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<<< ART 16 Dec

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ART “4” “2”-DAY 17 December

DEATH: 1806 BEACH

BIRTH: 1875 ROUSSEAU

^ Born on 17 December 1875: Henri Émilien Rousseau, French Orientalist painter and illustrator who studied under Gérôme. H.E. Rousseau died on 28 March 1933. — Not to be confused with “le douanier” Henri-Julien-Félix Rousseau [21 May 1844 – 02 Sep 1910]
— BIOGRAPHIE
— Porte au Maroc (Fez) (1920, 55x46cm) — Portrait d'un homme accroupi (après 1919, 45x33cm)
— Cavalier devant une fontaine de Marrakech (1933, 56x44cm).
— Fontaine de Marrakech (1933?, 47x39cm) sans cavalier.
— Le rendez-vous (1926, 59x90cm) de cavaliers arabes.
— Cavaliers et Hommes Arabes (91x71cm) — Course en Camargue (1929, 19x25cm)
— Paysage désertique (24x33cm) — Sous les murs de Rabat au crépuscule (1933, 49x64cm)
— Deux cavaliers africains en burnous bleu (1928, 37x48cm) — La chasse au faucon (1933, 43x55cm)
— À l'abreuvoir (1926, 47x62cm) — Cavalier de fantasia à la casaque verte (1919, 22x16cm)
— Fantasia marocaine (1933, 64x91 cm) — Trois cavaliers avec étendards (1921, 26x23cm)
— Caïd El Ayadi (1928, 38x31cm) — Sliman Tunis (63x53cm)
— Cavaliers devant une porte de Meknès (1925, 31x46cm)
— Fauconnier arabe (après 1919, 55x46 cm) — Meknès – Bab et Khmis (1926, 20x30cm)

^ Died on 17 December 1806: Thomas Beach, English painter specialized in Portraits, born in 1738. — Not to be confused with St. Thomas Beach.
— The painter Thomas Beach Beach studied under Joshua Reynolds from 1760 until early in 1762, during which time he was also a student at the Saint Martin’s Lane Academy, London. He probably settled in Bath; his recorded portraits of the 1760s are all of sitters from Dorset or Somerset, and he sent two portraits from an address in Bath to the Society of Artists exhibition of 1772. He exhibited with the Society until 1783, becoming its vice-president (1782) and president (1783) he also exhibited at the Royal Academy (1785–1790, 1797). He probably divided his mature practice between London and Bath.
His early reliance on Reynolds’s ideas of propriety gave way to a more direct approach, seen at its best in such group portraits as The Stapleton Family (1789). In this work, the four children are shown in costume, as a fortune-teller and her customers. The theatrical element in Beach’s work, reflecting his interest in the stage, is seen most strikingly in Sarah Siddons and John Philip Kemble in ‘Macbeth’ Act 2, Scene ii (1786). Beach’s diary for 1798, the only one to have survived, chronicles what appears to have been an annual tour of the west country; that year he completed 31 portraits between June and December. Beach was able to capture a strong likeness and this, despite a certain naivety and awkwardness in composition, was enough to establish his reputation in moderately fashionable provincial circles. His last recorded work is a Self-portrait (1802), but he painted little after 1800 and retired to Dorchester.
— LINKS
— Self-Portrait (1802, 76x63cm) — The Hand That Was Not Called (1775, 147x189cm)
— Samuel Rodbard with pet dog.

Died on a 17 December:

2002 Giovanni Intra, born in New Zealand in 1968, co-founder in 1998 (with artist Steve Hanson) of China Art Objects Galleries (name from a discarded sign, no relation to content) in Los Angeles. Their shows often featured collaborations between younger and more established Los Angeles artists, including Jorge Pardo, Laura Owens, Steven Prina and Frances Stark. But they also gave first shows to young unknowns like David Korty, John Pylypchuk, Eric Wesley, J. P. Munro and Mason Cooley.

