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ART “4” “2”-DAY  17 September v.9.a0
^ Born on 17 September 1871: Edgard Maxence, French painter who died in 1954
— Student of Elie Delaunay and Gustave Moreau, he exhibited regularly at the Salon from 1894, and at the Salon de la Rose+Croix between 1895 and 1897. He was elected a member of the Académie des Beaux-Arts in 1924. A painter of portraits, landscapes and still-lifes, he is perhaps best known for his pictures of subjects drawn from the Bible and from ancient legends.
— He was a student of Jules-Elie Delaunay and Gustave Moreau at the Ecole des Beaux-Arts, Paris, and helped to popularize Symbolism in the 1890s by applying a highly finished academic technique to Symbolist subjects. His best-known paintings, which include Girl with a Peacock (before 1896) and The Soul of the Forest (1897), are decorative, vaguely religious or allegorical images of beautiful women in medieval dress, influenced by early Italian Renaissance and late English Pre-Raphaelite art. Maxence often enriched the surface of his works with gold or silver foil and gilt plaster relief and mounted them in elaborate frames of his own design. He also painted fashionable portraits such as Woman with an Orchid (1900) and Impressionist landscapes. Though he participated in the avant-garde Salon de la Rose + Croix between 1895 and 1897, Maxence exhibited successfully at the conservative Salon des Artistes Français from 1894 to 1939 and frequently served on its committees and juries. Maxence’s work changed little in style and content after the turn of the century and, despite the condemnation of progressive critics, continued to enjoy strong middle-class patronage until the late 1930s.

