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ART “4” “2”-DAY  27 September v.9.80
^ >Born on 27 September 1859: Joseph Henry Sharp, US painter, specialized in the US West, who died on 29 August 1953.
— Born in Bridgeport, Ohio, Joseph Henry Sharp was the founding member of the influential Taos Society of Artists. Sharp lost his hearing at the age of 14, he left public school and studied at the McMicken School of Design and later at the Cincinnati Art Academy. At 22 he went to Europe to study under artist Charles Verlat in Antwerp, and, on two more separate trips to Munich and Paris, under other artists including Benjamin-Constant and Jules-Joseph Lefebvre. When he returned to the US, he taught classes at the Cincinnati Art Academy and traveled widely throughout the Western states. Sharp first visited Taos, New Mexico, in 1893, one of the first White artists to paint there. He returned to Taos every summer until 1912, when he settled there permanently. Sharp's enthusiasm for the landscapes of New Mexico helped convinced his friends and fellow artists to settle there as well, and in 1917 the Taos Society of Artists was formed, consisting of Sharp, Ernest Blumenschein, Oscar Berninghaus, Bert Phillips, and others. In 1901, commissioned by President Theodore Roosevelt, Sharp began painting portraits of the Amerindian tribesmen who had vanquished Custer at the Battle of Little Big Horn. Nearly 200 of these portraits were completed, many of which became part of the collection of the University of California's anthropology department. Sharp died in California.
— Joseph Henry Sharp was born in Bridgeport, Ohio in 1859 and has been considered a very important Taos painter specializing in Amerindian portraiture. He was an illustrator, teacher and "father of the Taos Art Colony." As a “latter day George Catlin” he had produced a sizeable number of sketches of Amerindians by the beginning of the twentieth century and worked on a program of completing his paintings during the Winter months. In 1901 the United States government commissioned his building a cabin and studio at the foot of the "Little Big Horn Battlefield" in Montana. Sharp produced about 200 portraits of Amerindians who had battled General George Armstrong Custer in the epic battle of the Little Big Horn. Eighty of those paintings were purchased for the University of California. Sharp was commissioned to execute fifteen more works each year for a five year period. These works are part of the University of California's anthropology department and show his eye for scientific accuracy. Sharp studied at the McMicken School of Design and the Cincinatti Art Academy. He taught life classes at the Art Academy and also studied with Charles Verlat in Antwerp, Karl Marr in Munchen and Duveneck in Spain and Italy.
— In 1912 Sharp made Taos, New Mexico his permanent residence. Working together with such notable artists as E.I. Couse, Ernest Blumenschein and Bert Phillips, Sharp became the "father" of the Taos Art Colony (1915-1927). Like most other painters associated with the Taos Society of Artists, Sharp embraced the academic tradition, studying periodically between 1881 and 1898 with trained artists or in academies located in America and Europe. Sharp's first venture into Montana was in 1889. For his studio, he used a sheep wagon that he named the "Prairie Dog." This wagon gave him the freedom to travel to diverse locations for his artistic undertakings. Sharp would later build a log cabin and studio at Crow Agency, near the Little Big Horn Battlefield. He named the cabin the "Absarokee Hut", the traditional name of the Crow people. The application of his rigorously developed skills to the subject of Amerindian cultures formed the basis of his artistic career. Although his subjects varied greatly, the quality of his work was consistently superb. During his lifetime he painted over 10'500 works of art.
— Sharp is widely considered to have been the “Spiritual Father” of the Taos Society of Artists. He was the first painter to visit New Mexico, before Phillips and Blumenschein made their historic wagon trip. He left behind a vast cultural record of Native American life, landscapes, and portraiture. His work is often referred to as poetic, and is steeped in deep nostalgia that he felt all his life for the vanishing culture of the American Indian and the old west.
      Sharp was born in Bridgeport, Ohio, to Irish parents. His father was a local merchant. From his earliest days, Sharp was fascinated by anything he could learn about the Amerindians. This interest did not extend, apparently, to anything taught in school. The young Joseph Henry was more interested in drawing, fishing and swimming, the latter of which almost killed him – he nearly drowned once in an incident in a river. Sharp was pulled out of the water by friends who thought he had died. However, after being carried home he was resuscitated by a determined mother. Unfortunately, Sharp would never completely recover from his accident. His hearing was damaged and would continue to deteriorate rapidly, eventually leaving him utterly deaf. At this early age, Sharp’s indomitable spirit was already manifest, as he never for a moment let his handicap hold him back. He learned to read lips and began to carry a pad and pencil with him wherever he went, never once losing his optimistic outlook on life. It was around this time that he began to realize that he had a natural facility for drawing, and he sketched often in the outdoors.
      When Sharp was 12, his father died, leaving the family with almost no income. Though still in school (though just barely), Sharp went to work in a nail mill and copper shop, giving his earnings to his mother. Two years later, his continued hearing loss had rendered school impossible, and so he quit school entirely and moved to Cincinnati, where he lived with his aunt. At 14, he worked and supported himself entirely, still sent money to his mother, and managed to have enough to enroll in art classes at Mickmicken University in Cincinnati. In the late 19th century, studying in Europe was still considered compulsory for any aspiring artist, and after 8 years of working, and studying when he could, Sharp had saved enough extra money to travel to Europe, and spent two years at the Antwerp Academy studying in the realist tradition; history painting and portraiture.
