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DEATHS: 1849 PAPÉTY — 1581 POURBUS
^ Died on 19 September 1849: Dominique-Louis-Féréal Papéty, French painter born on 12 August 1815. — {Pas papetier, Papéty, pas petit parmi les peintres, a-t-il vécu assez longtemps pour qu'on l'appelle “papa Papéty”?}
— After studying in Marseille under Augustin Aubert [1781-1857], he moved to Paris and entered the studio of Léon Cogniet. In 1836 he won the Prix de Rome and from 1836 to 1841 he was a student at the French Academy in Rome. His most famous painting, The Dream of Happiness, exhibited at the Paris Salon of 1843, was inspired by the writings of the socialist philosopher Charles Fourier [07 Apr 1772 – 10 Oct 1837]. He was greatly interested in Greek and Roman art, paying two visits to Greece in 1846 and 1847, and many of his later paintings have affinities with the Néo~Grec style popularized by Gérôme and his followers. Papéty died in the cholera epidemic of 1849.
— Son of a soap manufacturer, Papéty received his first artistic training in Marseille under Augustin Aubert [1781–1857]. In 1835 he moved to Paris and entered the atelier of Léon Cogniet at the Ecole des Beaux-Arts. He won the Prix de Rome in 1836 with Moses Striking the Rock, and from 1836 to 1841 he was consequently at the Académie de France in Rome, which was then under the directorship of Ingres. This period in Rome was Papety’s most productive. He distinguished himself as a history painter of classical and religious subjects and as an orientalist. He also produced a number of utopian scenes in antique settings influenced by the socialist theories of the French philosopher Charles Fourier [1772–1837]. The most famous painting of the latter category, and also his most significant work, is The Dream of Happiness, which he began in Rome in 1837. It had a great success when, still unfinished, it was exhibited in Paris in 1841, though the critics were less favorable when it was shown finished at the Salon of 1843. During his stay in Rome, Papety made copies after works by Raphael, such as Mercure (1840). He also developed an ethnographic interest and produced numerous paintings on Italian subjects, under the influence of Léopold Robert. Papety made short trips to Florence, Naples, Venice, and Padua, painting the various regional and social types and costumes, such as lazzaroni and pifferari. In these works he tried to show that the modern Italians had retained the thoughtful gravitas, nobility and attitudes of their ancient counterparts, as in Paysan Italien, whose figure stands with a classical pose.

LINKS
Daphnis et Chloé (150x115cm; _ ZOOMable)
The Temptation of Saint Hilarion _ detail.
An Italian Peasant Girl
A French Peasant Girl
A Neapolitan Fisherman
An Italian Peasant Woman and Child
A Chinese Girl (22x28cm)
–- Télémaque chez Calypso (1851, 61x80cm) d'après Papéty, gravure de Paul Allais.
—(050918)
^ Died on 19 September 1581: Frans Pourbus (or Poerbus) Sr., Dutch painter born in 1545.
— He was the son and student of Pieter Pourbus (1523 – 30 Jan 15842 portraits) and the grandson, on his mother's side, of Lancelot Blondeel. Frans Pourbus Sr. painted religious pictures and portraits. He worked mainly in Antwerp, where he was also the student of Frans Floris [1516-1570], whose niece he married. His religious works are usually in the Italianizing style of Floris, but markedly Reformed Church in content; his portraits (like his father's) are close to the sober style of Anthonis Mor [1517-1577]. Frans Sr. was the father of Frans Pourbus Jr. [1569-1622], the most international in style of any member of the family.

