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ART “4” “2”-DAY  21 September v.9.80
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DEATHS:  1895 LEGA  — 1662 STALBEMT
BIRTHS: 1853 BLAIR~LEIGHTON — 1904 HARTUNG — 1861 BORGEAUD 1829 TOULMOUCHE 
^ Born on 21 September 1853: Edmund Blair~Leighton, English Pre~Raphaelite historical genre painter, who died on 01 September 1922.
      Son of Charles Blair Leighton, a portrait and historical painter (1823-1855). Edmund Blair Leighton exhibited at the Royal Academy from 1878-1920. Typical titles: The Dying Copernicus, Un Gage d'Amour, Romola , Lady Godiva, etc. His pictures of elegant ladies in landscapes or interiors have a similar kind of charm to those of Tissot.
— Edmund Blair Leighton was a painter of historical genre pictures, mainly of medieval times, but also regency. He is now one of the most popular painters, his pictures being amongst the most frequently reproduced as posters. Rather like Waterhouse, and Herbert Draper, Leighton the man has virtually disappeared. The reasons for the continuing popularity of the artist’s work are not difficult to understand, as they are similar to those in his lifetime, namely nostalgia for an elegant chivalrous past. Leighton was also a fastidious craftsman, producing highly-finished, beautifully painted, decorative pictures.
      Edmund Blair Leighton was the son of the artist Charles Blair Leighton. He was educated at University College School, before becoming a student at the Royal Academy Schools. Leighton married Katherine Nash in 1885; they had a son and daughter. He exhibited annually at the Royal Academy from 1878 to 1920. Leighton was, as might be expected from his historic genre paintings a collector of old musical instruments, art, and furniture. He lived at 14 Priory Road, Bedford Park, London.
—    Blair Leighton may not have attained to the higher flights of art, yet he played a distinguished part in aiding the public mind to an appreciation of the romance attaching to antiquity, and to a realization of the fellowship of mankind throughout the ages. Edmund Blair Leighton was born in London, his father being that Charles Blair Leighton, portrait and subject painter, whose exhibits at the Royal Academy and other London galleries covered the period between 1843 and 1855. The son was educated at University College School, before taking a position in an office in the city, but entered the Royal Academy Schools after a course of evening study at South Kensington and Heatherley’s. He commenced exhibiting in 1874, and succeeded, four years later, in securing the verdict of the Hanging Committee of the Royal Academy in favor of two works, Witness My Act and Seal and A Flaw in the Title. Since then his highly wrought style was regularly represented at Burlington House until two years prior to his decease. Among the better known of his pictures, many of which were published, are The Dying Copernicus (1880), To Arms (1888) Lay thy sweet hand in mine and trust in me ( 1891), Lady Godiva (1892), Two Strings (1893), Launched in Life (1894), The Accolade (1901), Tristram and Isolde (1907), The Dedication (1908), The Shadow (1909), To the Unknown Land (1911), The Boyhood of Alfred The Great (1913). He had married in 1885, Miss Katherine Nash, by whom he had a daughter and one son, E. J. Blair Leighton, who is also a painter.

LINKS
The Accolade (1901)
Call to Arms (1888; 768x550pix; _ ZOOMable) _ Sweet bridal hymn, that issuing through the porch is rudely challenged with cry 'to arms!'
Alain Chartier (1903; 729x500pix; _ ZOOMable) _ This painting depicts the story of Margaret of Scotland who is said to have kissed the lips of Alain Chartier (a 14th century French poet) while he was sleeping in her palace, to honor, she said the mouth which elicited so many virtuous words.
The Accolade (_ ZOOMable)
The Charity of Saint Elizabeth of Hungary (_ ZOOMable)
Duty (1883, 148x102cm; _ ZOOMable) _ detail (_ ZOOMable)
Lady in a Garden (_ ZOOMable)
Stitching the Standard (1911)
The King and the Beggar-maid (_ ZOOMable)
Till Death Us Do Part :: Pounds, Shillings and pence (1878; 700x544pix)
The Wedding March (1919, 35x39cm)
Off (1900; 727x500pix, 72kb)
God Speed (1900; 758x550pix, 59kb; _ ZOOMable)
Tristan and Isolde (1902; 434x600pix, 39kb)
End of the Song (774x891pix, 108kb)
Knighted (600x416pix, 123kb)
 
^ Died on 21 September (21 November?) 1895: Silvestro Lega, Italian painter born on 08 Dec 1826.
— From 1843 to 1847 he attended the Accademia di Belle Arti, Florence, studying drawing under Benedetto Servolini [1805–1879] and Tommaso Gazzarini [1790–1853], then, briefly, painting under Giuseppe Bezzuoli. About 1847 he entered Luigi Mussini’s school , where the teaching emphasized the 15th-century Florentine “Purismo” principles of drawing and orderly construction. Then and for some years afterwards he continued to attend the Scuola del Nudo of the Accademia. Antonio Ciseri was one of his teachers. After fighting in the military campaigns for Italian independence (1848–1849) Lega resumed his training, this time under Antonio Ciseri, making his first large-scale painting, Doubting Thomas (1850). In 1852 he won the Concorso Trienniale dell’Accademia with David Placating Saul (1852), a subject taken from the play Saul (1782) of Vittorio Alfieri [16 Jan 1749 – 08 Oct 1803].

