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ART “4” “2”-DAY  19 April
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BIRTHS: 1869 MEHOFFER — 1849 GONZALÈS
^ Born on 19 April (March?) 1869: Józef Mehoffer, Polish painter, printmaker, and decorative artist, who died on 08 July 1946.
— [It would have been of no use for him to try to join the Teamsters, because when they asked his name, they would have understood him to say “Me, Hoffa.” and they would have dismissed him as an imposta.]
— Megoffer was a student of Matejko in 1887 at the Cracow Fine Arts Academy; in 1890 he attended the Vienna Fine Arts, and in 1891-1896 attended the Academy Colarossi and the Paris Beaux-Arts. Wyspiaski, who studied with him, influenced him in his decorative work. Mehoffer illustrated magazines such as Zycie and Chimera and won a reputation as a designer of stained-glass. The great work of his life was the preparation of the cartoons for the stained-glass windows of the Cathedral of St Nicolas in Fribourg, Switzerland.
— From 1887 he studied at the School of Fine Arts in Kraków under Wladyslaw Luszczkiewicz [1828–1900] and Jan Matejko [24 Jun 1838 – 01 Nov 1893]. In 1889 Mehoffer and Stanislaw Wyspianski, as the two most talented students of the School, were engaged to assist Matejko in his decorative wall paintings for the Gothic Church of St Mary in Kraków. This work aroused Mehoffer’s interest in both fresco and stained glass. In 1889–1890 he studied at the Kunstakademie, Vienna, and in 1891 he travelled through Salzburg, Innsbruck and Basle (where the work of Arnold Böcklin caught his imagination), eventually going to Paris. There he studied at the Académie Colarossi, at the Ecole Nationale des Arts Décoratifs and, from 1892, in the atelier of Léon Bonnat at the Ecole Nationale des Beaux-Arts. During his stay in Paris (1891–1896) he devoted much time to studying works by the Old Masters in the Louvre; he also studied architecture, making a tour of medieval cathedrals in France in 1893. He took an interest in current history painting and exhibitions of contemporary art, especially the paintings of Pierre Puvis de Chavannes and James Abbott McNeill Whistler. Mehoffer’s early works, such as Maternity (1894), Objects on a Mantelpiece (1895; both Poznan, N. Mus.) and Dance Naïve (1898), inspired by a theme from Paul Verlaine’s poem Les Ingénues, reveal the extent to which he had absorbed the characteristics of the Nabi artists, to whom he was drawn for their tendencies towards decorative synthesis, refined stylization and tasteful tonality. Mehoffer employed an expressionistic variant of Symbolism to create an atmosphere suggestive of unease and impending disaster, as in the painting The Ravine (La Gorge de Reusse, 1897; Poznan, N. Mus.), as well as in the several versions from this period of The Muse.

LINKS
The Strange Garden (1903) _ In the midst of a dream garden where a toddler is taking his first steps watched fondly by his mother, the artist had introduced a giant Gallé-like dragonfly — a dramatic touch which serves to underscore the painting's message that happiness and indeed life itself are precarious things.
the Artist's Wife (1904) — Europa Jubilans (1905) — May Sun (1911) — History of the Holy Cross (stained glass window, 1924)
^ Born on 19 April 1849: Eva Gonzalès, Mme Henri Guérard, French Impressionist painter who died on 05 May 1883.
— Her first introduction to art was through her parents. Her father, Emmanuel Gonzalès (of Spanish origin but naturalized French), was a well-known writer; her mother, a Belgian, was an accomplished musician. The family salon was a meeting place for critics and writers including Théodore de Banville and Philippe Jourde, the director of the newspaper Siècle. At 16 she had art lessons with the society portraitist Charles Chaplin [1825-1891], who ran a studio for women. Gonzalès rented a studio in the Rue Bréda and under Chaplin’s guidance made figure compositions and landscapes, exhibiting at the Salon of 1870 as his student.
— Eva Gonzalès was born in Paris into the family of the writer Emmanuel Gonzalez. In 1865, she began her professional training and took lessons in drawing. In 1869, she met Édouard Manet [23 Jan 1832 – 30 Apr 1883] and became his student and model. She exhibited for the first time at the Salon in 1870. Thereafter she submitted work every year to the Salon. Until 1872, she was strongly influenced by Manet but later developed her own, more personal style. Her watercolors with their bright colors and soft forms achieved great success. During the Franco-Prussian War she stayed in Dieppe. In 1879, she married a brother of the graphic artist Henri Guérard. She died during childbirth, five days after Manet.