Profil au Paon (1896; 46x30cm; 888x611pix, 64kb — ZOOM to 1962x1223pix, 243kb) _ Maxence used pastel and gouache with pieces of silver paper stuck to the painting surface to create this picture. The peacock, an attribute of Juno, was seen as a symbol of eternal love and beauty in symbolist painting. Maxence designed a frame for this painting: see the painting in its frame (830x636pix, 70kb — ZOOM to 1874x1429pix, 309kb)
Le Livre de Paix (1913, 160x105cm; 888x611pix, 64kb — ZOOM to 1966x1274pix, 140kb)
L'Âme du Glacier (859x980pix, 69kb — ZOOM to 1682x1470pix, 170kb)
L'Âme de la Forêt (1898; 700x638pix, 61kb — ZOOM to 1400x1276pix, 128kb)
La Famille Roy (863x510pix, 44kb — ZOOM to 1976x766pix, 136kb)
Bernadette Soubirou (800x696pix, 39kb — ZOOM to 1200x1044pix, 79kb)
Bretonne en Prière (66x47cm; 875x612pix, 42kb — ZOOM to 1400x979pix, 76kb)
Le Missel (1899, 71x53cm; 867x642pix, 56kb — ZOOM to 1300x963pix, 94kb)
Tête Divine (45x37cm; 875x696pix, 53kb — ZOOM to 1400x1114pix, 102kb)
Au Dimanche
Portrait d'Enfant
^ Born on 17 September 1858: Robert William Vonnoh, US Impressionist painter who died on 28 December 1933. Husband of Bessie Potter Vonnoh. Robert Vonnoh studied under Gustave Boulanger [25 Apr 1824 – Oct 1888] and Jules-Joseph Lefebvre. Vonnoh's students included Robert Henri.
— While the best known colony of American impressionist artists in France was established in Giverny, the home of Claude Monet, the aesthetic developed in other rural art centers as well, most notably in Grez-sur-Loing, near the Forest of Fontainebleau. There, the principal agent for the introduction of Impressionism was the Boston painter, Robert Vonnoh. Vonnoh attended the Académie Julian in Paris in 1881 and returned to Boston in 1883, teaching at the newly formed Cowles School in 1884 and at the School of the Museum of Fine Arts in 1885. After his marriage in 1886 to Grace D. Farrell, he and his bride may have honeymooned briefly in Grez; the following year, he returned to France for further study at Julian's, but beginning in the fall of 1887, he spent much of the next three or four years in Grez, before returning to Boston in the spring of 1891.
      Many of Vonnoh's figural canvases of the 1880s reflect his allegiance to strong, tonal Naturalism, but by 1888 he was beginning to work out-of-doors on bright, colorful landscapes and nature studies of flowers, which reflect his involvement in the Impressionist aesthetic. Indeed, Vonnoh's art of the late 1880s suggests an almost schizophrenic artistic persona; it is difficult to believe that the same painter created in the same year, 1888, both his dark, strongly modeled Companion of the Studio and his several depictions of flaming, brightly colored Poppies , shadowless and pushed up against the picture plane, and executed with slashing brush and palette knife work. But, like a good number of US painters of the period, Vonnoh was reluctant to surrender in his figure paintings the academic precepts he had labored so dearly to master, while in his landscape work, for which academic training had offered little preparation, he felt freer to investigate newer, more modern strategies.
      Vonnoh's "conversion' to Impressionism has been attributed to the influence of the Irish painter, Roderic O'Conor, who had adopted the bright, unmixed hues and thick impasto of Impressionism by 1886, and may have been in Grez as early as that year. Vonnoh may also have been led to Impressionism through the example of Alfred Sisley, working nearby in Moret-sur-Loing.
      The several renditions of Poppies (such as Poppies in France, 1888) were both finished nature studies in their own right, and preparatory for his 1890 masterwork, Coquelicots, the largest and most ambitious painting of his career. The subject of poppies was a common one in French and Impressionist painting. It had recently become especially associated with Claude Monet (Les Champs de CoquelicotsCoquelicots près de Vétheuil 1880 — Coquelicots Rouges à Argenteuil), two of whose Giverny poppy field paintings of 1885 had garnered tremendous attention when they were included in the first great American show of French Impressionist art held in New York City at the American Art Association in April of 1886.
      Poppies had been painted in Grez in 1885 also, by the Swedish painter, Karl Nordstrøm and the American, Theodore Robinson . And in 1886, a group of American painters, John Singer Sargent, Edwin Blashfield, Edwin Austin Abbey, and Frank Millet, were all painting poppy pictures in the art colony of Broadway in the West of England. At the same time that Vonnoh was completing Coquelicots, Childe Hassam was investigating the theme in the garden of the poet, Celia Thaxter, on the Island of Appledore off the coast of New Hampshire and Maine (Poppies, Isles of Shoals, 1891). None of these paintings, however, were as ambitious as Vonnoh's Coquelicots.
      Though Coquelicots is undoubtedly a studio composition, Vonnoh maintains the free, unoutlined and unstructured character of his earlier small poppy pictures throughout the landscape elements, while the figures of the young woman picking flowers, the two children behind her, the distant farm wagon and horses, and the buildings on the horizon are more firmly rendered, each defining a distinct spatial plane and providing organization to the spatial recession of the vast canvas.
      Of his involvement with Impressionism, Vonnoh wrote: "I gradually came to realize the value of first impression and the necessity of correct value, pure color and higher key, resulting in my soon becoming a devoted disciple of the new movement in painting." Vonnoh's wife posed for the principal figure, and for a small oil study of the principal figure, formerly entitled Study for Picking Tulips and now called Picking Poppies.
      With its vast scale, Coquelicots was designed as an exhibition piece, meant to appeal to its many viewers. Despite the small farm wagon, the agricultural field here is a source of pleasure, not backbreaking labor. The attractive young woman in the foreground is linked in beauty with the brightly colored flowers, a bunch of which one of the children waves jubilantly in the air.
      The painting was exhibited at the (Old) Salon annual exhibition in Paris in 1891, and then at the International Exposition held in Munich in 1892. It was in Munich that Coquelicots achieved tremendous renown, the great art historian, Richard Muther, writing of the "gleaming and flaming picture of a field of poppies . . . less like an oil-painting than a relief in oils. The unmixed red had been directly pressed on to the canvas from the tube in broad masses, and stood flickering against the blue air; and the bluish-green leaves were placed beside them by the same direct method, white lights being attained by judiciously managed fragments of blank canvas. Never yet was war so boldly declared against the conventional usage's of the studio; never yet were such barbaric means employed to attain an astounding effect of light."
      Coquelicots, now entitled A Poppy Field, was included in Vonnoh's one-artist show held in February, 1896, at the Durand-Ruel Gallery in New York City. On the one hand, the US critics admitted their astonishment at his advanced strategies: The New York Times noted that Vonnoh "has achieved capital results in the matter of vibrating color, light and astonishing brilliancy . and that "Broken color, touches of various pale tones of blues, yellows, reds, violets and other tints, never crude or spotty, rarely obtrusive, give a vibration, a realism quite remarkable." Yet, pictures such as Coquelicots were felt by that same critic to "utterly lack the sentiment and poetry with which the portraits are invested." Coquelicots did not sell. Vonnoh went on to create only one more large-scale figural work set out-of-doors, The Ring (1898).
      After many years, Coquelicots resurfaced as Poppies in the December, 1914, winter exhibition at the National Academy of Design in New York City, and then appeared in the Panama-Pacific International Exposition held in San Francisco in 1915, where Vonnoh won a gold medal. By then, the original signature and date had been removed, and the picture had been resigned with a copyright date of 1914. Poppies then was shown early in 1916, first at the City Art Museum, St. Louis, and then at the Memorial Art Gallery, Rochester, in a two-artist exhibition of Robert Vonnoh's paintings and Bessie Potter Vonnoh's small sculptures. By 1919, the work had been retitled again. The sculptor, J. Massey Rhind, had suggested to Joseph G. Butler, Jr., the title Flanders- "Where Soldiers Sleep and Poppies Grow," a reference to the German invasion of Belgium during World War 1, and to the 1915 poem, "In Flanders Fields," by the Canadian surgeon, John McCrae, though the joyous sentiments projected by the painting are antithetical to the tragic expression of McCrae's poem.