LINKS
The Folk Song (1867)
The Pergola (1868)
The Betrothed (1869)
 
^ >Born on 21 September 1904: Hans (or Heinrich) Ernst Hartung, German then French painter, draftsman, printmaker, and photographer, who died on 07 December 1989.
— Early in his life he developed an interest in music, astronomy, philosophy and religion, but eventually above all in painting. His first enthusiasm was for the work of Rembrandt, then in 1921–2 for that of Lovis Corinth, Max Slevogt and the Expressionists, in particular Oskar Kokoschka and Emil Nolde. In 1922, before he knew anything about abstract art, he painted a series of completely abstract watercolors of a loose, non-formal kind, followed in 1923–1924 by a number of abstract drawings in charcoal and chalk, for example Scène goyesque III. In 1924 he became a student of both philosophy and art history at Leipzig University and of painting at the Kunstakademie, and was present in 1925 at a lecture by Vasily Kandinsky, his first contact with the abstract movement. Although he was advised to study at the Bauhaus, he chose instead to go to the Kunstakademie in Dresden, where the teaching followed traditional lines. At the Internationale Kunstausstellung in Dresden in 1926 he saw for more or less the first time modern paintings from outside Germany, and in particular works by Henri Rousseau, Picasso, Georges Rouault, Henri Matisse and Georges Braque.
— School of Paris abstract painter in oils and pastel, etcher and lithographer. Born at Leipzig. Became interested in painting, and in 1922 made a series of abstract tachiste watercolors. Studied philosophy and art history at Leipzig University and art at the Academies at Leipzig 1924-1925, Dresden 1925-1926 and Munich 1928. Lived mainly in Paris 1926-1931, with visits to Holland and Belgium, and was influenced by Rouault, Cézanne, van Gogh, and then by Cubism. First one-man exhibition at the Galerie Heinrich Köhl, Dresden, 1931. Lived 1932-1934 on Minorca, where he returned to a calligraphic abstract style. Moved to Berlin briefly in 1935, but then left Germany because of the Nazis and settled in Paris. Contacts with Hélion, Kandinsky, Mondrian, and other abstract artists working there. In 1938, through friendship with Gonzalez, made a few sculptures. Fought in the French Foreign Legion and was gravely wounded in 1944. Began to paint again in 1945 after an interruption of six years. Took French nationality. Series of paintings with graphic signs and gestures inscribed with the brush or, from 1961, scratched into the wet paint; also some pictures from 1962 onwards with large shadowy dark patches. Awarded one of the two main painting prizes at the 1960 Venice Biennale. Married to the Norwegian painter Anna Eva Bergman and lived in Paris.
— Era un pintor alemán, afincado en París y asociado al movimiento llamado Abstracción Lírica, nacido en Leipzig el 21 de Septiembre de 1904.
      Entre 1915 y 1924 se interesa vivamente por la pintura; se entusiasma con la obra de Rembrandt, Goya y el Greco y, después de 1921, por la de los expresionistas alemanes, sobre todo Kokoschka y Nolde.
      El desarrollo decisivo de su obra se produce en 1921-1922, cuando el objeto desaparece de su pintura, sin conocer todavía la obra de Kandinsky, Mondrian y otros abstractos.
      Desde 1922 experimenta con la abstracción libre en acuarelas y dibujos. En 1925 conoce a Kandinsky y su obra acusa la influencia del primer expresionismo abstracto de este. En ese mismo año estudia filosofía e historia del arte en la Universidad y en la Academia de Bellas artes de Leipzig; entre 1925 y 1926 estudia en la Academia de Dresden.
      Entre 1927 y 1929 inicia profundas investigaciones sobre la estética y las matemáticas. Realiza su primera exposición individual en Dresden, en la galería Heinrich Kühl, en 1930.
     En 1932 decide abandonar Alemania y se instala en Menorca. En 1935 se instala definitivamente en París; entabla amistad con Kandinsky, Mondrian, Magnelli, Miró y Calder. En los años treinta explora una personal variedad de cubismo y de surrealismo abstracto en la línea de Miró y Masson. Entre 1934 y 1938 realiza una serie de telas denominadas manchas de tinta. En 1937 conoce a Julio González cuya obra le impresiona profundamente; trabaja en el taller de este y se dedica temporalmente a la escultura.
      En 1944 es herido en el frente y se le tiene que amputar la pierna.
      A finales de 1945 regresa a París y en 1947 realiza su primera exposición individual en la capital francesa, en la galería Lydia Conti; su situación económica durante estos años es desastrosa, a pesar de que su obra es ampliamente reconocida por algunos críticos. A finales de los años cuarenta desarrolla su estilo maduro constituido por líneas flotando en campos de color.
      En 1974 se organizan grandes retrospectivas de su obra en París y en el Metropolitan Museum of Art de Nueva York. En ese mismo año Alain Resnais rueda el primer film sobre Hartung. Hacia mediados de los años cuarenta aparecen en su pintura las pinceladas ligeras y rápidas y en 1955 participa en la primera Documenta de Kassel. En 1960 recibe el Gran premio Internacional de Pintura de la Bienal de Venecia y en 1961 comienza un nuevo periodo en su pintura, caracterizado por los rascados sobre la pintura aún fresca; la Galerie de France organiza un gran restrospectiva de su obra de 1922 a 1939. Hacia mediados de los años sesenta realiza pinturas casi sin grafismo, telas de gran formato cuya estructura se organiza a base de grandes manchas de color. A finales de los años sesenta se instala en Antibes y recibe numerosos homenajes y reconocimientos a su trabajo.

