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DEATH: 1781 LE PRINCE
BIRTHS: 1840 VIBERT — 1865 LÉVY~DHURMER — 1707 ROTARI
^ Born on 30 September (06 July?) 1840: Jehan Georges Vibert, French Academic painter who died on 28 July 1902.
— The cheerfulness, playfulness, and hint of shrewdness in Vibert's character are traits that also distinguish his works and make his reputation. In his early years he was trained under Barrias and, on 04 April 1857, entered the Ecole des Beaux Arts. During the early part of his career he painted rather serious and dramatic subjects, such as The Death of Narcissus and Christian Martyrs in the Lion pit.
      Vibert entered the Salon in 1863; found his first success with a medal at the 1864 salon, and won a financial prize at the universal exposition of 1867. In about 1867, however, his style changed and instead of the dramatic and serious, he started painting "small things and niggling. Instead of heroic Christians and tragic mythology, he turned to more homey subjects such as The Barber of Ambulart.
      In 1870, while Paris was under siege by the Prussians, Vibert fought and was wounded at the battle of Malmaison. His attraction to the less serious subjects of genre grew, stimulated by his interests in comedy and satire. He also wrote several comedies, many of which were successfully produced at Paris theaters such as the Vaudeville. As well as from his own comedies, he gathered subject matter from the French fabulist La Fontaine (of whom he had a bust in his house), and the satirist Jonathan Swift.
      In 1878 Vibert achieved his first popular success with a huge history painting, The Apotheosis of Mr. Thiers. In spite of the success of this painting, he would spend most of his creative time on the humorous scenes that he enjoyed. During the later part of his life, his interest turned to the clergy. Paintings such as The Fortune Teller, The Diet, and Monk picking radishes satirized the clergy's irreligious indulgences or depicted them in homey situations to an audience used to seeing the church ennobled in traditional religious and historic works. These would be the paintings that would make his reputation as one of the seven most influential artists of his time, along with Bouguereau, Cabanel, Meissonnier, Gérôme, Bonnat, and Lefebvre.
      Vibert's works satirizing the clergy are representative of the liberties emmanating from Enlightenment thinking that led to the world and culture shifting events of the US and French Revolutions. To spoof the clergy would have been to risk your life or imprisonment a century earlier, or even currently in Rome where Papal power was still at great strength. Thus Vibert was part of the growing democratization of Europe in which the artists and writers of the time were exposing the fraud and pomposity of big government and a hypocritical clergy that talked about walking in the shoes of the fisherman, and giving for god all worldly goods, while they themselves lived in the height of oppulance and luxury in great mansions with servants waiting on their every whim.
     La Tireuse des Cartes is a particularly powerful example. What could be a greater spoof on holier-than-thou clerics, than to have two Cardinals soliciting the services of a prognosticator.
     In 1902 an important technical book was published by Vibert: La Science de la Peinture.
— Vibert est fils de Théodore Vibert [1816-1850] qui, en 1841, achète l'établissement situé au 7, Rue de Lancry exploité par son beau-père, Jean-Pierre Marie Jazet, graveurs à succés de la Maison Goupil, et devient éditeur de gravures. La même année, il succède à Henri Rittner comme associé auprès d'Adolphe Goupil pour faire le commerce d'estampes sous la raison sociale "Goupil & Vibert". En 1846, Alfred Mainguet, avocat, lui rachète la moitié de ses parts et devient le troisième associé de "Goupil, Vibert & Cie". Théodore Vibert se donne tout entier au projet ambitieux qu'il a élaboré avec Adolphe Goupil: la succursale de New-York, ouverte en 1848. Il décède en Mars 1850 et Adolphe Goupil est alors désigné tuteur de ses deux enfants dont l'un, Jehan Georges Vibert, aura une carrière de peintre édité par la Maison.
     Le peintre J.G Vibert est largement édité par la Maison Goupil: Adolphe Goupil [1806-1893] est son tuteur depuis la mort de son père Théodore Vibert. Vibert fit une carrière brillante. Il s'était spécialisé dans des sujets mettant en scène des ecclésiastiques.
— Vibert's students included Pinckney Marcius-Simons and Ferdinand Roybet [1840-1920].

