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BIRTHS: 1848 BAUERNFEIND — 1629 PASINELLI — 1888 SCHLEMMER — 1852 PETERSSEN
^ Born on 04 September 1848: Gustav Bauernfeind, Austrian (or German?) artist specialized in orientalism, who died on 24 December 1904.
— Bauernfeind originally studied architecture before turning to art. One of the few Jewish artists of his time, he settled in Jerusalem in 1898 and died there six years later. He had great talent at depicting ordinary life and produced beautiful paintings that are considered among the most historically accurate images we have today of the Middle East in the nineteenth century.

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The Wailing Wall, Jerusalem (1904)
Jews at the Wailing Wall (1890) The Wailing Wall is the one surviving wall of the great temple of Solomon which the Babylonians destroyed when they overran Israel and sacked Jerusalem. In this painting you can see it has been rebuilt but not restored to its original condition. Certain stones seem out of place and probably were in different locations in the original structure. This represents the archetypal vision which has been shattered and then imperfectly rebuilt; and is a metaphor for the human condition. For centuries Christian artists had painted scenes from the Bible. Now Jewish artists were painting scenes from Jewish religious life.
Market at Jaffa (1887) _ Jaffa is now a part of Tel Aviv. Bauernfeind was extremely brave to paint in cities like Jaffa and Damascus. Jaffa was frequently under quarantine for plague and westerners could be attacked in the streets of Damascus by religious zealots. Bauernfeind would show up in these cities in western dress with bulky photographic equipment and somehow survive and get his work done.
David Street in Jerusalem
Mountains of Moab Seen from Bethany
Jaffa, Recruiting of Turkish Soldiers in Palestine (1888, 148x281cm) This is the largest and most impressive painting of Bauernfeind (apparently available online only as this tiny reproduction!). The harbor is the setting for a riveting spectacle that Bauernfeind witnessed of men being conscripted into the Ottoman army, while their wives and children ran after them into the surf. What is especially noteworthy about this image, and what sets it apart from many other Orientalist works, is its engagement of both the traditional, or "timeless," motifs of Orientalism--the picturesque costumes and architecture--and the contemporary Ottoman world of steam-powered warships, uniformed soldiers and conscription.
–- Washing Day(1880, 75x62cm; 859x667pix, 94kb _ .ZOOM to 1288x1000pix, 146kb _ .ZOOM+ to 1932x1500pix, 196kb)
–- Canal Scene in Chioggia with a Bragozzo (60x75cm; 803x1000pix, 139kb) _ A bragozzo is a Venetian fishing boat, such as is seen in the painting, traditionally built in Chioggia, the most important town on the Venetian lagoon after Venice. It stands at the southern tip of the lagoon, a two-hour ride by boat from Venice. It is the main fishing port on the lagoon.
–- Oriental Street Scene (102x70cm; 667x444pix, 47kb _ .ZOOM to 1000x666pix, 72kb _ .ZOOM+ to 1500x999pix, 119kb)
 
^ Born on 04 September 1629: Lorenzo Pasinelli, Italian artist who died on 04 March 1700.
— La formazione di Pasinelli si svolse dapprima presso il pesarese Cantarini, e in seguito presso Flaminio Torri, col quale si manifestarono presto contrasti. Dalle opere dell'inizio degli anni '70, quali lo Svenimento di Giulia della Pinacoteca di Bologna, appare evidente l'innesto sul classicismo reniano di una forte impronta neoveneta, o per meglio dire neoveronesiana, che si manifesta attraverso l'uso di una materia rarefatta, ma di vibrante e raffinata cromia. La stesura sprezzante, a tocchi corposi di colore, si accentua nel decennio successivo, come dimostra la Sant'Orsola, anch'essa nella Pinacoteca bolognese. La poetica dell'artista, nella quale l'elegante e rapida condotta della pittura convive col registro languido e patetico dei sentimenti, si rivelera' fondamentale per la pittura bolognese a venire, in particolare per le importanti personalita' del Dal Sole e del Creti.

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Amore disarmato dalle ninfe di Diana (118x157cm) Subito dopo la consegna del Miracolo di Sant'Antonio per la chiesa bolognese di San Francesco (oggi in San Petronio) il Pasinelli esegui' per il Senatore Francesco Ghisilieri un Amore disarmato dalle Ninfe di Diana.
      Esposto dal proprietario nel cortile del suo palazzo in occasione della festa del Corpus Domini, il quadro suscito' molte critiche per l'uso eccessivo delle tonalita' rossastre. Piu' che alla tela dello stesso soggetto della collezione Claas di Londra, la descrizione del quadro Ghisilieri sembrerebbe meglio rispondere a questa tela di Modena per la patina dolcemente accaldata delle carnagioni e il timbro bruno dei colori.
      Qualora se ne accetti l'identificazione col dipinto Ghisilieri, questo Amore disarmato sara' da datarsi dopo la pala del Miracolo di Sant'Antonio, che nel 1686 il Malvasia ricorda gia' presente in San Francesco. Esistono due copie della figura di Amore dormiente, una delle quali si conserva nel Museo Civico di Modena, l'altra in collezione privata.
Fanciulla con gabbietta vuota (74x54cm) La poetica immagine sottintende un delicato significato allegorico: l'innocenza della fanciullezza che, come un bene prezioso mal custodito, troppo presto e irrimediabilmente si perde.
      Il soggetto e' tra quelli piu' divulgati dai generisti tra XVII e XVIII secolo, ma qui il tenue contenuto morale non altera la sincerita' davvero commovente della raffigurazione, cosicche' il dipinto conserva la freschezza del riporto diretto, nella tradizione dell'abbozzo dal vero inaugurata da Annibale Carracci.
      Le connotazioni stilistiche rinviano pero' ad una datazione ben piu' avanzata rispetto ai modelli carracceschi ai quali la tela parrebbe ricollegarsi, toccando ormai l'ultimo quarto del secolo. In un primo tempo riferito a Francesco Stringa, il quesito attributivo e' stato risolto a favore di Lorenzo Pasinelli, anche se rispetto all'aulico accento che compone le immagini del pittore bolognese, questo dipinto sorprende per la bonarieta' della fanciulla, cosi' dichiaratamente umile e dimessa.
Caritas Romana (1670; 595x480pix, 33kb)
 
