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ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” FEB 01 ||| ALTERNATE SITES

ART “4” “2”-DAY 01 February

DEATHS: 1924 PRENDERGAST — 1905 ACHENBACH — 1944 MONDRIAN — 1638 BROUWER

BIRTHS: 1849 LEBOURG — 1801 COLE

^ Died on 01 February 1924: Maurice Brazil Prendergast, US Impressionist painter, printmaker, illustrator, and designer, born on 10 October 1858 in Newfoundland.
— He moved with his family to Boston in 1868 and was working as a commercial artist by 1886, lettering showcards, but his early attempts at watercolor foretold little of the talent that emerged after he went to Paris in January 1891. He studied for three years at the Atelier Colarossi under Gustave Courtois [1853–1923], and later at the Académie Julian under Benjamin Constant, Joseph Blanc, and Jean-Paul Laurens. Here the influence of the Nabis and of Whistler was particularly important to his development.
— Post-impressionist painter, monotypist, and watercolorist. Member of The Eight, but not a teacher as were Henri, Sloan and Luks. Most recognized for vivid, colorful, complex depictions of urban scenes of Venice, Boston with representation of subject on a flat plane. _ 1868 family moved to Boston; _ 1873 left school, initially clerk in dry goods firm, then commercial art apprentice; _ 1873-1877 classes at Free Evening Drawing School at Starr King School; _ 1879 designer of showcards for J.P. Marshall; _ 1886 with brother Charles (artist and framemaker) worked passage on cattle boat to travel to England and Wales; _ 1891 studied in Paris at Academy Colarossi; _ 1892 at Académie Julian; friends with Canadian artist James Wilson Morrice who introduced him to Sickert, Beardsley and Charles Conder; contact with other artists, summer painting trips and sketching in public places of much more importance than his formal study; influenced by Whistler, post-impressionists and Nabis; _ 1894-1895 returned to Boston; _ 1895 illustrated Sir James M. Barrie's My Lady Nicotine and Sir Thomas Hall's Shadow of a Crime for Joseph Knight Company (Boston Publisher); two watercolors at 52nd Annual Exhibit of Boston Arts Club; _ 1895-1898 produced majority of his 151 known monotypes; _ 1898 third trip to Europe, produced watercolors of Venice; _ 1899 returned to Boston; _ 1900 exhibited 30 watercolors and monotypes jointly with Herman Dudley Murphy at Art Institute of Chicago; 60 watercolors and monotypes at Macbeth Gallery, New York; met Luks and Glackens, increased friendship with Glackens and his family; _ 1901 met Henri through Glackens; _ 1901-1902 began to work more extensively in larger format with oils; exhibited watercolors and monotypes at Detroit Institute of Art and Cincinnati Museum Association; Bronze Medal for Watercolor at Pan American Exposition, Buffalo; _ 1902 marked hearing loss (became deaf by 1905); _ 1904 began frequent trips to New York.

— LINKS
— The Holiday (1907) — Rocky Coast Scene (1913) — After the Review (1895)
— Boat Landing at Dinard (also called... aka (1909)
— Promenade at Nantasket (1902) — In the Park (1894)

^ Died on 01 February 1905: Oswald Achenbach, German painter born on 02 February 1827. Brother of Andreas Achenbach. — {Many more people have an aching back than an Achenbach}
— He studied at the Kunstakademie in Düsseldorf, as did his elder brother, the painter Andreas Achenbach [1815–1910], who was the main influence on him other than his teacher, Johann Wilhelm Schirmer. At a very early stage he began to prepare studies for landscapes in the area around Düsseldorf, sketching boulders, rocks, bushes, trees and people. From 1843 he went on many study tours, visiting Bavaria in 1843 and northern Italy and Switzerland in 1845. The Bavarian and Italian Alps stimulated him to create a unified approach to landscape painting. In such early works as Landscape (1846) his receptiveness to atmospheric values can be seen, even if the precise detail and clear articulation into foreground, middle ground, and background still clearly show his debt to Schirmer.

