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ART “4” “2”-DAY  26 September v.9.80
^ Born on 26 September 1862: Arthur Bowen Davies, US painter and illustrator who died on 24 October 1928.
— He was first trained as an architectural draftsman at the Academy of Design, Chicago (1878). After studying briefly at the Art Institute of Chicago, he went to New York, where he attended the Gotham School and the Art Students League (1886–1888). By 1887 he was working as an illustrator for Century magazine. A realist landscape painter in the 19th-century academic tradition, he was influenced by the painters of the Hudson River school and particularly by the luminist, dream-like landscapes of George Inness.

Night's Overture (1907, 46x77cm; 751x1280pix, 431kb _ ZOOM to 1550x2642pix, 2680kb)
Heliodora (1926, 61x46cm; 780x562pix, 75kb _ ZOOM to 1561x1124pix, 205kb)
–- Pacific Parnassus, Mount Tamalpais (1905, 67x102cm; 774x1212pix, 87kb)
Across the Harbor (1908; 581x750pix, 123kb) 6 women in strange postures fill the foreground; it is not clear what they are doing.
Fall (16x24cm)
^ Died on 26 September 1914: August Robert Ludwig Macke, German expresssionist painter, born on 03 January 1887, is killed in combat in France, soon after Germany declared war on France (03 Aug 1914) at the start of Word War I. — {It is not true that he was run over by a Mack truck.}
— He was a leader of Der Blaue Reiter group, one of the sources of German Expressionism. Macke was influenced, particularly in his earlier work, by his teacher Lovis Corinth [21 Jul 1858 – 12 Jul 1925], as well as by the Cubists and the Impressionists. A lyrical temperament, however, is revealed in his works, which avoid the often violent style and subject matter of his fellow Expressionists. His art combines the tradition of French painting, its sense of the grace of movement and atmosphere in landscape painting, with the cosmic sentiment of German art. In 1914 Macke traveled to Tunis with Paul Klee [18 Dec 1879 – 29 Jun 1940], and there he painted a series of works that place the subject upon a grid of various pure colors. These paintings demonstrate the effect that Orphic Cubism had upon Macke and number among his most widely admired works.
— He began his artistic training in autumn 1904 at the Kunstakademie in Düsseldorf, but he was far more interested by the instruction at the Kunstgewerbeschule, run by Peter Behrens, where he attended evening courses given by the German printmaker Fritz Helmuth Ehmcke [1878–1965]. Friendship with the playwrights of the Düsseldorfer Theater, Wilhelm Schmidtbonn and Herbert Eulenberg, awakened Macke’s interest in the stage. With the German sculptor Claus Cito, he developed designs for stage sets, including those for a production of Macbeth, which led to an offer by the theater to employ him, but Macke turned it down. In April 1905 Macke travelled with Walter Gerhardt, his future wife Elizabeth Gerhardt’s brother, to northern Italy and Florence. His drawings of this period reveal freshness and a receptive sensibility. In July 1906 he went to the Netherlands and Belgium with Schmidtbonn, Eulenberg and Cito, continuing on with Schmidtbonn to London, where he visited the city’s museums. In November 1906 he broke off his studies at the academy. After encountering French Impressionism on a trip to Paris in summer 1907, Macke began to paint in this manner; in autumn of that year he went to Berlin to join the studio of the German painter Lovis Corinth. However, work in the studio, and Corinth’s way of suggesting corrections, did not suit Macke’s temperament, nor did the city’s oppressive atmosphere. He returned to Bonn in early 1908. His future wife’s family provided him with the means for further travel, first to Italy and then together with his wife and her uncle Bernhard Koehler, who later became his patron, to Paris. Through Koehler he gained an insight into the art market in Paris and became acquainted with Ambroise Vollard. In 1908–1909 Macke served his one-year of compulsory military service. Once again in Paris on his honeymoon in 1909, he met Louis Moilliet and, through him, Karl Hofer.
— August Macke was born in Meschede, Germany, and during his childhood he spent time in Basle where he came into contact with the work of Böcklin [1827 – 16 Jan 1901]. He was taught by Corinth [21 Aug 1858 – 1925], and traveled widely throughout Europe. He married the beautiful Elisabeth Gerhardt in 1909. He met Franz Marc [08 Feb 1880 – 04 Mar 1916] in 1910 in Munich, and with him established the Blaue Reiter the following year. In 1912 they both journeyed to Paris, where they discovered Cubism and the work of Delaunay [12 Apr 1885 – 25 Oct 1941]. In 1914 he visited North Africa with Paul Klee [18 Dec 1879 – 29 Jun 1940]. Macke was killed in battle, at the age of 27, that same year in the stupid World War I. His early Impressionist style developed into a use of strong, sunlit color applied in painterly facets of light. His preferred subject matter remained urban scenes of shopping and leisure. His North African work had a more structured appearance, and in 1913 he experimented with pure abstraction and also produced many watercolors.
      Upon Macke's death, Franz Marc, who was later also to be killed (near Verdun) in the same hellish war, wrote this obituary:
August Macke- "Young Macke"- is dead. Those who have followed the course of German art during these last, eventful years, those who sensed what the future held in store for the development of that art, also knew Macke. And those of us who worked with him- we, his friends, we knew what promise this man of genius secretly bore in him. His life described one of the boldest and most beautiful curves in the development of German art; and with his death that curve has been rudely broken. There is not one among us who can take it further. Each of us goes his own way; wherever our paths meet, we shall feel his absence. We painters know that without his harmonies whole octaves of color will disappear from German art, and the sounds of the colors remaining will become duller and sharper. He gave a brighter and purer sound to color than any of us; he gave it the clarity and brightness of his whole being.