^ Born on 04 September 1888: Oskar Schlemmer, German painter, lithographer, engraver, photographer, sculptor, teacher, coreographer, dancer, composer, designer of graphics, bookcovers and furniture. He died on 13 April 1943.
— “Oskar Schlemmer transformed into abstract terms of geometry or mechanics his observation of the human figure moving in space. His figures and forms are pure creations of imagination, symbolizing eternal types of human character and their different moods, serene or tragic, funny or serious." So wrote Walter Gropius, founder of the Bauhaus School in Germany. Schlemmer joined the staff of the Bauhaus School in 1921 as "master" in the mural workshop, becoming head of the sculpture workshop the following year. His career up until that point had been richly varied, including experiments with dance and designing scenery and costumes in between stints in the army. In 1923 he also became the director of the stage workshop. Dismissed from his professorship in 1933 amidst Nazi censorship, Schlemmer moved from the city to a small village in southwestern Germany and later to the town of Sehringen in the southern Black Forest. With his work increasingly banned by the Nazis, by 1938 he had begun to earn his living as a house painter in Stuttgart. Following an illness, Schlemmer died at Baden-Baden at age fifty-four.
Oskar Schlemmer wurde 1888 in Stuttgart geboren. Er stammte aus einer Familie des Mittelstandes. Der Vater, in wechselnden Berufen tätig, schrieb nebenher einige Lustspiele, die selten zur Aufführung kamen. Die Mutter war streng protestantisch, voller Pflichtgefühl und Ernst. Bei Kriegsausbruch hatte Schlemmer, wenn auch im geringem Maße, Anerkennung auch über regionale Grenzen gefunden. Was ihn von seinen Kollegen wesentlich unterschied: die moderne Lehre hatte bei ihm keinen Widerhall gefunden. Er malte keine Heroen, keine Kampf- und Katastrophenbilder, keine üppigen Vollblutweiber und keine Abenteuer im fernen Westen. Schlemmer wurde von den Ereignissen an der Front und dem Einbruch der Moderne anders getroffen als andere Künstler seiner Generation. Er hatte sich immer um die Kontrolle der Natur und seiner Gefühle bemüht. Sein Ziel war es, die innere Zerrissenheit des modernen Menschen durch einen Gegenentwurf aufzuheben, in dem Geist und Materie sich in harmonischen, geometrischen Formen verbanden. Gefühlsausbrüche waren und blieben ihm zeitlebens fremd. Er wird als zurückhaltend und stets auf Ausgleich bedacht beschrieben; ängstlich jemanden zu verletzen – und selbst verletzt zu werden.
      1906 trat er in die Stuttgarter Kunstakademie ein und orientierte sich sieben Jahre später am Vorbild des Kubismus. Die abstrakten Formen erlaubten es, die Natur kontrolliert im Bilde nachzubauen. Da er von Kunst mehr erwartete, meldete er sich 1914 zum Sanitätsdienst, um Eindrücke und Erfahrungen zu sammeln.
      Im Sommer 1915 wurde er verwundet und erhielt Urlaub bis zum Januar 1916. In diesen Monaten suchte er verstärkt nach einer Geistigen Grundlage für seine Kunst und seine Person. So liess er sich den Kopf kahlrasieren um von nichts beeinflußt zu werden.
      1920 siedelte Schlemmer nach Weimar über, wo er im Bauhaus Wandmalerei und später Aktzeichnen unterrichtete.
      Nachdem Schlemmer das Bauhaus im Jahre 1929 verlassen hatte, ging er zunächst an die Kunstakademie in Breslau. Aufgrund einer Notverordnung der preußischen Regierung wurde die Akademie am 1. April 1932 geschlossen. Schlemmer nahm einen Ruf an die Vereinigten Staatsschulen für Kunst in Berlin an.
      Unter dem Druck der politischen Ereignisse wurde er dort im April 1933 zunächst zwangsweise beurlaubt, im August schließlich fristlos entlassen. Mit seiner Familie zog er sich auf ein Haus in der Nähe von Badenweiler zurück. Gedrückt von materiellen Sorgen mußte er ansehen, wie seine Bilder der Ächtung durch die Nationalsozialisten zum Opfer fielen.
      1940 fand er in einer Lackfabrik in Wuppertal Zuflucht. Ausgelaugt von materiellen Beschwerden starb er dort Anfang 1943.
Oskar Schlemmer, Maler, Bildhauer und Bühnenbildner geboren am 4. September 1888 in Stuttgart gestorben am 13. April 1943 in Baden- Baden Oskar Schlemmer wurde am 4.September 1888 in Stuttgart geboren . Seine Eltern waren betagt und deshalb verbrachte Oskar Schlemmer seine Kindheit bei seiner älteren Schwester Wilma in Göppingen. Als Oskar Schlemmer 15 Jahre alt war, waren seine Eltern beide gestorben. Er zieht zu seiner ältesten Schwester Henrietta, die die Rolle der Mutter übernimmt. Er besucht mit 15 Jahren bis zum 17. Lebensjahr die Kunstanstalt für Intarsien in Stuttgart. 1905 besucht er die Stuttgarter Kunstgewerbeschule, Aktzeichnen ist in dieser Zeit seine Haupbeschäftigung.
       1906 bis 1909 kann er mit Hilfe eines Stipendiums an der Stuttgarter Akademie der bildenden Künste studieren. Hier lernt er Willy Baumeister kennen sowie seinen lebenslangen Freund Otto Meyer-Amden.
      1910 bis 1912 läßt sich Oskar Schlemmer beurlauben, um selbständig in Berlin Studien zu treiben. Er kehrt nach Stuttgart zurück, im Frühjahr 1912 wird er Meisterschüler bei Adolf Hoelzel. Erste Tanzexperimente und Notizen über den Tanz entstehen in dieser Zeit.
