOOM UP K to 1312x1856pix, 981kb _ ZOOM UP L to 1856x2624pix, 2300kb _ ZOOM UP M to 2624x3712pix, 3751kb) or the symmetrical
      _ El Artificio de su Elipse (2009; 928x1312pix, 480kb _ zoom down G to 328x464pix, 57kb _ zoom down H to 464x656pix, 116kb _ zoom down I to 656x928pix, 232kb _ ZOOM UP K to 1312x1856pix, 1024kb _ ZOOM UP L to 1856x2624pix, 2142kb _ ZOOM UP M to 2624x3712pix, 3603kb)
113 ZOOMable images at Wikimedia —(090117)

^ 1606 Karel van Mander, Dutch Mannerist writer, poet, painter, and draftsman, born in May 1548. His fame is principally based upon his biographical book on painters Het Schilder-boeck (1604) that has become for the northern countries what the Lives of the Painters by Giorgio Vasari [30 Jul 1511 – 27 Jun 1574] became for Italy. This is the first systematic account of the lives of northern European artists, and our only source of information about some of them. Born of a noble family, van Mander studied under Lucas de Heere at Ghent and in 1568–1569 under Pieter Vlerick at Courtrai and Tournai. After much wandering, van Mander in 1583 settled at Haarlem, where, with Hendrik Goltzius [1558 – 01 Jan 1617] and Cornelis Corneliszoon, he founded a successful academy of painting. Het Schilder-boeck contains about 175 biographies of Dutch, Flemish, and German painters of the 15th and 16th centuries and is a unique source of information on the northern European artists of those times. — Scholars know Karel van Mander, "the Dutch Vasari," first for his writings and second for his accomplishments as a painter. After being trained by a poet and painter, he spent the years from 1573 to 1577 in Italy. There both Giorgio Vasari's book, Lives of the Italian Artists, and his Mannerist paintings greatly impressed him. When van Mander returned from Rome to Holland, he brought Bartholomäus Spranger's drawings, which profoundly influenced Dutch art. Due to religious turmoil, the Mennonite van Mander then spent some years wandering the Netherlands, finally arriving penniless in Haarlem in 1583. There he founded an informal academy with Hendrick Goltzius and another artist. They taught Frans Hals and developed the Haarlem Mannerist style. Van Mander never believed that artists should blindly follow nature: he thought they should perfect it, not represent it. Influenced by Spranger, his Mannerism included figures in elaborate poses and compositions with compressed spatial depth. He later developed a more classicist style. Van Mander's Schilderboek, which first appeared in 1604, remains the main source for information on Northern European painters of the 1400s and 1500s and contains valuable original material about his Italian contemporaries. He was the first Western European author to mention Caravaggio's innovations and to write extensively about the recent genre of landscape painting. — His son Karel van Mander II [1579 – 13 Jun 1623] was a tapestry designer who worked for Christian IV of Denmark, and his grandson Karel van Mander III [1610 – 06 Apr 1670 bur.] also worked at the Danish court, as a portrait painter and decorative artist. — Before 1568 van Mander was apprenticed to Lucas de Heere, a painter and poet in Ghent, and afterwards to Pieter Vlerick [1539–1581] in Courtrai and Doornik. Between c. 1570 and 1573 he lived in his native Meulebeke, where he applied himself to writing plays and poetry. In 1573 he went to Italy, where he first paid a brief visit to Florence; in Terni he was commissioned to paint a fresco for a count of the St Bartholomew’s Night Massacre, in which the death of Gaspard de Coligny in 1572 was represented. Three sections of the fresco, restored and partly overpainted, are still extant in the Palazzo Spada Terni. In Rome he met Bartholomeus Spranger and became a close friend of Gaspard Heuvick [1550–>1590] from Oudenaarde, who was working in Bari and elsewhere. In 1577, or shortly afterwards, van Mander was working in Basle; he then moved on to Krems. Spranger encouraged him to go to Vienna, where he worked with Hans Mont on the triumphal arch on the Bauermarkt, erected for the occasion of Rudolph II’s arrival in July 1577. After this, van Mander returned to Meulebeke, passing through Nuremberg on the journey. Because of the religious turmoil and uprising against the Spanish, van Mander and his family, who were Mennonites, kept wandering from place to place; he stayed in Courtrai and Bruges and finally fled from the southern Netherlands to Haarlem, where he arrived penniless but remained for 20 years. — The students of van Mander I included Frans Hals and Hendrik Pot. –- Portrait of Karel van Mander I (1604 engraving) by Karel van Mander II [1579-1623] — LINKS
The Continence of Scipio (1600, 44x79cm) _ When conquering Carthage, the Roman general Scipio had captured a young girl. Instead of keeping her for himself, Scipio displayed magnanimity by returning her to her fiancé and declaring that the ransom money should be her dowry. Van Mander painted this work on copper, on a white ground, which gives the colours great intensity.
Garden of Love (1600, 154kb)