Selbstbildnis (1906; 87kb)
Selbstporträt mit Hut (1909; 94kb)
Drei Mädchen in einer Barke (1911; 505x800pix, 109kb) _ There is no indication that one is a butcher, another a baker, and the third a candlestick maker. Whatever their occupation, they apparently can't afford clothes. Their boat looks like a gondola, complete with gondolier.
Gartentor (1914; 124kb)
Mädchen unter Bäumen (1914; 133kb)
Lady in a Green Jacket (1913, 44x44cm; 624x588pix, 68kb)
Tegernseer Bauernjunge (1910)
Der Sturm (1911)
Helle Frauen vor dem Hutladen (1913; 800x539pix, 101kb)
Hutladen (1913; 118kb)
Hutladen (1914; 109kb)
Elisabeth Gerhardt Nähend (1909)
Frau des Künstlers mit Hut (1909)
Porträt mit Äpfeln: Frau des Künstlers (1909)
Bildnis Franz Marc (1910; 113kb) _ Franz Marc was a painter whom Macke met in 1910 in Munich, and with him established the Blaue Reiter the following year.
Der Mackesche Garten in Bonn (1911)
Farewell (1914, 101x130cm; 457x587pix, 52kb)
Man Reading in the Park (1914, 86x100cm; 507x587pix, kb)
Kinder mit Ziege (1913)
Zoologischer Garten I (1912)
Clown (2362x1392pix, 1111kb)
In the Park (620x967pix, 109kb)
Zwei Mädchen in Landschaft (1911; 459x618pix, 222kb)
^ Born on 26 September 1791: Jean Louis André Théodore Géricault, French Romantic painter who died on 26 January 1824.
— Géricault exerted a seminal influence on the development of Romantic art in France. Géricault was a fashionable dandy and an avid horseman whose dramatic paintings reflect his colorful, energetic, and somewhat morbid personality. He was made famous, even among people who know nothing of his paintings, by the song about his apocryphal undoing by his archenemy Joshua, not Reynolds [16 Jul 1723 – 23 Feb 1792], but Shaw [1777 – 08 Sep 1860] (melody):
Joshua fit the battle of Géricault, Géricault, Géricault,
Joshua fit the battle of Géricault
and paintings came tumbalin' down.

You may talk about your Charles and Sam King,
you may talk about your Manny Solon,
there's none like old Joshua Shaw
at the battle of Géricault.

Up to paintings of Géricault
he marched with brush in hand,
“Go blow them ram-horns” Joshua cried,
“ 'cause the battle is in my hand.”

Then the lamb ram sheep-horn begin to blow,
trumpets begin to sound,
Joshua commanded the children to shout
and paintings came tumbalin' down.