      Sharp’s first trip to the West was in 1883 at age 24. He visited pueblos in New Mexico (though not Taos), Santa Fe, Albuquerque, Tucson, and then took a boat up the West Coast and disembarked in the Washington Territory. In the northwest he encountered natives from numerous tribes, and the sketches he did on that trip would be the basis for his first Amerindian portraits. His love of the West notwithstanding, Sharp seemed to feel that his studies were never really over, and he again set off to Europe. He went to Germany, Italy, but spent most of his time in Spain, studying the Spanish masters El Greco, Velazquez, and Goya.
      Back in Cincinnati, Sharp married in 1892, and finally visited Taos for the first time in 1893, on a commission from Harper’s Weekly. He was captivated by the then unspoilt life of the natives in Taos. The pictures he completed for the commission were very well received, and led to further illustration work with numerous publications. In spite of this success, Sharp still felt that his education was incomplete, and he went to Paris for two years of further study. It was in a class in Paris that he first met Burt Phillips and Ernest Blumenschein. He regaled his new friends with stories of the West, and showed them several of his drawings. Sharp’s words and pictures worked a spell on the pair, and they became determined to make their own trip west, which they would in 1898. He also separately met E.I. Couse in Paris, and had a stimulating effect on that young painter as well.
      However, when he returned to the US Sharp did not go back to the pueblos of New Mexico right away. He taught in Cincinnati, worked as an illustrator, and spent time in Montana, camping on the battlefield of Little Big Horn, becoming acquainted with and painting portraits of Plains Amerindians. In 1900, an exhibition of these portraits would travel to Paris and to Washington DC, and would prove to be a turning point in his career. The Smithsonian Institution purchased 11 portraits, and President Roosevelt took an interest in Sharp’s work. Roosevelt had the Indian Commission build and furnish a cabin and studio for Sharp. Sharp had it constructed at Little Big Horn, at the intersection of two rivers. Two years later, Phoebe Apperson Hearst (mother of William Randolph Hearst), bought 80 paintings from Sharp all at once. Suddenly Sharp was financially independent, and could quit teaching and illustrating to devote himself to painting full-time.
      While working in Montana, Sharp began amassing a huge personal collection of Native American artifacts and costumes. It was important to him that these things be preserved and understood, and that he was closely connected to and had a thorough understanding of his subject matter. He even made sure that he got to know all of his portrait subjects personally. In this way he was as much an anthropologist as a painter.
      Once he was independent and could paint freely, Sharp’s output was enormous. He had been a hard worker ever since he had to support himself at 14, and this attribute never left him. He sometimes completed hundreds of paintings in a year. The Northern Plains Amerindians remained the focus of these efforts for a long time. Sharp felt that his attention belonged there, rather than the pueblos, because he saw the Plains Amerindians and their way of life dwindling much faster. He knew that Taos would still be there in 10 years.
      He began to spend some summers in New Mexico, and in 1909 purchased an old Penitente chapel to use as a studio. The Penitente sect was one that believed in self-flagellation as a means of atonement, and apparently the chapel still had bloodstains on the rafters when Sharp moved in. In 1912 Sharp finally relocated to Taos permanently, and was a charter member of the Taos Society of Artists, formed that same year. He worked and exhibited with the group for many years, and by all accounts was widely loved and respected. He had a reputation as being friendly, witty, and patient. An interesting note about his first years in Taos is that he painted several pictures of Plains Amerindians there, using locals as models with costume from his own collection. It is interesting to see a portrait of an Amerindian with hair braided in the Taos style, wearing plains garb and a scowl. The scowl being a reflection of how the subject felt about being coerced into wearing the regalia of another tribe.
      Those portraits aside, Sharp threw himself into recording the environment and life of the pueblo. He generally sketched outdoors, and completed paintings in his studio. He continued to enjoy critical, as well as financial success, which allowed him to continue his already extensive travels. He spent years in Spain, went to Africa twice, to South America, and even to Japan and China. He also spent several winters in Hawaii before World War II. In the 1920’s he bought a winter home in Pasadena, California, and there worked at landscapes and floral paintings.
      At age 93, Joseph Henry Sharp closed his studio in Taos. He intended to return the following year but fell ill, and died in Pasadena. He left behind thousands of paintings, an unparalleled visual record of the Amerindian. His paintings express a strange poetic note, rare sense of beauty, and rich tonal perception. Hardly is there a painter who could strive for more. But Sharp achieved something else: he was one of the US West’s most important historians, and the US owes him a debt for it.
Photo of Sharp