1566 Taddeo Zuccaro, Italian painter born (full coverage) on 01 September 1629. —(060901)

Born on a 02 September:

1946 Walter Simonson, US comic book artist and writer. —(080901)

^ >1914 (1911?) Romare Howard Bearden [–12 March 1988]. US Black social realist Harlem Renaissance painter, collagist, printmaker. Throughout his life, Bearden depicted many rituals and social customs of twentieth century rural Blacks in the US. The images of spiritual ceremonies, baptisms and burial, industrial hardships, musical arrangements and daily life are the themes most seen in his work[and so, unfortunately, there never was anything like a Bearden Bear Den, in fact, fortunately, not even a Bare Dame.] — LINKS
Blue Silk Stockings (1981, 32x23cm; 843x600pix, 127kb)
Heavy Freight/Mecklenburg Evening (1982, 19x30cm; 387x600pix, 109kb)
Mecklenburg Autumn/Morning Ritual (1983, 102x76cm; 797x600pix, 138kb)
Mecklenburg Autumn/September: Sky and Meadow (1983, 81x112cm; 439x600pix, 112kb)
Small Island Flowers (1982, 27x30cm)
Before the First Whistle (1973, 40x30cm)
Caribbean Mermaid (1980, 75x106cm)
Jazz (1980, 78x105cm)
Mecklenburg Autumn (1979, 58x46cm)
Memories (12 Trains) (1974, 45x56cm)
Morning (1979, 49x63cm)
Quilting Time (1979, 55x69cm)
Red Woman in Landscape (1980, 74x104cm)
Tenor Sermon (63x88cm)
Sunday After the Sermon (kb)
The Burial (1964, 96x32cm)
The Conversation (1979, 56x76cm)
The Lantern (1979, 60x39cm)
The Train (1974, 46x56cm; 475x600pix, 100kb)
Two Women (1981, 58x37cm)
Morning of Red Bird (1975; 335x432pix, 59kb)
Piano Lesson (1975)
Quilting Time (1975)
Saturday Morning (1975)
Sunset Limited (1975)
–- Wrapping it up at the Lafayette (1974, 122x92cm) _ Famous for its musical revues and plays during the 1920s and 1930s, the Lafayette Theater in New York's Harlem section made Seventh Avenue and 132nd Street a mecca for those seeking stylish entertainment. In this exhuberant collage, Romare Bearden conveyed the lively rhythm and vibrant color of the Lafayette during its heyday. Using pictures from magazines, scraps of paper, and bits of fabric, Bearden arranged several scenes, as they would appear to the theater audience. The band plays below in the pit, while dancers, and singers perform energetically above on stage. African masks and exotic tree and flower forms decorate a backdrop topped by a scalloped red curtain. Bearden excelled in the medium of collage, using it to express the spirit and reality of the culture of US Blacks. Inspired by his love of jazz and memories of his youth, he once explained, "I work out of a response and need to redefine the image of man in terms of the Negro experience I know best." This composition is from his Of the Blues series of 1974. —(080901)

