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ART “4” “2”-DAY  10 September v.9.80
^ >Born on 10 September 1908: Carel Victor Morlais Weight, English painter and teacher who died on 13 August 1997.
      Although he was born and lived in London, he was partly of German and Swedish descent. Weight was a unique painter of enigmatic, odd as well as some fine portraits, particularly those of the artist Orovida Pissarro. He studied at Hammersmith School of Art 1928-1930, then Goldsmiths' College School of Art, 1930-1933, at both under James Bateman. At Goldsmiths' Weight met his life partner Helen Roder whom he married in 1990. During WW2 he served in the Army, being appointed an official war artist in 1945. He painted a mural for the Festival of Britain's Country Pavilion in 1951, another for Manchester Cathedral in 1963. From 1947 he began a long teaching association with the Royal College of Art, becoming Professor of painting 1957-1973. Weight's many students included David Hockney. After Weight's retrospective at the RA in 1982, his work became more fashionable, prices moving up sharply. — Weight was born at Paddington in West London and named after a Dutch godfather. He spent much of his formative years in and around Chelsea and Fulham. In those days the areas he frequented were poor and the streets, alleys and parks of south west London were to provide the setting for many of his later productions as an artist. Carel studied at Hammersmith College of Art from 1926 to 1929; from there he was to spend two days a week at Goldsmiths' College of Art. He submitted his first picture, Flower-piece, to the Royal Academy in 1931. He combined his vocation as a painter with that of art teacher and from 1932 to 1942 he taught part-time at Beckenham College of Art. After three years of war service he was appointed an official war artist in 1945-1946 working in Italy, Austria, and Greece. In 1947 Carel joined the staff of the Royal College of Art and from 1957 to 1973, he was Professor of Painting in charge of the Painting School. Carel had a highly distinctive style. His work was very English, painterly yet rather quirky, also owing something to European expressionism. He was very interested in painting people; not just portraits in which he captured the sitter marvelously well, but in people going about their everyday business, crossing the road, turning a corner, or walking briskly through a park. Although these were ordinary things, Carel managed to convey a feeling of exaggerated movement, a sense of speed, even menace, of inner turmoil, leading the viewer to realise that a drama was being enacted before them, as opposed to some sedate scene which posed little challenge to the senses.
— Weight was born in Paddington, west London. His mother, who was of German and Swedish descent, was a chiropodist, and his father was cashier in a bank. As they both worked, his parents placed Weight with a foster mother, Rose Matkin, who was also his godmother and who lived in Fulham, then a working class district. He spent his weeks with her and his weekends in his parents' more middle class household, acutely aware of the contrast between deprivation and affluence. From an early age he was sensitive to the unexpected - the shock of burning buildings or a bus mounting the pavement - and these events remained with him to infuse his paintings.
     Weight studied at the local Hammersmith School of Art (1928-1930), where he met Ruskin Spear, who became a lifelong friend. With the encouragement of James Bateman, Weight moved to Goldsmiths' College (1931-1933), where the teaching allowed scope for imaginative composition. This was Weight's preferred mode as was shown in important student works, such as Allegro Strepitoso (1932), which performed a light hearted transformation of some of the art of the past. In 1934 he hired a space for an exhibition in the Cooling Galleries in Bond Street which attracted attention thanks to a favorable mention in The Observer. Teaching at Beckenham School of Art (1932-1939) enabled him to support himself. He exhibited at the Royal Academy and the Royal Society of British Artists, and was a committee member of the Artists International Association, which helped artists fleeing Nazi Europe. After being called up to the Royal Engineers, he taught with the Army Education Corps (1944-1945) before being sent to Italy as an official War Artist (1945-1946). While encountering friends from Goldsmiths' and fellow War Artists like Eric Ravilious and Edward Bawden, Weight had a free hand in choosing his topographical subjects. He also travelled to Vienna and to Greece, and would describe this formative experience as a 'scholarship from the army'.
      On his return to London in 1947, Weight was invited to teach at the Royal College of Art, where he participated in the revival of its fortunes. He executed a mural for the Country Pavilion of the Festival of Britain (1951). He painted landscapes and portraits, but much of his work captured a mood of melancholia, evident in the mysterious presences in his ghost paintings set in the unassuming urban settings of west and south London most familiar to the artist. He became Professor of Painting at the Royal College of Art in 1957, and was awarded the CBE in 1962. In the following year he painted the mural Christ and the People for Manchester Cathedral, and in 1965 was elected RA, being celebrated with a one man exhibition at the Academy in 1982. After his retirement from the RCA in 1973, his work remained thematically complex while developing new techniques. He died in London after a short illness.