LINKS
Cardinal, Reading a Letter (_ ZOOMable)
Le Médecin Malade (1892) illustrant une comédie de Vibert.
The Final Touch (74x100cm; 726x987pix, 224kb)
The Diet (71x61cm)
Tea for the Bishop (46x61cm)
The Wrath of the Bishop (28x36cm)
La Tireuse de Cartes (69x102cm)
Napoléon et son fils _ The only son of Napoléon I [15 Aug 1769 – 05 May 1821] and Marie-Louise [12 Dec 1791 – 17 Dec 1847], Napoléon-François-Charles-Joseph Bonaparte [20 Mar 1811 – 22 Jul 1832] was at birth titled “roi de Rome”.
Gulliver of Gulliver's Travels by Jonathan Swift
Chatting by the Fountain (97x74cm)
Preparations for the Procession
–-S#> La Sieste (26x36cm; 510x708pix, 61kb)
L'Aveu (1896, photogravure couleurs, 27x35cm; 575x733pix, 197kb).
 
^ Died on 30 September 1781: Jean-Baptiste Le Prince, French painter, draftsman, and engraver born on 17 September 1734.
— Born to a family of ornamental sculptors and gilders, he became famous for creating a new kind of genre picture, based on the direct observation of Russian subjects, and also for perfecting aquatint technique. Sometime about 1750 he became a student of François Boucher, thanks to the protection of the Maréchal de Belle-Isle [1684–1761], governor of Metz. Boucher’s saturated brushwork, highly finished surfaces and incisive drawing had a decisive impact upon the young artist, as did, perhaps, the diversity of his output. He was also inspired by 17th-century Dutch and Flemish genre and landscape painters. Le Prince’s name was synonymous with the fanciful and exotic decorations he produced. His picturesque depictions of day-to-day life in Russia, known as russeries and his exotic portrayals of Chinamen were in high demand during his lifetime. The vogue for decorating homes with exotic silks, porcelain and prints imported from the Far East, inspired artists, like Le Prince, to take advantage of this exoticism and incorporate fantasy and whimsy into their own decorations. A testament to the growing interest in the East was the Chinoiserie trade card that François Boucher designed for Gersaint’s shop on the Pont-Notre-Dame A la Pagode.
— A great traveler (Finland, Lithuania, Russia, Siberia), he introduced Russian subjects into France. Born in Metz, Leprince became known in France for his history paintings, landscapes, portraits, and genre scenes, as well as for his engravings. He studied with the greatest official painter of eighteenth-century France, François Boucher (1703-1770), often painting pastoral scenes in his master's rococo style. In 1758, when he was twenty-four, Leprince went to Russia for five years to work for the Imperial Palace in St. Petersburg. He decorated much of that palace and many others with his interior designs and paintings. He returned to France in December 1763.
— Two influences were paramount for Le Prince: his teacher François Boucher and his stay in Russia. Born to a family of ornamental sculptors and gilders, Le Prince began studying under Boucher about 1750. His master's tightly controlled brushwork and highly finished surfaces influenced him greatly, along with Boucher's affection for scenes with shepherds and shepherdesses.
      By 1757 Le Prince was painting at the Imperial Palace in Saint Petersburg. He traveled extensively in Russia, perhaps even to Siberia. Returning to Paris five years later and eager to make a name for himself, Le Prince created paintings and etchings of the Russian countryside and daily life, often using Russian costumes and small mannequins to get the exactitude he desired. Le Prince not only became famous for creating this new kind of genre picture, but he also perfected the technique of making aquatints.
      Upon becoming a member of the Académie Royale in 1765, Le Prince exhibited fifteen paintings at that year's Salon, all Russian subjects. The Beauvais Tapestry Manufactory wove his Russian Games tapestry cartoons many times. After 1770 Le Prince's health declined and he left Paris for the French countryside, where he painted landscapes and pastoral subjects.
— Le Prince's students included Jean-Baptiste Marie Huet, Charles-Clément Bervic, Louis-François Cassas.