      1913 wird in Stuttgart eine große Ausstellung im Kunstgebäude gezeigt. Es sind Werke von Cézanne, Gauguin und van Gogh, den Impressionisten Manet, Monet, Pissaro, Renoir und Sisley und Gegenwartskünstler, unter ihnen Adolf Hoelzel und sein Meisterschüler Oskar Schlemmer. Oskar Schlemmer ist jetzt 25 Jahre alt. Sein Wek " Landschaft mit weissem Haus" wird von der "Galerie der Stadt Stuttgart" angekauft. Mit seinem Bruder Willi eröffnet Oskar Schlemmer 1913 eine eigene Galerie, den Kunstsalon in der Neckarstraße in Stuttgart. Es werden in seiner Galerie Bilder von Gabriele Münther, Otto Meyer-Amden , Baumeister, Braque, Gris, Kandinsky, Paul Klee, Kokoschka, August Macke, Franz Marc u.a. ausgestellt.
      1914 erhält Oskar Schlemmer von seinem Lehrer Adolf Hoelzel den Auftrag, zusammen mit Baumeister und Stenner Wandbilder für die Kölner Werkbund - Ausstellung zu malen. Im September 1914 ist Schlemmer als Kriegsfreiwilliger an der Westfront, zusammen mit den Studiengefährten Stenner und Joseph Alfons Wirth. Nach einer Verwundung im Oktober 1914 liegt er im Lazarett in der Nähe von Aachen und in Stuttgart.
      1915 ist als Soldat an der Ostfront und wird wieder verwundet. Im September 1915 bis Januar 1916 erhält Oskar Schlemmer Studienurlaub. 1915 entstehen Zeichnungen, die geprägt sind von Flugkarten und Flugzeugaufnahmen. Im März 1916 : Versetzung nach Mühlhausen (Elsass) zu einer Vermessungsabteilung, die später nach Colmar verlegt wird und der er bis zum Kriegsende angehört. Er erlebt das Ende des Krieges 1918 und die Revolution in Berlin und kehrt als Meisterschüler an die Stuttgarter Akademie zurück, die ihm ein eigenes Atelier zur Verfügung stellt.
      1919 wird Oskar Schlemmer in den Ausschuß der Studierenden gewählt und setzt sich für Paul Klee als Professor in Stuttgart ein, da Adolf Hoelzel inzwischen erimitiert ist. Doch der Widerstand der anderen Professoren in Stuttgart gegen Paul Klee ist groß. Im Mai 1919 erhält er das Manifest des Staatlichen Bauhauses, das der Architekt Walter Gropius in Weimar durch Zusammenlegung der ehemaligen grossherzoglichen Hochschule für bildende Kunst und der während des Krieges aufgelösten Kunstgewerbeschule gegründet hat. Oskar Schlemmer arbeitet in dieser Zeit konzentriert an seinen Tanzplänen. Es entstehen Plan mit Figuren und Mann mit Fisch sowie die ersten Plastiken. Am 25. Oktober eröffnet er in den Räumen des Wü:rttembergischen Kunstvereins die erste Ausstellung der Uechtgruppe, in der sich die modern gesinnten Maler Stuttgarts zusammengeschlossen haben. Uecht ist altdeutsch und heißt Morgendämmerung. Um sich ungestört der Arbeit am Triadischen Ballett widmen zu können, verlässt Oskar Schlemmer die Akademie.
HINWEIS Das Triadische Ballett: Zeichnungen von Oskar Schlemmer, Figurinenplan zum Triadischen Ballet u.a. befinden sich im Theatermuseum der Universität Köln Er lernt Paul Hindemith in Frankfurt kennen. Im Oktober 1920 Heirat mit Helena Tutein, genannt Tut. Im Dezember 1920 wird Oskar Schlemmer an das Staatliche Bauhaus in Weimar als " Form- Meister" berufen. Paul Klee, Walter Gropius, Lyonel Feininger, Johannes Itten, Gerhard Marcks und Georg Muche arbeiten dort ebenfalls als Professoren. Am Bauhaus wird Oskar Schlemmer die künstlerische Leitung der Werkstatt für Wandmalerei zugeteilt. Er gibt auch Unterricht im Aktzeichnen. Am 4. Juni 1921 wird im Landestheater Stuttgart anlässlich der Tagung des "Deutschen Werkbundes", die beiden Einakter Mörder, Hoffnung der Frauen von Kokoschka und Nusch-Nuschi von Franz Blei, in einer Opernvertonung von Hindemith, uraufgeführt. Die Bühnenbilder sind von Oskar Schlemmer entworfen worden.
      Am 5. Oktober 1921 wird die Tochter Karin geboren. 1922 entwirft Oskar Schlemmer ein neues Bauhaus - Signet, es wird das offizielle Bauhaus - Signet. Oskar Schlemmer lehrte bis 1929 am Bauhaus, bis 1932 an der Breslauer Akademie und bis 1933 an der Akademie in Berlin. Oskar Schlemmer hat in seinen Malereien, Plastiken und im Bühnentanz das Dasein des Menschen durch abstrahierte Figurinen und durch ihr Verhältnis im und zum Raum dargestellt. Seine bedeutende Leistung ist es , Farbe, Musik und Tanz integriert zu haben. Seine Arbeiten wirkten wegweisend auf andere Künstler. Oskar Schlemmer stirbt am 13. April 1943 in Baden-Baden im Alter von 54 Jahren.
—1903-1905 Lehre in einer Intarsien-Werkstatt. Anschließend bis 1909 Studium an der Stuttgarter Akademie.
1912-1914 und 1918-1920 Schüler von Adolf Hölzel.
Am Bauhaus als Meister von 1921-1929: Formmeister der Wandmalerei bis 1922, der Holz- und Steinbildhauerei
1922-1925. Leiter der Bühnenwerkstatt von 1923-1929. Seit 1922 Kurse im Aktzeichnen.
1928 Unterricht "Der Mensch". 1922 Uraufführung des "Triadischen Balletts" in Stuttgart.
1928/29 Tournee der Bauhausbühne in Deutschland.
Von 1929-1932 Professor an der Breslauer Akademie, Leiter der Bühnenklasse und Unterricht "Mensch und Raum". Anschließend bis zur Entlassung 1933 Professor an den Vereinigten Staatsschulen für Kunst in Berlin. Übersiedlung nach Eichberg, später nach Sehringen/Baden.
Seit 1940 Arbeit für die Lackfabrik Herberts.
Große Biographie (auf Deutsch)