–- Apple Bloom (1903, 77x92cm; 821x1000pix, 91kb — .ZOOM to 1643x2000pix, 397kb)
Coquelicots (In Flanders Field—Where Soldiers Sleep and Poppies Grow, 1890, 147x264cm) _ Final title inspired by McCraes' poem first published in Punch on 08 December 1915:

In Flanders Fields

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved, and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

Birch Trees (1889, 27x36cm)
^ Born on 17 September 1734: Jean-Baptiste Le Prince, French painter, draftsman, and printmaker, who died on 30 September 1781.
— Born to a family of ornamental sculptors and gilders, he became famous for creating a new kind of genre picture, based on the direct observation of Russian subjects, and also for perfecting aquatint technique. Sometime around 1750 he became a student of François Boucher, thanks to the protection of the Maréchal de Belle-Isle [1684–1761], governor of Metz. Boucher’s saturated brushwork, highly finished surfaces and incisive drawing had a decisive impact upon the young artist, as did, perhaps, the diversity of his output. He was also inspired by 17th-century Dutch and Flemish genre and landscape painters.
— A great traveler (Finland, Lithuania, Russia, Siberia), he introduced Russian subjects into France. Born in Metz, Leprince became known in France for his history paintings, landscapes, portraits, and genre scenes, as well as for his engravings. He studied with the greatest official painter of eighteenth-century France, François Boucher (1703-1770), often painting pastoral scenes in his master's rococo style. In 1758, when he was twenty-four, Leprince went to Russia for five years to work for the Imperial Palace in St. Petersburg. He decorated much of that palace and many others with his interior designs and paintings. He returned to France in December 1763.
— Two influences were paramount for Le Prince: his teacher François Boucher and his stay in Russia. Born to a family of ornamental sculptors and gilders, Le Prince began studying under Boucher about 1750. His master's tightly controlled brushwork and highly finished surfaces influenced him greatly, along with Boucher's affection for scenes with shepherds and shepherdesses.
      By 1757 Le Prince was painting at the Imperial Palace in Saint Petersburg. He traveled extensively in Russia, perhaps even to Siberia. Returning to Paris five years later and eager to make a name for himself, Le Prince created paintings and etchings of the Russian countryside and daily life, often using Russian costumes and small mannequins to get the exactitude he desired. Le Prince not only became famous for creating this new kind of genre picture, but he also perfected the technique of making aquatints.
      Upon becoming a member of the Académie Royale in 1765, Le Prince exhibited fifteen paintings at that year's Salon, all Russian subjects. The Beauvais Tapestry Manufactory wove his Russian Games tapestry cartoons many times. After 1770 Le Prince's health declined and he left Paris for the French countryside, where he painted landscapes and pastoral subjects.
— Le Prince's students included Jean-Baptiste Marie Huet, Charles-Clément Bervic, Louis-François Cassas. Louis-François