LINKS
Afternoon Tea (On the Terrace) (1875) — Le Petit Lever (1876)
Jeanne Gonzales (1/4 from back) — Woman in White (1879) — Indolence (1872)
La ToiletteSecretly (1878) _ Reading a book instead of practicing the piano.
Roses in a Glass (1882) — White Shoes (1880) — Enfant de troupe (1870)
Une Loge au Théâtre des Italiens (1874) — Morning Awakening (1876) — La Modiste (1877)
Michael gorillaMichael art 2Michael art 

Died on 19 April 2000: Michael, 27, lowland gorilla
who knew about 500 gestures in American Sign Language, at the Gorilla Foundation's preserve 40 km south of San Francisco.
      Michael was a talented and prolific painter and a lover of classical music.

Died on a 19 April:


^ 1966 Albert Servaes, Belgian painter born on 04 April 1883, who is considered as the first Flemish Expressionist and the link nbetween the First and the Second School of St. Martens Latem. He took evening classes at the Koninklijke Academie voor Schone Kunsten in Ghent (1901–1902), but he was mainly self-taught. In 1905 he settled in Laethem-Saint-Martin and painted landscapes, farmers, harvests and biblical scenes. During his formative years he was influenced by Gustave Van de Woestyne, Eugène Laermans and Jakob Smits. In The Potato Planters (1909) the characteristics of Flemish Expressionism can be seen for the first time in the boldness of his painting, the monumental schematized figures and dark colors. From 1916 Servaes started to work in series, for example The Life of the Peasant (1920), which was awarded a prize at the Venice Biennale in 1920, The Stations of the Cross and The Life of the Virgin. Servaes was responsible for a renewed interest in ecclesiastical art in Belgium. His Stations of the Cross of Luithagen (1919) consists of 14 charcoal drawings on white paper; the skeleton-like figures are boldly sketched and harrowing in their expressiveness. Yet this Expressionist style was misunderstood and was condemned by the Roman Catholic Church in 1921, and as a result most of Servaes’s religious works were removed from Belgian churches. Servaes was also an important landscape painter, notably of harvest and snow scenes, which were widely imitated in the first half of the 20th century. In 1944, because of his ardent Flemish sympathies, he moved to Switzerland, where he produced numerous mountain scenes, as well as portraits and religious subjects, executed primarily in pastel and in an Expressionist style. The illustrations from C. F. Ramuz’s Jean-Luc persécuté (1951) and Stations of the Cross for Afsnee are among his best works of this period. — Berechting (250x354pix, 81kb)

1939 Rudolf Wacker, Austrian artist born on 25 February 1893. — {That's Wacker, NOT Wacko.}

1870 Andreas Schelfout, The Hague Dutch painter and watercolorist born on 16 February 1787. He was originally trained as a gilder and frame maker, and in 1811–1814 he was apprenticed to the decorative painter Joannes Henricus Albertus Antonius Breckenheijmer [1772–1856]. Schelfhout’s first mature painting, Landscape with Farm and Trees (1817) shows a thorough observation of nature and an interest in the detailed representation of foliage. Although Schelfhout was primarily a landscape painter, around 1820 he painted a narrative genre scene, The Courtyard, which was entirely in line with contemporary taste. Colourful staffage of busy fishermen also plays an important role in Beach View Near Scheveningen. The watercolor Royal Drive on the Beach at Scheveningen offers the same kind of lively image. In his later work Schelfhout often left the figure-painting to specialists, collaborating particularly with Joseph Jodocus Moerenhout [1801–1874] (The Falcon Hunt, 1841) and Pieter Gerardus van Os. — The students of Schelfout included Charles Leickert, Wijnand Nuyen, Raden Saleh.

1790 Nicolas-Jacques Juliard (or Juliart), French artist born in 1715. — [Did Juliart specialize in July art? or did he paint all year round?]


Born on a 19 April:


^ 1932 Fernando Botero, Colombian painter, draftsman, and sculptor, with a preference for grossly overweight women, clothed or not. — LINKSNaturaleza muerta con guitarra [con paisaje por la ventana] — Mujer delante de un espejo

1896 Niklaus Stöcklin, Swiss artist who died in 1982.

1854 (29 April?) Charles Angrand, French Normand painter who died on 01 April 1926. — {Même les moindre sujets, Angrand en grand les représentait?}— He was trained at the Académie de Peinture et de Dessin in Rouen, where he won prizes. Although he failed to gain entry to the Ecole des Beaux-Arts in Paris, Angrand began to win a controversial local reputation for canvases in a loosely Impressionist manner. In 1882 he secured a post as a schoolteacher at the Collège Chaptal in Paris. With this security he was able to make contacts in progressive artistic circles, and in 1884 he became a founder-member of the Salon des Indépendants. His paintings of this period depict rural interiors and kitchen gardens, combining the broken brushwork of Monet and Camille Pissarro with the tonal structure of Bastien-Lepage (e.g. In the Garden, 1884).

1854 Arturo Ricci, Italian artist who died in 1919.

1795 Jean Charles Joseph Rémond, French artist who died on 15 July 1875.

1753 Caspar Johann Schneider, German artist who died on 24 February 1839.

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