LINKS
Figure Group on Yellow Paper (1922, lithograph, 41x20cm)
Self-Portrait, Prellerstrasse Studio (1925, gelatin silver print, 11x8cm) This multiple exposure self-portrait of Oscar Schlemmer as a spectral presence in his studio creates a puzzle of numerous layers. His transparent body is much too large to sit at the typewriter before him, although he appears ready to push his chair forward to get to work. As the different exposures blend, stacks of paper and a frame on the desk behind him become the pattern of his vest. Two white-cuffed hands seem to hold up the cabinets in the upper left corner, yet the way in which the corner of the cabinet is visible through the right hand indicates that the hands represent another, separate exposure from those of the studio and photographer. Schlemmer exposed one sheet of film several different times in order to achieve this unlikely blending of forms.
Figure on Pink Paper (1922 Dimensions, color lithograph 37x26cm)
—(060903)
^ Born on 04 September 1852: Hjalmar Eilif Emanuel Peterssen, Norwegian painter who died on 29 December 1928.
— He attended Johan Fredrik Eckersberg’s School of Drawing in Christiania (1869–1870) and then briefly studied painting under Knud Bergslien [1827–1908]. In the spring of 1871 Peterssen moved on to the academies of Karlsruhe (1871–1873) and Munich (1873–1875). He then stayed in Munich until the autumn of 1878 but made many study trips abroad: he returned to Norway but also visited London and Paris and made several journeys to Italian cities. He thus acquired a more profound knowledge of both earlier and contemporary European art than that available to most Norwegians studying in Munich. — The students of Peterssen included August Eiebakke, Kitty Kielland, Harald Oskar Sohlberg.
— Eilif Peterssen var en meget begavet kunstner, som ganske tidlig møtte en situasjon løftet ham til forbausende høyder i ung alder. Men det som da viste seg som hans styrke skulle siden bli et problem, da hans personlig bidrag ikke lenger føltes som relevant, og han litt famlende måtte tilpasse seg den nye tids signaler. Uansett forble han en brilliant dyktig tekniker. Peterssens kunstneriske anlegg ble tidlig oppdaget, og allerede som 14-åring begynte han sin kunstutdannelse, først på Tegneskolen (1866-1870), senere på malerskolen til Eckersberg, Müller og Bergslien (1869-1870). Våren 1871 var han elev ved Akademiet i København, før han dro videre til Hans Gude og Kunstskolen i Karlsruhe. Her gjennomgikk han den vanlige undervisningen med tegning etter antikke avstøpninger og maling etter levende modell. Av lærere ble landskaps- og genremaleren Wilhelm Riefstahl (1827-1888) av særlig betydning. En figurstudie i historisk drakt fra 1872, kalt Lanseknekten (privat eie), viser hva han lærte i Riefstahls malerklasse. Historiemaleren Carl Friedrich Lessings (1808-1880) alvorsfylte landskaper med historiske scener, fikk også betydning for den unge, søkende og høyt begavede kunstneren. Da han ønsket å spesialisere innen historiemaleriet, rådet Gude ham å reise til Roma hvor Riefstahl nå oppholdt seg. Men da Peterssen likevel fortrakk München, dro han høsten 1873 avsted med et anbefalelsesbrev fra Gude til professor Wilhem Diez ved Akademiet. Diez' tok vel imot ham. Han fikk hoppe over den obligatoriske malerklassen og gikk rett over i Diez' mesterklasse, hvor et eget atelier ble stilt til hans rådighet. Han begynte straks å lage utkast til sitt første historiemaleri Corfitz Ulfeldts død, Diez viste interesse for prosjektet. Det var nå hans spesielle evner ble klart synlige. Eilif Peterssen er den eneste av sine samtidige norske malere som tidlig gikk inn for en karriere som historiemaler. Allerede i 1868, bare 16 år gammel, ble han engasjert av H.J. Huitfeldt for å levere tegninger til verket Norske Sigiller fra Middelalderen, som utkom i Kristiania mellom 1899 og 1902. Gjennom dette arbeidet fikk han vakt interessen for historiske emner. Etter arbeidet med Corfitz Ulfeldts død tok han fatt på et enda mer krevende historiemaleri med mange figurer. Christian II undertegner dødsdommen over Torben Oxe (1876; 178x255pix, 25kb) ble hans hovedverk som historiemaler, og skaffet ham berømmelse i München. I løpet av 1870-årene malte han en rekke historiske genrescener og portretter, blant annet av sine kunstnervenner. En spesiell motivkrets ble den ensomme, melankolske kvinnen i et stemningslandskap. I 1878 brøt Peterssen opp fra München, og bosatte seg fra 1879 til 1883 i Roma, hvor han malte folkelivsscener og gjenopptok historiemaleriet for en kortere periode. I september 1879 hadde han giftet seg med Nicoline Ravn, født Gram, som døde allerede i 1882. Sommeren 1886 oppholdt han seg på gården Fleskum i Bærum sammen med vennene fra München: Skredsvig, Munthe, Backer, Kielland og Werenskiold. Her gjenopptok Peterssen stemningsmaleriet fra sine siste år i München, men nå i en lysere koloritt. Sammen med Kitty L. Kielland innledet de med sine sommernattsstemninger nyromantikken i norsk maleri. Ved århundreskiftet tok han igjen opp historiske motiver i tidens dekorative stil. Eilif Peterssen skrev selv lite, men han var Jens Thiis' viktigste informant når det gjaldt kunstnerforholdene og de norske kunstnerne i München. Thiis verk Norske malere og billedhuggere (1907) er derfor preget av Lysakerkretsens ønske om å nedtone denne periodens betydning for norsk kunst.