–- Firelight Chant (76x91cm; 419x500pix, 22kb _ .ZOOM to 1365x1627pix, 139kb)
The Bonnet Maker (1910, 46x38cm) _ Sharp is considered the founding member of the Taos Society of Artists. He made many portraits of Amerindian figures, including many of the warriors who fought Custer in the Battle of Little Big Horn. This portrait, like many of Sharp's paintings, records a part of Amerindian culture. Full of Sharp's highly developed sense of detail, The Bonnet Maker is remarkable for the dappling of the sunlight on the seated person.
Do-Ree-Tah (1900)
Encampment of Crow Indians (1908)
Ration Day at the Reservation (1919, 102 x 140 cm) _ The genesis of the Taos Art Colony began with Sharp, who first visited Taos in 1893. He publicized the town's qualities in illustrations contributed to popular magazines and by encouraging fellow artists to visit Taos. Like most other painters associated with the Taos Society of Artists active between 1915 and 1927, Sharp embraced the academic tradition, studying periodically between 1881 and 1898 with trained artists or in academies located in the US or Europe. The application of his rigorously developed skills to the subject of Amerindian culture formed the basis of his artistic career.
      Sharp was fortunate to find several patrons around 1902 who routinely purchased the Amerindian portraits he painted at the turn of the century, among whom were Phoebe Hearst in California and Joseph G. Butler, Jr. in Ohio. Sharp's Amerindian heads, which had also been purchased by the Bureau of Ethnology at the Smithsonian Institution in 1902, were frequently identified as historical documents, but Sharp clearly intended to be known not just as an historian, but as an artist.
      Undoubtedly created to establish Sharp's artistic credentials, the elements of Ration Day at the Reservation are drawn from a variety of sources. The plastered building with a blue-frame door is reminiscent of the architecture of Sharp's own home in Taos, which he purchased in 1908, including the buffalo skull, which hung over a door in the building he used as a studio. The Amerindians, not specific to any one tribe, are wrapped in commercial blankets, frequently of government issue. From yet another source, Plains beadwork is evident in several pairs of moccasins and on the leather dress worn by the seated woman to the left.
      It is a composition showing the Amerindians applying for rations at the Government Agency. The painting relies on Sharp's familiarity with the federal bureaucracy at the Crow Agency, where he lived largely among United States government employees, including his close friend, the Crow agent from 1902 to 1910, Samuel Reynolds. The relationship between the federal government and Amerindians was a troubled one in Sharp's eyes. He explicitly protested government interference in tribal life when he wrote the Department of the Interior in 1902, asking them not to enforce a new rule requiring the men to wear short hair.
      Ration Day at the Reservation suggests the encroachment of not just the federal government but of Euro-American values, which, through the Bureau of Indian Affairs and boarding schools such as those found at the Crow Agency, worked to turn tribes from a life based on hunting to one based on agriculture. The transition was rarely successful and led to tribal dependency on the government for food and housing. The stooped figures, dark tones, and generally somber mood of the painting indicate that Sharp felt that ration day on the reservation marked a dark moment in Amerindian survival. The presence of the broken buffalo skull over the door further emphasizes the sense of loss, since artists routinely used the buffalo skull to suggest the destruction of the Amerindian's way of life. Sharp had on other occasions, in such paintings as The Mourners (1911) and Young Chiefs Mission (1919), chosen a frieze-like format in which figures are shown in a shallow space in front of a vertical backdrop to stage sorrowful or somber subjects, as he does in Ration Day at the Reservation.
–-S#> Francisco, a Taos Indian (800xpix, 56kb)
–-S#> Pasadena Bridge, California (x800pix, 52kb)
–-S#> Playing to the Buffalo Skull (x800pix, 59kb)
–-S#> The Chanters (800xpix, 72kb)
–-S#> Sharpening Arrows (x800pix, 78kb) {If this had been painted by Catlin, would it be Cat Lining Arrows?}
Crow Girl in an Elk Tooth Dress (34x24cm)
Chief Duck Man (30x20cm)
Hunting Song aka Taos Indians (51x61cm)
Rabbit Hunt, Taos Valley (46x61cm)
–-S#> Hunting Son (35x25cm, 570x799pix, 65kb)
–-S#> Landscape (x800pix, 61kb)
–-S#> Moving Camp (x799pix, 79kb)
–-S#> The Hudson in Winter (x799pix, 68kb)
–- Path Along the Cottonwoods, Taos (1906, 40x61cm; 535x799pix, 66kb)
–- The Red Stone Pipe (800x623pix, 28kb) being smoked by an Amerindian. Sharp was not sharp enough to think of titling this Ceci n'est pas une pipe et cela n'est pas un indien qui la fume.
–- Black Deer (800x631pix, 35kb) an Amerindian
–- From Studio Door (800x594pix, 53kb) landscape
–- Aspens, Twining (800x662pix, 55kb) on mountains
–- Chief Washakie (800x502pix, 28kb) wearing what looks like a policeman's badge and an ID earring (?).
Fall Coloring (66x51cm)
Garden of the Copper Bell
Path to the Mess House
Portrait of a Taos Girl
Taos Garden
Winter Landscape (41x48cm)
Winter Landscape #2
Taos Landscape
Winter Weeds and Seeds
Grand Canyon (1928, 35x25cm)

