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ART “4” “2”-DAY  11 September v.9.80
DEATHS: 1891 RIBOT — 1661 FYT
^ Born on 11 September 1843: Georges Jules Victor Clairin, French painter specialized in Orientalism, who died on 02 September 1919.
— Clairin was a student of Picot and of Pils. He enrolled at the École des Beaux-Arts in 1861 and began exhibiting at the Salon of 1866. He executed decorative paintings for various public buildings in Paris and in the provinces, but is known primarily for his grand historical compositions, Symbolist themes and for the numerous works he exhibited of and for Sarah Bernhardt. Clairin became the favored portraitist of the actress, depicting her various roles in almost one hundred paintings, notably that of Ophelia, which Bernhardt brought to the stage in 1886. In 1901 an important exhibition at the Galerie Georges Petit was dedicated to Clairin.

Harem Woman
Elegant Figures Watching the Regatta (1889, 79x132cm)
The Sultan's Favorites (1875, 81x66cm)
Entering the Harem (1873, 90x61cm)
A Bride's Fantasy (57x141cm)
La Fête Fleurie (95x114cm)
Sur le Balcon (95x111cm; 845x1000pix, 313kb) _ The woman dressed in yellow is probably Sarah Bernhardt. Clairin's close association with Parisian theater was fueled by his relationship with Sarah Bernhardt, whose favored portraitist he became. This alliance brought commissions of more than a hundred views of Bernhardt in various stage roles,
–-S#> An Ouled-Nail Tribal Dancer (106x70cm; 570x375pix, 56kb) _ Clairin is one of the most successful practitioners of the Orientalist genre. His early travels to Spain and Tangier suffused his oeuvre with a great passion for costume and color, as can be seen in this painting. Opulently clad and erotic, the dancer spirals upwards, echoing the ornamental motif of flowers in the tiles behind her. The elasticity of the layers of her costume suggests an organic casing, while the enveloping gauzy fabrics intimate a whirling motion. The intoxicating theme of the Algerian dancer became one of Clairin's favorites, enabling him to produce dazzling compositions of great theatricality. The Ouled-Nail term was utilized to describe dancers in general, irrespective of their particular tribe. The women of the Ouled-Nail lived in the Sahara between Biskra and Laghouat. Beginning with the French occupation in Algeria in the 1830's, Biskra became a great center for commerce, where travelers were often entertained by the dancers. One traveler recalled, “unlike the Egyptian dancers, who specialize in soft, undulating, serpentine movements of the abdominal muscles, the Ouled-Nail pride themselves in being able to make their belly pulsate violently and in syncopation to the music.” Part of the Western fascination with the dancers centered on their remarkable costumes. Layers of sumptuous garments are secured with extravagant clasps; large studded bracelets grace both arms topped by resplendent headdresses. Descriptions of the customs and costumes of the Ouled-Nail tribal dancers were written about extensively from the middle through the late 19th century. These dancers embodied the exotic, and for artists such as Clairin, they continued to fascinate him during his whole career.
–-S#> Lagune à Venise (1892, 44x55cm; 495x597pix, 58kb)
–-S#> Le marché à Madrid en 1868 (1907, 68x123cm; 350x650pix, 98kb)
–-S#> Chemin Boisé à Belle-Ile (36x53cm; 510x755pix, 71kb)
^ >Died on 11 September 1891: Théodule Augustin Ribot, French Realist painter of genre, portraits, still-lifes, and etcher, born on 05 August 1823. — Relative? of painter Germain Ribot [1845-1893] or 4-times premier Alexandre Félix Joseph Ribot [07 February 1814 – 13 January 1923] or psychologist Théodule-Armand Ribot [18 December 1839 – 09 December 1916]?
— Ribot, Théodule(-Augustin) (b Saint-Nicolas-d’Attez, 5 Aug 1823; d Colombes, 11 Sept 1891). French painter. After his father died in 1840 Ribot trained himself as an artist while working as a bookkeeper in Elbeuf, a small village near Rouen. In 1845 he married and moved to Paris, where he worked as a decorator of gilded frames for a mirror manufacturer and became a student in the studio of Auguste-Barthélémy Glaize. He painted architectural backgrounds for Glaize and made his own studies from the nude model. Around 1848 he went to Algeria, where he worked as a foreman. After his return to Paris in 1851 he practised a variety of trades to support himself, coloring lithographs, decorating window-shades, painting signs and making copies of paintings by Watteau for the American market. It was not until the late 1850s that he began to produce his own paintings, working on realistic subjects at night by lamplight. This circumstance inspired his interest in the chiaroscuro effects that were to characterize his later paintings.
— Théodule Ribot first tried to study art at the trade school in Châlons, École des Arts et Métiers. When his father died in 1840, Ribot had to help support his family. He worked as a bookkeeper in Rouen, married early, and left for Paris in 1845. There he did various jobs, studied in the atelier of Auguste-Barthélémy Glaize (1807-1893), and, in 1848, went to Algeria to work as a foreman for three years.
      Back in Paris, he befriended the painter Bonvin, who held an exhibition of pictures by his friends in his studio in 1859. These artists, including Fantin-Latour, Alphonse Legros [1837-1911], Antoine Vollon [1833-1900], and J. A. M. Whistler [1834-1903], depicted ordinary subjects from their immediate environments without relying on narrative, and they generally used somber colors, limited illumination, and broader brushwork that contrasted with academic standards and methods. Their work elicited a positive response from Courbet, considered the father of realism in France.
      Ribot first exhibited at a Paris Salon in 1861, when his kitchen scenes won generally favorable reviews. To underscore a humble life-style for the artist, his early biographers claim that the dark, inky backgrounds of his pictures were the result of Ribot's painting by lamplight in his free evenings at home. He continued to depict working-class and peasant subjects in a style variously described as Dutch or Spanish by critics, and he participated in the Salons and provincial and international art exhibitions.
      Ribot was rejected from the 1859 Salon, as were A. Legros [1837-1911], Fantin-Latour [1836-1904], Whistler [1834-1903] ... all of them united in their admiration for Courbet and their allegiance to Realism, without however going the plein air way. Always interested in expanding exhibition opportunities for independent painters like himself, Ribot signed a petition in 1863 that decried the Salon jury's numerous rejections again that year and contributed to the official decision to hold the Salon des Refusés. Ribot sold his pictures through art galleries in Paris, such as those of Louis Martinet, Alfred Cadart, and Bernheim Jeune, and the French state bought his Saint Sébastien in 1865.
      In 1879-1880 a serious illness kept Ribot from painting, and his production fell off after this period. In 1884 his fellow artists, including Jules Bastien-Lepage [1848-1884], Boudin, Fantin-Latour, Monet, Puvis de Chavannes, and Auguste Rodin [1840-1917], held a banquet in his honor and gave him a medal inscribed "A Théodule Ribot, le peintre indépendant." It is ironic, then, that the year after his death a major retrospective exhibition was organized at the official art school, the École des Beaux-Arts in Paris.

