search 7500+ artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 15 Aug
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” AUG 16 ||| ALTERNATE SITES
ART 17 Aug >>>
ART “4” “2”-DAY  16 AUGUST
DEATHS: 1835 MALLET — 1963 EARDLEY — 1665 ZAENREDAM — 1837 DANIELL — 1916 BOCCIONI
BAPTISM: 1557 CARRACCI BIRTH: 1886 ZÁRRAGA
^ Died on 16 August 1835: Jean~Baptiste Mallet, French painter born in 1759.
— A student of Simon Julien in Toulon, he was then taught by Pierre-Paul Prud’hon in Paris. He exhibited at every Salon between 1793 and 1827, obtaining a second class medal in 1812 and a first class medal in 1817. He made very few portraits (Chénier is an exception), preferring to paint nymphs bathing and graceful classical nudes such as The Graces Playing with Cupid. He established his reputation with gouache genre scenes of fashionable and often libertine subjects, always elegant and refined, in the style of Louis-Philibert Debucourt and Louis-Léopold Boilly, and remarkable for the delicacy and brilliance of their brushwork: for example At the Laundry Maid’s and The Painful Letter. They reveal a knowledge of 17th-century Dutch painting in the treatment of details (transparent crystal, reflections on silk or satin) as well as the choice of themes: Military Gallant. Mallet’s meticulously precise paintings are one of the best records of fashionable French furnishings and interiors at the end of the 18th century and the beginning of the 19th. They were very popular and widely disseminated in prints.
LINKS
Une Nymphe au Bain, Environnée d'Amours (38x46cm)
Bacchante dans un Paysage (24x19cm; 512x404pix, 59kb) _ une bacchante de gros calibre...
Jeune Marquise Française en Exil à Lausanne (1789, 22x30cm)
^ Died on 16 August 1963: Joan Kathleen Harding Eardley, of breast cancer, Scottish painter born on 18 May 1921. — [It is not true that her real name was O'Rejadlaw.]
      — She studied briefly at Goldsmiths' College, London (1938–1939), then at the Glasgow School of Art (1940–1943) under Hugh Adam Crawford. She was influenced by the Scottish Colourists, but also deeply affected by the life and atmosphere of the slums of the city. For her subject-matter she concentrated on street life, young children and the elderly, blending realism and compassion but without sentimentality. Typical is Street Kids (1951). In 1951 she moved to the west coast of Scotland where she often worked outdoors, painting marine and landscape scenes in many different moods, sometimes incorporating real pieces of grass in the paint. Among some of her finest and most powerful works are fierce and bold evocations of the wind and the weather. Notable is Catterline in Winter (1963). She was elected an Associate of the Royal Scottish Academy in 1955 and a full Academician in 1963.
Salmon Net Posts (1962; 118x217cm)
The Old Plow (1961, 51x46cm, 450k400pix, 41kb) for sale at £18'500
Between Fields of Barley, Catterline (1960, 122x137cm; 240x275pix, 14kb) auctioned for £28'000 at Christie's on 01 Nov 2002
The Old Pram (14x22cm; 153x250pix, 11kb) auctioned for £4500 at McTear's on 31 May 2003
The Girl with Red Hair (61x51cm; 300x246pix, 24kb)
^ Died on 16 August 1665: Pieter Janszoon Zaenredam (or Saenredam), Dutch painter who was born on 09 June 1597. — [¿Hay quienes se enredan con Zaenredam?]
      — Dutch painter of architectural subjects, particularly church interiors, active in Haarlem. Saenredam, the son of an engraver, was a hunchback and a recluse, but he was acquainted with the great architect Jacob van Campen, who may have played a part in determining his choice of subject. He was the first painter to concentrate on accurate depictions of real buildings rather than the fanciful inventions of the Mannerist tradition. His pictures were based on painstaking drawings and are scrupulously accurate and highly finished, but they never seem pedantic or niggling and are remarkable for their delicacy of color and airy grace. The Cathedral of Saint Bavo (where he is buried) and the Grote Kerk in Haarlem were favorite subjects, but he also traveled to other Dutch towns to make drawings, and Utrecht is represented in several of his paintings. He also made a few views of Rome based on drawings in a sketchbook by Marten van Heemskerck that he owned. His work had great influence on Dutch painting.
