ART 4 2-DAY 20 September v.8.80
DEATH: 1932 SLEVOGT
BIRTH: 1819 CHASSÉRIAU
>Died on 20 September 1932: Max Slevogt,
painter, printmaker, and illustrator, born on 08 October 1868.
— His father, adjutant and friend of the future Prince Regent, Luitpold [1821–1912], died when Slevogt was just two years old. His mother moved to Würzburg, where he spent his schooldays. Even in his childhood and adolescence, family connections brought Slevogt to Pfalz, to an aunt in Landau and to the Finkler family in Neukastel. Initially he had planned to become a musician, but he began to study painting at the Akademie der Bildenden Künste in Munich in 1885. His fellow students included Gabriel von Hackl [1843–1926], Karl Raupp [1837–1918], Ludwig Herterich [1856–1932], and Wilhelm von Diez [1839–1907]. In 1889 he spent a term at the Académie Julian in Paris. At that time Impressionism impressed him very little. Following a trip to Italy in 1890 with the painter Robert Breyer [1866–1941] who had befriended him at the Akademie, he began to work independently as a painter in Munich. In 1893 he participated in the first exhibition of the newly founded Munich Secession, exhibiting Wrestling School (1893); the judges wanted to refuse this painting as immoral since its entwined and naked men caused offence. In the following years his paintings often appeared harsh and non-academic to conservative Munich circles. At this time Slevogt also made contributions to the journals Jugend and Simplizissimus, which were significant in the development of his graphic work. In 1898 he married his childhood friend Antonie (‘Nini’) Finkler. In the same year he went to Neukastel and on an autumn trip to an exhibition in Amsterdam of Rembrandt’s work with the art historian Karl Voll [1867–1917]. Voll instructed him in the history of art and published the first monograph on him in 1912.
— Self-Portrait (1888; 600x430pix)
–- Self-Portrait (drypoint 20x15cm; 688x545pix, 33kb _ ZOOM to 1032x818pix, 77kb)
–- different Self-Portrait (drypoint 24x18cm; 688x545pix, 33kb _ ZOOM to 1032x818pix, 77kb)
— Lachsstilleben (1923; 600x802pix _ ZOOM to 1400x1871pix, 606kb)_ The pseudonymous Min Slewogre has metamorphosed this painting of a bottle and decapitated fish into not one but a series of twenty-four swirly abstract pictures (all of 932x1318pix, 622kb; ZOOMable to 2636x3728pix, 5240kb) which are related to each other (you can click instantaneously from anyone of them to the other twenty-three) in the same way as their titles, permutations of the words Amazing, Beautiful, Creative, and Delightful (or any other words with those initials which you may prefer), represented by their initials in the following table of links:
— Fressender Tiger (im Frankfurter Zoo) (1901; 600x668pix _ ZOOM to 1400x1559pix)
— Mädchen wor dem Löwenkäfig (im Frankfurter Zoo) (1901; 600x920pix _ ZOOM to 1400x2147pix)
— Das Champagnerlied (der weisse Andrade) (1902; 600x440pix _ ZOOM to 1400x1027pix)
— The Artist's Nephew (1891, 51x41cm)
— Seeräuber (610x800pix, 158kb) grainy image (canvas texture?)
— The Singer Francisco d'Andrade as Don Giovanni
— Sudanesische Weiber
— Frau Voll mit ihrer Tochter (1895; 600x635pix)
— Segelboote auf der Alster am Abend (1905; 600x810pix)
— 90 images at Bildindex most of them are grayscale.
— 49 details of frescoes monochrome pinkish gray.
Born on 20 September 1819: Théodore
Chassériau, Parisian painter and printmaker who died
on 08 October 1856.
— Born in Haiti at El Limón, near Samaná (now in the Dominican Republic), Chassériau moved in 1822 with his family to Paris, where he received a bourgeois upbringing under the supervision of an older brother. A precociously gifted draftsman, he entered Ingres’s studio at the age of 11 and remained there until Ingres left to head the Académie de France in Rome in 1834. He made his Salon début in 1836 with several portraits and religious subjects, including Cain Accursed, for which he received a third-class medal. Among his many submissions in subsequent years were Susanna Bathing (1839), a Marine Venus (1838) and the Toilet of Esther (1841); these three paintings of nude female figures combine an idealization derived from Ingres with a sensuality characteristic of Chassériau.