LINKS
Un Baptême Russe (1765, 73x92cm) _ Peint au retour d'un voyage en Russie, ce tableau fut présenté comme morceau de réception à l'Académie. Il appartient au goût des "russeries" que Le Prince exploita tout au long de sa carrière.
The Tartar Camp (1765, 175x223cm)
The Necromancer (1775, 77x63cm) Three versions of this subject are known, including one in the Hermitage, St Petersburg. It is not known which of the three was the one exhibited at the Salon of 1775. Evidently a popular composition, it was also engraved in 1785. Le Prince specialised in genre scenes often, like this one, with an exotic flavor.
The Four Seasons: Autumn, Winter, Spring, Summer (1763 Four paintings, Autumn 49x87cm, Winter 50x87cm, Spring 49x86cm, Summer 50x87cm). These allegorical oil paintings, each still in its elegant original frame, probably decorated the interior walls of an important home, and, consequently, are very thinly painted. Each one uses a female nude to personify one of the four seasons. Le Prince's Seasons derive almost directly from the designs of Boucher, if we judge from the strong similarity between Spring and an engraving after Boucher entitled Venus Crowned by Cupids.
The Russian Cradle (1765, 59x74cm; 518x640pix, 94kb) _ In a rural setting, a peasant family sits admiring a baby in a cradle suspended from the branches of a tree. The composition takes its name from the distinctive hanging cradle made of boughs lashed together. Surrounded by goats and sheep, an old woman in a red dress and decorative headscarf holds a distaff and points towards the infant as if telling its fortune. The blue sky with pink-tinged clouds recalls the influence of François Boucher, Jean-Baptiste Le Prince's former teacher. Jean-Baptiste Le Prince served in Saint Petersburg at the court of Catherine the Great between 1760 and 1762. Upon his return to Paris in 1765, he made this painting and thirteen others that he exhibited in the Salon. To an eighteenth-century French audience, this improbable scene would have seemed exotic and picturesque. In reality, Russian peasants were still serfs tied to the land and its owner; it is unlikely that they would have enjoyed the leisure time depicted here. Based on drawings and recollections from the artist’s extensive travels throughout Russia, The Russian Cradle proved immensely popular and was replicated in drawings, prints, and even as decoration on Sèvres porcelain.
La Visite (1779, 88x129cm; [Flash])
–-S#> S#* Chinoiserie avec fumeur de pipe (45x38cm; 800x654pix, 119kb)
—(050929)
^ Born on 30 September 1865: Lucien Lévy~Dhurmer, French Art Nouveau painter and potter who died on 24 September 1953.
— Lévy-Dhurmer's extensive career began as a noted ceramist, exibiting frequently in Paris. An exhibition which included paintings as well as ceramics held at Galerie Georges Petit introduced his talent as a painter. Influenced heavily by the Symbolist movement and artists such as Puvis de Chavannes and Gustave Moreau, Lévy-Dhurmer became very interested in the complex relationship between music, emotion and painting. Although his later works predominantly depict landscapes, he never abandoned music and emotion as primary influences. Following the 1896 exhibition, Lévy-Dhurmer began exhibiting with a group of artists which included Henri Le Sidaner.
— From 1879 he studied at the Ecole Supérieure de Dessin et de Sculpture in Paris. In his first exhibition at the Salon in 1882 he showed a small porcelain plaque depicting The Birth of Venus in the style of Alexandre Cabanel and he continued to exhibit there regularly. From 1886 to 1895 he worked as a decorator of earthenware and then as artistic director of the studio of Clément Massier [1845–1917] at Golfe Juan, near Cannes. Around 1892 he signed his first pieces of earthenware inspired by Islamic ceramics and made a name for himself primarily as a potter at the Salon des Artistes Français in 1895. An innovator in ceramic shapes, techniques and glazes, he participated in the revival of the decorative arts at the end of the 19th century. During this period he spent some time in Italy, notably in Venice where he familiarized himself with 15th-century Italian art. In 1896 he exhibited for the first time at the Galerie Georges Petit: about twenty pastels and paintings were displayed, revealing his individual style and gifts as a portrait painter. The female form, influenced by the art of Leonardo and the Pre-Raphaelites became, with landscape, one of his favored themes and was invested with mystery, using a technique at once full-bodied and refined (e.g. Eve, 1896). In the 20th century he gradually departed from Symbolism except in some representations of women illustrating the music of Ludwig van Beethoven, Gabriel Fauré and Claude Debussy and in some landscapes (e.g. Winter, Petit Trianon, 1929)
— One of the best and strangest French Symbolists. Master of pastels, painter of fantastical scenes, portraits and beautiful Mediterranean landscapes. From 1879, attended drawing and sculpture classes at his local school in Paris. In 1886, he met Raphael Collin, who advised him. From 1887-1895 he lived at Golfe Juan, working as a decorator of porcelain figurines and objets d'art. Discovered classical art on a trip to Italy. Returning to Paris in 1869, he exhibited under a pseudonym, adding the last two syllables of his mother's maiden name (Goldhurmer) to his own, probably to avoid confusion with another artist called Lévy. His characteristic style, a hazy academicism, was appreciated in equal measure by the public and by other artists. While maintaining an academic approach to detail, he assimilated the lessons of Impressionism, creating works whose astonishingly successful coloristic harmony invariably relates to the idea or vision he sought to invoke. After 1901, he gave up his Symbolist themes to some extent, the exception being his idealized female nudes which illustrate the music of Beethoven, Fauré. and Debussy.