Joshua fit the battle of Géricault, Géricault, Géricault,
Joshua fit the battle of Géricault
and paintings came tumbalin' down.
Note: The song mentions the artists Charles Bird King [26 Sep 1785 – 18 Mar 1862], Samuel King [24 Jan 1749 – 20 Dec 1819], and Marc-Louis-Emanuel Solon [1835 – 23 Jun 1913]
— Théodore Géricault’s daring personality coupled with his tragically short life fit the mold for the Romantic artists of his era. After only three years of studio classes, most of his artistic training came from going to the Louvre and eventually to Rome, where he found inspiration in the master works of Rubens and Michelangelo. Géricault was intrigued by big cats and often used them in compositions to suggest the untamable power of nature, a recurrent theme in French romanticism. His dramatic and controversial paintings profoundly influenced nineteenth-century art. Géricault died in 1824, at the age of 32, after a prolonged illness caused by a riding accident. Because Géricault died at such a young age, his works are quite rare. Most of his work is in the Louvre and there are only the twenty-one Géricault images in US Museums, including Two Lions, After Peter Paul Rubens, circa 1820’s, at the National Museum of Wildlife Art.
— Géricault was perhaps the most influential artist of his time, and a seminal figure of the 19th-century romantic movement in art.
      Géricault, born into a wealthy Rouen family, studied under the French painters Carle Vernet and Pierre Guérin {chez qui, étant un ardent cavalier, il essayait de convaincre un autre apprenti, Victor Orsel [25 May 1795 – 01 Nov 1850] , d'être Ancel} and also went to Italy to study from 1816 to 1817. He was greatly influenced by the work of Michelangelo and other Italian Renaissance painters, as well as that of the Flemish master Peter Paul Rubens. Early in his career, Géricault's paintings began to exhibit qualities that set him apart from such neoclassical French painters as Jacques-Louis David.
      Géricault soon became the acknowledged leader of the French romantics. His Charging Chasseur (1812) and Wounded Cuirassier (1814) display violent action, bold design, and dramatic color, and evoke powerful emotion. These characteristics appeared in heightened form in his immense and overpowering canvas Raft of the Medusa (1819), showing the dying survivors of a contemporary shipwreck. The painting's disturbing combination of idealized figures and realistically depicted agony, as well as its gigantic size and graphic detail, aroused a storm of controversy between neoclassical and romantic artists. Its depiction of a politically volatile scandal (the wreck was due to government mismanagement) also caused controversy.
      In 1820 Géricault traveled to England, where he painted his Race for the Derby at Epsom. At the time of his death, Géricault was engaged in painting a series of portraits of mental patients that demonstrate the preoccupation of the romantic artists with derangement and neurosis. Among his other works are a number of bronze statuettes, a superb series of lithographs, and hundreds of drawings and color sketches.
— Théodore Géricault grew up in the turbulent years of the French Revolution and Napoleon's reign. He studied with several fashionable artists, but the strongest impact on his work, aside from Goya, came from the influence of baron Jean-Antoine Gros [1771-1835] who had studied under David and who was a fundamental link between David and the new generation of French painters of the early nineteenth century. From Gros's canvases, especially those which make Napoléon the center of an emotional, almost mystical, glorification; Géricault drew much inspiration both for Romantic interpretation and for styles.
      Géricault, like Gros, Goya, and other artists, was interested in painting contemporary, topical events, not only as a depiction of that particular event, but also as an exploration of the passionate emotions and truths that underlay it. Often Géricault's searches yielded dark and previously unknown images. Fascinated by violence and horror, he made a series of bloodcurdling paintings of the decapitated heads of criminals. These he studied not in the scientific manner of a Leonardo da Vinci eager to learn the secrets of the human form, but for the awful nature of suffering and violent death, something he himself courted by riding dangerous horses and by a failed attempt at suicide.
      That Géricault found the irrational compelling is confirmed by another disturbing series, this time of mad men and women. Whereas Goya had portrayed the hallucinations to which a madman might be prone, Géricault intensively studied the faces of those who were actually insane. The fact that these disturbed and frightening creatures were now considered, like the severed heads, worth subjects for painting demonstrates a fundamental shift in the concept of what art was supposed to depict.
      It is impossible to conceive of David, the great Neo-classicist, painting such gruesome and, in the traditional view, such uninspiring and degrading subjects. Among the most remarkable paintings of Géricault's short and tempestuous life, these images explore various forms of madness. Beautifully painted, some of them reminiscent of the insightful portraits by the mature Rembrandt, the likenesses are both terrifying and pathetic. These are memorable likenesses - painted with a sober, tempered palette and a spontaneous, free, heavily loaded brush. These works have never been surpassed for their incisive exploration of the madness that Géricault thought of not as a sort of extraneous invasion of the soul but as something intrinsic to the human mind.
      Géricault's famous Raft of the Medusa revealed his abilities to plan out and complete a vast and ambitious history painting. The story of the raft was a topical subject and thus something that would have been disdained by many earlier painters. A notorious event, involving political corruption and scandal, since the incompetent captain owed his job to his allegiance to the French monarchy, it was the sort of horrific subject that interested Géricault and his contemporaries. Moreover, the ordeal of the victims involved a titanic struggle against the forces of nature, brilliantly shown in the painting by the immense, stormy sea, and the powerless occupants of the raft. The unequal struggle of man against nature was a theme that fascinated many of the best painters of the first half of the nineteenth century.
      Géricault's early death, caused by a fall from a horse at age 32, ended a brilliant and original career.