— Weight had middle-class parents who both worked for a living. He therefore spent weekdays as a child with a foster mother, Rose Matkin, in Fulham, then a working class district. His training was at Art School in Hammersmith and subsequently at Goldsmith’s College. His paintings are predominantly urban reflecting a working life spent almost wholly in London - the settings are particular rather than imaginary. Like Ruskin Spear, with whom he shared a long friendship and an admiration of among others Sickert, his pre-occupation is with life in the familiar boroughs of Hammersmith, Fulham and Putney. While Spear was concerned with the comic and those aspects of the culture which were to develop into the Pop movement, Weight’s preoccupation is somewhat darker and with close attention often reveals an undercurrent of violence. Even where this is not directly suggested the viewer is frequently left with an ambiguous sense of unease. No doubt as a result of experiences as a War Artist, Weight was acutely sensitive to incident large and small and his observation both general and particular of people moving through a familiar environment is unparalleled. He is at his best in depicting people either bound by some sinister experience, as in Allegro Strepitoso, or, as in Crossing the Road, West Brompton Station, leading parallel but dislocated lives in their journeys around the city and through life. — Portrait of Carel Weight, R.A. (1976, 45x41cm) by Olwyn Bowey [10 Feb 1936~].

–- Self Portrait at Petworth with Olwyn Bowey (50x61cm; 1276x1575pix, 167kb) it is a river landscape with two minor figures.
–- A Street in Putney (64x76cm; 893x1076pix, 151kb) _ A quadruple-weight stuttering follower of Weight, the pseudonymous Carré Victus Griflé Size, has been inspired to greatly expand this painting and transform it into the almost interminable:
      _ A Long Dream along a Long Street in Long Putputney, so Long! (2005; 252x29280pix, 65kb _ ZOOM to 504x58560pix, 231kb). Size also made an oppositely modified version:
      _ A Nightmare of a Tall Street in Pitpitnut, Aaargh! (2005; 960x1280pix, 380kb)
The Rendezvous (1953, 86x111cm; 392x512pix, kb) _ This was painted in February from drawings made in the grounds of Holland Park. One aspect of the park that attracted Weight was the Victorian architecture which reminded him of cemeteries. The work is set at dusk which is the artist's favourite time of day. Weight has stated: “Even when I paint a landscape out of doors, and I say I'm not going to put any figures in; when I get back to the studio I always paint in figures; it would be too lonely without people”. The atmospheric setting, and the implicit ambiguity of the central action in The Rendezvous, are characteristic features of all Weight's work.
— A different The Rendezvous (49x59cm; 510x621pix, 122kb) _ In this one, the young man is awaiting the woman, which is present only as a faint transparent image.
Miss Orovida Pissarro (1956, 91x71cm; 512x390pix, 37kb) _ Weight is known for his portrayals of daily life in the London districts of Battersea and Clapham, and for his penetrating portraits, of which this is a prime example. Orovida Camille Pissarro [08 Oct 1893 – 1968] was the only child of the painter Lucien Pissarro [20 Feb 1863 – 10 Jul 1944], granddaughter of the Impressionist painter Camille Pissarro [10 Jul 1830 – 13 Nov 1903], niece of Georges Henri “Manzana” Pissarro [1971-1961], Félix Pissarro [1874-1997], Ludovic Rodo Pissarro [1878-1952], and Paul-Émile Pissarro [1884-1972]; first cousin of the sons of Paul-Émile: Hugues Claude Pissarro [1935~] and Yvon Pissarro [1937~], and cousin of Lélia Pissarro [1963~], daughter of Hugues Claude.
     The portrait was painted at the sitter's house in Redcliffe Gardens, London. Weight described the works in the room: “The picture on the table on the left is one of the last etchings Camille did - a self-portrait. The two pictures coming into the top of the portrait are by her father Lucien and the picture with the horse's legs on the right is part of an imaginary picture of Prince Rupert by herself”.
— a different portrait of Orovida Pissarro (1956; 602x460pix, 140kb)
Bitter Day (1976, 27x22cm)
Allegro Strepitoso (1932, 51x66cm; 300x386pix, 37kb) _ at the zoo, two women flee from a lion that is coming out of its cage. During the 1930s Weight was interested in fairy stories and images which kindled the imagination. Allegro Strepitoso was inspired by memories of childhood visits to London Zoo accompanied by his mother. A photograph of Weight's mother in a position of agitation provided the pose for the lady in red. Weight wanted to make a comic painting and became fascinated with making the lion appear to spring out of the cage. The title of the painting was suggested by a musical friend of the artist after it had been completed. Allegro means 'merry' or 'lively', while strepitoso means 'noisily'. The theme of attack and escape is one that runs throughout Weight's work. There is at least one other version (70x92cm).