–- Le Garçon de Cuisine (39x25cm) _ .détail
Cimabue Teaching Giotto to Draw (91x72cm; _ ZOOMable)
Nature Morte avec poulet, champagne, et légumes (1865, 60x75cm; xpix, kb _ ZOOM to 1636x2024pix, 243kb)
Nature Morte avec oeufs sur le plat (1865, 60x75cm; xpix, kb _ ZOOM to 1513x2024pix, 216kb)
At the Sermon
Le Troubadour (117x81cm)
La Petite Laitière (1865, 46x38cm)
A Girl Arranging A Vase Of Flowers (44x36cm)
Le Cuisinier aux Écrevisses (93x74cm)
La Conversation (56x46cm)
Le  Cuisinier et le Chat (35x27cm)
–-S#>Huîtres et citron (405x500pix, 38kb) auctioned for 18'958 on 15 Apr 2003 at Sotheby's, Amsterdam.
Huîtres et timbale (32x40cm; 281x354pix, 17kb)
^ Born on 11 September 1641: Gérard de Lairesse, Flemish Dutch Baroque painter, etcher, and writer on art, who died on 28 July 1711.
— Born in Liège, de Lairesse settled in Amsterdam in 1665, and moved to The Hague in 1684. He was the leading decorative painter in Holland in the second half of the 17th century, working in an academic classical style that inspired his over-enthusiastic contemporaries to call him 'the Dutch Raphael' and 'the Dutch Poussin'. In about 1690, however, he went blind and thereafter devoted himself to art theory. His lectures were collected in two books: Foundation of Drawing (1701) and the Great Painting Book (1707) - which were translated and much reprinted during the 18th century. Lairesse's writings reveal the same academic approach as his paintings he somewhat naïvely confessed that he had a preference for Rembrandt until he learned 'the infallible rules of art'. Rembrandt had painted a portrait of the young Lairesse in 1665, sympathetically showing his disease-disfigured face.
— The students of de Lairesse included Jan van Mieris.