Died on a 27 September:

>1964 Tancredi Parmeggiani [25 Sep 1927–], Italian abstract painter.
–- untitled (980x1400pix, 75kb) a two-fingered hand, a ball, and a load of hay on a pitchfork?
Diario paesano (1962, 1020x828pix, 245kb) on a white background, various shades of red, yellow, and blue blobs, in a few of which are inserted tiny pictures of flowers or trees.
Materia-Luce (1959; 913x827pix, 296kb)
untitled (1953, 69x100cm; 620x896pix, 62kb) 6 variations of a pink, yellow, and white what? flower?? —(090924)

^ 1944 Aristide Joseph Bonaventure Maillol, French Art Nouveau and Nabi painter, printmaker, and one of the most important sculptors of the 20th century, born on 08 December 1861. His monumental statues of female nudes restored to early 20th-century sculpture a concern for mass and rigorous formal analysis; his works paved the way for the radical experimentation of the various schools of modern abstract sculpture.
     Maillol began as a painter and tapestry designer whose work reflected his great admiration for the Nabis, a group of artists whose work was composed typically of decorative patterns of color. He was almost 40 years old when an eye disease made him decide to become a sculptor. His mature style of sculpture rejected the highly emotional sculpture of his contemporary Auguste Rodin, and he attempted to preserve and purify the tradition of sculpture derived from classical Greece and Rome. The Mediterranean (1901) and Night (1902) show the emotional restraint, clear composition, and serene surfaces he employed in his sculpture for the rest of his life. Although most of his work depicts the mature female form, a notable exception is the lean Cyclist (1908), which greatly influenced subsequent developments in figurative expressionistic sculpture.
      After 1910 Maillol was internationally famous and received a constant flood of commissions. Because of his strict economy of aesthetic means, he managed successfully to turn out the same subject repeatedly, sometimes varying little more than the title from work to work. Only in L'Action Enchainée (1906) and The River (detail _ photos from other angles: 1 _ 2 ;1943) did he vary his basic formula and represent the human form inturbulent activity. Maillol resumed painting in 1939, but sculpture never relinquished preeminence in his affections. He also made many woodcut illustrations for fine editions of Latin poets during the 1920s and '30s, doing much to revive the art of the book.— LINKS
+ ZOOM IN +Self-Portrait (800x576pix, 95kb)
Deux Femmes aux Foulards Rouges (572x800pix, 118kb)
94 images at Ciudad de la Pintura —(060522)