LINKS
Interior of the Church of St Bavo in Haarlem (1636)
Interior of the Church of St Odulphus at Assendelft, seen from the Choir to the West (1649)
The Old Town Hall of Amsterdam (1657)
^ Baptized on 16 August 1557: Agostino Carracci, Italian Baroque printmaker and painter who died on 23 February 1602. Brother of Annibale Carracci [bap. 03 Nov 1560 – 15 Jul 1609] and cousin of Lodovico Carracci [bap. 21 Apr 1555 – 03 Nov 1619]
— Born in Bologna, he died in Parma. Originally a goldsmith, studied printmaking with Domenico Tibaldi, and was the first of the three Carracci to become a printmaker. Also worked with Passarotti and Prospero Fontana. Worked in Venice and Florence but mostly in Bologna. Went to Rome 1594 for Farnese, then to Parma 1600 where he died in 1602.
— The brothers Agostino and Annibale and their cousin Lodovico, who were prominent figures at the end of the 16th century in the movement against the prevailing Mannerist artificiality of Italian painting. They worked together early in their careers, and it is not easy to distinguish their shares in, for example, the cycle of frescos in the Palazzo Fava in Bologna (1583-1584). In the early 1580s they opened a private teaching academy, which soon became a center for progressive art. It was originally called the Accademia dei Desiderosi, but later changed its name to Academia degli Incamminati. In their teaching they laid special emphasis on drawing from life (all three were outstanding graphic artists) and clear draftsmanship became a quality particularly associated with artists of the Bolognese School, notably Domenichino and Reni, two of the leading members of the following generation who were trained by the Carracci.
      They continued working in close relationship until 1595, when Annibale, who was by far the greatest artist of the family, was called to Rome.
     Agostino was important mainly as a teacher and engraver. His systematic anatomical studies were engraved after his death and were used for nearly two centuries as teaching aids. He spent the last two years in Parma, where he did his own "Farnese Ceiling", decorating a ceiling in the Palazzo del Giardino with mythological scenes for Duke Ranuccio Farnese. It shows a meticulous but somewhat spiritless version of his brother's lively Classicism.
     The Caracci fell from grace in the 19th century along with all the other Bolognese painters, considered to have "no single virtue, no color, no drawing, no character, no history, no thought". They were saddled with the label "eclectic" and thought to be ponderous and lacking in originality. Their full rehabilitation had to wait until the second half of the 20th century (the great Carracci exhibition held in Bologna in 1956 was a notable event), but Annibale has now regained his place as one of the giants of Italian painting. Agostino's illegitimate son Antonio Carracci [1589-1618] was the only offspring of the three Carracci. He had a considerable reputation as an artist in his day, but after his early death was virtually forgotten, and it is only recently that his work has been reconsidered.
— Agostino Carracci's students included Francesco Albani, Giovanni Francesco Grimaldi, Giovanni Lanfranco, Remigio Cantagallina, Giacomo Cavedone and Pietro Faccini.
LINKS
Tobias and the Angel after the drawing by Raffaellino da Reggio (1581, engraving 41x29cm)
Apollo and the Python (1589 engraving, 24x34cm) — The Three Graces (1595 engraving, 15x11cm)
Satyr Whipping a Nymph (1595) — Lute Player
Holy Family with Saints (1582) — A Headpiece (1592) — St. Jerome (1602 engraving, 38x27cm)
Omnia Vincit Amor (1599) — Head of a Faun in a Concave (1595, 18 x 19 cm)
The Annunciation (48x35cm)
Democrito (1598) _ Ascrivibile agli anni romani del pittore, il ritratto riprende, con un'interpretazione criptica, l'iconografia del filosofo che ride sulla stupidità del mondo - spesso in pendant con la raffigurazione di Eraclito che piange sulla stessa - risalente alle caratterizzazioni di età romana suggerite da Orazio, Cicerone e Giovenale e molto diffusa nella pittura rinascimentale italiana. Agostino, inoltre, vi aggiunse il particolare della pelliccia, forse erudita riflessione sulla dottrina dell'antico filosofo relativa alla falsa superiorità dell'uomo sull'animale.