Allegory of the Sciences (1683; 1600x883pix, 176kb)
Cleopatra's Banquet (1680; 1229x1600pix)
Selene and Endymion (1678; 1600x1070pix)
Allegory of the Freedom of Trade (1672; 907x891pix, 126kb) _ De Lairesse's large-scale historical, allegorical, and mythological paintings and grisailles, done in a style that is in accord with the precepts of classical art theory, won wide acclaim. He was called upon to decorate the ceilings and wall panels of numerous civic buildings, palaces, and stately homes. William III employed Lairesse at Soestdijk and The Hague. He can still be seen to good advantage at The Hague; his most famous work, a series of seven large paintings representing actual and mythological scenes from the ancient history of Rome, is at the Binnenhof there, and his allegorical ceiling celebrating Concord, Freedom of Trade, and Security, formerly installed in the home of a rich Amsterdam burgomaster, is now on view in the Peace Palace. One part of the ceiling, which comprised three sections, is illustrated here.
Allegory of the Five Senses (1668; 785x1030pix, 133kb) _ The senses are represented as women and children engaged in some typical activity and with attributes. Hearing is associated with music. Sight holds a mirror. Taste has a fruit and Smell a bunch of flowers. Touch has a bird perching on her raised hand.
Venus Presenting Weapons to Aeneas (162x166cm; 950x979pix, 97kb) _ The brilliant colors and dramatic lighting lend this fine baroque painting a peerless theatricality and pathos.
–-S#> Marcus Curtius Dentatus Leaping Into the Chasm (52x46cm; 900x805pix, 157kb) _ In early works such as this, De Lairesse was still very much under the influence of his father, Rainer de Lairesse, as well as of Liège classicists of his father's generation, such as Damery and Bertholet Flémalle. According to Livy, Marcus Curtius leapt, fully armed and mounted, into a chasm which had suddenly appeared in Rome which, according to soothsayers, could only be filled by casting into it Rome's greatest treasure, which Marcus Curtius interpreted as meaning the flower of the city's valorous youth. His sacrifice may be seen as an embodiment of civic virtue, and he was an important historical figure for Liège, where his namesake in the 17th Century, after whom the Musée Curtius is named, was a patron of the arts and godfather of Walther Damery's daughter.
–-S#> Allegory with an Infant Surrounded by Women, One with a Cornucopia aka The Nurture of Jupiter (round, diameter 152cm; 769pix, 76kb)
–- Joseph Se Fratribus Patefacit, Eosque Solatur et Patrem Accersit, Genes. Cap. XLV (monochrome engraving, 38x50cm; 906x1124pix, 158kb _ .ZOOM to 1820x2248pix, 1066kb) from a group of Biblical illustrations.
^ >Died on 11 September 1661: Jan Fyt, (or Fijt), Flemish painter, draftsman, and etcher, who was baptized as an infant on 15 June 1611. — {Make sure that when you are looking for a Fijt, people don't misunderstand that you are looking for a fight.} — {At auctions, when the winning bidder has a Fyt, the losers have a fit.}
— He was apprenticed in Antwerp in 1621–1622 to Hans van den Berch [Berghe] (not to be confused with Jan van den Bergh of Alkmaar) and probably completed his training under Frans Snyders. At one time he was an assistant to Peter Paul Rubens. In 1629–1930 Fyt became a master in the Antwerp Guild of Saint Luke, but he continued to work for Snyders until 1631. In 1633 and 1634 he was in Paris. He then went to Italy. In 1650 he joined the Antwerp Guild of Romanists (exclusive to those who had visited Rome), of which he became the dean in 1652. He apparently worked in Rome, where he joined the Schildersbent and was given the nickname ‘Goudvink’ (‘goldfinch’). In Venice, Fyt worked for the Sagredo and Contarini families. He is also thought to have visited Naples, Florence, Genoa, Spain, and London.
      By 05 September 1641 Fyt was back in Antwerp, where, apart from a brief trip to the northern Netherlands in 1642, he apparently remained for the rest of his career, except for a trip to Italy in the 1650s, where he painted a Self-portrait in Venice. Like Snyders, Fyt painted elaborate style of decorative still-life associated with the circle of Rubens. His most characteristic paintings depict trophies of the hunt, dead stags, hares, and birds, all treated with a feeling for texture and details akin to that often seen in Dutch still-life. The rare flower paintings by Fyt are exceptionally fine.
      Fyt was a student of his better known colleague Frans Snyders. In 1629 he became a free master in Antwerp, but he also lived in Paris and in Italy. His oeuvre had a major influence on Pieter Boel, who may well have been a fit student of Fyt. Fyt was a self-confident artist whose sophisticated and expensive work was, in his own words, purchased mainly by the high nobility. His art reflects a more general development towards an aristocratisation of social life. In the noticeable refinement of texture and color, Fyt's relationship to Snyders is similar to that of Anthony van Dyck to Peter Paul Rubens. In Rubens and Snyders robust, highly plastic forms dominate. Not averse to a certain degree of sentimentality, Van Dyck and Fyt seem to exchange this organic powerfulness for a fragile sensitivity. This leads to an art that will speak in particular to lovers of artistic nuance.