LINKS
Eve (1896, 49x46cm; _ ZOOMable)
Notre Dame de Penmarc'h (1896, 41x33cm; _ ZOOMable) _ Lévy-Dhurmer s'est inspiré de modèles vivants pour la réalisation de cette toile : il s'agit d'une Bretonne et de son enfant, vêtus de leurs austères costumes bigoudens. A l'arrière-plan, apparaissent les rochers de la pointe de Penmarrc'h, prolongés au second plan par la grève de St Guénolé à marée basse. Il ne s'agit pas d'un simple portrait, mais plus d'une transposition. En effet, tout comme le firent Gauguin et Henri Martin à la même époque, Lévy-Dhurmer idéalise la réalité en attribuant à cette paysanne et à son enfant les insignes de la sainteté et de la divinité : auréoles et geste de l'enfant bénissant, corps hiératiques et regards fixes, semblables à ceux des personnages des icônes byzantines. Il s'agit bien là d'une Vierge à l'Enfant dans la pure tradition de la Renaissance italienne, mais transposée ici dans la culture populaire bretonne empreinte d'une piété simple et naïve. Le musée de Brest conserve une esquisse préparatoire (de plus grand format) de ce tableau, rare oeuvre symboliste d'inspiration bretonne.
Feu d'Artifice à Venise (1917, 90x57cm)
Portrait of Georges Rodenbach (1895) _ Rodenbach [16 Jul 1855 – 25 Dec 1898] was a Symbolist poet and novelist whose writing was inspired by scenes of his country, Belgium.
Woman with a Medallion (Mystery) (1896)
Medusa (The Angry Wave) (1897)
–-S#> Head of a Young Beauty (1892, 59x44cm; 900x632pix, 82kb) surrounded by a lot of gauze.
(050929)
^ >Born on 30 September 1707: Pietro Antonio Rotari, Italian painter and printmaker who died on 31 August 1762. {some sources state his birth date as 20 September, probably a typo; or 04 October, probably the date of his baptism}. — {was he a Rotarian?}
— Born in Verona, Rotari studied drawing under Robert van Auden Aerd, and then under Antonio Balestra. Rotari studied in Venice, then in Rome under Francesco Trevisani, and went Naples to work at the studio of Francesco Solimena. He went back in Verona in 1734, where he opened his own private academy in which he began to produce historical and religious paintings which would bring him local and international fame. He left in 1754 for Vienna, and then Dresden at the invitation of Frederick Augustus III of Poland. In Dresden he received the invitation of the Empress Elizabeth of Russia, daughter of Peter the Great, to come to St. Petersburg as First Painter of the Court. It was in Saint-Petersburg, from 1756 onwards, that Rotari was to perfect that genre to which his name, like that of Greuze, is linked: small canvases of idealized heads which depict with subtlety and seeming artlessness, the expressions and emotions of adolescent children. He died in St. Petersburg.
— Pietro Antonio Rotari was born in Verona, the son of a distinguished local physician and scientist. He received drawing lessons as a child from the Flemish engraver, Robert Van Auden-Aerdt, and from an early age produced etchings, mostly of sacred themes. He was apprenticed to the Veronese painter Antonio Balestra, who greatly influenced his early style of history painting, from 1723 to 1725. In 1726 he went to Venice to study the city's old master and contemporary paintings, in particular the works of Piazzetta [1683-1754] and Tiepolo [1696-1770].
      From 1727 to 1731 Rotari lived in Rome under the aegis of a Veronese canon, Francesco Biancolini, and studied under Francesco Trevisani [1656-1746]. Rotari's local reputation was established when a painting of his was sent from Rome to the Accademia Filarmonica in Verona in 1728 and was praised by the noted scholar and author, Francesco Scipione Maffei. Rotari interrupted his Roman sojourn in 1729 to visit Naples, where he studied the works of Francesco Solimena and other artists attached to the Bourbon court of Ferdinand IV. In 1734 Rotari returned to his native Verona, and in the following year opened a private academy of painting.
      Rotari forged these eclectic influences into a style that brought him modest success with commissions for churches and palaces in Bergamo, Brescia, Casale Monferrato, Guastalla, Padua, Reggio Emilia, Rovigo, Udine, Verdara, and Verona. At the same time he received numerous commissions from Italian patrons as diverse as Cardinal Silvio Valenti Gonzaga, the Palatine elector Karl Theodor, and Queen Louise Ulrike of Sweden. On 07 February 1749, Rotari, in recognition of his merit as a painter, was given the title of "Conte dal Senato Veneto" by the Venetian Republic.
      In 1750 Rotari moved to Vienna to work for Empress Maria Theresa, producing mythological and religious paintings and portraits of the nobility. There he saw the work of Jean-Etienne Liotard, and his own paintings began to reveal the clear, cold colors, porcelain surfaces, and smooth handling associated with the Swiss artist's oils and pastels. About 1752-1753 Rotari was summoned to Dresden by King Augustus III, Elector of Saxony and King of Poland. There he painted devotional works and portraits of members of the Saxon court. He developed there the genre upon which his fame rests: elegant and idealized bust- and half-length studies of attractive young women in ethnic or regional dress exhibiting a broad range of expressions such as melancholy, surprise, joy, and languor.
      In 1755 Empress Elizabeth of Russia invited Rotari to St. Petersburg and the following year appointed him court painter. He spent the remainder of his life working in the city and its environs for the Imperial family and for the Russian aristocracy. He produced, together with assistants, hundreds of so-called character heads, bust-length images of young woman displaying superficial psychological and emotional states. Rotari is historically important as one of the main representatives of a group of Italian artists who worked in Germany, Poland, and Russia, spreading a sort of international rococo style whose Italian origin is often hardly recognizable. He instituted at St. Petersburg a private academy of painting, and his most important Russian students were the painters Alexei Petrovich Antropov and Feodor Stepanovich Rokotov. Rotari died at the Imperial court at Saint-Petersburg.