1917 Hilaire-Germain-Edgar Degas, French painter born (full coverage) on 19 July 1834. —(090926)

^ 1660 Saint Vincent de Paul [24 Apr 1581–], not a painter, but a painted, for example in the 18th century Saint Vincent Présente les Premières Filles de la Charité à la Reine Anne d'Autriche [>>>] by Frère André, O.P. —(080923)

^ 1527 Domenico Ubaldini “Puligo”, Florentine painter born in 1492. He was trained in Florence by Ridolfo Ghirlandaio and in the workshops of Antonio del Ceraiuolo (fl 1st half 16th century) and Andrea del Sarto. What may be his earliest surviving work, The Virgin and Child with St John (1513), reflects the style of Ghirlandaio. Other early paintings, however, such as The Holy Family, show the influence of Fra Bartolommeo and Andrea del Sarto and are little affected by Ghirlandaio. The Virgin and Child with the Infant St John (1522) clearly reflects the examples of Fra Bartolommeo and Raphael, with the figures in the manner of Andrea del Sarto. The figure of the Christ Child may derive from Raphael’s Madonna of the Pinks (1508). Over a dozen drawings have been attributed to Puligo, but none relates to his extant work or resembles his style of painting. He was a particularly lazy artist, which may account for this scarcity of drawings and for the frequency of borrowed motifs and repeated compositions in his smaller religious paintings. Such borrowing often resulted in a lack of harmony in his compositions, as in the Pitti Virgin and Child. The influence of the more sculptural forms of Andrea del Sarto’s work of the 1520s can be seen in the Mary Magdalene (1525). One of Puligo’s most important large-scale works of this period is The Vision of St Bernard (1525)
Portrait of Piero Carnesecchi (1527, 60x40cm)
Madonna con il Bambino e San Giovannino _ L'opera mostra chiari riferimenti alle analoghe composizioni di Andrea del Sarto [16 Jul 1486 – 28 Sep 1530], rielaborate perň alla luce del linguaggio teso e stravolto del Pontormo. La torsione del bust della Vergine, le fisionomie dei volti del Bambino e del San Giovannino, rimandano, anche, ai modelli grafici del Carucci [24 May 1494 – 02 Jan 1557 bur.] e potrebbero suggerire il nome di Domenico Puligo. Un'altra ipotesi di ricerca conduce, invece all'operositŕ di Maso da San Friano (Tomaso d'Antonio Manzuoli [1536–1571]).

Born on a 27 September:

1946 Tommy Wayne “T.C.”Cannon [–08 May 1978], US Amerindian painter. T. C. Cannon died young and left behind a beautiful, powerful oeuvre. He was born in 1946 in Lawton, Oklahoma, and died as a result of an automobile accident in Santa Fe in 1978. He had attended the Institute of American Indian Arts in Santa Fe, studying with Fritz Scholder. He seemed somewhat bitter and distrustful of authority. One of his teachers suggested to T. C. that they get in two rocking chairs facing each other and rock and frown until all the aggression was gone. He was away from home for the first time, so perhaps his quiet and reflective nature was misread as bitterness. Cannon has mischievousness in his work. He treated the Indian subject in brightly arrayed costuming as a “dandy.” He portrayed the Indian of a distant past, but placed him in today’s world. His people were always dressed to be beautiful.
Big Soldier (linocut 66x57cm; 1003x800pix, kb) —(080925)

1945 Jack Goldstein [–14 Mar 2003], Canadian-born US performance and conceptual artist, and, later, painter.
— (untitled?) (2514x2504pix, 727kb) monochrome dirty-yellow abstraction —(090925)