LINKS
T.57-5 (1957; 3520x2057pix, 6581kb)
L-43 (1973, 63x80cm; 4279x6204pix, 6868kb) grayscale lithograph
Schwarz auf Rostbraun (1957, 600x460pix)
T1963-R6 (1963, 180x141cm) _ Hartung developed a vigorously gestural and linear style in the early 1930s. Believing that painting should record and evoke his immediate inner experiences, tensions and energies, he rejected observation and memory as possible starting points and relied instead on spontaneous feeling and direct physical action. He thereby anticipated by many years the post-war development of what became known as Art Informel and was widely influential during this period. This so-called painting was made by scratching rhythmic and sweeping lines into the top layer of a vinyl coating before it dried. Hartung developed this particular technique in the early 1960s.
–- T 1986 - K26 (1144x1143pix, 307kb) _ The pseudonymous Sheoutpoor Earnest Heartlung has turned this rather pale and formless picture into the brilliant
      _ Landscrape (2006; 724x1024pix, 251kb _ ZOOM to 1024x1448pix, 463kb _ ZOOM+ to 1448x2048pix, 1122kb)
–- T1983-H48 (1199x1496pix, 275kb) similar to the preceding.
–- T 1962 - K43 (348x1575pix, 61kb)
–- T 1973 - H3 (650x890pix, 65kb)
–- Untitled (1089x869pix, 199kb)
–- T 1948-3 (436x600pix, 32kb _ .ZOOM to 1146x1575pix, 151kb)
–- Untitled (1187x972pix, 57kb) _ Heartlung has metamorphosed this sketchy drawing into numerous brilliantly colorful abstractions which can be reached by clicks of the mouse from the first two:
      _ Uncle Titus Led (2007; 550x778pix, 174kb _ ZOOM 1 to 778x1100pix, 323kb _ ZOOM 2 to 1100x1556pix, 589kb _ ZOOM 3 to 1710x2418pix, 1231kb _ ZOOM 4 to 2658x3760pix, 2314kb) and
      _ Untimed Titration of Lead (2007; 550x778pix, 174kb _ ZOOM 1 to 778x1100pix, 323kb _ ZOOM 2 to 1100x1556pix, 589kb _ ZOOM 3 to 1710x2418pix, 1231kb _ ZOOM 4 to 2658x3760pix, 2314kb)
–- P1960-340 (1008x630pix, 76kb) vertical black scribbles, on a background that is white except for a yellow and a blue stripe. Click on it for more attractive colors by the pseudonymous Heinpoor Heartlung.
–- Composition P1967-A52 (653x1575pix, 163kb)
–-T1963-E47 (900x545pix, 81kb) a bunch of graying brown hair?
—(090920)
^ Died on 21 September 1662: Adriaen van Stalbemt (or Stalbant, Stabent, Stalbempt), Flemish painter and etcher born on 12 June 1580 — {Was he born bent and did he Stabent?].
— After the fall of Antwerp (1585) his Protestant family emigrated to Middelburg, but Adriaen later returned to Antwerp. His first dated work is a Landscape with Hunters (1604). In 1609 or 1610 he became a master; he trained three apprentices. In 1633–1634 he spent ten months in England, where, among other work, he painted two views of Greenwich (e.g. View of Greenwich with King Charles I, Queen Henrietta Maria, and the Court). As well as landscapes, he also painted religious, mythological and allegorical scenes and was an etcher. His oeuvre shows great stylistic variety but, because of the small number of dated works, can only with difficulty be catalogued chronologically. Some works, such as the Landscape with Fables, reveal the influence of Jan Breughel I, while some are duller in color and do not display the same meticulous brush technique. David Slaying Goliath (1618) is a collaborative work with Pieter Brueghel II, in which the figures are undoubtedly the work of van Stalbemt. One group of works previously attributed to Adam Elsheimer has now been reattributed by Andrews to van Stalbemt. The influence of Elsheimer, particularly noticeable in the composition, was presumably passed on via David Teniers, who worked for a period in Elsheimer’s studio. Van Stalbemt’s later work also reveals clear similarities to the art of Hendrick van Balen.
Portrait of Adriaen van Stalbemt by Van Dyck [1599-1641].