–- Equestrian Portrait of Charles V (1815; 46x38cm; 1102x906pix, 98kb _ ZOOM to 2204x1812pix, 810kb)
Siméon Bonnesoeur-Bourginière (1815, 40x32cm; 1052x853pix, 839kb _ ZOOM to 1578x1280pix _ ZOOM+ not recommended to 2247x1822pix, 3483kb, except to those who think that long downloads are almost as much fun as watching paint dry and who have a psychotic urge to examine minutely the texture of the canvas and the tiny fly specks and white spots all over the paint surface.)
Horses'... er ... ahem ... rears (1886; 600x756pix _ ZOOM to 1400x1764pix) _ no, no, this is NOT a group portrait of twenty politicians: there are 23 of them. And they are literally “des derrières de chevaux”.
Le Radeau de la Méduse (1819, 491x716cm; 600x901pix _ ZOOM to 1400x2103pix, 763kb) _ Géricault was highly moved by the real-life drama Of 149 shipwrecked sailors from the frigate Méduse, abandoned for twelve days on a raft off the Senegalese coast. To illustrate it he chose the moment on 17 July 1816 when the 15 survivors were overcome with despair as the Argus, the ship that eventually was to rescue them, sailed off. This was the first time a contemporary news item had been made the subject for a painting on a large scale. The dark subject, matched by the coloring and the macabre though realistic depiction of the corpses, make what was a controversial exhibit of the 1819 Salon, the first epic example of Romanticism.
Le Radeau de la Méduse (première ébauche) (1819; 600x748pix _ ZOOM to 1400x1745pix)
Study for Le Radeau de la Méduse (569x750pix, 124kb)
Sketch for Le Radeau de la Méduse (1582x1981pix, 470kb)
Young Man (1818, 45x37cm; 828x668pix, 298kb _ ZOOM to 2253x1818pix, 2133kb)
The Burial of Christ (600x792pix _ ZOOM to 1400x1848pix)
— a more crowded The Burial of Christ (600x664pix _ ZOOM to 1400x1549pix)
— yet a different The Burial of Christ (600x428pix _ ZOOM to 1400x999pix)
Fou (1823)
Madwoman child murderer (1822)
Madwoman (1823)
charging with what?Woman with gambling mania (1822)
Derby at Epsom (1820; 600xpix _ ZOOM to 1400x1938pix)
Têtes coupées
An Officer of the Imperial Horse Guards Charging _ No, he was not making a purchase and he had none of these >>>
Officer of the Imperial Guard
An Italian Mountain Peasant (1817)
A Horse frightened by Lightning (1814, 49x60cm). This painting is probably an early work, and one of a number of paintings of horses made by the artist at the time. Many of these were studies for the painting exhibited by Géricault at the Salon of 1812, the Cavalry Officer which shows the influence of Rubens and Gros. While some of the studies are subdued in character, the distant storm and its effect on the horse add a note of drama into this painting.
Two Lions, After Peter Paul Rubens (1825) Géricault took the subject of this painting from Rubens’ cycle, Le Mariage d’Henri IV et Marie de Médici, a group of 27 monumental canvasses Rubens made for the royal couple between 1627 and 1630. In Rubens’ picture, the lions are ridden by two cupid-like putti and harnessed to the triumphal chariot of the city of Lyons, while above them the royal couple are depicted as Juno and Jupiter, seated in the clouds. Géricault depicts the two male lions in a turbulent landscape. While Rubens had used these lions to pull a wedding carriage for royalty, Géricault liberated them and placed them in an imaginary landscape that glorifies their power and wildness. Géricault was a great admirer of Rubens and undoubtedly made studies for this painting when he saw the entire Rubens cycle on exhibit between 1802 and 1815. In this picture however, we see the French romanticist’s infatuation with wild creatures, particularly big cats, animals that symbolized the movement’s rebellion against society’s preoccupation with reason, civilization and classicism. Géricault extracted the lions from the festive marriage scene, liberated them from their harness and riders, and extolled them in a wild and moody landscape.
14 ZOOMable images at Wikimedia
Théodore Géricault, un des tout grands de la peinture, auteur du Radeau de la Méduse, incarne l'artiste romantique. Sa vie courte et tourmentée a donné naissance à de nombreux mythes.
Le Radeau de la Méduse      Né dans une famille aisée de Rouen, Géricault étudia dans les ateliers des peintres Carle Vernet (où il fit la connaissance de son fils, Horace) et Pierre Guérin avant de s'inscrire en 1811, à l'École des beaux-arts de Paris. Après avoir échoué au concours du grand prix de Rome, il décida de partir pour l'Italie à ses propres frais. Il fut très impressionné par les peintres de la Renaissance italienne, en particulier Michel-Ange, ainsi que par le maître flamand Pierre Paul Rubens.