— LINKS
— Italianischer Park mit Zisterne (1850; 600x764pix _ ZOOM to 1400x1783pix)
— The Bay of Naples (1884, 140x197cm)
— Fishermen with the Bay of Naples and Vesuvius beyond (1877, 64x100cm)

^ Born on 01 February 1849: Albert-Marie-Charles Lebourg, French painter who died on 07 January 1928.
— He had an early interest in architecture and studied under the architect Drouin at the Ecole Municipale de Dessin in Rouen. He became increasingly interested in art and through Drouin met the landscape painter Victor Delamarre [1811–1868] who advised and taught him. Giving up architecture altogether, he then attended the École Municipale de Peinture et de Dessin in Rouen under Gustave Morin [1809–1886]. In 1871 he met the collector Laperlier through whom he obtained the post of professor of drawing at the Société des Beaux-Arts in Algiers. He remained there from 1872 to 1877, producing works such as Une Rue à Algers (1875). He also experimented with depicting a single site in a variety of different lights, in a manner similar to the late works of Monet. After giving up his teaching post in Algeria in 1877 he returned to Paris where he attended Jean-Paul Laurens’s studio from 1878 to 1880.
It was at this point that he became aware of Impressionism; later he became friendly with Degas, Monet and Sisley. He first exhibited at the Salon de la Société des Artistes Français in 1883 and again in 1886, and after the foundation of the Société Nationale des Beaux-Arts (1889) he exhibited there regularly from 1891 to 1914. Between 1884 and 1886 he spent much time in the Auvergne region, producing such Impressionist works as Neige en Auvergne (1886), in which a river re-establishes the habitual presence of water in his work. After living and working in numerous places in northern France, Lebourg went to the Netherlands (1895–1897), and in 1900 he spent a short period in Britain, which confirmed his love of Turner, Constable, and Gainsborough. He continued working in a luminous Impressionist style with landscapes such as Petite Ferme au Bord de l'Eau (Ile de Vaux) (1903), up until 1921 when he was paralyzed by a stroke.

— LINKS
— Swiss Lake Landscape (372kb)
— Boats by the Banks of Lake Geneva at Saint-Gingolph (822x1018pix, 167kb)
— Notre Dame de Paris and the Bridge of the Archévêché (631x1013pix, 139kb)
— 94 images at Webshots

^ Died on 01 February 1944: Pieter Cornelis Mondriaan “Piet Mondrian”, Dutch Neo~Plasticist painter born on 07 March 1872.
Mondrian carried abstraction to its furthest limits. Through radical simplification of composition and color, he sought to expose the basic principles that underlie all appearances. [click on image for full self-portrait >]

Born in Amersfoort, the Netherlands, Mondrian embarked on an artistic career over his family's objections, studying at the Amsterdam Academy of Fine Arts. His early works, through 1907, were calm landscapes painted in delicate grays, mauves, and dark greens. In 1908, under the influence of the Dutch painter Jan Toorop, he began to experiment with brighter colors; this represented the beginning of his attempts to transcend nature. Moving to Paris in 1911, Mondrian adopted a cubist-influenced style, producing analytical series such as Trees (1912-1913) and Scaffoldings (1912-1914). He moved progressively from seminaturalism through increased abstraction, arriving finally at a style in which he limited himself to small vertical and horizontal brushstrokes.
In 1917 Mondrian and the Dutch painter Theo van Doesburg founded De Stijl magazine, in which Mondrian developed his theories of a new art form he called neoplasticism. He maintained that art should not concern itself with reproducing images of real objects, but should express only the universal absolutes that underlie reality. He rejected all sensuous qualities of texture, surface, and color, reducing his palette to flat primary colors. His belief that a canvas—a plane surface—should contain only planar elements led to his abolition of all curved lines in favor of straight lines and right angles. His masterly application of these theories led to such works

as Composition with Red, Yellow, and Blue (1942, 39x35cm), in which the painting, composed solely of a few black lines and well-balanced blocks of color, creates a monumental effect out of all proportion to its carefully limited means. [< image]
When Mondrian moved to New York City in 1940, his style became freer and more rhythmic, and he abandoned severe black lines in favor of lively chain-link patterns of bright colors, particularly notable in his last complete masterwork, Broadway Boogie-Woogie (1943, 127x127cm). Mondrian was one of the most influential 20th-century artists. His theories of abstraction and simplification not only altered the course of painting but also exerted a profound influence on architecture, industrial design, and the graphic arts. Mondrian died in New York.
— [Nederlands biografie]