Arrigo Peloso, Pietro Matto e Amon Nano (1598.) _ Probabilmente realizzato da Agostino su diretta richiesta del cardinal Odoardo Farnese al suo arrivo a Roma, verso il 1598, rappresenta tre personaggi della corte romana dello stesso Odoardo: il buffone Pietro, il nano Rodomonte ed il selvaggio delle Canarie, Arrigo Gonzalez, inviatogli nel 1595 da suo fratello il Duca di Parma. In esso, Agostino, pur con grande rigore filologico ad esempio nella descrizione delle vesti, riesce a rendere il rapporto fra gli uomini e i loro animali con una umanità ed una simpatia tali da trasformare il dipinto in una vivace scena "di genere".
Ritratto di suonatore di liuto - Orazio Bassani? (1586) [no es un soñador de luto] Probabilmente eseguito durante il soggiorno parmense di Agostino del 1585-86, potrebbe raffigurare il virtuoso, nativo di Cento, Orazio Bassani, detto Orazio "della viola", attivo fra Parma, Bruxelles e Roma presso vari membri della famiglia Farnese. Una tale datazione è confermata anche dalle caratteristiche formali del dipinto che, al rapporto con la pittura del Passarotti, dei Campi e di Ludovico, aggiunge una tenerezza pittorica di ascendenza correggesca.
43 prints at FAMSF
^ Died on 16 August 1837: William Daniell, British painter born in 1769. Orphaned, he was brought up by his uncle Thomas Daniell [1749 – 19 March 1840] who took him to India in 1784, where he stayed until 1794. William was the brother of Samuel Daniell [1775-Dec 1811]
— Daniell was born in Kingston-upon-Thames in Surrey. His father was a bricklayer and owner of a public house called The Swan in near-by Chertsey. Daniell’s future career was dramatically changed when he was sent to live with his uncle Thomas [1749–1840] after the premature death of his father in 1779. His uncle was an artist and later Royal Academician, and William became his student. Uncle and nephew left Britain in April 1785 to voyage throughout China and India. In Calcutta in 1791, they held a lottery of their combined paintings, using the proceeds to continue their traveling and sketching. They returned to Great Britain in 1794, where they put their experiences to use in exhibition-size oil paintings. Daniell’s View of the East India Fleet in the Sunda Strait reflects his travels, and in 1819 he published an illustrated book A Picturesque Voyage to India by way of China. He made sketching tours throughout the British countryside, publishing A Voyage Around Great Britain (1814–1825). About this time, in 1821, he was elected a Royal Academician. His shipping scenes, such A Bird’s-Eye View of the East India Dock at Blackwell, were supplemented by greatly admired battle pieces. In 1825, he won a prize of £100 for a pair of the Battle of Trafalgar, exhibited at the British Institution. He continued to work until his death.
LINKS
Camoes Grotto, Macau
(colored engraving, 12x20cm [with Thomas Daniell]
Beaummaris Castle Anglesea (1815, 23x30cm)
View of Caernarvon Castle from Anglesea (23x30cm; 672x948pix, 194kb)
Tower of the Bishops Palace, Kirkwall (color aquatint 23x30cm)
Loch-na-Gael, near Knock on Mull (1817 color aquatint, 23x30cm)
View of Ben-more from near Ulva house (23x30cm)
Scene at Hempriggs, Caithness (color aquatint 23x30cm)
Spring-Bok (color aquatint 18x24cm) — Cassowary (color aquatint 17x25cm)
Gnoo (color aquatint 16x25cm; 576x936pix, 212kb)
The Watering Place at Anjer Point in the Island of Java (1794) The picture shows the activities taking place at Anjer Point, a well-known convoy rendezvous on the western tip of the island of Java. It shows the homeward bound China fleet of East Indiamen, at anchor in the Strait of Sunda in 1793, when it was in convoy under the command of Sir Erasmus Gower, in the 'Lion' man-of-war. This was a well known rendezvous and watering point on the route to the East. The painting was exhibited in the Royal Academy in 1836, some time after the event it records. The artist had worked as an engraver in the Far East, where he traveled and sketched in India. Coastal craft are shown sailing in the bay and, in the foreground to the left, one of them flies the Dutch flag. In the foreground, is a watering place, with evidence of trading amongst the visitors and local population. Two sailors, in the foreground to the right, are rolling a barrel watched by a group of visitors. In the background, the artist has placed a high-peaked, snow-capped mountain across the straits.