–-S#> The Triumph of Melancholy (30x77cm; 284x768pix, kb) _ This is one of at least four versions by Stalbemt.
Paul and Barnabas at Lystra (440x600pix, 85kb) _ Illustrates Acts 14:8-18:
     At Lystra there was a crippled man, lame from birth, who had never walked. He listened to Paul speaking, who looked intently at him, saw that he had the faith to be healed, and called out in a loud voice, “Stand up straight on your feet.” He jumped up and began to walk about. When the crowds saw what Paul had done, they cried out in Lycaonian, “The gods have come down to us in human form.” They called Barnabas “Zeus” and Paul “Hermes,” because he was the chief speaker. And the priest of Zeus, whose temple was at the entrance to the city, brought oxen and garlands to the gates, for he together with the people intended to offer sacrifice. The apostles Barnabas and Paul tore their garments when they heard this and rushed out into the crowd, shouting, “Men, why are you doing this? We are of the same nature as you, human beings. We proclaim to you good news that you should turn from these idols to the living God, who made heaven and earth and sea and all that is in them.' In past generations he allowed all Gentiles to go their own ways; yet, in bestowing his goodness, he did not leave himself without witness, for he gave you rains from heaven and fruitful seasons, and filled you with nourishment and gladness for your hearts.” Even with these words, they scarcely restrained the crowds from offering sacrifice to them.
Vertumnus and Pomona (1629; 501x700pix, 142kb) _ Pomona, pomorum patrona, was the Roman nymph or hamadryad (a lesser divinity) of fruit. She was wooed by many male orchard divinities, but preferred to remain unmarried. Among her suitors was Vertumnus, the versatile changer, who had charge of the change of flowers into fruit, and who could change his appearance at will. Now he was a ploughman (spring), now a fisherman (summer), now a reaper (autumn). At last he took the likeness of an old woman (winter), and went to convince Pomona to respond favorably to the love of Vertumnus. Van Stalbemt read the story in Ovid's Metamorphoses 14:622-695:
     Pomona fuit, qua nulla Latinas
inter hamadryadas coluit sollertius hortos
nec fuit arborei studiosior altera fetus;
unde tenet nomen: non silvas illa nec amnes,
rus amat et ramos felicia poma ferentes;
nec iaculo gravis est, sed adunca dextera falce,
qua modo luxuriem premit et spatiantia passim
bracchia conpescit, fisso modo cortice virgam
inserit et sucos alieno praestat alumno;
nec sentire sitim patitur bibulaeque recurvas
radicis fibras labentibus inrigat undis.
hic amor, hoc studium, Veneris quoque nulla cupido est;
vim tamen agrestum metuens pomaria claudit
intus et accessus prohibet refugitque viriles.
quid non et Satyri, saltatibus apta iuventus,
fecere et pinu praecincti cornua Panes
Silvanusque, suis semper iuvenilior annis,
quique deus fures vel falce vel inguine terret,
ut poterentur ea? sed enim superabat amando
hos quoque Vertumnus neque erat felicior illis.
o quotiens habitu duri messoris aristas
corbe tulit verique fuit messoris imago!
tempora saepe gerens faeno religata recenti
desectum poterat gramen versasse videri;
saepe manu stimulos rigida portabat, ut illum
iurares fessos modo disiunxisse iuvencos.
falce data frondator erat vitisque putator;
induerat scalas: lecturum poma putares;
miles erat gladio, piscator harundine sumpta;
denique per multas aditum sibi saepe figuras
repperit, ut caperet spectatae gaudia formae.
ille etiam picta redimitus tempora mitra,
innitens baculo, positis per tempora canis,
adsimulavit anum: cultosque intravit in hortos
pomaque mirata est 'tanto' que 'potentior!' inquit
paucaque laudatae dedit oscula, qualia numquam
vera dedisset anus, glaebaque incurva resedit
suspiciens pandos autumni pondere ramos.
ulmus erat contra speciosa nitentibus uvis:
quam socia postquam pariter cum vite probavit,
'at si staret' ait 'caelebs sine palmite truncus,
nil praeter frondes, quare peteretur, haberet;
haec quoque, quae iuncta est, vitis requiescit in ulmo:
si non nupta foret, terrae acclinata iaceret;
tu tamen exemplo non tangeris arboris huius
concubitusque fugis nec te coniungere curas.
atque utinam velles! Helene non pluribus esset
sollicitata procis nec quae Lapitheia movit
proelia nec coniunx nimium tardantis Ulixis.
nunc quoque, cum fugias averserisque petentes,
mille viri cupiunt et semideique deique
et quaecumque tenent Albanos numina montes.
sed tu si sapies, si te bene iungere anumque
hanc audire voles, quae te plus omnibus illis,
plus, quam credis, amo: vulgares reice taedas
Vertumnumque tori socium tibi selige! pro quo
me quoque pignus habe: neque enim sibi notior ille est,
quam mihi; nec passim toto vagus errat in orbe,
haec loca sola colit; nec, uti pars magna procorum,
quam modo vidit, amat: tu primus et ultimus illi
ardor eris, solique suos tibi devovet annos.
adde, quod est iuvenis, quod naturale decoris
munus habet formasque apte fingetur in omnes,
et quod erit iussus, iubeas licet omnia, fiet.
quid, quod amatis idem, quod, quae tibi poma coluntur,
primus habet laetaque tenet tua munera dextra!
sed neque iam fetus desiderat arbore demptos
nec, quas hortus alit, cum sucis mitibus herbas
nec quicquam nisi te: miserere ardentis et ipsum,
qui petit, ore meo praesentem crede precari.
ultoresque deos et pectora dura perosam
Idalien memoremque time Rhamnusidis iram!