LINKS
A Man (98kb)
A Young Woman (1581, 41x34cm; 979x770pix, 118kb) _ The painting is signed above the shoulder (F. POURBUS fc.) and dated upper left (ANN° DNI 1581). It is the last known, signed and dated work by the Bruges master, who was one of the leading portraitists of his day in the Low Countries.
A Woman (87x78cm; 810x698pix, 66kb) _ This is a traditional Netherlandish portrait executed under the influence of Italinan painting, especially that of Titian.
Viglius van Aytta [1507-1577] (1567, 108x84cm) a lawyer, president of the Secret Cabinet of the Netherlands in Brussels, of which Pourbus Sr. painted a 1571 portrait and many others.
A Man, head and shoulders (600x492pix)
Abraham Grapheus (43x34cm; 132kb) _ Grapheus, 65 at the time, a messenger at the Antwerp Painters' Guild, was also portrayed by Jordaens (e.g. Two Studies of the Head of Abraham Grapheus, 45x52cm). Jordaens used the head on the left for Saint Mark at the right of The Four Evangelists, 1625; 924x804pix, 232kb. The head on the right appears on the right of Jordaens's Allegory of Fertility; 800x1080pix, 166kb) (as the head of a satyr), and in paintings by Cornelis de Vos [1584-1651], and by the young van Dyck (as The Penitent Apostle Saint Peter, 1617; 850x657pix, 114kb)
—(060905)

Died on a 19 September:


^ 1984 Anna Lois White, Auckland New Zealander artist born on 02 November 1903, the youngest of four children. Her father was an architect and both parents were devout Methodists. While her family and close friends called her Anna, she always signed her works 'A. Lois White', and was known in the art world as Lois (pronounced 'Loyce'). An outstanding scholar, singer, swimmer and artist at secondary school, White enrolled at Elam School of Art in 1923. Most of her years there were under the direction of A.J.C. “Archie” Fisher, who early on recognized her talent and fostered it. After graduating in 1927, White obtained part-time teaching positions at Elam and Takapuna Grammar School, and in 1934 she began working at Elam full-time. She occupied a number of positions at the University until her retirement in 1963. Regarded by many during the 1950s and 60s as little more than a fashionable political commentator of the 1930s who failed to live up to her early promise, White's work was rediscovered in the 1970s, and she is now recognized as one of New Zealand's most distinctive and individual artists of the 20th Century. Early works such as 'Funeral march' (1936) and 'War makers' (1937) secured White's reputation as a political commentator, although they were often compared unfavorably with official war painting. Alongside these political compositions however, White was also painting works about female sexuality, with an emphasis on decorative stylization, and in the late 1940s and 1950s, she began to concentrate exclusively on female allegory. However, her devotion to narrative placed her in opposition to New Zealand's dominant tradition of landscape painting, as well as to contemporary modernist schools of abstraction. Lois White was gradually alienated from her peers, and her themes - religious, political, sexual - were often lost on contemporary audiences. She was marginalized by the art world and took early retirement from her lecturer's position at Elam when criticism from both students and younger staff with new ideas became unbearable. It was not until one or two of her early works appeared in books and retrospective exhibitions in the 1970s that her importance as a New Zealand artist was finally recognized While the majority of her works are in oil, she also produced a large number of drawings, and, when there was a shortage of materials during the War, developed a new medium in varnished watercolor.
Self-Portrait (1932; 780x601kb 80kb) Head and shoulders portrait of the artist as a young woman with short hair brushed back from her forehead. She is wearing a red blouse and green jacket.
Ode to Autumn (1945; 505x331pix, 87kb gif)—(060906)

1973 William Wilson Wurster, Californian architect born on 20 October 1895. —(060906)

1967 Zinaida Yevgen'yevna Serebryakova dies in Paris (where she lived since September 1924), Russian painter born Lansere on 10 December 1884 (Julian or Gregorian??).
— Self-Portrait at the Dressing Table (1909)
— House of Cards (1919) —(060906)

1955 Carl Wilhelm Emil Milles, Swedish artist born on 23 June 1875. —(060908)

1895 Gerardina Jacoba Sande van Bakhuyzen, Dutch artist born on 27 July 1826.

^ 1863 Joseph Nigg, Austrian {not African~Austrian} porcelain painter born on 13 October 1782. — {Is there some Nigg art niggard who keeps much of it off the Internet?} — Nigg is the best flower painter ever employed by the Viennese manufactory, where he was active between 1799 and 1848. Recognized for his depictions of lush arangements of flowers and fruit, often in vases perched on a marble slab, Nigg was following a tradition practiced at Meissen, Fürstenberg, and numerous other European porcelain factories. Nigg reproduced the work of flower painters like Van Huysum, as well as his own easel paintings. Whilst generally known for his plaques, Nigg also painted on vases and other forms at the Vienna factory.
–-S#> Still-Life of a Bouquet in a Vase (1835 porcelain plaque 69x55cm; 201kb) _ There is a bouquet of garden flowers displayed in a two-handled vase {only one handle and very little of the vase is at all visible} standing on a marble surface next to grapes and a few leaves, a snail on the left side. — (050918)