— LINKS
— Self Portrait (1918)
— River View with Boat (1908)
— Little Girl (1901) — Still Life with Gingerpot II
— Composition with Large Blue Plane, Red, Black, Yellow, and Gray (1921)
— Composition blanc, rouge et jaune (1936) — River View with Boat (1908)
— Molen (Mill); Mill in Sunlight — Avond (Evening); Red Tree (1908 )
— Amaryllis (1910) — Gray Tree (1911) — Composition No. II; Composition in Line and Color (1913)
— Ocean 5 (1915) — Composition with Color Planes and Gray Lines 1 (1918)
— Composition with Gray and Light Brown (1918)
— Composition A: Composition with Black, Red, Gray, Yellow, and Blue (1920)
— Lozenge Composition with Yellow, Black, Blue, Red, and Gray (1921)
— Composition with Red, Yellow and Blue (1921)
— Composition with Blue, Yellow, Black, and Red (1922)
— Lozenge Composition with Red, Black, Blue, and Yellow (1925)
— Fox Trot; Lozenge Composition with Three Black Lines (1929)
— Composition with Yellow Patch (1930) — Composition with Yellow (1930)
— Composition No. III Blanc-Jaune (1942) — Rhythm of Black Lines (1942)
— Vertical Composition with Blue and White (1936) — Composition No. 8 (1942)
— Composition No. 10 (1942) — New York City (1942) — Broadway Boogie Woogie (1943)
— Solitary House (1898) — Composition with Oval in Color Planes II (1914)
— Composition with Grid VII (Lozenge, 1919) — Composition with Grid IX (1919)
— Composition A (1920) — Composition with Black, Red, Gray, Yellow, and Blue (1921)
— Lozenge Composition with Red, Gray, Blue, Yellow, and Black (1925)
— Place de la Concorde (1943) — New York City I (1942) — Victory Boogie Woogie (1943)

^ Born on 01 February 1801: Thomas Cole, English US Hudson River School painter, specialized in Landscapes, who died on 11 February 1848.
— Cole would be one of the founders of Romantic landscape painting in the New World. He is born into an Anglo-American family in England. The family would return to the United States in 1818. Until then young Thomas had received training in drawing and wood engraving. In the USA, he entered the Philadelphia Academy of Art in 1823. Later he settled in the Catskills on the Hudson and became a cofounder of the so-called Hudson River School, which established Romantic landscape painting in America. Direct, spontaneous landscapes painted in the wilderness of the Catskill Mountains brought rapid recognition and attracted New York buyers: The Clove, Catskills (1827).
In 1829 and 1841-1842 Cole traveled to Europe, he visited England, Switzerland, and Italy, studying in particular the landscapes of European masters. On his return, having also absorbed philosophical and literary ideas, Cole introduced a new type of painting to America: the symbolic, moral landscape, as represented by the series on the themes of The Course of Empire (1832; New York, Historical Society) and The Voyage of Life (1839/40; Utica, Munson William Proctor Institute): The Course of Empire: The Savage State (1836), The Voyage of Life: Childhood (1842). These are fantastic, symbolic scenes full of unusual effects of grandiose space and theatrical contrasts of light. Not satisfied with great American nature any longer, Cole increases fantastic and mystical character by introducing Biblical and antique subjects. His late pictures do not attain the fine quality of his earlier atmospheric landscapes, they are rough and primitive, but are supposed to stun spectators with extremely pretentious surrealism.

— LINKS
— Prometheus Bound (1847, 163x244cm; 1/8 size, 108kb _ ZOOM to 1/4 size, 422kb _ ZOOM++ to 1/2 size, 1900kb)
— Peace at Sunset (Evening in the White Mountains) (1827, 69x82cm; 1/3 size, 166kb _ ZOOM to 2/3 size, 678kb)
— View near the Village of Catskill (1827, 62x89cm, 69x82cm; 1/3 size, 193kb _ ZOOM to 2/3 size, 820kb)
— Landscape (1825, 92x111cm; 1/4 size, 840kb _ ZOOM to half-size, 3237kb) _ Here Cole portrays a community of frontier people living in a valley, probably in upstate New York, where they attempt to tame the wilderness.
— The Voyage of Life: Childhood (1842) — The Voyage of Life: Youth (1842)
— The Voyage of Life: Manhood (1842) — The Voyage of Life: Old Age (1842)
— Expulsion from the Garden of Eden (1828) — Niagara Falls (1830)
— The Consummation from the series: The Course of the Empire (1836)
— The Connecticut River near Northampton (1846).
— 112 images at Webshots