He was the most gifted student of Ingres, whose studio in Rome in entered when he was 11, but in the 1840s he conceived an admiration for Delacroix and attempted, with considerable success, to combine Ingres's Classical linear grace with Delacroix's Romantic color. His chief work was the decoration of the Cour des Comptes in the Palais d'Orsay, Paris, with allegorical scenes of Peace and War (1844-1848), but these were almost completely destroyed by fire. There are other examples of his decorative work, however, in various churches in Paris. Chassériau was also an outstanding portraitist and painted nudes and North African scenes (he made a visit there in 1846).
Les Deux Soeurs (1843; _ ZOOMable to 1920x1329pix) _ The pseudonymous Dorothé Chat-Sérieux claims, not very convincingly, that Chassériau accomodated the desire of the sitters (actually standers) to be separated, which could not be done surgically, and that their real likeness is closer to what is depicted in Les Deux Soeurs Conjointes (836x590pix, 56kb _ ZOOM to 1672x1181pix, 205kb)
The Tepidarium (1853, 171x258cm) _ detail (_ ZOOMable)
— Bazar à Oran (_ ZOOMable)
— Harem (_ ZOOMable)
— Young Teleb Seated (_ ZOOMable)
— Alexis de Tocqueville (1850) _ Alexis de Tocqueville [29 Jul 1805 – 16 Apr 1859] was a French political scientist, historian, and politician, best known for his 4-volume De la Démocracie en Amérique (1835–1840), a perceptive analysis of the political and social system of the United States at the time.
— Ali-Ben-Hamet, Caliph of Constantine of the Haractas, followed by his Escort (1845) _ In 1846 Chassériau was invited to Algeria by the Caliph of Constantine, the subject of the portrait he had submitted to the Salon of 1845. The incisive drawings he made there have a special psychological acuity. Accordingly, his Orientalist reputation has rested largely on the drawings and genre scenes. Contrary to Baudelaire's critique, the portrait of Ali-Ben-Hamet is an extraordinary portrait--colorful, dynamic, sly--a display of power in every sense. Commissioned by Ali-Ben-Hamet during a visit to Paris in December 1844, the work showed the French public “a good Algerian”, one who had sided with the French in their colonial wars and therefore been rewarded with the caliphate of the town of Constantine, seen in the background, as well as the Légion d'Honneur, which he wears around his neck. For his efforts, the Caliph himself becomes a decoration, a trophy of French military and diplomatic acumen, a jewel in the French crown. Here, as elsewhere in Chassériau's art, the role of art-historical tradition is critical. The painter endowed his subject with the aristocratic status implicit in the equestrian portrait, with illustrious precedents from the hands of Titian, van Dyck and Velazquez. Yet that tradition, it was clear to the critic for L'Illustration, stood in fundamental opposition to the prohibition against imagery of the portrait sitter's own culture. By sitting for the portrait, the French writer noted superciliously, the Arab retinue blithely neglected the religious traditions with which they are irreducibly associated: “without respecting the old prejudices of Muslim orthodoxy, they have complacently consented to pose for one of our collaborators the very day after their arrival.” Far from aligning the artist and his sitter with a realm of esthetic universalism, Western art-historical tradition was seen to divide and hierarchize the world.
— Le Révérend Père Dominique Lacordaire, O.P. (1840) _ Jean-Baptiste-Henri Lacordaire [12 May 1802 – 21 Nov 1861] was already a renowned preacher when he joined the Dominicans (Order of Preachers) in 1838, taking Dominique as his name in religion. He was head of the French Dominicans from 1850 to 1854 and helped to make the order a religious and educational power in France.
— Ernest Chassériau, frère du peintre, en uniforme de l'École Navale de Brest (1835) Ernest Chassériau [1823-1870] was 12 at the time.
— Un bain au sérail (1849, 50x32cm; 452x291pix, 76kb)