^ 1745 Jean-Baptiste van Loo, Aix-en-Provence French painter, born on 11 January 1684. He was the grandson of Jacob van Loo [1614 – 27 Nov 1670], a Flemish history and genre painter working in Amsterdam before moving to Paris, where he distinguished himself as a portrait painter. He showed early artistic promise; first trained by his father Louis-Abraham van Loo [1656-1712], he acquired a reputation by painting religious pictures for churches at Aix-en-Provence and Toulon, including The Agony of St Joseph for Sainte Marie-Madeleine at Aix. In 1712 he visited Nice, Monaco and Genoa and during the following year worked for Victor Amadeus II, Duke of Savoy, and other noblemen. The patronage he received enabled him in 1714 to go to Rome, where he studied under Benedetto Lutti and painted works for churches, including a Flagellation. There he also helped to restore 16th-century paintings by Giulio Romano and Primaticcio. After a successful career as a history painter in Italy and France he went to England where he before achieved even greater success as a portrait painter. He had earlier furthered the career of his brother Carle Vanloo [], the family’s most famous member. — Three of the sons of Jean-Baptiste van Loo became painters. The eldest, Louis-Michel van Loo [02 Mar 1707 – 20 Mar 1771], worked in Rome and Paris but is chiefly distinguished for the powerful influence that he exerted on the development of Spanish painting while working as portrait painter to the Spanish court. The promising career of François van Loo [1708–1732] was cut short by his early death. The youngest of the three, Amédée van Loo [25 Aug 1719 – 15 Nov 1795], became court painter to Frederick the Great of Prussia, producing history paintings and portraits. — LINKS
Apollo and Daphne (157x127cm; 600x491pix, 65kb _ ZOOM to 1925x1576pix, 286kb)
The Triumph of Galatea (180kb)
Louis XV roi de France et de Navarre (1710-1774) (1729, 304x180cm) de pied, en grand manteau royal. —(060906)


Born on a 19 September:

^ 1967 Ugo Hohenberger , Austrian painter.
Tanz (2004; 112x102cm; 1024x919pix, 72kb) sloppy dark bluish green scribble on dirty yellow and off white background. —(080410)

^ 1934 Gerhard von Graevenitz, German painter who died on 25 August 1983
— (untitled?) (1962 serigraph, 42x42cm, 388x393pix, 44kb) an array of 20x20 black triangles variously oriented, on a white background. _ This rather boring black-and-white picture has been transformed by the pseudonymous Gersoft Craedelweevulz who has more than 2500 small triangles, many of them in various colors, to Graevenitz's 400, plus six large superimposed colorful approximate triangles, not in just one, but in each of a series of twelve related pictures (you can click instantly from any of them to six of the others). Their titles are permutations of the words Art, Beauty, Color, Delight, Excellence, Fun. Each image is screen filling, 335kb. They are represented by their initials in the following links:
ABCEFD BCEFDA CEFDAB DABCEF EFDABC FDABCE
AFDCEB BAFDCE CEBAFD DCEBAF EBAFDC FDCEBA
–- Kinetisches Objekt, vier exentrische Streifen, je zwei synchron (1975, 122x122cm; 494x525pix, 11kb) _ This simplistic picture of four dark bars on a light background has been metamorphosed by Craedelweevuls into the splendid pair of intricate and colorful abstractions (best appreciated at maximum magnification)
      _ Kin Object to Eccentric Strife and Swipe Sin Crown (2007; 550x778pix, 136kb _ ZOOM 1 to 778x1100pix, 289kb _ ZOOM 2 to 1100x1556pix, 618kb _ ZOOM 3 to 1710x2418pix, 1633kb _ ZOOM 4 to 2658x3760pix, 4286kb) and
      _ Cow Teaches Objective for Exempt Rich Striving Swine Signing Wrong (2007; 550x778pix, 136kb _ ZOOM 1 to 778x1100pix, 289kb _ ZOOM 2 to 1100x1556pix, 618kb _ ZOOM 3 to 1710x2418pix, 1633kb _ ZOOM 4 to 2658x3760pix, 4286kb)
16 small images at heidireckermann.—(070917)