–- Fruit and Game (1645, 74x110cm; ZOOM)
–- Hunting Still Life (1655, 101x134cm; 864x1152pix, 85kb)
Big Dog, Dwarf and Boy (1652, 138x204cm; 629x945pix, 108kb) _ The figures were painted by Erasmus Quellinus [1607-1678].
Bird Concert (135x186cm; 780x1108pix, 168kb)
Bittern and Ducks Startled by Dogs (138x172cm; 830x1046pix, 167kb)
Diana with Her Hunting Dogs beside Kill (79x116cm; 750x1120pix, 167kb) _ Game still-lifes were closely connected with kitchen scenes and pantry motifs, of which they were in many ways a special form. While the social context of a kitchen is not always obvious and may be either the household of the landed gentry or the merchant patrician classes, the majority of early, large-format game still-lifes reflected the interests and spheres of royalty and nobility. The hunt as an aristocratic privilege had only just began to emerge at the beginning of early modern times. Hunts were captured in the form of large-scale panoramic paintings. Also there were numerous glorified transpositions of real hunting scenes into mythological ones. This painting shows an example of this approach. _ detail (1100x767pix, 147kb)
Mushrooms (49x64cm; 770x1021pix, 138kb) _ The fact that this subtle still-life is known under the title Mushrooms is understandable given the prominent place taken by four boletus in the left foreground of the picture. This name fails, though, to do justice to the other elements that, precisely through their presence alongside the mushrooms, form an exceptionally balanced composition: to the left a wicker basket, to the right of it a melon, a root of celery and four thrushes, which, along with the warm, greenish brown coloring, appear to evoke autumn. It is not impossible that a reference to autumn is indeed woven into this jewel of a painting. But apart from the objects themselves there is no unambiguous reference to any symbolic, literary or allegorical significance. This may be precisely one of the charms of what is a fairly self enclosed painting for a modern viewer whose pictorial culture has been so strongly formed by the poetic cult of art for art's sake and form for form's sake, i.e. of "pure" art, which turns its back on any prosaic anecdotal intent. Or whose sensitivity for the refined play of surfaces and for carefully balanced color nuances and the objects that populate everyday life has since been whetted by contact with masters like Jean Siméon Chardin.
Still-life with Dog (77x112cm; 508x707pix, 72kb)
Still-Life (42x58cm; 651x893pix, 101kb) also with dog, a different one, who is looking sadly and perhaps hungrily a some dead partridges... wait, what is that on the left? A stack of about a dozen cigars? The dog does not seem interested in them.
Still-life with Fruits and Parrot (1640, 58x90cm; 540x868pix, 121kb) _ This painting is typical of the artist's rich color and technical brilliance.
Vase of Flowers (82x71cm; 1128x902pix, 101kb) _ Although the oeuvre of Jan Fyt covers the same themes as that of Snyders, and deals with them in a comparable manner, he does not really belong to the School of Rubens. Whereas Snyders' work is rich in glowing colors, Jan Fyt's coloration is darkened by deep shadows which give his paintings a cooler mood. He had a remarkably sensitive eye for the feel of things - rough or smooth - and the way light plays on them, conveying all this with great subtlety of brushwork and color. His Vase of Flowers shows surprising spontaneity, which gives this canvas a far more modern spirit than the work of his contemporaries.
–- Still Life of Game Birds and Hares, with a Cat Nearby (1660, 109x159cm; 736x1080pix, 90kb; — .ZOOM to main detail 736x1080pix, 110kb _ .ZOOM+ detail to 1104x1581pix, 213kb) _ Although Jan Fyt was a student of Frans Snyders, he made a significant contribution to the evolution of the game still life in seventeenth-century Netherlandish art. Fyt spent his entire career in Antwerp and tended to use a more somber palette than did Snyders with a greater sense of restraint in the treatment of motifs in each picture. This picture falls into the category of the "Hunting Piece," in which the results of the day's efforts are gathered together for contemplation. Such a conceit gave ample opportunity for a virtuoso display of composition, color and precise observation of surface and light effects.