Summer Night on the Island of Sandø (1884, 54x67cm; 493x600pix, 67kb)
Contemplation
Meeting between Erik Valkendorf and Dyveke in Bergen in 1507 (1876, 65x48cm; 520x382pix, 49kb) _ Eilif Peterssen er blant de få norske kunstnere som også har skapt seg et navn som historiemaler. Peterssen hadde først vært elev ved Den kgl. Tegneskole samt Eckersbergs og Bergsliens malerskole i Christiania før han kom til akademiene i København og Karlsruhe. Fra 1873 studerte han ved kunstakademiet i München under Wilhelm Dietz. Peterssen kopierte italienske mestere i Altes Pinakothek og utdypet sitt kjennskap til italiensk maleri på reiser til Venezia og Firenze i 1875 og 1876. Disse studiene fikk stor betydning for Peterssens koloristiske utvikling.
     Erik Valkendorf treffer Sigbrit Willums og Dyveke på Bergens torv er malt i 1876, samme år som Peterssen fullførte sitt hovedverk i den historiske genre, Christian II undertegner dødsdommen over Torben Oxe. Det bildet ble innkjøpt til Nasjonalgalleriet i 1977. Disse to maleriene må sees i en tematisk sammenheng.
     Det er skjebnetunge stunder i Danmark-Norges historie maleren har valgt seg ut. Etterat kongens frille Dyveke var tatt av dage ved forgiftning, er Christian II fremstilt nølende i det øyeblikk han skal dømme Torben Oxe til døden for mordet. I det nyervervede maleriet presenteres den unge, vakre Dyveke slik hun skildres av den danske historiker C.F. Allen i verket De tre nordiske Rigers Historie 1497-1513, som var kommet ut i København noen år tidligere. Peterssen hadde åpenbart satt seg inn i verket.
     Før Christian II ankom Bergen i 1507, hadde han sendt kansler Erik Valkendorf til byen for å rekognosere: Helt tilfeldig
          — fængsledes hans Øie ved Synet af tvende Qvinder, der stode i en Bod, hvor der solgtes Vafler, Bagværk og lignende Sager. Det var Kontrasten mellem disse Qvinder, der bragte ham til at studse. Den Ældre havde noget Simpelt og Plumpt i sit Ydre, det var et ført og sværtbygget Fruentimmer med en stærk rød Ansigtsfarve og Kinder saa svære, at de hængte ned; der var kun een Ting, som hævede hendes Skikkelse, et Par spillende Øine, der vidnede om Kløgt og indre Liv. Ved nærmere Betragtning havde han maaske fundet Mere i dette Ansigt; men hans Opmærksomhed blev hendraget til den, der stod ved hendes Side. Det var en ung Pige af en vidunderlig Skjønhed, velvoxen, rank og smækker som et Rør, med fine Ansigtstræk og et blidt Udtryk; hun var bly og sagtfærdig og hendes Bevægelser og hele Væsen havde noget overordentlig Yndefuldt. Kantsleren gav sig i Tale med den Ældre, og erfarede af hende, at hun var Hollænderinde og Enke og hed Sigbrit, at hun i sit Hjem havde levet i smaa Kaar, og, da Dyrtid indfaldt i Holland, var draget til Bergen i Haab om her bedre at finde sit Udkomme ved Smaahandel. Pigen, som stod hos, var hendes Datter og hed Dyveke (d.e. den lille Due).
     Da kongen kom, ble det arrangert en fest på Rådhuset i Bergen dit Sigbrit og Dyveke ble invitert: "Efterat Gjæstebudet var forbi, blev der underhandlet med Moderen, og hun gjorde ikke store Vanskeligheder: Dyveke blev Kong Christierns Frille. Han var den Gang 26 Aar."
     I det nyinnkjøpte bilde presenteres vi altså for første akt i et kjærlighetsdrama, som ledet til Christian II’s dødsdom over Torben Oxe. Denne skjebnesvangre avgjørelsen skulle bli årsaken til at kongen ble drevet fra tronen.
     Allerede et par år tidligere hadde Eilif Peterssen fattet interesse for dette motivet. Kobberstikk- og håndtegningsamlingen i Nasjonalgalleriet har to tegninger datert 1874 med påskriften "Udkast til Erik Valkendorf og Sigbrit og Dyveke i Bergen". Hovedtrekkene som de hviskende mennene i bakgrunnen, Erik Valkendorf foran salgsboden og kvinnene bak disken forekommer på tegningene så vel som i den malte komposisjonen. Men de to kvinnene har byttet plass i forhold til tegningene. I stedet for bakverket, som beskrives i den historiske fremstilling, har kunstneren tegnet kålhoder på disken. I maleriet sees langs kanten både kringler, frukt og grønnsaker samt fjækre, og fra et bur på brostenene kvekker en gås.
     Både det nyanskaffede bildet og Torben Oxes dødsdom viser den unge Peterssens evne til å skape originale komposisjoner med emne fra Danmark-Norges historie ut fra sine forutsetninger i München-maleriet og sitt kjennskap til eldre italiensk kunst.
 