The Day of Doom (66x58cm; 307x260pix, 29kb)
The Return of the Prodigal Son (44x63cm; 227x354pix, 21kb)
Holborn '47 (44x63cm; 227x346pix, 20kb)
The Friends (1968, 152x203cm) _ The artist wrote of this work: 'the idea of the picture came from a visit to the flat of two lesbians, who lived in a rather dreary part of South London. The general atmosphere affected me; the feeling of loneliness of these two in rather squalid surroundings, rather fascinated me. The figures in my picture are in no way realistic portraits of these two people. They are entirely figments of my imagination. On the other hand, I have used the setting which is a realistic transcription of my own sitting room and the view of the little suburban houses through the window'.
The Dogs (1956, 123x244cm) _ Like much social realism, The Dogs shows people engaged in group or communal activities. This painting is closely related to Derby Day by W P Frith. While Frith set his painting of a crowd against the back drop of the famous horse race at Epsom, Weight chose the urban and more working-class setting of Wandsworth dog track in south west London. Frith’s social panorama suggests a corruptible society, whereas Weight’s affectionate depiction of the crowd dispersing into the twilight evokes a sense of fleeting companionship.
Clapham Junction (1978, 71x91cm) _ This depicts the original high-level entrance to Clapham Junction station, looking east towards Lavender Hill. To its right, across the road, can be seen the clock tower of Arding and Hobbs department store. Weight noted that he was 'fascinated by the switch-back aspect of the composition which suggested violent movement. The rather eerie architecture supports this feeling. It is a district where violence is a frequent feature and where robbery is commonplace'. In Clapham Junction Weight heightens the atmosphere of panic and suspense by emphasising the angles of the composition, by the lines of force which accentuate the movements of the figures, and by the truncated figure in the foreground.
Sienese Landscape (1963, 76x64cm) _ The preliminary sketches for this were made during the Easter of 1959. Weight had spent a week with the artist Leonard Rosoman at the Villa Solario, Malatrasca, which is situated about 6 km outside Siena. Weight painted the landscape periodically between 1959 and 1963. Sienese Landscape was originally larger than its present dimensions. Weight reduced the canvas size and redesigned the image in 1963.
–-S#> Datsun Cherry (51x51cm; 890x900pix, 161kb)
–-S#> A Walk With Grandma (57x42cm; 900x631pix, 78kb)
–-S#> The Prophetess (51x61cm; 740x900pix, 115kb) _ This is one of about six paintings Weight made while on vacation in the Dingle Peninsula in the South of Ireland.
–-S#> Railway Bridge and Two Persons (35x44cm; 640x900pix, 123kb) it is a small rural footbridge over a railway.
–-S#> Conversation With the Gardener (75x62cm; 900x717pix, 162kb)
–-S#> Neighbours (72x60cm; 900x728pix, 135kb)
–-S#> Private Road,. Gloucestershire (1939, 35x45cm; 680x900pix, 122kb)
–-S#> A Walk in the Country (20x23cm; 782x900pix, 169kb)
–-S#> Joyce Doo in an Interior (61x51cm; 900x744pix, 135kb)
–-S#> Crossing the Road, West Brompton Station (1952, 122x244cm; 445x900pix, 127kb) related most closely to the large picture of East Putney Station Going Home.
^ Died on 10 September 1807: Pierre~Antoine Demachy, French historical painter and draftsman born in 1723. — {Demachy de machines n'a que faire, pour lui ce sont les monuments et les foules qui importent.}

Le Déblaiement de la Colonnade du Louvre (1767; 339x500pix, 39kb) auctioned for $424'000 at Christie's on 23 May 2000.
Exécution capitale place de la Révolution (l'ancienne place Louis XV) (561x815pix, 187kb).
Un Temple en Ruines (1759, 161x129cm; 600x475pix, 52kb) _ detail 1 (400x400pix, 27kb) base of column and figures _ detail 2 (400x400pix, 22kb) part of a frieze _ detail 3 (400x400pix, 28kb) top of the arch _ Il est fort probable que cette oeuvre soit le morceau de réception que Demachy présente à l'Académie en 1758. Reconnu par ses contemporains comme le rival le plus heureux d'Hubert Robert, il est vraisemblable, que contrairement à cet artiste, Demachy ne soit jamais allé en Italie. Cette oeuvre cependant a été réalisée à une date où de nombreux modèles antiques étaient largement diffusés, notamment par l'estampe, permettant aux artistes de puiser dans ces registres de formes et répandant ainsi inlassablement une esthétique idéale qui séduisait par sa puissance et sa poésie.