     According to Ovid, the disguised Vertumnus goes on to tell the story (true, says Vertumnus) of Anaxarete who was turned into a statue as she watched the funeral of Iphis, to whose declarations of love she had been as unresponsive as a statue, so that, in desperation, he hanged himself. Having concluded his pleading, Vertumnus reverts to his true appearance, Pomona falls in love with him, and it ends in their marriage.
     Compare:
    _ by Melzi: Pomona and Vertumnus (1520, 185x134cm)
    _ by van den Eeckhout: Vertumnus and Pomona (1669, 128x104cm)
    _ by Tengnagel: Vertumnus and Pomona (1617)
    _ by van Everdingen: Vertumnus and Pomona (1650, 104x140cm; 478x640pix, 67kb)
    _ by Flinck: Vertumnus and Pomona ( 375x394pix, 18kb _ flashzoomable)
    _ by Goltzius [1558-1617]: Vertumnus and Pomona (1615, 71x101cm; 542x760pix, 67kb)
    _ by Pontormo: Vertumnus and Pomona (1521, 461x990cm half-circle)
    _ by Netzcher [1639 – 15 Jan 1684]: Vertumnus and Pomona (1681; 600x440pix)
    _ by André Durand: Vertumnus and Pomona (1996, 152x152pix; 600x603pix, 197kb)
    _ by Boucher [1558-1617]: Vertumnus and Pomona (1749; 575x896pix, 138kb _ ZOOM to 945x1000pix, 885kb)
    _ by Jean Ranc [28 Jan 1674 – 01 Jul 1735]: Vertumnus and Pomona (1722, 171x119cm; 683x467pix, 50kb)
 
^ >Born on 21 September 1861: Marius Borgeaud, Swiss painter who died on 16 July 1924, who lived and painted for some time in Brittany.
— Issu d'un milieu bourgeois, Marius Borgeaud est né à Pully. Sa famille le destine à la banque, après un stage à Marseille. Il préfère jouir d'un héritage confortable et voyager, quitte à dilapider sa fortune. Vers 1900, il change complètement de genre de vie: il sera peintre, faisant ses classes à l'Atelier Cormon et à la Grande Chaumière. On le découvre sur le motif aux côtés de Francis Picabia, dans la mouvance de Camille Pissarro. L'Impressionnisme influence ses premières toiles. Il trouvera son style à partir de 1909-1910. Ses thèmes de prédilection: des intérieurs d'auberge, des chambres, à coucher et, plus insolites, des pharmacies et des mairies. Son champ d'action, c'est essentiellement la Bretagne dont il exprime la quintessence, mais sans jamais succomber au folklore. A Paris, il se fait connaître en exposant d'abord au Salon d'Automne et à celui des Indépendants, puis aux Galeries Blot et Druet. Les quelques 300 toiles qu'il a réalisées en vingt ans, disséminées entre la Suisse et la France, témoignent d'une oeuvre aussi singulière que féconde. L'art de Borgeaud est unique. Sa mort, à Paris, nous priva d'une vision qui ne cessait de s'affirmer en qualité, célébrant le silence et l'éternité.
— Borgeaud est un peintre des intérieurs mais aussi un peintre intérieur. Cinq sites bretons sont concernés par son œuvre : Pont-Aven, Locquirec, Rochefort-en-Terre, Le Faouët et Audierne. Borgeaud est un peintre atypique. Tandis que des colonies d’artistes débarquent en Bretagne pour peindre ses paysages, ses traditions et son folklore, lui, le Suisse, n’y prête aucune attention. La Bretagne de Borgeaud est ailleurs. Il s’impose en chroniqueur de la vie quotidienne des bourgades où il séjourne. Peintre du détail et des ambiances, sa Bretagne, c’est celle du détail et des ambiances. Dans un troquet, dans une pharmacie, dans la vue de sa chambre d’hôtel, dans une mairie. Mais aussi dans les visages des petites gens. Rochefort-en-Terre (22) sera son premier point de chute. Il y travaillera dix années durant, entre 1909 et 1919. Installé à l’hôtel Lecadre, il guette de sa fenêtre la vie du bourg et n’ira jamais au-delà de la mairie. Le Suisse se délecte au café du Champ de Foire, où il croquera près d’une quarantaine de toiles. Des figures locales Au Faouët (56), le peintre s’installera à l’Hôtel de la Croix d’Or, haut-lieu de villégiature des artistes de passage. Là, plus que jamais, Borgeaud posera ses chevalets chez l’habitant. Entre 1920 et 1922, cette période est de loin pour lui la plus féconde, avec près de 70 toiles dénombrées à ce jour. Des figures locales apparaissent régulièrement sur ses œuvres: Pauline, la légendaire patronne du Café de la Gare, mais aussi Rose et Cornic, fidèles parmi les fidèles. Audierne (29) sera son ultime étape. Entre 1923 et 1924, il fera deux séjours chez Suzanne Chalm, dont le dernier sera abrégé pour cause de maladie, avec un retour précipité sur Paris en mai 1924. Il y décédera.
— De Marseille, où il effectuait un stage chez un banquier, Borgeaud s’embarque pour l’Afrique du Nord et s’y montre particulièrement sensible à la lumière algérienne. Suite à des études à l’Académie de la Grande Chaumière (nous sommes en 1900, le peintre a 40 ans), Borgeaud voyage et travaille dans le Poitou, en Bretagne, à Paris, mais aussi en Espagne et part toujours plus loin à la recherche des oppositions subtiles d’ombres et de lumières qu’il fait pénétrer dans des sujets qu’il immobilise. Les moyens picturaux qu’il emploie sont simples, à l’instar des intérieurs et des scènes de rue qu’il fige sur la toile. On sait que l’oeuvre de Borgeaud qui s’échelonne sur une vingtaine d’années est numériquement limitée: très critique à son propre égard, il détruisait les toiles qu’il n’estimait pas suffisamment abouties.