108 prints at FAMSF
^ Born on 16 August 1886: Angel Zárraga, Mexican painter who died on 23 September 1946 in Mexico City.
— He was born in the City of Durango. He was an urban and cordial man; as an artist he went through everything: he was eulogized, censored and finally recovered. His liking for art and writing started as a young man; he attended San Ildefonso high-school where important figures of Mexican culture studied. Around 1902 he wrote for the Revista Moderna, and joined the School of Fine Arts.
      He traveled to Europe in 1904, to continue his artistic education, like many other young artists did in his time. He returned to his mother-land to show his improvements at the Academy, but he soon went back to France, to stay for near 35 years. During his stay in that country he married the Russian sportswoman Jeanette Ivanof in 1919, who liked art, and possibly was his nude model for a while. In that time he experienced the disasters of the World War I.
      Later on, he married again to an European woman, and continued his painting métier. Several churches were damaged because of the war, and Zárraga worked for them as a fresco painter to reconstruct the decoration of the temples; like the temple of Notre Dame de la Salette at Surennes, Paris, among others.
      His reputation arrived to Mexico. He was invited in 1921 by José Vasconcelos to paint the walls of public buildings at the capital city, but it was only in 1942 that he returned to live in Mexico. He accomplished many portraits and murals, like the decoration of the walls at the Monterrey city cathedral. He also painted La miseria and La abundacia at the Mexico City Bankers Club ; for this work, he was criticized by some artists, under the argument that his work was opposite to nationalism and that he was at the service of the high classes, the private enterprises and the foreign art. Nevertheless Zárraga continued his fecund labor in Mexico.
— LINKS
Autorretrato (1930, 73x57cm; 369x283pix)
La Dádiva (1910; 526x600pix, 44kb)
Ex Voto: San Sebastián (1910)
Paisaje (1919, 42x33cm)
^ Died on 16 August 1916: Umberto Boccioni, having the previous day fallen from his horse and been trampled, in Verona. Boccioni was an Italian futurist painter and sculptor born on 19 October 1882.
— Umberto Boccioni was born in Reggio Calabria. After falling out with his family he moved to Rome in 1901, learning the rudiments of drawing from a graphic designer. He met Gino Severini and, together, they became students of Giacomo Balla. Boccioni traveled for a couple of years, finally settling in Milan in 1908, which, at the time, was the cultural hotspot of Italy. Umberto Boccioni, I-We-Boccioni by Luca Carra, Milan.
      Boccioni, already sympathetic with Futurist ideas, met Marinetti in 1910 and within a month had signed the Manifesto of Futurist Painters. By 1912 he had moved towards sculpture and in April issued his Futurist Manifesto of Sculpture. Like other Futurists, Boccioni was heavily influenced by Cubism but in his painting and sculpture he used the Futurist approach to express dynamism of the human or animal form. He was one of the more rational theorists of the group, and his book Futurist Painting and Sculpture of 1914 was a benchmark within the movement. Politically active, in 1914 Boccioni demonstrated and agitated in favor of Italy's entry into the war. He only painted one work on the theme of war - The Charge of the Lancers. When Italy entered the war in 1915, he joined a battalion of cyclist volunteers.