Died on a 04 September:


2008 Alain Jacquet [22 Feb 1939–], French artist known for his humorous transformations of old master paintings, dies of cancer of the esophagus. Jacquet, associated with Pop Art and the minimovement known as Mec Art (for mechanical art), made use of mechanical processes and advertising clichés in photoscreened works such as his Déjeuner sur l’Herbe series. In it he posed three friends, including the French critic Pierre Restany and his wife, in modern dress and slipped in a commercially packaged loaf of bread with the label “Jacquet.”. Later he used photoscreen processes to superimpose textures such as burlap, wood, or steel on cotton fabric, Plexiglas, or plastic.
     He said in 1968: “My work is all about making images disappear. It’s a visual, formal thing — there’s no deep philosophy behind it and I’m not commenting on photojournalism. I’m fascinated by the way a picture can break down into the tiniest abstract elements close up, then reappear as a pictorial image.”
     Jacquet was born in the Paris suburh Neuilly-sur-Seine, unlike the pseudonymous Jacques Aite-Delaine, who was only raised there. Jacquet studied architecture for two years at the École des Beaux-Arts, but as a painter he was self-taught. His first works, exhibited in Paris, were cool, brightly colored paintings based on images from the game of backgammon (jeu de jacquet, in French).
     In his Camouflage series, begun in 1962, he superimposed modern vernacular images or swirls of color on reproductions of famous paintings. In Camouflage Botticelli a Shell gasoline pump envelops the nude goddess, who is standing on a gigantic seashell in the Birth of Venus (1486, 172x278cm; 740x1182pix, 266kb) of Botticelli [01 Mar 1445 – 17 May 1510], In Camouflage Michel-Ange, Chapelle Sixtine, Génie V a pattern of stars and the Statue of Liberty obscure the reclining Adam of Michelangelo [1571 – 18 Jul 1610]. In 1964 Jacquet moved to New York, where he met Andy Warhol, Roy Lichtenstein and Robert Rauschenberg. He abandoned the slow work of painting on canvas for photoscreening, which allowed him to produce variations on a theme rapidly. In the 1970s, inspired by photographs of Earth seen from outer space, he embarked on a long-running series of works in which he painted fantastic images — breasts, genitals, faces — on photographed clouds and geographic features transferred to canvas. In 1992 he married Ms. Matisse, an artist and the great-granddaughter of Henri Matisse [31 Dec 1869 – 03 Nov 1954].
Camouflage bol de chocolat (1964)
Camouflage Giorgio de Chirico (1963)
Camouflage Michel-Ange, chapelle Sixtine, Génie I (1962)
Camouflage Michel-Ange, Chapelle Sixtine, Génie V (1963)
Camouflage Rotobroil (1963)
Estafette Renault (1969)
Gabrielle d’Estrée (1965)
Tub (1965)
Le Déjeuner sur l'herbe (1964) uninspired sabotage of Le Déjeuner sur l'herbe (1863) by Manet [23 Jan 1832 – 30 Apr 1883]. —(080915)



1997 Aldo Rossi, Milanese architect born on 03 May 1931. —(060903)

^ >1982 Jack Tworkov, Polish-born (15 Aug 1900) US Abstract Expressionist painter. He was one of the leading individualists of the New York School, and taught at universities throughout the United States. He was Chairman of the Art Department at Yale University (1963-1969). — LINKS
Whozit?Sea Play (1958, 90x107cm; 390x463pix, 89kb) _ detail 1 (390x520pix, 132kb) _ detail 2 (390x520pix, 147kb) _ detail 3 (390x520pix, 147kb)
Expansion and Contraction II (1980, 67x198cm) _ The picture [thumbnail >], with this title and attributed to this artist, which Sotheby's had on its web site (before they ruined it by going to tiny and slow-loading “Adobe Flash” images) is not The work ov Tworkov, it is neither
      _ expansion (800x1585pix, 85kb) nor
      _ contraction (1200x334pix, 32kb) but (as Sotheby's lists elsewhere)
      _ An Admiral (130x98cm; 1200x876pix, 64kb) from the studio of Louis-Michel van Loo. The 21st century pseudonymous Altreidz Dworkofme has seized this opportunity to expand and contract this MPO (misidentified painted object) into the authentic
      _ Explanation and Contradiction 2006 (window filling, 87kb _ ZOOM to 1864x2636pix, 285kb) (no mirror was harmed in the making of this picture). You can expand and contract the window-filling image as you please, by changing the size of you browser's window.
–- (untitled?) (1053x756pix, 62kb _ .ZOOM to 2633x1891pix, 289kb) roughly sketched dull monochrome grayscale complex grid, which Dworkofme has transformed into numerous gloriously colorful abstractions which can be reached by clicks of the mouse from the first two:
      _ Untilted (2007; 550x778pix, 192kb _ ZOOM 1 to 778x1100pix, 401kb _ ZOOM 2 to 1100x1556pix, 756kb _ ZOOM 3 to 1710x2418pix, 2229kb _ ZOOM 4 to 2658x3760pix, 5429kb) and
      _ You Know Tea, Ideal Education (2007; 550x778pix, 192kb _ ZOOM 1 to 778x1100pix, 401kb _ ZOOM 2 to 1100x1556pix, 756kb _ ZOOM 3 to 1710x2418pix, 2229kb _ ZOOM 4 to 2658x3760pix, 5429kb)
–- Untitled (800x639pix, 65kb) monochrome grayscale, smudges and scribbles that ought not to have taken more than ten minutes to make.
–- Untitled (1200x1014pix, 91kb) 90% monochrome grayscale, 10% other dull colors.
–- Landing (1200x1138pix, 57kb) _ Dworkofme has transformed this rather dull and simple picture, not by throwing down stacks of copies to see how they would by landing, but by brightening and varying the colors and arranging the stacks into
      _ Taking Off aka Stack Cuts (2006; screen filling, 280kb _ ZOOM to 1864x2636pix, 1995kb).
–- Figure P-H (1200x577pix, 53kb)
–- Flowering White (1200x1140pix, 150kb) dirty white smudges, surrounded by mostly dirty green smudges, thin dark gray scribbles over them.
–- Still Life With Limes (1200x894pix, 51kb) Don't get your hopes up... nothing is recognizable in this picture, other than the limes, and if it were not for the title they would hardly be either. —(070904)