^ >1919 Juan Barjola [–21 Dec 2004], Spanish painter.Fue uno de los mejores exponentes del expresionismo español. Tras cursar estudios en la Escuela de Artes y Oficios de Badajoz, se trasladó a Madrid para completar su formación en la Escuela de Bellas Artes de San Fernando. Aunque nunca abandonó del todo su tierra natal, a la que regresa continuamente, se trasladó a Madrid, ciudad que le brindó el marco idóneo para su actividad artística. Es allí donde conoció a otros artistas que le acompañarían en sus viajes a París, ciudad en la que se entró en contacto con la vanguardia pictórica de su tiempo.
Untitled (1597x1266pix, 1095kb) three misshapen burlesque dancers? _ The pseudonymous Jean Bariolé has amazingly elevated and transformed this into the 99%-abstraction 1%-aptly titled
      _ Three Gulls, Not Three Gals (2006; screen filling, 250kb _ ZOOM to 1864x2636pix, 1659kb). Some claim to see four gulls in the picture, but actually the fourth bird is a pigeon. Bariolé further transformed his picture (minus the gulls and the pigeon, which must have flown away) into the symmetrical pure abstractions:
      _ Slag 3 Gals (2006; 165x233pix, 22kb _ ZOOM 2 to 233x330pix, 39kb _ ZOOM 3 to 330x466pix, 72kb _ ZOOM 4 to 466x660pix, 136kb _ ZOOM 5 to 659x932pix, 264kb _ ZOOM 6 to 932x1318pix, 500kb _ ZOOM 7 to 1318x1864pix, 1026kb _ ZOOM 8 to 1864x2636pix, 1880kb _ ZOOM 9 to 2636x3728pix, 3468kb) and
      _ Gals 3 Slag (2006; 165x233pix, 22kb _ ZOOM 2 to 233x330pix, 39kb _ ZOOM 3 to 330x466pix, 72kb _ ZOOM 4 to 466x660pix, 136kb _ ZOOM 5 to 659x932pix, 264kb _ ZOOM 6 to 932x1318pix, 500kb _ ZOOM 7 to 1318x1864pix, 1026kb _ ZOOM 8 to 1864x2636pix, 1880kb _ ZOOM 9 to 2636x3728pix, 3468kb)
The Patch (1958, 60x80cm; 400x531pix, 47kb)
Tauromaquia (81x100 cm; 406x507pix, 80kb) _ and what looks like preliminary painted sketches:
      _ Tauromaquia (81x107cm; 2068x2547pix, 3082kb) and the somewhat different
      _ Tauromaquia (81x100 cm; 401x500pix, 59kb)—(080918)

1918 Pablita Velarde “Tse Tsan” (Golden Dawn), US Amerindian artist. Starting at age 5, she attended St. Catherine's Indian Boarding School in Santa Fe, where she was given the name Pablita, and later studied under Dorothy Dunn and Tonita Peña at the Indian Art School in Santa Fe. An extended tour in 1938 with Western writer–artist Ernest Thompson Seton showed her new directions and suggested a role for her in Native North American art. She taught briefly at Santa Clara Day School, but left to pursue a full-time art career. She built the first truly professional studio in the Pueblos. She married Herbert O. Hardin, an Anglo policeman, and had two children: Herbert Hardin Jr. and Helen Hardin. Velarde worked in casein, tempera, oil and acrylic, and produced many murals and paintings portraying the familiar scenes of her Pueblo world. By 1950 she was the most important woman painter in the Pueblos and enjoyed international recognition. In 1956 she adopted a new technique using fine hand-ground earth pigments. Her work appeared in many publications, notably in her own prize-winning volume on Pueblo folk tales: Old Father, the Story Teller (1989). The meteoric rise of her daughter, Helen Hardin, caused an unfortunate rift in their relationship, and for a period affected the careers of both women. — LINKS
Pueblo Man and Woman (1940; 700x451pix, 93kb) They wear typical Pueblo clothing of the 1930s.
Bear (1940, 40x28cm; 399x600pix, 68kb) _ The black bear, native to New Mexico is greatly respected by Pueblo people. “Black” bears vary in color from black to blond; this one is right in the middle: a medium brown. .—(060906)