–- Le Fumoir aka Intérieur du café de l'Hôtel Lecadre, à Rochefort-en-Terre (1912, 50x58cm; 1165x1350pix, 110kb) _ Das vorliegende Gemälde ist ein typisches Werk aus dem Oeuvre von Marius Borgeaud. Bei der Wahl der Motive bevorzugte Borgeaud das Milieu der Apotheke, des Kunstsalons oder wie hier der Wirtsstube. Dabei erscheinen die Räume in der Regel in stark beschränkendem Ausschnitt mit Durchblick in Nebenräume. Das Gemälde zeigt das Café des Hotel Lecadre in Rochefort-en-Terre. Bei der dargestellten Person handelt es sich gemäss mündlicher Überlieferung um die dortige Serviertochter Juliette.
Les joueurs de boules (1918, 63x81cm; 482x600pix, 67kb)
Intérieur d’estaminet (1912, 65x92cm)
Intérieur à Séville (1913, 54x65cm)
Intérieur d’auberge (1903, 40x31cm; 483x401pix, 73kb)
Paysage côtier
Intérieur parisien (46x55cm)
Rochefort-en-Terre, Bretagne (61x50cm)
Le bistrot jaune (1921; 400x325pix, 116kb)
Le diner est prêt (289x360pix, 20kb)

–(080920)

Died on a 21 September:


^ 1625 Bartolomeo Cavarozzi dei Crescenzi, Italian painter born in 1600.
St Ursula and Her Companions with Pope Ciriacus and St Catherine of Alexandria (1608, 280x220cm)
Young Violinist (87x111cm; 480x597pix, 77kb) _ One of three versions. A young man languishes with one arm on a table on which lie his violin and a book of music, the other arm clutching a tambourine. Beside him, a soulful youth with a laurel crown plays a flared bell alto recorder; in front of him on the table grapes are heaped. Formerly attributed to Giovan Battista Crescenzi.
The mystical marriage of Saint Catherine of Alexandria (105x184cm; 413x689pix, 69kb)

^ 1605 (or 21 May?) Cristofano di Papi dell' Altissimo, Italian painter born approximately in 1520. — {Would he have played basketball if it had been invented?}— He was a student of Pontormo and Bronzino. In July 1552 he was sent to Como by Cosimo I de’ Medici to copy the portraits of famous men in Paolo Giovio’s museum. By the end of May 1553, Cristofano had sent 24 finished portraits to Florence, followed by 26 more by September 1554 and another 25 by October 1556. The following month Cristofano received 100 scudi from Cosimo. By 1591 the works had been transferred to the corridors of the Uffizi, where they form part of the museum’s large collection of portraits. During his stay in Como, Cristofano travelled to Milan to execute two portraits of the Duchess Ippolita Gonzaga in competition with Bernardino Campi, who was declared the winner. (One of the portraits went eventually to her father, Giuliano Groselino.) In November 1562 Cristofano was noted as treasurer of the Accademia del Disegno in Florence, which received its official recognition in January 1563. On 18 January 1564 Vasari wrote to Angelo Riffoli, the ducal treasurer, requesting payment for ten portraits executed by Cristofano for Cosimo. On 5 April 1565 Vincenzo Borghini recommended Cristofano to Cosimo for employment in connection with the preparations for the marriage of Cosimo’s son Francesco (later Francesco I de’ Medici, Grand Duke of Tuscany) to Joanna of Austria. On 22 February 1567 Cristofano enrolled in the Arte dei Medici e Speziali. Between 1587 and 1589 he sent another group of works to Florence from the Giovio museum. The following year he was back in Florence, and in 1596 his lawsuit against Donato Bandinelli, concerning a portrait and drawing depicting Francesco Ferrucci, was submitted to a tribunal of the Accademia.
Machiavelli (559x407pix, 27kb)
Pope Leo X (500x360pix, 49kb) copy of the central detail of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi (1519, 154x119cm; 1176x903pix, 157kb) by Raphael.
Pope Clement VII (500x369pix, 41kb) copy of the central detail of Pope Clement VII (1531, 105x87cm; 480x397pix, 34kb) by Sebastiano del Piombo.