     On peut supposer que Demachy ait commencé à se faire connaître par la scénographie. La théâtralité de cette composition est en effet saisissante, et appartient par différents détails au registre du décor de scène. Demachy, grand créateur d'illusion, semble ici l'héritier direct de son maître Servandoni, qui fut nommé en 1728 premier décorateur à l'Académie Royale de musique. Les nombreuses réalisations que ce dernier effectua pour l'Opéra lui valurent d'être véritablement adulé par le public parisien jusqu'en 1750. Servandoni transmettra également à Demachy l'art de la rovine ideale, qu'il avait lui-même reçu de Pannini. Ce Temple en ruines est la synthèse manifeste de ces deux influences.
     La mise en page très dense, mettant en place des éléments architecturaux qui semblent excéder la toile, confère à ce tableau une sorte de surdimension, la monumentalité du lieu étant accentuée par la présence discrète, presque fantomatique de personnages minuscules. L'oeuvre est particulièrement équilibrée et structurée, l'artiste cependant a évité, de manière ingénieuse, toute monotonie, car les lignes se croisent en de très nombreux points, invitant ainsi l'oeil à naviguer à travers les multiples recoins de la composition.
     Cet intérieur d'un temple est d'un effet singulier; la perspective est très étendue, les jours sont distribués à propos, l'oeil en parcourt avec délices les différents passages. Demachy utilise une perspective fuyante qui est peut-être également un emprunt à Servandoni qui a innové, dans les décors de scène, la perspective per angolo. Elle est ici particulièrement bien maîtrisée par Demachy qui occupera des années plus tard, au sein de l'Académie, la fonction de professeur de perspective. Ce tableau, qui produit un grand effet, témoigne également de l'influence de Piranèse dont les quatre volumes des Antichità Romane avaient été publiés deux ans auparavant, en 1756, et connaissaient un immense succès. Il existe une version réduite de ce tableau (60x48cm), probablement l'esquisse de ce Temple en ruines.
Fête de l’Etre suprême au Champ de Mars (20 prairial an II - 8 juin 1794) (1794; 834x1400pix, 180kb) _ Cette huile sur toile de Pierre-Antoine Demachy (1723-1807), peintre d’histoire et excellent dessinateur, livre un témoignage particulièrement intéressant sur le déroulement de la fête de l’Etre suprême au Champ-de-Mars, à Paris. Une vue panoramique du Champ-de-Mars lui a permis de restituer l’ampleur et la somptuosité de la célébration : au premier plan figure le peuple, dont les gestes, minutieusement dépeints, laissent transparaître l’allégresse que suscite la vue, au deuxième plan, d’une gigantesque procession formée par les représentants du peuple suivis des soldats révolutionnaires et de la garde républicaine. Au centre, sur un char que tirent quatre taureaux, trône l’allégorie des instruments des arts et des métiers et des productions du territoire français. Ce cortège s’achemine vers une sorte de rocher artificiel – la « montagne sacrée » par excellence – au sommet duquel s’élèvent l’arbre de la Liberté, symbole de l’unité et de l’adhésion collective à la Révolution, et une colonne antique surmontée d’une statue qui brandit un flambeau. En arrière-plan, à gauche, l’architecture massive de l’Ecole militaire évoque le cadre urbain dans lequel s’insère cette fête aux allures champêtres et mythologiques. Ainsi, de cette composition minutieuse et savamment élaborée se dégage une impression de grandeur, mais aussi de froideur qui correspond bien à l’esprit de la cérémonie, dont le faste hautain et le rituel à l’antique, strictement pensé dans ses moindres détails, étaient surtout destinés à inspirer la stupeur et à frapper l’imagination du peuple, plus spectateur qu’acteur.
     Fervent catholique, Robespierre s’opposait fermement à l’accélération du processus de déchristianisation entamé en septembre 1792. Pour lui, le vide laissé par la disparition du catholicisme risquait de plus de désorienter le peuple, accoutumé à ses dogmes et à ses rites. C’est pourquoi il s’efforça de créer une religion officielle, conforme aux idéaux des Lumières et, en particulier, aux théories rousseauistes, qui postulaient l’existence d’une morale naturelle et universelle et d’une divinité impersonnelle, l’Etre suprême, créateur de l’Univers. Dépourvue de prêtres et de sanctuaires, cette nouvelle religion déiste et patriotique n’en revêtait pas moins toutes les apparences d’un culte. La fête du 8 juin 1794 rencontra ainsi un certain succès en France. Elle ne fut que le couronnement d’une série de tentatives menées par les dirigeants de l’an II pour instaurer un culte révolutionnaire. Pour la plupart avortées, ces tentatives témoignent de la complexité des liens qui unissaient la sphère politique et la sphère religieuse, ainsi que de l’impossibilité d’éradiquer tout sentiment religieux. Elles constituèrent également le point de départ d’une religion civique dont les développements ont marqué l’histoire de la République.