^ Died on 01 February 1638: Adriaen Brouwer (or Brauwer, Broeuer, Brower), Flemish genre painter and draftsman born in 1605.
— Brouwer influenced artists in both Flanders and Holland. He went to study under Frans Hals in Haarlem about 1621, gained a high reputation in Holland, and returned to the South Netherlands in 1631. There he was arrested and imprisoned by the Spaniards as a spy until September 1633. He then settled in Antwerp. Except for a handful of landscapes, apparently from his last years, all of Brouwer's pictures are of subjects drawn from common life — showing peasants smoking, drinking, or brawling in taverns; quack surgeons operating on grimacing patients; and so on. Most of the pictures are small and painted on panel. The coarseness of his subjects contrasts with the delicacy of his style, which in its mature stage shows an unusual mastery of tonal values.
— Brouwer is first documented in March 1625, when he was staying at an inn in Amsterdam run by the painter Barent van Someren [1572–1632]. Brouwer is also recorded on 23 July 1626 as a notary’s witness at a sale of pictures in Amsterdam. He must have been living in Haarlem then, as he is mentioned in 1626 in connection with the rhetoricians’ chamber De Wijngaertranken, an amateur literary society whose motto was ‘In Liefde Boven Al’ (Love above all). Brouwer was a student of Frans Hals in Haarlem, but there is no evidence of Hals’s direct influence in his work. Brouwer may also have been taught by his father [–1622], a designer of tapestry cartoons in Oudenaarde in Flanders. When exactly Adriaen Brouwer left Haarlem is not known, but in 1631–1632 he was enrolled in the Antwerp Guild of Saint Luke as an independent master and is regularly mentioned in documents in that city in subsequent years, mainly in connection with debts. He was imprisoned in 1633, possibly for tax debt though probably for political reasons. By April 1634 he had been released and was living in the house of the engraver Paulus Pontius. The same year he joined the Antwerp rhetoricians’ chamber known as De Violieren. His only officially recorded student was a Jan Dandoy in 1635, of whom nothing is now known. Students that must have come to him unofficially rather than through the Guild, include Joos van Craesbeeck, whose early work reveals Brouwer’s influence; and Adriaen van Ostade. Brouwer’s burial in the Carmelite church suggests that he died in poverty.

— LINKS
— The Bitter Draught (1635) _ Between about 1625 and 1631 Brouwer stayed in Holland. The vivid brushwork which animates his little paintings and the portrait-like character of some of his genre pieces suggest that he had contact with Frans Hals. Returning to Antwerp he became one of the finest valeur painters of all times. His power of expression is also increased. The physiognomy and emotion in The Bitter Draught are not matched before Daumier.
— The Card Players (25x39cm) _ Adriaen Brouwer was one of the most original talents in Flemish art. Brouwer's version of the popular theme, The Card Players, is a genre piece in a small format, with marvelous, velvety coloring.
— Peasants Fighting (1634, 33x49cm) _ Dutch realism was a matter not merely of imitative techniques but also of everyday themes: people and objects, houses and streets that might be found in the Republic. Comic paintings seem especially deliberate in their concern with thematic as well as pictorial realism. Like comedies, comic images in theory should depict people as they are, or even worse as they are. Painters fulfilled this requirement in paintings of down-to-earth, lowly themes, of peasants and burghers guzzling, drinking, laughing, dancing, and groping. In theme, these paintings recall comic texts and plays that linger on similar scenes and motifs rather than presenting a tight narrative. A painting of boors fighting by Adriaen Brouwer may seem uncommonly lifelike, with its violent action, gruff faces, poorly dressed peasants or urban dissolutes, and disheveled tavern interior.
— Seated Drinkers (25x21cm) _ Born in Oudenaerde in Belgium, Adriaen Brouwer studied painting in Amsterdam, then Haarlem, where he came into contact with members of local rhetorical chambers, before settling in Antwerp. Admitted as a free master to the painters' guild in 1632, he also became a member of the rhetorical chamber associated with it. He was popular with his Antwerp colleagues who repurchased his freedom - perhaps by acquiring certain of his paintings when he was imprisoned for debt. Adriaen Brouwer specialized in depicting characters on the edge of society spending their time in licentious activities such as card-playing or alcohol and tobacco abuse. This debauched behavior was looked down on by the members of bourgeois society who saw in it the confirmation of their own moral superiority. During his brief career Brouwer produced only a few dozen works, but revolutionized genre painting with his original synthesis between village scenes with a Bruegelian inspiration and Haarlem genre painting. His great pictorial mastery aroused the admiration of his peers, and painters and collectors like Rubens and Rembrandt owned several of his pictures. Under the influence of early biographers, who attempted to draw parallels between the author's work and his life, experts have sought to see in the background of the Seated Drinkers the wall of Antwerp citadel, then a jail, where the painter was imprisoned. This is, however, unlikely: the artist represented this type of rudimentary landscape several times over, with no link between the subject matter and his time behind bars. On the other hand, the finesse of this finely tempered little masterpiece has been rightly recognized from the outset. Here Brouwer has reached his full maturity. A few delicate red and yellow highlights are enough to enliven a composition largely dominated by subtly gradated browns and grays. If one needed to make a comparison between the painter's life and his work, it would be between the artist's untiring interest for theater life and the very convincing way in which he succeeds in translating the psychological interplay of the figures.