Died on an 11 September:

2008 Simon Hantaï [08 Dec 1922–], Hungarian-born French (naturalized in 1966) abstract painter.
Tabula (1980; 2071x3241pix, 2771kb) rectangular 4x8 array of messy rough-surfaced dark pink approximate rectangles on a light gray background.
Blue Meun (1987; 500x452pix, 44kb) blue shapes on a light yellowish gray background.
M.m 25 (1965, 237x206pix, 96kb)
(untitled?) (640x480pix, 96kb) —(081003)

^ 2005 Henryk Tomaszewski, Polish poster, satirical cartoon, drawing, and illustration. artist born in 1914. — Not to be confused with Henryk Albin Tomaszewski [01 Mar 1906 – 19 Jul 1993] — Photo of Tomaszewski (1991; 470x391pix, 28kb)
Teatr Pantomimy (1972; 845x570pix, 138kb)
Polska Pantomima (1964; 836x570pix, 165kb)
Irkucka Historia (510x360pix, 22kb) a red background, empty except for one small white shoe. _ It is amazing the complexity and the range of colors of the abstract pictures, with irrelevant titles, that the pseudonymous Thomas Henry Kalbinewski has managed to evolve out of this
      _ Stuck in Irkutsk aka Star Rats (2006; screen filling, 293kb),
      _ History of a Kook aka Story Rots (2006; screen filling, 292kb), and the grandiose
      _ A Kook in Irkutsk aka Goal Flag (2006; screen filling, 294kb _ ZOOM to 1400x1980pix, 1341kb)
Utställning Polsk affisch (1956, 98x66cm; 363x250pix, 19kb)
179 images at The Art of Poster —(060224)

1903 Antonio Rotta, Italian painter born on 28 February 1828.
(The old man and his best friend?) (1875x2260pix, 1669kb)

1899 Filippo Palizzi, Italian painter born on 16 June 1818. Brother of Giuseppe Palizzi [19 Mar 1812 – 10 Jan 1888], Nicola Palizzi [20 Feb 1820 – 25 Sep 1877], and Francesco Paolo Palizzi [16 Apr 1825 – 16 Mar 1871]. Filippo Palizzi studied from 1837 at the Reale Istituto di Belle Arti in Naples, where Morelli was among his fellow students. By this time Palizzi had adopted Realism both as a style and as a conviction. Less adapted to Smargiassi’s academic style of teaching, he soon moved to the free school led by Giuseppe Bonolis, where plein-air painting was taught in relation to aesthetic principles (similar to those advanced by the literary historian and critic Francesco de Sanctis) and to the study of perspective. Palizzi’s experiments in Realism were probably influenced less by the example of Bonolis, who still adhered to Neo-classical conventions, than by de Sanctis’s principle that artistic form should depend on content. Such principles gave Palizzi’s work a degree of ethical rigor. — Filippo Palizzi's students included Michele Cammarano, Gaetano Esposito, Francesco Netti.

1898 Antonio Matteo Montemezzo, Italian painter born (main coverage) on 11 December 1841. —(090910)

>1893 Adolphe Yvon [30 Jan 1817–], French painter best known for his pictures of battles.
Bataille de Solférino (1541x2361pix, 1240kb) 12:00 on 24 June 1859, the decisive moment of the battle: Napoléon III orders marshall Regnaud to engage in combat the light division of the imperial guard, in support of the D'Alton brigade.
Dans le harem (822x1000pix, 232kb)
5 more color images at Wikimedia and 5 grayscale. —(090910)