LINKS
–- A Shy Woman with Black Lace Head Scarf, Green Coat Trimmed with White Fur (45x35cm) [holding up a hand under coat thus shyly hiding half of lower face, with a Mona Lisa half~smile]
–- Ekaterina Petrovna Holstein-Beck, Later Princess Bariatinsky (56x45cm; 852x1031pix, 72kb)
–- A Woman with Red Coat with Fur Trim, Blue Hat, White Blouse (45x35cm; 1068x856pix, 92kb) _ .zoom in on face(1079x856 pix, 121kb)
–- Girl Writing a Love Letter (1755, 85x69cm; 880x860pix, 86kb) _ .main detail (1080x860pix, 142kb) _ Pietro Rotari exemplified the type of highly successful, itinerant artist of the eighteenth century who traveled to wealthy patrons. He created many genre portraits, including images of pretty young girls smiling, frowning, dozing and casting coquettish glances. Rotari's cool palette, smooth brushwork and graceful reserve made him one of the most pleasing artists of the eighteenth century. Viewing this young woman writing a love letter from close up, we are invited to experience the cozy sensation of her daydream, which is presumably about her boy friend.
A Woman with Blue Scarf and Striped Shawl (45x35cm; 1077x820pix, 129kb)
A Woman with Gold Jacket, Fur Hat with Gold Tassel (45x35cm; 1081x840pix, 121kb)
A Woman with Green Vest, White Blouse and Red Choker (45x35cm; 1079x804pix, 93kb)
A Woman with Plaid Scarf with Lace Trim, Red Vest & White Blouse (45x35cm; 1081x820pix, 124kb)
Sleeping Girl (106x84cm; 950x753pix, 111kb) _ The young woman is asleep sitting, with an open book in her right hand. A young man is about to tickle her face with an ear of wheat.
Alexander the Great and Roxane (1756) _ Roxane was the daughter of the Bactrian chief Oxyartes, she was captured and married by Alexander the Great [356 BC – 13 Jun 323 BC] in 327 BC, during his conquest of Asia. After Alexander's death she had his second wife, Stateira (Barsine), killed, and she gave birth at Babylon to a son (Alexander IV), who was accepted by the Macedonian generals as joint king with the idiot Philip III Arrhidaeus (half brother of Alexander the Great). In 319 BC Roxana joined Alexander's mother, Olympias [375 BC – 316 BC], in Epirus, but she was captured in 316 BC in Macedonia by Cassander [358 BC – 297 BC], who later took the title of king of Macedonia. He imprisoned Roxana at Amphipolis and then executed her and her son in 310 BC.
–- Saint Sebastian (1725 etching after Antonio Balestra, 13x17cm; 472x618pix, 62kb) Nothing is known of Saint Sebastian, except that he was an early Christian martyr and that an apocryphal legend says that he was an officer in the bodyguard of Roman emperor Diocletian [245-316], was in 286 discovered to be a Christian, pierced with arrows (as he is usually painted), healed by Saint Irene (widow of martyred Saint Castulus, another guard officer), and later clubbed to death.
—(060929)