      Dès le début de sa carrière, Géricault témoigna de qualités qui le distinguaient nettement des peintres néoclassiques de l'école de Jacques Louis David : il choisit en effet de privilégier les thèmes de la vie quotidienne qu'il porta au rang de hauts faits héroïques. Chantre du désespoir et de la souffrance humaine, il devint rapidement le chef de file des peintres romantiques.
      Son Officier de chasseurs à cheval de la garde impériale chargeant (1812; 800x607pix, 128kb) et Le Cuirassier Blessé Quittant le Feu (1814; 680x555pix, 271kb) relèvent déjà d'une composition audacieuse, et d'une véhémence de la touche et des couleurs que l'on retrouve de façon éclatante dans sa toile la plus célèbre, Le Radeau de la Méduse (1819).
      Cette œuvre, inspiré par un fait sordide de l'actualité politique montre les survivants du naufrage du navire La Méduse, entassés sur un radeau, à l'instant où un navire, visible dans le lointain, leur fait espérer le salut. La présence de figures directement inspirées des exercices académiques contraste singulièrement avec le réalisme dont l'artiste fait preuve dans l'expression de l'agonie. Ce parti pris (d'autant plus téméraire que la toile est de très grand format) et le choix du sujet (qui condamnait ouvertement la politique du gouvernement) déclenchèrent une vague de violentes polémiques. Ce tableau fut néanmoins très remarqué au Salon de 1819 et entra au Louvre dès 1824.
      D'avril 1820 à novembre 1821, Géricault voyagea en Angleterre où il peignit, entre autres, le Derby d'Epsom: à la fin de sa vie, il se consacra au thème du cheval, qui l'avait passionné dès le début de sa carrière. L'animal devint en effet le centre de sa mythologie personnelle, le messager des méditations du peintre sur la passion, la souffrance et la mort. Peu de temps avant sa mort Géricault avait commencé à peindre une série d'études de malades mentaux, les "fous", qui témoignent de l'intérêt porté par les artistes romantiques à l'expression de la névrose et de l'aliénation. Outre ses peintures à l'huile, il réalisa également des lithographies, des sculptures, rares mais remarquables, et des centaines de dessins.
^ Died on 26 (24?) September 1952: René Seyssaud, French painter born on 16 (15?) June 1867. — {Croiriez-vous qu'un de ses chefs-d'oeuvre est une nature morte avec un saucisson, une paire de ciseaux, et une demi-douzaine de seaux, et que l'on trouve peu de ses oeuvres dans l'internet parce que ceux qui en décident, quand ils se sont saisis de lui, ont susurré: “Ici cessons la session. Seyssaud, c'est sot ... son saucisson... ses ciseaux... ses six seaux... c'est si sot!”?}
— Student of Grivolas in Avignon, Seyssaud very quicky developed his own style; wild and brutal but at the same time showing great restraint and strength; large and bold brush strokes of pure colors straight from the tubes. Sponsored by two Parisian Art Dealers, Vollard and Bernheim (large exhibition in 1901 soon after the Van Gogh's major retrospective) he was assured financial stability and retired in 1902 at Saint Chamas becoming another Provençal recluse artist. Precursor with Valtat of the Fauvist movement he is sometimes referred to, by certain Art Critics, as the "Black Fauve".
— Son père était avocat à Marseille et sa mère, Joséphine Sarlatétait originaire de Sault ( Vaucluse ). Soutenu par son père, il abandonna ses études à 13 ans pour entrer à l'École des Beaux-Arts de Marseille, déjà il n'avait qu'une ambition: dessiner. Il fréquente le milieu du félibrige ( Mistral ) avec, notamment, Jean Gasquet. René Seyssaud perd son père à 18 ans et c'est le tournant de sa vie de peintre. Pour ne pas être à la charge de sa mère, il va habiter à Avignon chez son grand-père en 1885. Il entre à l'école des Beaux-Arts d'Avignon.. En 1895, il rencontre François Honnorat, courtier en huiles à Marseille qui deviendra pour un grand nombre d'années son "financier", ce qui permit à René Seyssaud de vivre en toute sécurité financière et de se faire connaître. Tuberculeux, il se soigne et peint au bord de la mer (au Lavandou, à La Ciotat, à Bandol ou à Cassis ). Il se marie en janvier 1899 avec une fille de dix-sept ans sa cadette et qui deviendra une compagne admirative et dévouée. En 1904, il s'établiera de manière définitive au bord de l'étang de Berre, il séjournera dans cette maison pendant cinquante ans et ne s'échappera qu'en de trés rares occasions. Proche du Fauvisme qu'il annonce dès sa première exposition en 1897. Il montre ses toiles à Paris, mais vit en Provence. Il se consacra à l'évocation de la vie rustique Méridionale.