^ 1870 Eugenio Lucas Velázquez (formerly incorrectly known as Eugenio Lucas y Padilla), Madrid painter born on 17 January 1817 (or in 1824?). — Relative? of Eugenio Lucas Villamil [1858-1918] ? — He came late to painting, in 1844 still stating his profession as that of cabinetmaker. It is possible that he studied at the Academia de San Fernando in Madrid, but he may have been largely self-taught. His early work included portraits (e.g. Jenaro Peréz Villaamil, 1849), scenes of the Spanish Inquisition and subjects from contemporary life (e.g. Scene with Bandits, 1855). By the mid-1850s he was well established: in 1853 he was appointed Pintor de Cámara Honorario to Queen Isabella II, and he was made a Knight of the Order of Carlos III as a reward for his idealized portrait of Pedro de Valdivia, which the Spanish government gave as a present to the cathedral of Santiago de Chile. Lucas Velázquez showed his work successfully at the Exposition Universelle in Paris in 1855, and in the same year he was one of three connoisseurs asked to value Francisco de Goya’s Pinturas Negras (1820–1823).
La inauguración de la traída de aguas del Lozoya a Madrid (1858, 110x140cm; 386x494pix, 36kb)
Profile of red-faced unshaven man (39x32cm) _ detail 1 _ detail 2

1725 Giuseppe Gambarini, Italian painter born in 1680. Knowledge of this charter-member of the Accademia Clementina comes almost wholly from Giovan Pietro Zanotti, who knew Gambarini personally, and had used him as a model when the artist was in his early adolescence. Gambarini’s was a fairly short career; at the time of his unexpected death he was gaining prominence in Bologna as a specialist in scenes of working-class domestic life.

1679 Pieter van der Leeuw, Dutch artist born on 13 February 1647.

Born on an 11 September:

1929 Joaquín Rubio Camin [–28 Dec 2007], Spanish painter, sculptor, photographer.
–- (abstraction?) (786x1518pix, 245kb)
— Mesa y cama de Carlos IV (1986) —(090910)

^ 1854 Hippolyte Petitjean, French painter who died on 18 September 1929. — He initially studied art at his home town of Macon. He later studied at the Ecole des Beaux-arts de Paris. At age 30 he fell under the influence of his friend Seurat. He adapted the pointilist theories and produced at least 237 paintings in the "divisionist" style. In 1919 he went back to the impressionistic style of Monet.— He began his studies in drawing in Mâcon before going to Paris in 1885 to join the Neo-Impressionists. He became very close to Seurat, who was generous with his advice and instruction and greatly influenced Petitjean’s conté crayon drawings. In 1887 he submitted paintings to the Salon in Stockholm and from 1891 was accepted by the Salon des Artistes Indépendants in Paris. In 1893 he was welcomed in Brussels; in 1898 he gained a new German clientele in Berlin, and in 1903 and 1921 his works were hung in Weimar and Wiesbaden.
Pont Saint-Michel (on sale for $7500)

1829 Thomas Hill, US painter who died (full coverage) on 01 July 1908. —(050831)

^ 1636 Giovanni Maria Viani, Bolognese painter who died on 15 April 1700. — Father of Domenico Maria Viani [11 Dec 1668 – 01 Oct 1711] — Ancestor? of sculptor Alberto Viani [26 Mar 1906 – 1989]? — Giovanni Maria Viani was a student of Flaminio Torri, and his first paintings (about 1650) suggest the art of Reni, absorbed through a study of Cantarini. Under the influence of Lorenzo Pasinelli, a colleague of Viani in Torri’s workshop, his forms gained solidity, but the mood of his paintings remained elegiac. This development is evident in two works in the Santuario della Madonna di San Luca in Bologna: Mary Magdalene and the altarpiece of Saint Pius V with the Polish Ambassador, which was probably painted in the same early period. The first documents relating to the artist and his first securely attributed works come from 1677: Saint Roch and the four frescoed lunettes in the portico of S Maria dei Servi, representing miraculous episodes of the life of Saint Filippo Benizi: Preaching to the Council of Lyon, Healing of the Sick, Succored by Angels in the Desert and Ascending to Heaven. The canvas of Saint Benedict with the Peasants (1689) is a copy of the lost fresco painted by Reni in the cloister of the same church. It forms a pair with Saint Bernard Tolomei Restores a Builder to Life (1693). One of Viani’s most interesting pictures is Diana and Endymion (1685), which shows a refined handling of color. In the 1690s he produced Saint Andrew, a work that demonstrates his individual interpretation of the Carracci school. His latest dated works are the two large ovals depicting The Virgin Appearing to Saint Ignatius and Christ Appearing to Saint Ignatius (1696).

Happened on an 11 September:

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