Born on a 21 September:


^ 1910 Ennio Morlotti, Italian artist who died in 1992. He studied at the Accademia di Belle Arti in Florence under Felice Carena (1936–1937). In 1937 he went to Paris, where he studied the works of Courbet, Cézanne and Picasso, whose Guernica (1937) he saw at the Exposition Universelle. His landscapes and nudes of 1938–1940, already displaying his characteristic impasto, were very obviously influenced by these three artists. In 1939 he moved to Milan, where he attended the Accademia di Belle Arti for three years. In 1940 he joined the Corrente movement and exhibited aggressive figure paintings indebted to Picasso in the movement’s gallery (1944) together with Bruno Cassinari and E. Treccani. After World War II he was one of the signatories in Milan of the Manifesto del Realismo (1946), which concentrated on contemporary social concerns. However, in Paris, where he went in 1947, he came into direct contact with such Art informel artists as Wols and Nicolas de Staël. This encounter was an important factor in directing him towards matter painting following the most advanced European trends. Among members of the Fronte Nuovo delle Arti, with whom he exhibited at the Venice Biennale of 1948, he represented a trend towards a progressive dissolution of form, which later became the distinctive stylistic feature of the Gruppo degli Otto Pittori Italiani, with whom he exhibited at the Biennale of 1952. At the Biennale of 1956 he had a room devoted to himself. The dominant motif of his painting, particularly after 1960, was landscape, particularly that of Lombardy, even though it may have lost any explicit narrative or descriptive references (e.g. Landscape at Merate, 1959). His own individual naturalism has been defined as a transference, in terms of color and substance, on to canvas of the biological rhythms of nature, its organic and inorganic stratification. In his work during the 1970s figures and nudes again reappeared in these landscapes. However, by the mid-1980s their lush vegetation was replaced by arid unpopulated images. — LINKS
–-S#> Ulivi (1984, 30x40cm; 740x900pix, 107kb)
–-S#> Rocce (1984, 30x40cm; 677x900pix, 142kb)
Costiera ligure

1902 Marie Cermínová “Toyen”
, Bohemian painter who died (main coverage) on 09 November 1980. —(080920)

1898 William George Gillies, Scottish painter who died on 15 April 1973. His studies at Edinburgh College of Art were interrupted from spring 1917 to 1919 by his induction into the Army. In 1922 he and nine fellow students, including William Crozier (1893–1930) and William MacTaggart (1903–before 1934), founded an exhibition society called the 1922 Group, through which they promoted their work in annual exhibitions at the New Gallery in Edinburgh for about ten years. In 1924 a travelling scholarship enabled Gillies to study in Paris under André Lhote and in Italy.
–-S#> Plockton (65x77cm; 900x1097pix, 222kb) —(070912)

^ 1898 Pavel Tchelitchev (or Chelichev, Tchelitcheff, Tchelitchew), Russian US painter and stage who died on 31 July 1957. He grew up in an advantaged and cultivated environment concerned with the arts. Educated by private tutors, he drew from an early age and attended art classes at the University of Moscow from 1916 to 1918. Moving south in 1918 to avoid the Revolution, he studied at the Kiev Academy until 1920 and worked with Alexandra Exter. He moved again in 1920, this time to Odessa, where he worked in the theatre, and then via Sofia in 1921 to Berlin, where he supported himself with theater work and began to paint still-lifes, figures and portraits such as Natalie Glasko (1926).
— Pavel Tchelitchew was born in Moscow. He lived in Berlin from 1921 to 1923 and then moved to Paris, where he became associated with Diaghilev. He designed for Diaghilev's Ballet Russe in Paris and was patronized by Gertrude Stein. He moved to New York during World War II where he had a retrospective of his work at the Museum of Modern Art in 1942. Tchelitchew designed many of the sets and costumes for the 1936 Paper Ball at Hartford's Wadsworth Atheneum in Connecticut. He was Charles Henri Ford's life partner from 1933 in Paris until his death in 1957. The Russian expatriate artist was the most innovative of a group known as the Neo-Romantics. His art, which has a figurative basis, is also visionary in a way that draws on his Russian background. In 1926 he developed his technique of multiple images on a single canvas, which he later combined with triple perspective. Experimenting thus with juxtaposed objects, he sought to recreate the motion of the body. His interior landscapes resulted in complex and fantastic compositions. The best-known work in this manner is Hide and Seek
–-S#> Self-Portrait (1928, 61x38cm; 900x560pix, 109kb) almost monochrome, elongated.
–-S#> A Young Boy (1926, 50x62cm; 741x900pix, 97kb) head only, cut off at top, distorted {to be shaped like a strawberry?}.
–-S#> Basket of Strawberries (1925, 38x46cm; 641x799pix, 76kb) _ This painting marked a major turning point in Tchelitchev's career, as it made his reputation as an easel painter. It received much acclaim at the 1925 Salon d'Automne. Having previously been chiefly concerned with the theater, Tchelitchev now first felt his destiny as an easel painter. Gertrude Stein had rather dramatically discovered him and elected to be his patron, slyly playing him off Picasso. On one occasion the latter found himself seated at Miss Stein's dinner so as to face, on the opposite wall, a work by the newcomer Pavel Tchelitchev; when Picasso would not respond to the gambit, Miss Stein brought up the impression Tchelitchev had made at the last Salon d'Automne with his Basket of Strawberries. Tchelitchew always claimed this work was the origin of the Shocking Pink that in later years became fashionable in the domain of cosmetics and clothes. The strawberries in the composition can be seen as precursors of the eggs and the human "egg heads" of the same year.
Cubistic Figure (1918, 22x17cm; 901x700pix, 59kb) almost monochrome, looks unfinished.
A Man (20x21cm; 648x700pix, 59kb) head only, elongated, almost monochrome.
–-S#> La Noix (800xpix, 106kb)— (060525)