     “… Per quello che riguarda la nostra azione per un rinnovamento della coscienza plastica in Italia, il compito che ci siamo prefisso è quello di distruggere quattro secoli di tradizione italiana che hanno assopito ogni ricerca e ogni audacia, lasciandoci indietro sul progresso pittorico europeo. Vogliamo immettere nel vuoto che ne risulta tutti i germi di potenza che sono negli esempi dei primitivi, dei barbari d’ogni paese e nei rudimenti di nuovissima sensibilità che appaiono in tutte le manifestazioni antiartistiche della nostra epoca: café-chantant, grammofono, cinematografo, affiches luminose, architettura meccanica, grattacieli, dreadnoughts e transatlantici, vita notturna, vita delle pietre e dei cristalli, occultismo, magnetismo, velocità, automobili e aeroplani, ecc.” — U. Boccioni, Fondamento plastico della scultura e pittura futuriste, 1913

— If Futurism embraced the present, it also rejected the past. Whereas De Chirico looked back nostalgically to the remote Mediterranean tradition of art and humanism that had transformed nineteenth-century Italy into a moribund museum, the Futurists iconoclastically attacked this same tradition with verbal and pictorial proclamations. By affirming so emphatically, in the words of their literary leader, Marinetti, that "a roaring motor car, hurtling like a machine gun, is more beautiful than the Winged Victory of Samothrace, the Futurists hoped to wrench Italy from her languid, retrospective dream of an antique and Renaissance past into the shrill, dynamic realities of the industrial present. To accomplish this aim, they needed to develop a style as aggressive and contemporary as their new urban environment. For this, Cubism was essential.
      If, by 1910, Futurism had already written and shouted its dogma in words, its pictures still lacked an appropriately modern language to articulate their new subjects. The City Rises by Boccioni is a case in point. Against the Milanese urban background of smoking chimneys, scaffolding, a streetcar, and a locomotive, enormous draft horses tug at their harnesses, while street workers attempt to direct the animals' explosive strength. Yet the pictorial means of realizing this veneration of titanic energies and industrial activity are, in 1910, as anachronistic as the prominent role given to horse power. Basically, Boccioni still works here within a modified Impressionist technique whose atomizing effect on mass permits the forceful, churning symbols of horse and manpower to slip out of their skins in an Impressionist blur of moving light.
      By the end of 1911, however, Boccioni, like his fellow Futurists, had visited Paris in order to become acquainted with the avant-garde center of Europe and to prepare for the Futurist exhibition to be held in Paris in 1912. The impact of Cubism on the Futurists was immediate, as may be suggested by Boccioni's scene of railroad-station farewells, the first in his 1911 series, States of Mind. A twentieth-century reinterpretation of Turner's Rain, Steam and Speed or Monet's Gare St.-Lazare series, it plunges the spectator into a raucous, near-hysterical turmoil of machines and people. Yet now, Cubist planes dominate Impressionist dots and yield a metallic harshness far more relevant to the machine world admired by the Futurists. If Monet and Turner interpret the railroad theme as a dazzling luminary spectacle, Boccioni, with his newly acquired Cubist vocabulary, sees it as a collisive confusion in which mass emotions are harshly contrasted with the impersonal automatism of the machine. In the center, the glistening metal engine, with bumpers and headlights, presides over the human scene in which embracing figures flow irregularly around the mechanical sentinel in pulsating waves of emotion reminiscent of the Symbolists use of line around 1890. By employing the Cubist interlocking of angular, fragmented planes, Boccioni creates, not the homogeneous glitter of Impressionism, but a dissonant joining and separation of forms almost audible in their clangorous reverberations. The silent, cerebral dissection of form in Analytic Cubism is converted here into the noisy, assaulting ambiance of acoustic, optical, and kinetic sensations of a modern railroad terminus. Even the engine number, 6943, has a dramatic quality that portends the emotional cleavage of imminent departure rather than suggesting the intellectual quality of metaphysical wit that such numbers have in the works of Picasso and Braque
LINKS
Study of a Female Face (1910) — Street Noises Invade the House (1911)
States of Mind I: Those who Leave (1911) — States of Mind II: Those who Stay (1911) — The City Rises
^
Died on a 16 August:


1727 Jakob van Waltskapelle (or Walscapelle), Dutch painter born in May 1644.

1708 Michel Corneille II “des Gobelins”, French painter and engraver born on 29 September (02 October?) 1642, son of Michel Corneille I [1602 – 13 Jan 1664]. Michel II became a prolific artist, the family’s most successful member. Like his brother Jean-Baptiste Corneille [02 Nov 1649 – 12 Apr 1695], he concentrated on religious pictures for both private and ecclesiastical patrons. Initially trained by his father, Michel II later studied under Charles Le Brun and Pierre Mignard. In 1659 he won a prize from the Académie Royale that enabled him to visit Italy. When he returned to France he was received (reçu) as a member of the Académie in 1663 with Christ Appearing to Saint Peter. He became an associate professor in 1673, a professor in 1690 and a counselor in 1691. He admired the Italian masters, especially the Carracci, and finished his training by copying their works. The rich collector Everard Jabach employed both Michel II and Jean-Baptiste to engrave the best Italian drawings in his collection.