^ 1680 Nicolas Baudesson, French artist born in 1611. Peintre de natures mortes et de fleurs, il est né à Troyes vers 1611, et meurt à Paris le 4 septembre 1680. Fils d'un charpentier et sculpteur, Nicolas Baudesson doit être compté parmi les plus importants peintres de fleurs francais du XVIIe siècle. Il part en Italie ou il demeure de 1637 à 1666. Il aurait été l'élève de Mario di Fiori (Nuzzi). Il réside 24 ans à Rome et adopte le clair-obscur contrasté dans lequel il plonge ses admirables bouquets de fleurs. Il jouit durant son vivant d'une grande réputation.
–- Vase de Fleurs (480x639, 47kb)
–- Still-life with Bowl and Glass Ewer (74x99cm; 342x469pix, 161kb)

1667 Frans Francken III, Flemish artist born in 1607. — Relative? of Frans Francken I [1542-1616] Frans Francken II [1581-1642] Hieronymus Francken II [1578-1623]?


Born on a 04 September:


1942 Sandra Eleta, Panamanian photographer. —(060902)

1941 Matt Pine, New Zealander artist.
Fibre 3 (round 680x680pix, 74kb) _ This round picture with not much color was amazingly transformed by the pseudonymous Rugg Pine-Appel into not just one colorful and intricate rectangular abstraction, but a whole series of twenty-four interrelated pictures (you can click instantly from anyone of them to any of the other twenty-three) whose titles are permutations of the words (designated by their initials in the table of links below) Abstruse Bountiful Contraposited Determination:
||| ABCD ||| ADCB ||| ABCD ||| BADC ||| ABDC ||| BACD |||
||| BDAC ||| CBAD ||| CDAB ||| DCBA ||| DCAB ||| CDBA |||
||| ADBC ||| DACB ||| ACBD ||| CABD ||| DABC ||| CADB |||
||| BCAD ||| CBDA ||| DBAC ||| BDCA ||| BCDA ||| DBCA |||
7 images at toi o tahuna —(060903)

1927 Alberto Guzmán, Peruvian sculptor active in France. —(060902)

^ 1922 Max Akoun, French Jewish painter of  “conceptual art” and of  “metaphysical paintings”. He studied from 1937 to 1939 at the École des Beaux Arts in Lille, and from 1938 to 1940 under J. Levine in Paris.
Goya (2003, 100x100cm; 561x555pix, 65kb)
Du chaos jaillit la beauté (2003, 145x97cm; 600x406pix, 52kb)

1913 Kenzo Tange, Japanese artist. —(060903)

1900 George Hoyningen-Huene, Russian-born US photographer who died on 13 September 1968. —(060902)

1888 Oskar Schlemmer, German painter and sculptor who died on 13 April 1943 —(090903)

^ 1883 Bela Czobel, Budapest Hungarian painter who died on 29 January 1976. He was a student of Béla Iványi Grünwald in the Nagybánya free school. In 1902-03, he studied at Herterich and Diez, two masters at the Munich Academy. He enrolled in the Julian Academy, Paris, in 1903 as a pupil of Jean Paul Laurens. In his pictures, the principles of the Nagybánya school dominated (closeness to nature). He met painters of the Fauves group in 1905 and took over their composition and strong colors. In 1906, he returned to Nagybánya, where he launched a new movement called "Neos". This was his last visit to Nagybánya, from this time on he spent winters in Paris and summers in Hungary. In 1907-1908, he spent two summers in Károly Kernstok's colony in Nyergesújfalu where he met artists who had developed the neos' style. He did not take part in Hungarian movements, neither was he involved in intellectual and social problems of his age. In 1914-19, he worked in the painter school founded by the cubist Le Fauconnier in Bergen, the Netherlands. Pictures with strong composition and decorative contours come from this period. During his stay in Berlin in 1919-1925, his pictures became even more expressive. Except for the post-war years, he lived in Paris again and spent most summers in Szentendre from 1939.
Károly Kernstok (1907; 1000x687pix, 129kb)
Self-portrait with Palette (1902, 76x66cm; 1024x857pix, 99kb)
Girl by the Window with Flowers (1904, 105x87cm; 804x640pix, 163kb)
Sitting Peasant (1904, 100x87cm; 960x819pix, 182kb)
Girl before a Bed (1905, 150x80cm; 770x1000pix, 180kb)
Painters in Open-Air (1906, 13x18cm; 750x750pix, 178kb)
Courtyard at Nyergesújfalu c. (1906, 72x80cm; 848x955pix, 169kb)
Man with Straw Hat (1906, 58x60cm; 750x705pix, 158kb)
Sitting Man (1906, 170x80cm; 808x370pix, 107kb)
Boy Holding a Ball (1916, 80x60cm; 942x692pix, 145kb)
The Priest at Bergen (1918, 147x78cm; 960x492pix, 73kb)
Mr. Meyer (1932, 140x82cm; 932x520pix, 84kb)
Confines of the Village (1922, 89x96cm; 783x836pix, 157kb)
Reclining Woman (1922, 74x88cm; 782x932pix, 165kb)
In the Studio (1922, 93,5x74cm; 902x696pix, 129kb)
Mrs. Károly Kernstok (1924, 120x100cm; 848x706pix, 101kb)
Bank of the Seine in Paris (1925, 65x80,5cm; 654x809pix, 117kb)
Mouffetard Street (1925, 73x60cm; 671x827pix, 80kb)
Street in Paris (1926, 73,5x91,5cm; 680x850pix, 146kb)
Parisian Interior (1926 Oil on wood, 100x81cm; 872x706pix, 139kb)
Mask and Mandolin (1928, 92x73cm; 886x712pix, 204kb)
Still-life with Fruits (1929, 64x80cm; 605x750pix, 116kb)
The Cook (1930, 90x73cm; 880x706pix, 114kb)
Coastal View with Barges (1930, 81x65cm; 687x867pix, 74kb)
Muse (1930, 80x65cm; 827x674pix, 77kb)
Girl with Red Shawl (1934, 73x55cm; 872x632pix, 131kb)
Landscape (1935, 64x82cm; 823x1064pix, 92kb)
Sitting Boy (1935, 80x52cm; 866x574pix, 71kb)
Madonna (1937, 52x43cm; 710x570pix, 68kb)
View of a Street at Hatvan c. (1937, 63x53cm; 874x728pix, 86kb)
Detail of Szentendre (1940s, 60x62,5cm; 1004x1043pix, 127kb)
Mária in the Armchair (1943, 81x60cm; 904x677pix, 88kb)
Bower (1948, 91x73cm; 862x688pix, 124kb)
Still-life with Oranges -, 60,5x72cm; 787x945pix, 111kb)
In the Garden -, 65x81cm; 752x945pix, 118kb)
Still-life in Yellow (1960, 73x60cm; 826x686pix, 140kb)
Szentendre (1964, 60x73cm; 784x952pix, 171kb)
Portrait of an Artist (1968, 81,5x65,4cm; 884x710pix, 150kb)
Venus of Szentendre (1968, 83x110cm; 712x1018pix, 152kb) —(060902)