^ >1897 István Beöthy “Etienne Beothy”, Hungarian painter and sculptor active in France, where he died on 27 November 1961.
–- Abstract Composition (1116x816pix, 62kb)
–- Composition (1125x930pix, 49kb)
–- Rhythme 1 (1125x1028pix, 62kb) _ The pseudonymous Emienne Beauty has combined these three pictures and marvelously transformed them into numerous abstractions which can be reached by clicks of the mouse from the first two:
      _ Rhume (2007; 550x778pix, 94kb _ ZOOM 1 to 778x1100pix, 171kb _ ZOOM 2 to 1100x1556pix, 354kb _ ZOOM 3 to 1710x2418pix, 941kb _ ZOOM 4 to 2658x3760pix, 2205kb) and
      _ Rheum (2007; 550x778pix, 94kb _ ZOOM 1 to 778x1100pix, 171kb _ ZOOM 2 to 1100x1556pix, 354kb _ ZOOM 3 to 1710x2418pix, 941kb _ ZOOM 4 to 2658x3760pix, 2205kb)
–- untitled (1938; 696x980pix, 47kb) —(070901)

^ >1889 Isaac Grünewald, Swedish-Jewish Expressionist painter born in Stockholm, who died on 22 May 1946. Having studied at a Swedish art school, at age nineteen Grünewald traveled to Paris to study under Henri Matisse. In 1909 he gained recognition in his homeland when he exhibited his work at Halldins konsthandel. He met Fauvist painter Sigrid Hjertén [27 Oct 1885 – 24 Mar 1948] , who had studied at the College of Crafts and Design in Stockholm, and encouraged her to return with him to study in Paris. Married in 1911, they became part of a group of Scandinavian artists known as "De Unga" (The Young Ones). Grünewald and Hjertén regularly exhibited together at home and abroad and art historians now often cite them as being responsible for introducing modernism to Sweden. At a time in history when anti-Semitism was widespread and women in art were frowned upon, although widely known they were never fully accepted by the artistic community of the day and their works were often the subject of ridicule. Partly as a result of this, Isaac Grünewald had to supplement his income creating stage designs for the Royal Dramatic Theater and the Swedish Royal Opera. He decorated the walls and ceiling of an auditorium (since renamed Grünewald Hall) at the Stockholm Concert Hall, site of the Nobel Prize ceremony. The author of numerous essays on art, with his 1918 exhibit at Stockholm's Liljevalchs Konsthall Isaac Grünewald published his manifesto on Expressionism and opened his own art school. During the Second World War Grünewald worked at the renowned Rörstrand porcelain factory. His wife Sigrid Hjertén suffered from lifelong mental health problems frequently evidenced by anxiety and paranoia that resulted in her being hospitalized for extended periods in the 1930s. During the marriage the couple were frequently apart from each other for long periods and they separated permanently in 1937 and soon divorced. Isaac Grünewald remarried and both he and his second wife died in an airplane crash. His 1912 self-portrait and his 1915 painting The Singing Tree appeared on Swedish postage stamps. — LINKS
The Crane (1915; 325x210pix, 43kb)
The Singing Tree (1915; 520x400pix, 92kb)
Författarinnan Ulla Bjerne (1916; 421x210pix, 36kb) —(070901)

1864 Séraphine Louis “de Senlis”, French woman painter who died (main coverage) on 11 December 1942. —(080901)

^ 1857 Karl Stauffer~Bern, Swiss painter who died on 25 January 1891.
Gustav Freitag (1887; 609x455pix, 89kb)

1852 Franz von Persoglia, Austrian painter who died in 1912.
Gesellschaft beim Tee (1892, 53x79cm; 471x705pix, 251kb) —(070901)

1836 Josef Anton Braith, German artist who died on 03 January 1905.

1826 Alberto Pasini, Italian painter who died (main coverage) on 15 December 1899. —(070901)

^ 1722 Vigilius Erichsen, Danish painter who died on 23 (24?) May 1782. Erichsen's magnificent full-length portrait of the Dowager Queen Juliane Marie (1776) was his principal Danish work. He subsequently worked in Russia. — LINKS
Grand Prince Pavel Petrovich in his Study (1766; 91kb)
Catherine the Great (471x363pix, 35kb)

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