Died on a 30 September:

>1917 Charles Napier Hemy [24 May 1841–], English painter. — LINKS
Home at Last (1912, 117x213cm; 541x1000pix, 249kb _ ZOOM to 1622x3000pix, 1129kb)
Running For Home (1063x1600pix, kb) 3 men in a sailboat in heavy seas. —(080611)

1889 François-Antoine Bossuet, Belgian artist born perhaps on 22 August 1800.
–-S#> Le Grand Canal, Venise (1878, 50x71cm; 510x749pix, 74kb)
–- Spanish Town (598x750pix, 30kb) —(050929)

1882 Adolf Heinrich Lier, German artist born on 21 May 1826. — {Lier liar lyre player? No}{Fou à lier, Lier? Non. — Allié, Lier? Ça dépend avec qui.}
Die Theresienwiese mit der Bavaria bei Abenlicht (1882, 110x205cm; 367x700pix, 93kb)
Sommerlandschaft am Starnberg See (1858, 42x76cm; 298x558pix plus frame, 139kb)
Russiche Fürstin (1863, 67x83cm; 485x395pix plus frame, 254kb) —(050929)

^ 1872 Jakob Alt (or Altamura), German (or Austrian?) artist born on 27 November 1789. — {On computer keyboards there are two keys which are named after him} — LINKS
The Basilica of Santa Maria in Aracoeli and the Piazza del Campidoglio, Rome (1835, 23x19cm; 786x650pix _ ZOOM to 1572x1301pix, 428kb)
–- Courtyard of the Borghese Palace, Rome (1835, 22x27cm; 926x1155pix, 155kb)
Die Cholerakapelle nächst Baden bei Wien (1832; 600x808pix, 200kb _ ZOOM to 1400x1836pix, 572kb)
The Monastery of Melk on the Danube (1845; 700x595pix, 115kb) —(060929)

1865 Johann Jakob Frey, Swiss painter born (main coverage) on 27 January 1813. —(050929)


Born on a 30 September:

1980 Camilla d'Errico, Canadian painter, comic book artist (influenced by the Japanese style), and illustrator.
Fish in a Bowl _ pensative girl holding a red fish to her mouth; no bowl. —(080929)