1876 Julio González (or Gonzales), Spanish sculptor who died on 27 March 1942. He is primarily known for his works in wrought iron.

^ 1859(69?) Percival Leonard Rosseau [–1937], US painter, specialized in pictures of two dogs in the field.
–-S#> Master's Sons (1913, 66x81cm; 633x800pix, 113kb) two dogs
–-S#> Flying Birds (1926, split: 122x183cm and 122by91cm; 350x525pix and 350x259pix, together in one split image: 39kb) designed to hang on two walls in a corner. _ {No dogs!) About half of the birds (excluding those in the distant background) are not flying under the cloudy sky, but swimming in a lake.
–-S#> Entre-act (1927, 87x72cm; 799x649pix, 100kb) four dogs going to drink in a stream. If number of dogs is the criterion, the derivative Diantre-acte (2005; 960x1280pix, 328kb) by the pseudonymous Parsleyvale Nagwater is four times better, and it is also somewhat more colorful.
A Red Setter (25x35cm) only one dog {starts making up for the excess of dogs in the preceding}
A Shooting Study (27x22cm) only one dog {the average is back to 2}, and {quite an exception} there is a human!
–-S#> Bay and Beau (1919, 67x81cm; 645x800pix, 76kb) two dogs {back to the artist's standard formula}
–-S#> The Perfect Find (1906; 477x685pix, 54kb) two dogs. —(050920)

1829 Auguste Toulmouche, French painter who died (full coverage) on 16 October 1890 —(051015)

^ 1815 Hendrik Reekers, Dutch painter, specialized in stuff on marble ledges, who died on 15 May 1854. The Haarlem artist Hendrik Reekers studied at the local Stadstekenschool from 1830 to 1834. From 1837 he worked as a drawing teacher, later focusing more and more on painting, specializing in flower and fruit still-lifes. In 1843 he became a member of the Royal Academy in Amsterdam.
A vase of flowers on a marble ledge (40x34cm; 480x382pix, 53kb)
Fruit, Flowers and Game on a marble ledge (1844, 103x81cm; 480x566pix, 49kb) —(050920)

1742 Marquise de Grollier de Fuligny-Damas, French artist who died in 1828.

^ >1644 Simon Peeterz Verelst (or Varelst, or Ver Elst), Dutch Baroque painter who died in 1721. Brother of Harman Verelst. Uncle of Maria Verelst.— LINKS
Flowers in a Vase (1669, 26x22cm; 380x329pix, 13kb) _ With just a few flowers, Verelst created a composition of great sophistication and balance. A simple glass flask has been filled with a large rose, a red anemone, and a white narcissus tinged with pink. These flowers are surrounded by a scattering of smaller blossoms. Like many still-life painters Verelst depicted a window reflected in the glass vase, but here he did not show the window's precise structure. He did, however, use another common device — the depiction of a few chips in the stone surface to make the material seem more tangible. Born in Holland, Verelst moved to London early in his career where he worked for the court of King James II and was extravagantly praised for the realism of his flower pictures. It was reported that the artist became so vain and conceited that he experienced a mental breakdown.

>1559 Lodovico Cardi da Cigoli [–1613], Florentine painter, architect, and sculptor. His students included Cristofano Allori [1577-1621], the Fleming Giovanni Biliverti [1576-1644], Domenico Fetti, Giovanni Antonio Lelli, Aurelio Lomi, Pietro Medici, Gregorio Pagani, and Andrea Comodi [1560-1638]. .— LINKS
Self Portrait (800x565pix, 86kb)
The Sacrifice of Isaac (1607, 175x132cm; 1076x801pix, 155kb)
Giuseppe e la Moglie di Putifarre (1610; 1078x712pix, 111kb)
Ecce Homo (1607, 175x135cm; 1025x801pix, 99kb)
San Francesco Riceve le Stigmate (1596, 247x171cm; 989x708pix, 377kb) —(080920)


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