1916 Frank Handlen, US painter. —(080925)

^ 1872 Edward Okun, Polish symbolist painter, draftsman, and illustrator, who died in 1945. Okun was a student of Gerson in Warsaw, studied in Munich under Azbe and Hollosy, and in Paris under Constant and Laurens. He also lived in Rome for a long period of time and from 1925 to 1930 he was Professor of the Warsaw Academy. He began exhibiting in 1893 in Poland and in 1895 abroad in Paris, Berlin and Munich.
— Studia artystyczne rozpoczete w Warszawskiej Szkole Rysunkowej kontynuowal w krakowskiej Szkole Sztuk Pieknych, w Monachium u A. Ažbego i S. Hollosy'ego oraz w Paryzu. Po studiach stale mieszkal we Wloszech - w Rzymie, a okresowo takze we Florencji, Sorrento, Amalfi i na Capri. W 1921 r. powrócil do Warszawy, gdzie w latach 1925 - 1930 byl profesorem Szkoly Sztuk Pieknych. Jeszcze kilkakrotnie wyjezdzal do Wloch i do Jugoslawii. Malowal, odznaczajace sie dekoracyjnoscia linii i koloru, bliskie symbolizmowi i secesji portrety, idylliczne pejzaze i kompozycje o watkach fantastycznych i basniowych. Zajmowal sie ilustracja i zdobnictwem ksiazkowym, byl jednym z ilustratorów warszawskiego pisma Chimera.
Autoportret z zona na tle Anticoli-Corrado (1900; 422x800pix, 64kb)
Autoportret (1911; 542x800pix, 57kb)
Autoportret (1898, 48x40cm; 256x200pix, 12kb)
Wojna i my (1923, 88x115cm; 800x658pix, 155kb)
Portret zony artysty (1907; 800x630pix, 80kb)
Wiesniaczka z Kampanii (1900; 800x581pix, 111kb)
Okladka warszawskiego czasopisma artystyczno-literackiego "Chimera" (1901; 800x529pix, 79kb)
Judasz (1901, 45x70cm; 800x503pix, 70kb)
Filistrzy (1904, 92x119cm; 800x615pix, 60kb)
Widok z okna (1905; 631x800pix, 96kb)
Pejzaz sródziemnomorski (1928, 46x60cm; 600x791pix, 54kb) Mediterranean mountainous shore landscape.
Chlebowe drzewo. Amalfi (1932, 115x92cm; 500x662pix, 73kb)
Driada - boginka lesna (1902, 81x121cm; 460x700pix, 59kb) _ Obraz byl wystawiony w roku 1902 na specjalnej wystawie prac artysty w warszawskim Towarzystwie Zachety Sztuk Pieknych. Reprodukowany nastepnie w Tygodniku Illustrowanym, zostal opatrzony nastepujacym, literackim opisem i komentarzem krytyka: “Dryada Edwarda Okunia to nie tylko doskonale odtworzony tors niewiesci na tle krajobrazu lesnego. Figura Dryady posiada [...] pewien demonizm zywiolowy. Czuc, ze malarz kreslil nie zwykla kobiete, lecz jakas potezniejsza od pospolitych typów boginke lesna, z która niebezpiecznie jest sie stykac, gdyz czar jej moze podzialac zabójczo na czlowieka. Pod wzgledem wykonania obraz odznacza sie wlasciwemi pedzlowi Okunia zaletami, a figura Dryady zlewa sie doskonale z roslinnoscia, która ja otacza, w harmonijny akord kolorystyczny i plastyczny.”
Grota w Sorrento (1915, 18x24cm; 480x639pix, 61kb) shore with big rock seen from inside the cave.
Jesien w Sabinskich Górach (1942, 47x32cm; 596x407pix, 28kb) sheep grazing under three tall trees by a side rivulet.
Koncert (1911, 50x40cm; 480x400pix, 96kb) _ Prezentowany obraz jest autorska replika znanej kompozycji Koncert malowanej w latach 1909-1911 i nastepnie wystawionej w warszawskiej Zachecie na Salonie 1911 roku. Koncert wiaze sie z symbolicznym nurtem w twórczosci artysty - potracajaca struny harfy kobieta, ujeta w ramy zieleni, wsród kwiatów i ptaków, staje sie tu jakby personifikacja natury, grajacej swoja pogodna melodie.
Ogród - prymulki i cynerarie (1908, 31x56cm; 460x700pix, 108kb) flower garden
Papryka (1921, 36x51cm; 474x700pix, 65kb) three bell peppers: red, yellow, green; a couple of red chili peppers back of them.
Pejzaz wloski (1917, 19x24cm; 499x629pix, 102kb) Wooded landscape
Pejzaz wloski, Capri (1910, 25x36cm; 482x700pix, 58kb) Wooded landscape by the sea, unfinished mountains in the background.
Widok na Raguze (1932, 115x92cm; 500x390pix, 27kb)
W ogrodach Villa Borghese w Rzymie (1905, 18x24cm; 500x658pix, 89kb)
Illustration for Poesie Krasprowicz (1900, 19x32cm; 287x500pix, 37kb) monochrome _ In Polish literature, the years from 1890 to 1918 are the period of “Young Poland”. It was a time of intellectual crisis and of fin de sičcle sophistication and disillusionment in the cultural world. Notable among the poetry of this era were the subtle lyrics and the symbolical poems of Jan Kasprowicz. — (050926)