     A l’été 1793, la Révolution française traverse une période sombre : le pays est durement touché par une crise économique et des troubles sociaux auxquels s’ajoutent une guerre civile (insurrection vendéenne et révolte fédéraliste) et une série de défaites militaires aux frontières. Or l’entrée de Robespierre, fervent jacobin, au Comité de salut public le 27 juillet 1793 marque un tournant : elle permet au gouvernement révolutionnaire d’opérer un redressement de la situation sur tous les fronts, tandis qu’elle entraîne simultanément une radicalisation de la Révolution. Robespierre, qui aspire à l’unité et à la régénération du peuple, s’efforce d’éliminer physiquement tous les ennemis de la Révolution. A ce renforcement de la Terreur, il ajoute l’instauration d’une religion d’Etat en mai 1794 : le culte de l’Etre suprême, en l’honneur duquel il organise des cérémonies fastueuses le 08 Jun suivant.
–-S#> Vue sur les jardins des Tuileries, Paris (round 26cm diameter; 780pix, 116kb) _ The Tuileries are seen from the west at the entrance situated on Place Louis XV (now Place de la Concorde).
–-S#> Rotonde imaginaire avec la statue de Louis XIV par des jardins (60x48cm; 510x405pix, 44kb) _ Ce tableau, tout à fait typique de la manière de Demachy, intègre des éléments architecturaux fictifs (une arche en plein cintre maintenue par des colonnes d'ordre dorique, un péristyle formé par une double rangée de colonnes d'ordre ionique) et réels. La sculpture au centre est en effet l'oeuvre de Martin Desjardins [1637-1694]. Ce groupe se composait à l'origine d'une statue pédestre de Louis XIV couronnée par la Renommée, et d'un piédestal, orné de quatre figures monumentales en bronze symbolisant les nations soumises à la France (l'Empire, l'Espagne, le Brandebourg, et la Hollande), ainsi que de reliefs illustrant les glorieuses conquêtes du Roi et de onze médaillons en bronze. L'ensemble, inauguré en 1685, orna la Place des Victoires jusqu'à la Révolution. La statue du Roi fut détruite à ce moment-là, tandis que les autres éléments furent conservés. La composition connut certainement beaucoup de succès à l'époque, puisque Demachy en exposa une version au Salon de 1783, de dimensions légèrement différentes, sous le n.46 (Autre tableau d'Architecture, on y voit la Statue de la Place des Victoires. 21 pouces de large, sur deux pieds 1 pouce de haut). Il y a une troisiëme version peinte sur panneau (52x39cm).

Died on a 10 September:

2005 Lea Nikel, dies of cancer at her home in Moshav Kidron, Israel. She was an abstract painter born Lea Nikelsberg in Zhitomir, Ukraine, in December 1918. In 1920 her parents brought her with them as they emigrated with her parents to British Mandatory Palestine. Grew up in Tel Aviv. Studies: 1935 With Gliksberg; 1946-47 with Avigdor Stematsky and Yehezkel Streichman. 1950-61 Lived and worked in Paris; 1961-63 and 1964-65 in Ashdod, Israel; 1963-64 in New York; 1964 toured the Central African Republic; 1965-67 in Safed; 1967-70 in Rome; 1970-73 in Tel Aviv; 1973-77 in New York; 1977-80 returned toTel Aviv.
     She began studying under the painter Chaim Gliksberg in Tel Aviv in 1935. A decade later, she studied under Yehezkel Streichman and Avigdor Stematsky, who started their own school because they thought Israeli art schools were too conservative. From 1950 to 1961 Lea Nikel lived and worked in Paris, where she was drawn her toward CoBrA artists and Parisian tachism and closer to abstract expressionist art. She had her first solo exhibition at Chemerinsky Art Gallery in Tel Aviv and her first solo show in Paris at Galerie Colette Allendy in 1957. In 1995, the Tel Aviv Museum of Art presented a career retrospective exhibition of her paintings.