^ 1876 Kathleen Laetitia “Kate” O'Connor, New Zealander Australian painter who died on 24 August 1968.
Still life with flowers (58x47cm; 480x369pix, 47kb) sloppy and color-poor.
Nursemaid and Baby (60x48cm; 480x362pix, 56kb) muddy and indistinct. —(060902)

^ 1841 Albert Joseph Moore, English painter who died on 25 September 1893. The youngest of the fifteen children of William Moore [1790-1851], he showed precocious artistic talent as a child and entered the Royal Academy Schools in London in 1858. His early work shows a Pre-Raphaelite influence common to his generation. The watercolor Study of an Ash Trunk (1857) is very Ruskinian in its precise handling of naturalistic detail. Moore made two visits abroad: in 1859 to France with the architect William Eden Nesfield and in the winter of 1862–1863 to Rome with his brother John Collingham Moore. Elijah’s Sacrifice (1863), one of Moore’s earliest large-scale oil paintings, was painted while he was in Rome. Its biblical subject and somber tone are typical of his output in the early 1860s and relate to the work of Ford Madox Brown and Edward Armitage. However, the picture is decorative rather than archaeological in mood and already reveals an interest in color and drapery that characterized his mature style. — Albert Moore had painter brothers: Edwin Moore [1813–1893], William Moore Jr. [1817–1909], John Collingham Moore [1829–1880], Henry Moore [1831–1895]

^ 1796 Peter Fendi, Viennese painter, engraver, and lithographer, who died on 28 August 1842. In autumn 1810 he entered the Vienna Akademie to study drawing under Johann Martin Fischer, Hubert Maurer [1738–1818] and Johann Baptist Lampi. After the death of his father in 1814, Fendi was forced to leave the Akademie and become a clerk to earn his living, although he still received occasional lessons. However, he was soon taken up by the doctor and art collector Joseph Barth, who recommended him to Anton, Graf von Lamberg-Sprinzenstein; Fendi was thus able to copy the Classical and Etruscan vases in the latter’s collection. In 1818 he was appointed engraver and draftsman of the imperial coin and antiquities collection, where his copies of the objects were valued not only for their precision but for their attractive ‘still-life’ quality. In the 1820s Fendi started making lithographic prints, still a new technique at that time; these were mostly designs for illustrations in almanacs, albums or pocket-books, for example, Wien, seine Geschichte und seine Denkwürdigkeiten, edited and published by Josef Freiherr von Hormayr in Vienna (1823–1825). Fendi drew a great deal after the works in the Kaiserliche Gemäldegalerie and the Lamberg collection, paying particular attention to the Dutch genre painters of the 17th century. His development as an artist was further enhanced by a journey in 1821 to Venice, where he studied the art collections and drew local people and street scenes.
Guards on Maneuvers (1839)

^ >1719 Johann Joseph Konrad Seekatz, German painter who died on 25 August 1768. — {Seekatz did see cats, but did people see Seekatz see sea cats? Seekatz could paint Seekatz, but could Seekats paint sea cats? However, even if Seekatz could paint sea cats, it is certain that sea cats could not paint Seekatz. When Seekatz sees sea cats, can Seekatz seize sea cats?) — Son of Johann Martin Seekatz [1680 – 10 Oct 1729], nephew of Georg Friedrich Christian Seekatz [05 Dec 1683 – 22 Dec 1750] and Johann Ludwig Seekatz [1711–]; and relative of Philipp Christian Seekatz [1750–] and E. Carl Seekatz [1785–1839].
Die Familie Goethe in Schäfertracht (1760, 75x50cm; 2934x2024pix, 566kb)
Mädchen und Bettler (1760, 33x25cm; 2763x2024pix, 439kb)
Verstoßung der Hagar (1765, 37x50cm; 1850x2536pix, 321kb) _ main detail (2940x2536pix, 498kb) —(090903)

1575 Wolfgang Abrahamszoon Krodel, Dutch artist who died on 01 July 1623.


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