–- Paysage de Provence (1900, 50x73cm; 778x1140pix, 105kb)
Paysage (330x486pix, 25kb)
Labourage (325x484pix, 24kb)
^ Born on 26 September 1803: Thomas Sidney Cooper, English painter, specialized in farm mammals, who died on 07 February 1902.
— He was encouraged in his ambition to become an artist by Sir Thomas Lawrence and the animal painter Abraham Cooper [1787–1868], no relation. He entered the Royal Academy Schools, London, in 1823. He subsequently taught art in Brussels where he met Eugene Verboeckhoven, whose work had a profound influence on him. Through Verboeckhoven he came to appreciate the work of such 17th-century Dutch painters as Aelbert Cuyp and Paulus Potter. In 1831 he returned to London, exhibiting at the Royal Society of British Artists. He exhibited 48 pictures at the British Institution between 1833 and 1863. The majority of his work was, however, exhibited at the Royal Academy; from 1833 to 1902 he exhibited 266 works there without a break, and he remains the longest continuous exhibitor in the Academy’s history.

In The Highlands (1890, 66x56cm)
Cattle and Sheep in a Landscape (1880, 61x91cm)
Cattle and Sheep Resting in an Extensive Landscape (1877, 92x147cm)
Dairy Cows Resting (1875, 76x109cm)
A Wooded Ford (1866, 102x138cm)
The Chill of Winter (1862, 50x71cm)
Sheep in Winter (1860, 25x38cm)
Rams and a Bull in a Highland Landscape (1855, 95x136cm)
In the Canterbury Meadows (1842, 43x53cm)
Near Canterbury: a Boy on a Donkey driving Cattle along a Road, the Cathedral beyond (1833, 30x40cm)
A Cow and Two Sheep (1860, 22x30cm)
Milking Time in the Meadows (60x91cm; 394x600pix, 54kb)
A View of Nuremberg (480x390pix, 43kb)

Died on a 26 September:

1953 Xu Beihong, Chinese painter born (main coverage) on 19 July 1895. —(080925)

^ 1893 Annie Feray Mutrie, Manchester, England, painter of fruits and flowers, born in 1826.
Still Life

1787 Nicolas Desportes “le neveu”, French genre painter born on 17 July 1718.— Nephew of Alexandre-François Desportes [24 Feb 1661 – 20 Apr 1743], whose son was Claude-François Desportes [1695 – 31 May 1774]
Nature morte au plat d'huitres et à la miche de pain (76x100cm; 229x300pix, 15kb) _ Ce tableau imite La Table aux huitres (1737) d'Alexandre-François Desportes, avec des variantes dans le fond d'orfèvrerie remplacé ici par un parement de pierre de taille.— (050925)

^ 1722 Pieter van der Werff, Dutch artist born in 1665. Pieter van der Werff was the brother, assistant and close follower of Adriaen van der Werff [21 Jan 1659 – 12 Nov 1722] In a daybook the brothers kept they recorded the amount of work each did on a picture and then computed its price upon the basis of their calculations. Pieter also copied his brother's work.
Lady playing the lute (227x196pix, 11kb)
Granida and Daifilo (1711, 37x29cm; 920x705pix, 91kb) _ Many Dutch artists painted scenes from the popular pastoral play Granida (1605) by Pieter Corneliszoon Hooft [16 Mar 1581 – 21 May 1647] (6 engraving portraits of Hooft). The play is noted for the delicacy of its poetry and the simplicity of its moral: that individuals and nations can be at peace only when rulers and subjects alike shun ambition and seek only to serve. In the painting, the shepherd Daifilo, looking suitably love-lorn, sits at the feet of the Persian Princess Granida as she holds out a flower for him to smell. Across her lap he holds a perfectly depicted soprano recorder with decorated turnings at the slightly expanded foot. On the ground in front of them lie a gourd with a belt (shepherd's purse?) and a shepherd's crook. _ See:
      _ Granida and Daifilo by Jacob Adriaenszoon Backer [1608-1651]
      _ Granida and Daifilo (1632) by Jan Miense Molenaer [1609-1668]
      _ Episode from the Story of Granida and Daifilo by Hendrick Terbrugghen [1588 – 09 Nov 1629 bur.]
      _ Anna du Pire as Granida (1660) by Bartholomeus van der Helst.