      From 1961 to 1977, Lea Nikel led a peripatetic life. She lived on Macdougal Street in Greenwich Village for a year in the early 60's; in Rome for three years at the end of the 60's; and, from 1973 to 1977, at the Chelsea Hotel in New York. After that she remained in Israel. Lea Nikel continued to paint until just a few days before her death. Her career of more than 50 years was devoted to a form of expressionistic abstraction sometimes called lyrical abstraction. Painting with a brusque, generous touch and favoring high-keyed colors, she created buoyant compositions consisting of rough-edged blocks of color and scribbly, calligraphic lines that together convey a sense of imaginative excitement and urgent sensuousness. Nikel's work is unique in its spontaneous power of improvisation on canvas and in her skillful construction of 'mythologies' of sensual personal forms, all resting upon an explosively vivid range of color and a vital symphonic flow.
–- Untitled (with hand) (1956, 73x91cm; 1116x1398pix, 191kb) _ This has been combined with eight other Nikel paintings and transformed by the pseudonymous Escriba Crome (in no way related to the non-metallic John Crome [22 Dec 1768 – 22 Apr 1821] and his son John Berney Crome [08 Dec 1794 – 15 Sep 1842] into two progressive series (each zoom level expands the picture rather than merely enlarge it), from each image you can click not only to the other eight zoom levels of the same series, but also, and instantly, to the corresponding image in the other series::
      _ Nickname Kinetic aka Nik Kin (2006; 165x233pix, 14kb _ ZOOM 2 to 233x330pix, 28kb _ ZOOM 3 to 330x466pix, 58kb _ ZOOM 4 to 466x660pix, 114kb _ ZOOM 5 to 659x932pix, 224kb _ ZOOM 6 to 932x1318pix, 450kb _ ZOOM 7 to 1318x1864pix, 860kb _ ZOOM 8 to 1864x2636pix, 2282kb _ ZOOM 9 to 2636x3728pix, 3344kb) and
      _ Kinetic Nickname aka Kin Nik (2006; 165x233pix, 14kb _ ZOOM 2 to 233x330pix, 28kb _ ZOOM 3 to 330x466pix, 58kb _ ZOOM 4 to 466x660pix, 114kb _ ZOOM 5 to 659x932pix, 224kb _ ZOOM 6 to 932x1318pix, 450kb _ ZOOM 7 to 1318x1864pix, 860kb _ ZOOM 8 to 1864x2636pix, 2282kb _ ZOOM 9 to 2636x3728pix, 3344kb)
–- Composition in Blue (1991, 78x54cm; 1225x1738pix, 254kb) mostly blue dabs on a deep yellow background (here shown horizontal, to better fit screen)..
–- The Coffee Grinder (1952, 60x46cm; 1198x906pix, 123kb)
–- Untitled (lower 70% mostly red) (1974, 77x92cm; 1180x1398pix, 130kb)
–- Untitled (blue Chinese-character-like on red) (1984, 35x37cm; 1198x938pix, 78kb)
–- Untitled (dirty yellow thick grid on yellow) (1979, 35x35cm; 1198x1198pix, 103kb)
–- Abstract 1987 (light pink chair on dark pink) (1987, 48x48cm; 1198x1198pix, 96kb)
–- Untitled (with two vertical blue streaks) (1982, 116x81cm; 1200x830pix, 111kb)
–- Untitled (feature-poor mostly orange-brown, with scribbles) (1967, 46x33cm; 1200x852pix, 79kb)
–- Untitled (center 90% is dark brownish blobs) (1988, 132x137cm; 1173x1200pix, 142kb)
–- Untitled (80% medium brown, with top and bottom light-colored strips) (1985, 46x38cm; 1200x1008pix, 97kb)
–- Group in Red and Green (1985, 41x41cm; 597x600pix, 42kb _ .ZOOM to 1194x1200pix, 96kb) with a vertical collaged canvas strip added center left.
— H#>Abstract (feature-poor almost monochrome red) (74x55cm; 929x700pix, 56kb)
— H#>Abstract (green-framed center window, on dirty yellow) (952x700pix, 60kb)
— H#>Abstract (blue-framed center-top window, on dirty yellow with blackish blotches) (1991, 78x53cm; 979x700pix, 80kb) and the almost identical
— H#>Abstract?