1846 Karl (or Carl) Eduard Schuch, Vienna Austrian still life painter who died on 13 (14?) September 1903. He was taught by the Naturalist painter Ludwig Halauska [1827–1882] in Vienna, and in 1871 he introduced Wilhelm Leibl [23 Oct 1844 – 04 Dec 1900] to a group of gifted young Munich painters, which subsequently became known as the Leibl circle. Between 1871 and 1872 he worked together with Albert Lang [1847–] and Wilhelm Trübner. He led a life of restless travel, spending most of his time abroad; the cities in which he stayed longest were Venice (1876–1882) and Paris (1882–1894). Due to his wealthy family background, he was able to survive financially while hardly ever exhibiting, selling his work or receiving commissions and could thus be seen as embodying ‘art for art’s sake’, the slogan of the Leibl group.
— Carl Schuch wurde in einer wohlhabenden Familie in Wien geboren. Im Alter von 20 Jahren erhielt der übersensible Carl Schuch Malunterricht bei dem Künstler Ludwig Halauska in Wien. Der Unterricht dauerte drei Jahre. Nach dieser Ausbildung unternahm er eine Studienreise nach Italien gemeinsam mit dem Maler Albert Lang. Danach richtete sich Carl Schuch in München ein Atelier ein und freundete sich mit Trübner und Leibl an. Die drei Künstler portraitierten sich gegenseitig, malten nach denselben Modellen und standen in regem künstlerischen Austausch.
     1872 bis 1873 arbeitee Carl Schuch wieder in Italien. In Italien hielten sich viele deutsche Künstler auf. Es gab einen Eichenhain bei Olevano, in dem diese Künstler sehr viel malten. Dieser Eichenhain sollte abgeholzt werden. Carl Schuch ist es zu verdanken, dass dies nicht geschah. Er vermittelte den Ankauf des Waldes durch das deutsche Reich. In dieser Zeit malte Carl Schuch romantische Landschaftsbilder.
     1873 lernte Carl Schuch den Maler Karl Hagemeister kennen. Mit ihm gemeinsam malte er am Hintersee bei Salzburg Landschaftsbilder. Mit Karl Hagemeister verband Schuch eine lebenslange Freundschaft. Hagemeister hat später ein Buch über Schuch veröffentlicht. Ein Portrait von Carl Schuch gemalt, das den Freund Karl Hagemeister darstellt, ist im Besitz derHannoverschen Landesgalerie. Anschließend reiste Carl Schuch nach Holland, Belgien, und wieder nach Italien.
     1876 bis 1882 lebte er fast ausschließlich in Venedig und arbeitete in der Lagunenstadt fast ausschließlich an Stilleben. Das unten veröffentlichte Stilleben mit Äpfeln ist ein Beispiel aus dieser Zeit. Im Stilleben sah Carl Schuch eine Möglichkeit , zur "reinen Malerei" zu gelangen. Hier in Venedig gelang es ihm, seinen eigenen Stil zu entwickeln. In den Sommermonaten dieser Jahre jedoch hielt er sich in der Mark Brandenburg auf. Gemeinsam mit seinem Malerfreund Karl Hagemeister schuf er Landschaftsbilder.
     1882 bis 1894 lebte Carl Schuch, der inzwischen schwerkrank geworden war, in Paris. In Paris beschäftigte sich Carl Schuch intensiv mit der Malerei von Corot, Courbet, Manet und Monet. Die Stlilleben aus der Pariser Zeit zeigen eine stufenweise Lösung vom Gegenstand. Carl Schuch heiratete eine Französin und lebte mit ihr wieder in Wien. Aber sein Leiden verschlimmerte sich. Er wurde in eine Heilanstalt eingewiesen,
die er bis zu seinem Tod nicht mehr verlassen hat.
     Carl Schuch starb in seiner Heimatstadt Wien kurz vor seinem 57. Lebensjahr am 14. September 1903. Die Daten und Fakten sind seinen Tagebüchern und Briefen entnommen. Carl Schuch hat in seinem Leben kein einziges Bild verkauft und nie ausgestellt. Carl Schuch war lange fast vergessen, in den letzten Jahren werden seine Stilleben jedoch gemeinsam mit denen von Cezanne, Manet und Morandi ausgestellt und gewürdigt.
Portrait of Schuch (1876, 59x51cm; 900x772pix, 42kb) by Wilhelm Leibl [1844-1900]
Portrait of Schuch (1871) and Portrait of Schuch (1876; 555x427pix, 30kb) by Wilhelm Trübner
Self-Portrait
Self-Portrait (1846)
Self-Portrait  (1876; 555x422pix, 29kb)
Päonien (1890, 63x56cm; 900x799pix) paint cracks, needs restauration.
Stillleben mit Äpfeln, Weinglas und Zinnkrug (1876, 69x92cm; 820x1100pix, 112kb)
Am Weßlinger See (1876, 45×70cm; 400x618pix, 43kb).
Apfelstilleben (1880, 45×70cm; 400x543pix, 42kb). —(050929)

1794 Jan Baptist Lodewyck Maes~Canini, Dutch painter who died in 1856. His students included Emanuel Notermann [1808-1863].
The Musicians (1854, 75x99cm; _ ZOOMable)
The Letter to the Bride (1854, 76x101cm; 758x1024pix, 111kb) —(050929)


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