Born on a 16 August:


1877 Augusto Giacometti, Swiss painter and decorative artist who died on 09 July 1947. — Cousin of Giovanni Giacometti [07 Mar 1868 – 25 Jun 1933], whose sons were Alberto Giacometti [10 Oct 1901 – 11 Jan 1966] and Diego Giacometti [15 Nov 1902 – 15 Jul 1985].
— Augusto Giacometti displayed an early talent for drawing while still in secondary school in Schiers, near Chur. In 1894–1897 he studied at the Kunstgewerbeschule in Zurich, followed by four years in Paris. There he studied at the Ecole Normale d’Enseignement de Dessin under Eugène-Samuel Grasset, whose Art Nouveau designs based on plants inspired Giacometti to create abstract line and color patterns, such as Mountain Stream (1900).
     Leaving Paris in 1901, he went to study early Renaissance painting in Florence, where he settled until 1915. While there he began painting large-scale color abstractions in a lyrical or painterly mode. Although May Morning was later dated by the artist to 1910, other paintings indicate that the transition to abstraction occurred in 1912: Midsummer and Stampa are recognizable images executed in a Fauvist mode, while Ascent of Piz Duan of the same year crosses over into abstraction, as does Coloristic Fantasy (1913).
     His paintings of 1914–1917 are purely non-objective; their overall patternings consist of ‘explosions’ of pure colors in free-form compositions, whose nebulous forms suggest the infinities of both micro- and macrocosmic space, as in Chromatic Fantasy (1914), Summer Night (1917) and Fantasy on a Potato Blossom (1917). These paintings, with their use of sophisticated, exuberant color to create evocative or emotive effects, suggest comparisons with the early abstractions of Kandinsky, but Giacometti eschewed reliance on line, preferring instead more miasmic and stippled forms. He continued to create works in this style during the following decades, for example Memory of an Italian Primitive II (1927). These paintings later earned him a place in history as one of the pioneers of abstraction, although during his lifetime he gained fame primarily through his decorative work.
     After settling in Zurich in 1915 he worked on many public commissions, particularly stained-glass windows and mosaics. His early abstractions were rediscovered through exhibitions in Switzerland in 1959, when they were perceived as having remarkable affinities with European Tachism and Art informel, as well as with US color field painting, for example that of Rothko, Sam Francis and Clyfford Still. However, Giacometti’s lyrical colorist compositions had spiritual and symbolist intentions significantly different from post-war Abstract Expressionist styles.

1658 Jan Frans van Zoon (or van Son), Flemish painter who died in 1718.

1592 Wybrand Simonszoon de Geest I “l'Aigle de Frise”, Dutch painter who died in 1659 (1662?). He was the son of Symon Juckes de Geest [–<1604], a painter of stained-glass windows. Wybrand de Geest studied with Abraham Bloemaert in Utrecht and then went to France and Italy. There he became a member of the colony of Dutch artists active in Rome that later developed into the Schildersbent, who gave him the nickname ‘the Frisian eagle’. He made a copy after Caravaggio’s Mary Magdalene (1597, 123x99cm) in Rome in 1620. He returned to Leeuwarden in 1621 and became the favorite portrait painter of the Frisian stadholders and the landed gentry. His marriage to Hendrickje Uylenborch, who was related to Rembrandt’s wife Saskia, strengthened his contacts with artistic centers outside Friesland.

ALPHABETICAL LIST OF FEATURED ARTISTS
<<< ART 15 Aug
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” AUG 16 ||| ALTERNATE SITES
ART 17 Aug >>>
TO THE TOP
PLEASE CLICK HERE TO WRITE TO ART “4” AUG
http://www.jcanu.hpg.ig.com.br/art/art4aug/art0816.html
http://members.xoom.virgilio.it/all42day/art/art4aug/art0816.html
http://www.safran-arts.com/42day/art/art4aug/art0816.html

updated Friday 31-Oct-2003 19:43 UT
safe site
site safe for children safe site