— H#>Abstract (993x700pix, 119kb)
— H#>Abstract (1975, 30x23cm; 933x700pix, 93kb)
— H#>Abstract (almost all dark gray, white and pink strips at vertical edges) (945x700pix, 67kb)
— H#>Abstract (906x700pix, 68kb)
— H#>Abstract (804x700pix, 122kb)
— H#>Untitled (730x700pix, 57kb)
— H#>Untitled (935x700pix, 101kb)
— H#>Untitled (719x700pix, 59kb)
— H#>Untitled (950x700pix, 80kb)
— H#>Untitled (938x700pix, 72kb)
— H#>Composition (mostly gray) (1952, 45x55cm; 574x700pix, 75kb)
— H#>Abstract (black spider on multicolor) (501x700pix, 48kb)
— H#>Abstract Composition (basket etc on multicolor) (1383x700pix, 94kb)
— H#>Abstract Urban Landscape (multicolored blotches on dirty yellow) (537x700pix, 60kb)
— H#>Abstract (almost monochrome blue) (963x700pix, 59kb)
Untitled (one navy blue and three red rectangular blotches on white and pink) (256x269cm; 480x458pix, 58kb) —(090909)

^ 1933 Laurits Andensen Ring, Danish artist born on 15 August 1854.
Sommerdag ved Roskilde Fjord (1900)

Born on a 10 September:

^ 1870 Roland (or Rowland) Wheelwright, Australian-born British painter of historical and classical subjects, who died on 20 May 1955. — Born in Australia at Ipswich, Queensland. Came to England and was educated at Tonbridge. Studied art at Herkomer’s School at Bushey. Exhibited at the Royal Academy and Paris Salon. Principal works include Joan of Arc Taken Prisoner, The Caravan, Enid and Geraint and Don Quixote. Lived at Bushey in Hertfordshire for many years. — Rowland Wheelwright was born in Queensland, Australia and moved to Britain in his youth. He enrolled at Hubert Von Herkomer’s school at Bushey and like his fellow student Lucy Kemp-Welch he particularly excelled at painting equine subjects. Wheelwright often chose to combine his depiction of strenuous work horses with subjects from literature or mythology and the subjects of his dramatic Royal Academy exhibits include the medieval Enid Driving the Robber’s Horses on Before, Don Quixote Charging the Flock of Sheep and a mounted knight beset by mermaids on The Enchanted Shore. However, his best paintings depicted scenes from contemporary rural life. — LINKS
Enid and Geraint (1907, 185x124cm) _ Inspired by Tennyson’s idyll The Marriage of Geraint, the tale of a knight of the Round Table and his beloved bride. In the picture, both on horseback in a forest, she turns her head, looking at him following at a distance.
The Enchanted Shore (123x183cm) _ Sirens with flowing tresses and alabaster skin lure a knight to the rocky shore in this romantic allegory. The horse rears and the enchanted knight holds his gallant steed at bay.
The Haymakers (76x114cm)
–-S#> On the Towing Path (1900, 102x128cm; 711x900pix, 172kb)
–-S#> Picking Flowers (1910, 61x51cm; 900x713pix, 125kb) —(050909)

^ 1868 Lazar Krestin, Russian Jewish artist who died in 1938.
–-S#> Man from Jerusalem (1910, 54x44cm; 800x643pix, 73kb) —(050909)

^ 1797 Franz Krüger “Pferde-Krüger”, German painter who died on 21 January 1857. On occasion, he did paint a picture without a horse. — " Krüger ist nicht nur einer der größten Meister, die in der vorbismarckischen Epoche in Berlin gewirkt haben, sondern auch einer der größten Meister Deutschlands aus dieser Zeit " (Max Liebermann, 1908). — LINKS
Ausritt des Prinzen Wilhelm von Preußen in Begleitung des Malers (1836; 2070x1576pix, 555kb)
Ausritt zur Jagd (1819; 1520x2024pix, 579kb)
Prussian Cavalry Outpost in the Snow (1821)
Nach einem Spazierritt (Porträt der Friederike Luise Charlotte Wilhelmine, Tochter Friedrich Wilhelm III.) (1839; 2363x2024pix, 367kb) — Porträt des Fürsten Nikolai Saltykow im Maskenkostüm, Obermundschenk am Russischen Hof (1850; 2562x2024pix, 444kb)
Porträt des Grafen Alexander Kuschelew-Besborodko (1851; 2625x2024pix, 387kb) _ No horse, but the man does wear side-blinders, reminiscent of a draft horse.