Un Baptême Russe (1765, 73x92cm) _ Peint au retour d'un voyage en Russie, ce tableau fut présenté comme morceau de réception à l'Académie. Il appartient au goût des "russeries" que Le Prince exploita tout au long de sa carrière.
The Tartar Camp (1765, 175x223cm)
The Necromancer (1775, 77x63cm) Three versions of this subject are known, including one in the Hermitage, St Petersburg. It is not known which of the three was the one exhibited at the Salon of 1775. Evidently a popular composition, it was also engraved in 1785. Le Prince specialised in genre scenes often, like this one, with an exotic flavor.
The Four Seasons: Autumn, Winter, Spring, Summer (1763 Four paintings, Autumn 49x87cm, Winter 50x87cm, Spring 49x86cm, Summer 50x87cm). These allegorical oil paintings, each still in its elegant original frame, probably decorated the interior walls of an important home, and, consequently, are very thinly painted. Each one uses a female nude to personify one of the four seasons. Le Prince's Seasons derive almost directly from the designs of Boucher, if we judge from the strong similarity between Spring and an engraving after Boucher entitled Venus Crowned by Cupids.
The Russian Cradle (1765, 59x74cm; 518x640pix, 94kb) _ In a rural setting, a peasant family sits admiring a baby in a cradle suspended from the branches of a tree. The composition takes its name from the distinctive hanging cradle made of boughs lashed together. Surrounded by goats and sheep, an old woman in a red dress and decorative headscarf holds a distaff and points towards the infant as if telling its fortune. The blue sky with pink-tinged clouds recalls the influence of François Boucher, Jean-Baptiste Le Prince's former teacher. Jean-Baptiste Le Prince served in Saint Petersburg at the court of Catherine the Great between 1760 and 1762. Upon his return to Paris in 1765, he made this painting and thirteen others that he exhibited in the Salon. To an eighteenth-century French audience, this improbable scene would have seemed exotic and picturesque. In reality, Russian peasants were still serfs tied to the land and its owner; it is unlikely that they would have enjoyed the leisure time depicted here. Based on drawings and recollections from the artist’s extensive travels throughout Russia, The Russian Cradle proved immensely popular and was replicated in drawings, prints, and even as decoration on Sèvres porcelain.
La Visite (1779, 88x129cm; [Flash])

Died on a 17 September:

1974 André Albert Marie Dunoyer de Segonzac, French painter born (full coverage) on 06 July 1884 —(060916)

1917 Anton “Toni” von Stadler, Munich landscape painter born on 09 July 1850. He was the father of sculptor and draftsman Toni Stadler [05 Sep 1888 – 05 April 1982].

1885 Lucas Schaeffels, Belgian artist born on 06 April 1824.

1838 Michel Joseph Speckaert, Belgian artist born on 10 December 1748.

^ 1776 (07 Sep?) George Smith of Chichester, English landscape painter born in 1714. He was apprenticed as a cooper but abandoned this to become an artist. Having begun as a portrait painter, he was encouraged as a landscape painter by Charles Lennox, 2nd Duke of Richmond, and later by the Duke’s son Charles, 3rd Duke of Richmond. At a time when British landscape painting was in its infancy, this patronage helped the reputations of George and his brothers William Smith [1707–1764) and John Smith [1717–1764] to spread throughout the country. In 1760 George won the first landscape premium offered by the Society for the Encouragement of the Arts, Manufactures and Commerce with Landscape (engraved by William Woollett and published in 1762), and John won the second premium with another Landscape. Both of the winning paintings cleverly combined a classical pastoral composition with the intricacies of 17th-century Dutch landscape painting. For three years the Smith brothers dominated the prizes for landscape until, in accordance with the rules, they declined to enter. The brothers were among the first artists in England to paint local scenery peopled by British gentlemen and peasants within a setting typical of Claude Lorrain. Their reputation was spread further through engravings by Woollett, William Elliott [1727–1766], James Peake [1729–1782] and François Vivares, many of which were exported to France. Some of the buildings in the Hameau, Versailles, bear a remarkable resemblance to the rustic cottages made popular by George Smith. A collection of the Smiths’ engravings was published under the title Picturesque Scenery of England and Wales (1769), and their work helped to create a receptive climate for later theorists of the Picturesque. The illustration of ‘the improved’ picturesque landscape in Richard Payne Knight’s The Landscape, a Didactic Poem (1794) is based directly on George’s premium painting of 1760. The Smiths’ influence on landscape gardening is often underestimated.
6 smallish images of Smith landscapes in UK government collection.