^ 1681 Willem Ruyter (or Reuter), Flemish artist born in 1642. Not to be confused with the German artist Christoph Wilhelm Reuter [1768 – 14 May 1834].
A Roman Market (1669, 119x193cm; 340x540pix, 43kb _ ZOOM to 801x1276pix, 253kb) — (050924)

^ 1670 Abraham Teniers, Flemish artist born on 01 March 1629, son of David Teniers Sr. [1582 – 29 Jul 1649] and brother of David Teniers Jr. [15 Dec 1610 – 25 Apr 1690].
Barbershop with Monkeys and Cats _ The barbers are monkeys, the customers are cats.
(Monkey and Cats Discussion)
Elderly Woman (1661) monochrome image.

Born on a 26 September:

^ 1953 (24 Sep?) Peter Halley, US painter. He was born and lives in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, which he attended from 1967 to 1971. While there, he read Interaction of Color of Josef Albers [19 Mar 1888 – 25 Mar 1976] which would influence Halley throughout his career. In 1976, Halley graduated from Yale University, New Haven, with a degree in art history. Halley had spent a year in New Orleans in 1973, where he was inspired by the non-Western influences of the city. It was also during this year that Halley began using commercial materials in his art and became acquainted with the writings of Robert Smithson [02 Jan 1938 – 20 Jul 1973]. Halley received an M.F.A. from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center in New Orleans that same year. In 1978, Halley spent a semester teaching design at the University of Southwestern Louisiana, Lafayette, and has continued to teach on and off throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in New York at P.S. 122. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music and used it as a model for his art. In the early 1980s, Halley began writing for Arts Magazine and became involved in contemporary theory. Peter Halley: Collected Essays 1981–1987 was published in 1988. Inspired by Jean Baudrillard’s theory of simulation, Halley’s own philosophy became the basis for Neo-Geometric Conceptualism, a term associated with the work of Halley, Ashley Bickerton, and Jeff Koons. In 1984, Halley became involved with the East Village gallery International with Monument. With the support of the gallery, Halley’s career began to take off. In 1986, an exhibition of the Neo-Geo artists at the Sonnabend Gallery, New York, heralded the group’s growing success. By 1989, the artist’s career was well-established, and he was exhibiting with prominent galleries in the United States and Europe. About this time, Halley began to be more experimental with color. — LINKS
Superdream (1991, 235x242cm)
Nowhere (1992, 221x475cm)
Space Jam (1996, 183 x249cm)
Cartoon Network (1997, 259x315cm)
Hard Drive (1997, 183x239cm)
Memory & Loss (1998, 188x356cm)
Super Size (2000, 274x300cm)
Critical Path (2001, 274x300cm)
The Time Machine (2002, 244x290cm)
Whatever it Takes (2003, 241x408cm)
303 (773x800pix, 78kb) _ The pseudonymous Repete Havenue has metamorphosed this into the much more complex:
      _ Free! Oh, Free! aka Rap Trap (2006; screen filling, 316kb _ ZOOM to 1864x2636pix, 2255kb)
Zone (1953; 600x558pix, 88kb) _ Out of this rather simple geometric picture in four flat colors, Repete Havenue has evolved the multicolored and complex:
      _ Z One No Z (2006; screen filling, 250kb _ ZOOM to 1400x1980pix, 904kb),
      _ Ozone aka Nod On (2006; screen filling, 328kb _ ZOOM to 1400x1980pix, 1061kb), and
      _ Oh! Zone! aka No Don (2006; screen filling, 387kb _ ZOOM to 1400x1980pix, 1616kb) _ Together with 16 other metamorphosed Halley paintings, this last picture has been included by Havenue, and can easily be spotted (because Halley's straight lines have been replaced by curves) in the mega-abstraction:
      _ As Society is Created, in the Zone of a Super Sized Conduit Between Two Cells, a Cartoonist Dreams of a Hard Drive Critical Memory Loss Taking a Church Time Machine on a Loop in the Network of Jammed Paths to Nowhere Whatever in Space aka Casse Ressac (2006; 1864x2636pix, 1729kb) _ detail aka Caress (screen filling, 187kb).
Sociogenesis (1996, 236x239cm; 800x796pix, 47kb) _ Havenue has transformed this into:
      _ Boss Sob (2006; screen filling, 395kb _ ZOOM to 1864x2636pix, 1323kb) of which a small version is the second picture from the left at the top of Casse Ressac.
–- Silver Cell (1100x1015pix, 174kb) a minimalist mottled gray square with a dark strip at the bottom and a narrower red strip on the left. _ This boring pictture has been metamorphosed by Havenue into the splendid pair of intricate and colorful abstractions (best appreciated at maximum magnification)
      _ Silver Sale (2007; 550x778pix, 106kb _ ZOOM 1 to 778x1100pix, 230kb _ ZOOM 2 to 1100x1556pix, 525kb _ ZOOM 3 to 1710x2418pix, 1487kb _ ZOOM 4 to 2658x3760pix, 3744kb) and
      _ Golden Prison (2007; 550x778pix, 106kb _ ZOOM 1 to 778x1100pix, 230kb _ ZOOM 2 to 1100x1556pix, 525kb _ ZOOM 3 to 1710x2418pix, 1487kb _ ZOOM 4 to 2658x3760pix, 3744kb) —(070925)