1907 Ali Hadi Bara, Iranian artist who died in 1971. —(060905)

1899 Emil Bellus, Slovene artist who died on 14 December 1979. —(060905)

1868 Robert Rittmeyer, Swiss architect who died on 12 April 1960. —(060906)


^ 1867 Arthur Rakham, English illustrator who died on 06 September 1939. While earning his living as a clerk at the Westminster Fire Insurance Office (1885–1892), he got trained at the Lambeth School of Art by William Llewellyn [1858–1941], later PRA. Rackham gained early experience as an illustrator by working (1892–1896) for The Westminster Budget and other popular magazines. He became widely known for his illustrations to the classic children’s stories and fairy tales commissioned primarily by Heinemann Publishers in special editions from 1900 to 1914. Books such as Grimm’s Fairy Tales (1900), his first popular success, and Peter Pan in Kensington Gardens (1906) brought out his gift for characterizing fairies, gnomes and witches. Despite the fantasy of his subjects, Rackham maintained a strict sense of reality by giving his creatures human traits and foibles, and naturalistic, even known, settings. The heyday of the luxuriously printed and illustrated ‘gift book’ at the beginning of the 20th century coincided with Rackham’s greatest achievements as an illustrator.
The Rhinemaidens teasing Alberich (illustration from The Rhinegold and The Valkyries by Richard Wagner, 1910)
Bye, baby bunting / Daddy's gone a-hunting, / To get a little rabbit's skin / To wrap the baby bunting in.

1865 Frank Eugene Smith, US artist who died on 16 December 1936. —(060905)

^ 1821 (19 Nov?) David Joseph Bles, Dutch painter and printmaker who died on 03 September (03 November?) 1899. — Relative? of Joseph Bless [1825-1875]? — He received his first training at the drawing academy in The Hague. He then worked in the studio of Cornelis Kruseman from 1838 to 1841, at the same time as Alexander Hugo Bakker Korff. Bles studied under Joseph Robert-Fleury in Paris in the following two years. Back in The Hague in 1843, he quickly attracted attention with his submissions to exhibitions. He specialized in the playful depiction of the well-to-do middle classes in domestic settings, often with a coquettish young woman as the main character.
–-S#> A Young Man, bust length, in an 18th century hat and costume (1864, 18x15cm oval; 480x390pix, 44kb _ ZOOM to 1920x1620pix, 221kb and admire the extensive surface damage due to aging, badly in need of restauration, if at all possible) _ In this pastel, Bles repeats the central figure from his painting De knappe winkeldochter painted some eight years earlier, where this young man is seated in a shoeshop, paying no attention to the shop owner who is busy fitting him with shoes, instead gazing appreciatively at the old man's pretty young daughter. Bles seems to have retained many preparatory studies for his various paintings, and regularly repeated at a later date fragments of various works that he particularly liked, often, as here, in another medium.
–-S#> An Elegant Lady and her dog, by a fireplace (18x12cm; _ ZOOM to 1440x936pix, 333kb) —(050918)