^ 1772 Louis-Gabriel Blanchet, French painter, active in Rome where he dies, born in Paris in 1705. He won second place in the Prix de Rome competition in 1727 and thereafter settled in Rome, where he enjoyed the patronage of Nicolas Vleughels, Director of the Académie de France, and the Duc de Saint-Aignan [1684–1776], who at that time was French Ambassador to the Holy See. In 1752 Blanchet painted The Vision of Constantine, a copy of Giulio Romano’s fresco in the Sala di Costantino in the Vatican. He was, however, principally a portrait painter. His portrait of Tolozan de Montfort (1756) is a fine example of his elegant, rather nervous style and his distinctive use of color. In the same year Blanchet made a portrait of the contemporary painter Johann Mandelberg [1730–1786]. Other surviving works of his include Saint Paul (1757) and his full-length portrait of P. P. Lesueur and E. Jacquier (1772). His last documented work was an allegory of Painting and Sculpture (1762). His work as a portrait painter has been compared with that of his Roman contemporary Pompeo Girolamo Batoni [1708-1787]. — LINKS
Portrait of a Gentleman (1752)

^ before 1688 Johannes Leemans, Dutch painter born in 1633. — {no relation to Le Mans automobile races} — The Hague painters Johannes Leemans and his brother Anthonie [1631-<1673] specialized in trompe l'oeil hunting still lifes, a genre that seems to have been popular in The Hague in his day, perhaps reflecting Court taste. Johannes Leemans spent his entire life in The Hague, where he was also active as a wine merchant. All his still lifes are dated in the period between 1664 and 1686.
–-S#> A trompe-l'oeil hunting still-life (1677, 82x110cm; 961x1312pix, 175kb) There is a bird in a cage, a hunting horn and bag, bird of prey hoods, gunpowder horns, and other hunting equipment.
— a different Trompe-l'oeil hunting still-life (1669, 94x112cm; 675x800pix, 92kb) There is a bird cage, a hunting horn and bag, and other hunting equipment.
— and yet another different Trompe-l'oeil hunting still-life (1674, 106x145cm; 510x698pix, 86kb) There is a bird cage, a musket, a bag of snares, a bag containing a net, and other hunting implements, all hanging against wooden panels.