Prince Pjotr Wolkonski (1850, 283x188cm) _ detail 1 (head and shoulders) _ detail 2 (head)
Earl Pavel Kisseliev (1851, 140x103cm) _ detail (face)
Prince Augustus of Prussia (1817, 63x47cm)
Pferd im Stall (1846; 458x584pix, 168kb)

^ 1762 Joseph-François Ducq, in Ledegem, Belgian painter who died on 09 April 1829 in Bruges. — Possédant un don naturel pour le dessin, Ducq étudia à l’Académie de Bruges, sous la direction de Paul De Cock [1724-1801] et y obtint en 1786 le premier prix. Il partit aussitôt à Paris, où Joseph-Benoît Suvée [1743-1807] le prit sous sa protection. Marqué par le mouvement révolutionnaire, il revint à Bruges en 1792, se fit membre du club jacobin local et joua même très brièvement un rôle politique pendant les derniers jours de la première occupation française (novembre 1792 – mars 1793) en tant que septième adjoint au maire, chargé des affaires de police. Ducq regagna Paris dès 1795 et y décrocha un Deuxième prix de Rome en 1800. Il séjourna dans la Ville éternelle de 1807 à 1813 et devint peintre officiel à la cour d’Eugène de Beauharnais, alors vice-roi d’Italie. Il passa les années mouvementées de 1813 à 1815 à Paris, puis revint se fixer à Bruges, où il fut nommé directeur de l’Académie de peinture, fonction qu’il accomplit avec beaucoup de zèle. Il reçut également le titre honorifique de peintre à la cour du roi Guillaume Ier.
     Ducq n’a pas laissé de nombreux témoignages de son art et fut du reste poursuivi par la malchance. Les tableaux Aurore et Nuit, achetés par Napoléon, disparurent dans l’incendie du château de Saint-Cloud et son Hubert van Eyck introduisant Antonello da Messina dans l’atelier de Jean van Eyck, acquis par Guillaume 1er, connut le même sort. Les collections de la ville de Bruges ne conservent de lui que le portrait d’un futur directeur de l’Académie, Jan Van Gierdeghom [1785-1865], ainsi qu’un reproduction en réduction du tableau qui lui valut le Prix de Rome. En revanche la ville de Bruges possède de lui une série de près de trois cent dessins. On y retrouve quelques portraits, comme celui de Suvée et de son épouse, quelques portraits anonymes parfois fort bien réussis, et un autoportrait. Ces dessins étaient principalement des études préparatoires pour des tableaux. De ce qu’ils représentent on peut conclure qu’il gravitait entièrement sur l’orbite classique de l’époque, avec sa prédilection pour les sujets puisés dans la mythologie et dans l’histoire gréco-romaine.
     Citons quelques titres: Scipion retrouvant son fils (le sujet imposé pour le Prix de Rome de 1800), Méléagre rejetant les supplications d’Agamemnon, Le mariage d’Angélique et Médor, etc. L’imprimeur Joseph Bogaert avait dans sa collection deux tableaux peints par Ducq: Marchand présentant une esclave au roi David et Loth et ses filles. A leur propos, le catalogue de la vente mortuaire signalait que le prince Eugène de Beauharnais, qui accompagnait Napoléon et Marie-Louise lors de leur Joyeuse Entrée à Bruges en 1810, avait en vain essayé de les acquérir. Ce prince, qui possédait de Ducq un Combat d’hommes et de lions, devait sans doute être le propriétaire d’autres œuvres de celui qui avait été son peintre attitré. Durant sa dernière période à Bruges, Ducq réalisa bon nombre de portraits, entre autres ceux de Henri Mamet (1818), Petrus Vyncke (1824), Alexandre van Bisseghem (1820) et Nicolas de Roover (1820). Il existe de lui un dessin représentant le graveur brugeois Jan Karel de Meulemeester.
Mme J.J. De Meyer (1822 146x110cm; 544x396pix, 121kb)

1677 Jean-Thomas-Nicolas van Kessel, Flemish artist who died in 1741. — Relative? of Jan van Kessel [1626-1679] and Jan van Kessel the Younger [1654-1708]?

click to zoom in^ 1981 Picasso's Guernica goes to Basque town of Guernica      ^top^
     Pablo Picasso's monumental painting entitled Guernica is received in the town of Guernica, whose martyrdom during the Spanish Civil War is symbolized by it. Picasso stated in his will that the painting was not to return to Spain until the Fascists lost power and democracy was restored.
      On 26 April 1937, with the authorization of Francisco Franco, the German military tested its powerful new air force — the Luftwaffe — on the non~belligerent Basque town of Guernica and its 5000 inhabitants.
      The indiscriminate killing of Guernica’s women and children by the Luftwaffe aroused world opinion, and became a symbol of fascist brutality. Pablo Picasso reacted by creating the famous painting.
      Picasso decided that the painting not go to Spain until democratic liberties were restored in the country. Its eventual return to Spain in 1981 — eight years after Picasso's death — was celebrated as a moral endorsement of Spain's young democracy.
     — Llega a España, procedente de Nueva York, el Guernica de Picasso, con 23 bocetos que lo completan. Quedará instalado en el Casón del Buen Retiro en Madrid.

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updated Thursday 10-Sep-2009 3:52 UT
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