^ 1765 Ercole Graziani II, Bolognese painter born on 14 August 1688. He was the son of Ercole Graziani I [1651–1726]. He studied first under Lodovico Mattioli and later under Donato Creti in the house of Conte Alessandro di Fava, where he made copies after his master and after his illustrious Bolognese predecessors, the Carracci, Guido Reni, and Simone Cantarini. His earliest works, such as The Virgin and Child with Saint Irene (1720), show the influence of Creti, but the grace of pose and warmth of coloring are Graziani’s own. His first securely datable work is The Ascension, completed in 1728, for the oratory of the Purità, Bologna, in which the luminous colors show how far the Bolognese school had developed from the somber palette of the 17th century. Graziani acquired a considerable reputation in the late 1720s and enjoyed official success at the Accademia Clementina, becoming director in 1727 and serving as principal in 1730. He made a number of large altarpieces for churches in Bologna and the surrounding area, but in them his colors lose something of their charm and freshness and his approach is somewhat pedestrian. Such works as The Death of St Francis Regis (1732, 600x400cm) and especially The Martyrdom of SS George and Catherine of Alexandria, commissioned by Cardinal Tommaso Ruffo for the cathedral at Ferrara and unveiled in 1735, are impressive mainly for their size. They were nonetheless held in high esteem by contemporaries, and in 1737 Pope Benedict XIV ordered a replica of the St Peter Consecrating St Apollinaris as Bishop to be placed in the church of S. Apollinaris in Rome.

1686 Liéve Pieterszoon Verschuur (or Verschuir), Dutch artist born in 1630.

Born on a 17 December:

^ 1881 Jan Carolus Bernardus Sluijters (or Sluyters), Dutch painter and draftsman who died on 08 May 1957. — Relative? of Georges de Feure [1868-1928] who is also known as Georges Joseph van Sluyters? — His first artistic training was in ’s Hertogenbosch (1893–4), where his father Gijsbertus Antonius Sluijters (1847–1927) was a wood-engraver. In 1894 his family moved to Amsterdam, the city where Jan Sluijters was to spend the rest of his life. After taking his art teacher’s certificate (1900) he went to the Rijksacademie van Beeldende Kunsten. In 1904 he won the Prix de Rome. Visiting Paris in 1906, however, he became fascinated by modern art. Sluijters’s confrontation with the work of Neo-Impressionists, Fauvists and such painters as Henri de Toulouse-Lautrec and Kees van Dongen resulted in sensational and dynamically modern work and made him a pioneer of modernism in the Netherlands. He assimilated the French influences into a divisionist style, characterized by an expressive use of bright dots, lines and blocks of color corresponding to the artist’s personal view of the motif. The application of this technique, particularly in landscape paintings such as October Sun, Laren (1910), shows how strongly he admired the later work of Vincent van Gogh. It was this form of divisionism, of which the chief representatives were Sluijters, Piet Mondrian and Leo Gestel, that brought about the breakthrough for Amsterdam’s avant-garde painters in 1909 and that paved the way generally for the development of modern art in the Netherlands. The new French color was used in even more concentrated form in a number of figure paintings from 1911, made up of larger planes with clearly defined outlines, for example Woman Reading.

1859 Paul-César-François Helleu, French painter and printmaker who died on 23 March 1927. In 1870 he entered the École des Beaux-Arts in Paris, where he studied under Jean-Léon Gérôme, a student of Ingres. He proudly described himself as ‘the grandson of Ingres’ and advocated that artists should ‘always be classical’. He quickly formed a group of close friends including Sargent, Degas, Whistler, Alfred Stevens, and Giovanni Boldini. As a student he was very poor and to earn a living spent 10 years decorating plates for the potter Joseph-Théodore Deck. In 1885 he visited London with Gérôme to paint a panorama. This was the start of a lifelong affection for England, where he returned almost every year.

1859 Ettore Tito, Italian artist who died in 1941. — {Tito, not Broz, was his real name. He was Italian, not Croat. He had nothing to do with Josip Broz [07 May 1892 – 04 May 1980] and his death was probably precipitated if he learned that Broz had stolen his name.}

1819 Jean Baptiste van Moer, Belgian artist who died on 06 December 1884.

1667 Jean-Baptiste Bosschaert, Flemish artist who died in 1746.

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