^ 1675 (1676?) Jacob Adriaenszoon Bellevois, Dutch marine painter born in 1621 in Rotterdam. Apart from the records of the death of his first wife in 1653 and his subsequent remarriage in Rotterdam in 1656, the details of his life are scarce. Nothing is known about his training but his monochrome paintings of vessels in a calm indicate the influence of Jan Porcellis, the local artist of great repute. Bellevois is recorded as ‘a portman of Gouda’ in 1656. He was in Gouda again in 1671 and he visited Hamburg in 1673–1674. The View of a River (1663) is a good example of his style. The sky fills a large part of the painting showing small boats and a man-of-war in a calm, with a city that has been identified as Gorkum in the distance. The river view with ships, De Maas bij Dordrecht dates from the same period and is impressive in its illusion of depth. His more dramatic seascapes include estuary and sea views in a storm, with ships wrecked on rocky coasts. Some ships in his paintings can be identified.
–-S#> Dutch Herring Fleet with a Merchantman in a Light Swell (58x83cm; 900x1317pix, 152kb) this is one of three versions.
A Galley and a Man-of-War (27x31cm; 600x700pix, 68kb) _ A Dutch galley and man-of-war on a calm sea. The man-of-war in the foreground to the left flies the Dutch flag, and there is a small coastal craft laden with people in the immediate foreground to the left. The Dutch galley to the right also flies the Dutch flag and pennants, and has its sails furled. The artist has signed his name on the flag of the galley.
A Fishing Boat off a Rocky Coast in a Storm with a Wreck (83x122cm) _ A favorite theme of Dutch marine paintings was ships wrecked on rocky shores. This fascination may be attributable to the flat, undramatic nature of most of their coastline but it also carried symbolic significance. This interpretation of ships heading for destruction on the rocks shows a continuous narrative, with the boat on the far left in a heavy sea, while the ship in the middle distance has hit rocks and is foundering. In the foreground to the right several men cling to the top of the masts of their ship, which has already sunk. Others are in the water and in the foreground several have reached the relative safety of the rocks. Behind them, rocks rise up on the far right acting as a reminder of other treacherous rocks which constitute a threat to the two ships in the picture. On the coastline to the right a tower stands out as a symbol of security in marked contrast to the ship foundering below.
A Small Vessel Beating off a Rocky Coast (35x50cm) _ This is a preliminary version of the previous painting. Only the boat to the far left, being blown towards the rocks, is present, although the same topographical features appear, such as the tower and rocks in the foreground.
The Dutch Ship Eendracht (1666, 54x58cm) _ On the far left, two ships lie at anchor. The ship in the center has capsized and small craft sail around it. The name of the main ship has been painted on the stern with the coat of arms above. A small boat rows people out to the ship.
De Maas bij Dordrecht (1663, 60x77cm; 600x799pix, 55kb)
–-S#> The Dutch Attack on the Medway (1670, 91x157cm; 470x800pix, 64kb) almost monochrome _ This painting depicts the important naval battle at Medway between the English and the Dutch naval fleet in 1667. The painting functions as a celebratory image of victory for the Dutch and is shown from their perspective. The flag on the ship at center bears the artist's signature and is dated 1670. The year 1670 is not a year when the Dutch were at war with the English. The three Dutch-Anglo Wars took place in 1652-1654, 1665-1667 and 1672-1674. This picture therefore represents an example of Bellevois painting the 1667 Medway battle, one of the most important Dutch victories of the Dutch-Anglo Wars, at the request of a patron during a time of peace. At the center of the composition is an English naval frigate which has been captured by the Dutch, and the English flag is being removed and replaced with the Dutch flag, which is flying at the stern of the ship. The ship at right is possibly a Dutch East Indiaman, and its flag with three small crosses may be the Amsterdam admiralty flag. It is possible that the building shown burning at the far left is Sheerness and the structure on fire at the extreme right might be Rochester Cathedral.
–-S#> Stormy seas with a shipwreck and fishermen in the foreground (1670, 72x106cm; 458x677pix, 43kb) almost monochrome; signed with monogram jhb on a piece of driftwood lower center.

Born on a 17 September:

^ >1907 Anne Ophelia Todd Dowden , US painter of flowers, insects, herbs and birds, who died on 11 January 2007. She was recognized for the anatomical accuracy and beauty of her paintings. She worked mainly in watercolor, producing elegantly detailed images. She used only living specimens for models and kept extensive collections of preserved flowers and insects as reference material. Her works reflect the simple pleasure of looking at nature. Her career as a botanical illustrator and author resulted in more than 20 books, many of them for younger readers. Most were written and illustrated by her, though she also illustrated books written by others. Her subjects included poisonous plants, flower pollination and state flowers as well as flowers mentioned in the Bible and in the writings of Shakespeare. Two of her books won awards from the American Library Association. One of them was Wild Green Things in the City: A Book of Weeds (1972), about native weeds that grow in New York City, her home for more than 50 years. She spent three years scouring the city in search of specimens to illustrate, investigating warehouse areas, parking lots, docks, sites of torn-down buildings and the edges of railroad yards.
     Anne Ophelia Todd Dowden was born in Denver. She grew up in Boulder, where she roamed the foothills of the Rocky Mountains, collecting and drawing nature specimens. As a teenager she made medical drawings for her father, head of pathology at the University of Colorado Medical School. She was awarded a degree in art in 1930 from Carnegie Institute of Technology in Pittsburgh (now Carnegie-Mellon University), moving shortly after to New York. In 1934 she married Raymond Baxter Dowden, also an artist, whom she had met while studying at Carnegie. He was for many years on the faculty of the Cooper Union School of Art and Architecture. He died in 1982. They had no children.
     As a young artist in New York, Ms. Dowden hoped to become a book illustrator, but met with little success. She supported herself for almost two decades by teaching at the Pratt Institute and then at Manhattanville College, where she founded the art department. She also designed floral printed wallpaper and drapery. Dowden was in her late 40s when regular freelance illustration commissions for Life, House Beautiful, Natural History and other magazines enabled her to make the transition to full-time botanical illustration. She was in her 50s when she began publishing books. Her second, Look at a Flower (1963), remained in print for 22 years. Dowden returned to Boulder in 1990. Paintings from her last book, Poisons in Our Path: Plants That Harm and Heal (1994), were shown at the Denver Botanic Gardens in 2002. Dowden was among the US’s leading botanical artists of the 20th century, and probably the most popular.
–- White Pine (Pinus strobus) (685x719pix, 74kb)
–- Red Prairie Sunflower (Helianthus sp.) (669x496pix, 47kb)
–- (autumn leaves) (653x497pix, 41kb) _ They are of White ash, Black cherry, Shadbrush, Red maple, Ohio buckeye, and American elm.
–- (flowers with their leaves) (444x681pix, 42kb) _ They are of Eglantine (sweet-briar) [Rosa rubiginosa L.], Musk-rose (trailing rose) [Rosa arvensis Huds.], Woodbine (honeysuckle) [Lonicera periclymenum L.],
–- Sunflowers (532x325pix, 21kb) —(070117)

^ 1883 Henri Valensi, French artist who died in 1969. — {Il n'y a pas de raison de croire que l'on disait, ce qui de plus n'est pas grammatical: “Valensi va lent si des gens l'observent”. Et il n'est pas prouvé qu'en employant de la peinture et une toile valant six francs, il produisait des Valensi valant six cent francs, au début de sa carrière, valant six mille francs plus tard, valant six cent mille francs après sa mort, et valant six millions d'euros maintenant.}— Né à Alger, il étudie sous la direction de Jules Lefebvre et de Tony Robert-Fleury. Avant la Grande Guerre, il voyage beaucoup, dans toute l'Europe et jusqu'en Grèce et en Turquie. Sa première exposition en 1910 se déroule à Constantinople. Il expose ensuite au Salon des Indépendants.
Mont Saint-Michel (1917, 15x23cm; 357x480pix, 20kb)
L'Horloge de Seddul-Bahr, les Dardanelles (1915, 34x42cm; 315x400pix, 45kb)
L'air autour des scieurs de Long (409x336pix, 19kb)