^ 1596 Jacques de Stella, French painter, draftsman, and engraver, who died on 29 April 1657. Stella is an example of a painter who enjoyed great esteem in his lifetime, both as an artist and a patron (of Nicolas Poussin), but whose work is no longer appreciated. Most of the early part of his career was spent in Italy, both in Florence and Rome, and he must have been strongly influenced by the small Madonnas of Raphael. He became a friend of Poussin in Rome and acquired numerous pictures by him, including the Venus and Aeneas now at Rouen. Poussin influenced Stella's sweetly decorative style (which is similar in scale and charm to that of Lubin Baugin) to the point where his pictures became cold and hard and lacking in sentimentality. Unusually for a Frenchman, Stella sometimes painted on a precious ground such as lapis-lazuli or marble, allowing the pattern of the stone to form part of the composition.
— He was the son of François Stellaert [1563–1605], a painter and dealer of Flemish origin who had worked in Italy and had settled in Lyon. He died too early to have trained Jacques, who perhaps received his first lessons from the painter Horace Le Blanc, who had returned to his native town from Italy in 1610. About 1619 Stella went to Italy, staying first in Florence, where he worked for Cosimo II de’ Medici, Grand Duke of Tuscany, and met Nicolas Poussin. This Florentine period was decisive in Stella’s training: he came under the influence of such Mannerist artists as Jacques Callot, to whose work Stella’s early engraving the Feast of the Knights of St John (1621) has resemblances, and Jacopo Ligozzi. The painting Lucius Albinus and the Vestal Virgins also dates from this period, and its busy, slightly maladroit composition and its details inspired by the Antique indicate contacts with the art of northern painters working in Italy, such as Adam Elsheimer and Pieter Lastman. In 1623 Stella was in Rome, where he lived for about ten years. His friendship with Poussin grew, and he came into contact with a variety of other influences, including the art of Raphael, the Carraci and Domenichino. He also acquired a taste for realistic detail, often of a rustic and sometimes even of a macabre kind, and for the effects of nocturnal light, as in the drawing Olympia Abandoned by Birrenus (1633). His activity at this time was concentrated principally in two fields: drawings for engraved illustrations, including a series of 45 sheets on the Life of Filippo Neri as well as an Allegory of the Death of Cardinal Scipio Borghese (1633); and small paintings on slate, marble or hardstone, such as Suzanna and the Elders and Joseph and Potiphar’s Wife (1631). Despite a brief period in prison in 1633, Stella enjoyed a considerable reputation, so much so that Philip IV of Spain proposed that he come to his court, an offer that Stella declined. — Stella in Prison (1810, 194x144cm; 958x700, 90kb) by Granet [17 Sep 1775 – 21 Nov 1849].
— Martin de Charmois de was a student of Stella. — LINKS
Mariage de la Vierge (1645, 108x140cm; 600x779pix, 103kb _ ZOOM to 1559x2024pix, 277kb)
Minerva and the Muses (1645, 116x162cm; 702x1001pix, 127kb) _ Stella's art, although sometimes influenced by Poussin in terms of its composition, was often very much more light-hearted. Although he sometimes used Poussinesque figures in his larger compositions, Stella never interested himself in the moral and intellectual side of Poussin's art. The mythological story depicted in this painting is the following. Minerva (Greek Pallas Athena) was one of the major deities of ancient Greece and Rome, and, like Apollo, a benevolent and civilizing influence. In Greek mythology she was the daughter of Jupiter (Zeus), and sprang fully armed from his head. The familiar figure in armour with spear, shield and helmet, the patroness of institutions of learning and the arts, seen in civic heraldry, sculpture and painting, is only one of her many aspects. In an early form she was a war goddess, hence her weapons. She was the patroness of Athens, and the Parthenon was her temple. Ovid describes (Met. 5:250-268) how Minerva visited the Muses on Mt Helicon, their home, to listen to their song and story and to see the sacred spring, the Hippocrene, which flowed from a rock after it had been struck by the hoof of the winged horse, Pegasus. The scene is a wooded mountain-side where the company of Muses are playing their instruments or perusing books. Pegasus is seen in the background. The association of Minerva and the Muses was in line with the tradition that made her patroness of the arts.
Christ Served by the Angels (94kb) —(051120)


Happened on a 19 September:

1746 Prince Charles leaves Scotland after his failed attempt to take back Scotland for the Stewarts during the reign of Hanovarian George II. Flora MacDonald helps in his escape by dressing him as her maid, Betty Burke, and bringing him thus disguised to Skye, from whence he departs to France, dressed again in the proper attire of a Scottish man, at least in the painting .Flora MacDonald's Farewell to Bonnie Prince Charlie (700x528pix, 34kb) by George William Joy [07 Jul 1844 – 28 Oct 1925]. —(060914)


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