1944 Randolph Franklin Dial [–13 Jun 2007], US painter and sculptor known mostly for his 16 September 1981 murder of karate instructor Kelly Dean Hogan in Broken Arrow, Oklahoma, and his 30 August 1994 escape from prison with Bobbi Louaine Parker, the Deputy Warden's wife, allegedly held as hostage until they are found in Campti, Texas, and he is arrested on 04 April 2005. A son of Dial by a wife he divorced a few years after the boy's birth, Alexis Franklin Osborn [25 Jan 1978~], murdered his mate, Amanda McDade, 15, on 24 May 1998. —(090925)

1848 Helen Allingham, English painter who died (main coverage) on 28 September 1926. —(060927)

^ >1823 William Henry Knight, British painter who died on 31 July 1863. — Relative? of John Prescott Knight [1803-1881]? John William Buxton Knight [1842-1908]? Joseph Knight [1837-1909]? — Knight was trained as a solicitor before following a career as a painter. He established a successful portrait practice before turning his hand to more elaborate genre scenes. Most of his works are of a small size, with meticulous attention to detail. Two of his most celebrated paintings, The Last Change and The Counterfeit Coin, were widely reproduced during the 19th century.
Although he began his professional life as a solicitor, Knight was encouraged in his artistic aspirations when two of his paintings were accepted by the annual exhibition of the Society of Artists. He subsequently enrolled at the Royal Academy Schools and exhibited at the Royal Academy between 1846 and 1862. He also showed work at Suffolk Street and at the British Institution. He excelled at portrait and genre painting, with many of his works depicting children at play. In Rivals to Blondin Many of his works were engraved, including Lost Change and The Counterfeit Coin.
–-S#> Mr. Gilpin on his favorite hack, with greyhounds (1850, 76x64cm; 800x659pix, 77kb)
–- Peace versus War aka A Troublesome Neighbour (Dec 1862, 25x30cm; 892x1092pix, 135kb)
–- The Lost Change (1859, 55x77cm; 777x1120pix, 77kb)
–-S#> Farmer's Boy (20x15cm; 510x380pix, 63kb)
Time for Play (1853)
Hide and seek (1860)
Rivals to Blondin (1862) _ Here Knight portrays poor children who play happily on the street He acutely observes facial expressions, gestures and costume. —(090729)

^ 1785 Charles Bird King, US painter who died on 18 March 1862. His father, Captain Zebulon King, was killed by Indians at Marietta, Ohio, on 30 April 1789. He received his first informal art lessons from Samuel King [24 Jan 1749 – 20 Dec 1819], a neighbor, but not a relative. Then at age 15, he ran away to New York City where he worked in the studio of Edward Savage. From 1805 to 1812, he lived in London, studying under Benjamin West [1738-1820] and sharing a studio with Thomas Sully. In 1816, he settled in Washington DC, becoming the city's first significant resident artist. He did portraits of politicians and then spent 16 years on a commission to paint members of a five-tribe Indian delegation. — John Gadsby Chapman [1808-1889] was a student of Charles King. — Portrait of Bird King by Chris Van Es. — LINKS
Young Omahaw, War Eagle, Little Missouri, and Pawnees (1821, 92x71cm)
Indian Girl at Her Toilette (1835, 69x56cm)
Keokuk, Chief of the Sacs and Foxes (1837; 1065x750pix, 123kb)
Ma Has Kah, Chief of the Ioways (1824; 1120x750pix, 66kb) — (050924)

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