>1874 Enrique Segura Armengot [–12 Dec 1951], Spanish painter. — Related to Enrique Segura Iglesias [1906 – 23 Dec 1994] and Agustín Segura Iglesias [1900– 03 Jul 1988]? — Estudió en la Academia de Bellas Artes de San Carlos de Valencia. En 1898 se trasladó a Madrid, donde estudió con Joaquín Sorolla y asistió a las clases de pintura del Círculo de Bellas Artes. En 1902 viajó a Barcelona y, tras la muerte de su padre, se estableció de nuevo en Castellón. A partir de entonces alternó la actividad comercial con la pintura. Su obra se enmarca en la corriente clásica seguida por los pintores castellonenses de principio de siglo, sobre todo Castell y Puig Roda. — Hijo de Enrique Segura Boix y de Isabel Armengot Doménech, comerciantes del cáñamo y sus aplicaciones, Enrique nació en el Huerto de Sogueros el 17 de septiembre de 1874. Después lo harían Adrián y Consuelo. En aquella casa se guardaron siempre múltiples recuerdos del abuelo Joaquín Armengot Vila, famoso artesano y prestigioso filaor en la industria del cáñamo, que consiguió en su tiempo un Diploma de Honor y el título de Socio de Mérito del Casino de Artesanos, así como el nombramiento de Caballero de la Real Orden de Isabel la Católica. Primeros estudios del niño Enrique en la Escuela del Real y en el Instituto de Santa Clara. Sus aptitudes artísticas, amplificadas por el pintor Eduardo Laforet, impulsaron a sus padres a matricularlo en la Escuela de Bellas Artes San Carlos, en Valencia en 1892, precisamente en la misma promoción que Castell y Aliaga. Y todo iba muy bien hasta que fue llamado a filas. Sus padres tomaron la decisión de liberarlo del servicio militar para que siguiera en sus estudios, aunque tuvieron que pagar nada menos que 1500 pesetas de la época, una fortuna. El chico aprovechó el tiempo dibujando la obra el Salvador de Juan de Juanes, cuya copia sobre tabla de 110x90cm adornó el altar de campaña en la misa celebrada en la Plaza del Rey como petición de ayuda divina por los soldados castellonenses presentes en la guerra de Cuba. Al acabar en Valencia se matriculó en la Academia de San Fernando, en Madrid, donde tuvo la suerte de encontrar como profesor a Joaquín Sorolla, cuyo taller frecuentó y también pudo contactar con el mítico Mariano Benlliure. Por ellos presentó una exposición en 1901, con su Huerto de Sogueros y otras estampas costumbristas de Castellón al óleo, aunque su obra se encontraba con más altos niveles de perfección en el dibujo, como puede apreciarse en su retrato al carboncillo del guitarrista Tárrega, ahora también en el Museu. Su cuadro Huerto de Sogueros, que es historia y documento, ha sido utilizado muchas veces para ilustrar catálogos y publicaciones. Ahora está en el Museu del Camí la Mar, pero el autor ya lo presentó en 1901 en una exposición en Madrid que provocó notable eco. Un tiempo en Barcelona afiliado al Círculo Artístico, le permitió conocer y admirar a Puig Roda y completar su oficio como artista, capaz de hacer escultura y pintar óleo, acuarela, pastel y lápiz carbón, todo a la vez. Vuelta a casa Después de una vida trepidante, en libertad, al artista le raptó la melancolía por la muerte de su padre en 1905 y su obligación familiar de regresar a casa. Aunque con el tiempo volvieron a brillar las estrellas cuando, después de un largo noviazgo desde sus tiempos en Barcelona, el 16 de junio de 1916 contrajo matrimonio con su novia de siempre, la catalana Rosa Gimeno Benet. Más alegría cuando, con el tiempo, les nacieron tres hijos, Enrique, Vicente y Rosa. Los hermanos Segura Armengot tuvieron que hacerse cargo de la totalidad del negocio, cuerdas, cordeles, cestería y ferretería, un establecimiento que ha llegado en el entorno del edificio de Correos hasta nuestros días. Los castellonenses tuvieron cerca a Enrique en la posguerra como profesor de dibujo en academias e institutos, por sus exposiciones espaciadas y brillantes, en el Café La Habana, en la sala Estilo, en el antiguo Círculo Mercantil... Y aunque falleció el 12 de diciembre del 1951, todavía en el 2002 pudimos admirar su poética obra Plaza del Rey en la exposición Paisatge d´una Ciutat. —{091130)

^ 1857 Harry Wilson Watrous, US artist who died in 1940. — LINKS
–-S#> Still Life (1930, 77x91cm; x799pix, 61kb)
–-S#> The Jar (55x46cm; 799xpix, 33kb)
–-S#> Still Life with Gilded Flowers (cm; 800x534pix, 50kb)
–-S#> The Silver Duck (cm; 800x620pix, 64kb)
Buddha and Roman Glass (21x29cm; 375x500pix, 40kb)
Vases (Sep 1932, 400x338pix, 39kb)
Solitaire (625x450, 38kb)
Sophistication (400x339pix, 33kb)

^ 1822 Frederick Goodall, English orientalist painter who died on 28 July 1904. — biographyLINKS
–- (an oriental mountainous coastal landscape with shepherds) (1874, 65x99cm; 643x1000pix, 118kb)
The Song of the Nubian Slave (1865, 71x92cm; 457x600pix, 71kb)

1775 François~Marius Granet, French painter who died (full coverage) on 21 November 1849 —(060915)

Happened on a 17 September:

El pintor catalán Modest Cuixart [1925~] recibe el Premio Internacional de pintura, de la V Bienal de São Paulo.
Nemesius Hals (45x38cm; 465x400pix, 89kb)

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