^ 1847 Gabriel Joseph Marie Augustin Ferrier, French painter who died on 06 June 1914. — {C'est en son honneur qu'il y a des jours Ferrier?}. — Elčve de Pils, Lecoq de Boisbaudran et E. Hébert, il étudie ŕ l'école des Beaux-Arts et obtient le Prix de Rome en 1872. Dčs ses débuts les critiques jugent ses tableaux agréables et d'un grand charme mais parfois maniéré et froid. Il sera plus apprécié pour ses portraits et sera reconnu comme un enseignant remarquable ŕ l'école des Beaux-Arts oů il enseigne depuis 1903. Il expose au Salon dans les années 1870 et 1880. On connait de lui des tableaux orientalistes de la fin des années 1880. Il devient commandeur de la Légion d'Honneur en 1911 et membre de l'Académie des Beaux-Arts en 1906.
Femme de Biskra (Algérie) (46x32cm; 592x410pix, 61kb)
L'Ange Guardien (round; 300pix diameter, 48kb) — (050926)

^ 1718 Christian Georg Schütz (or Schüz) I, German artist who died on 06 December 1791.
A romantic river-landscape with two anglers and an old watermill (50x70cm; 482x600pix, 42kb) — (050926)

^ 1678 Jean-Baptiste Nattier, French painter who committed suicide on 23 May 1726. He was taught first by his father, Marc Nattier [1642 – 24 Oct 1705], a portraitist and his mother, miniaturist Marie Nattier [née Courtois] [1655 – 13 Oct 1703]. He had a royal licence to reproduce Rubens’s famous cycle of paintings The History of Marie de’ Medici, then in the Palais du Luxembourg, Paris. Before he died, Marc made the licence over to Jean-Baptiste and his other son Jean-Marc Nattier [17 Mar 1685 – 07 Nov 1766]. The two produced a series of drawings after it for some of the foremost engravers of the day, including Gérard Edelinck, Bernard Picart and Gaspard Duchange. The drawings appeared in 1710 under the title La Galerie du Palais du Luxembourg. Both painters subsequently worked as history painters, as had been their father’s intention, but Jean-Marc is best known for his fashionable portraits.
     From 1704 to 1709 Jean-Baptiste Nattier was a student at the Académie de France in Rome. In 1712 he became a member of the Académie Royale de Peinture et de Sculpture on presentation of Joseph and Potiphar’s Wife. He is principally known for his history paintings, such as David with the Head of Goliath. His career came to an abrupt end when a scandal in his private life resulted in his expulsion from the Académie Royale and his imprisonment in the Bastille, where he took his own life.
–-S#> Cimon and Pero (Caritas Romana) (95x74cm; 400x299pix, 25kb)

1622 Gerrit Lundens, Dutch artist who died after 1677.

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updated Sunday 27-Sep-2009 5:27 UT
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v.8.80 Friday 26-Sep-2008 3:52 UT
v.6.80 Wednesday 27-Sep-2006 4:40 UT
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