Died on a 01 February:

1946 René François Xavier Prinet, French artist born on 31 December 1861.

^ 1920 Andrew Carrick Gow, British artist born in 1848. — LINKS — A Musical Story by Chopin (1879, 70x90cm) _ and the same picture made into a print: The Boy Chopin (1887, 24x32cm; full size)

1917 Gustav Schönleber, German artist born on 03 December 1851.

after 1708 Jacob Koninck (or Koningh) I, Amsterdam Dutch painter, draftsman, and printmaker, born in 1616 (1615?). — brother of Philips Koninck [05 Nov 1619 – 06 Oct 1688 bur.] and related to Salomon Koninck [1609 – 08 Aug 1656 bur.] — Two works by Jacob I appear in the inventory of his father, the goldsmith Aert de Coninck [–1639]: a Bacchus Drawn in Pen and a Head. In 1633 Jacob was living in Dordrecht. From 1637 to 1645 he was in Rotterdam, where his first wife, Maria Cotermans, died in 1637. By 1647 Jacob had moved to The Hague, where, in the following year, he married Susanna Dalbenij. Their son Jacob Koninck II {1648–1724] became a painter. Throughout his life, Jacob the elder struggled against financial difficulty. In 1651 he left his wife’s house and moved to Amsterdam, where his name appears twice, in 1652 and 1659, in connection with debts. He went to Copenhagen about 1676, having fallen out with fellow painters of the Amsterdam guild, who accused him of unfair competition. In his absence they confiscated his paintings; on 27 May 1676 he wrote to Christian V of Denmark asking for help to retrieve his work. On 03 September 1682 his nephew Daniël Koninck [1668–>1720] was apprenticed to him. On 03 August 1690 Daniël paid off his apprenticeship fee ‘to my Uncle Jacob de Koninck, Painter in Copenhagen’.

1598 Scipione “il Gaetano” Pulzone (or Polzone, Pultoni), Italian painter born in 1544. He is thought to have been a student of Jacopino del Conte in Rome. His talent was already evident in his early portraits, such as Cardinal Ricci (1569) and Cardinal Santorio (or Cardinal Granvella, 1576). He was influenced by Italian court portraiture, particularly that of Raphael, and also by Flemish stylistic traits, which he must have absorbed through seeing the works left in Rome by Antonis Mor. His brilliant palette was further enriched through contact with Venetian painting. The naturalism of the early portraits sets them apart from Mannerist portraiture; the careful rendering of details of physiognomy and dress was as important to Pulzone as expressing the personality of his sitter.

Born on a 01 February:

^ 1861 (01 Jan?) Jacques-Émile Blanche, French painter and writer who died on 20 September 1942. His father, a fashionable nerve specialist, owned a clinic where many of Blanche’s sitters had been patients. As a painter he had both talent and charm, and he enjoyed a great vogue in his day. His work lacks originality and was much influenced by such contemporaries as James Tissot and John Singer Sargent. The loose brushwork and subdued coloring of his portraits are also reminiscent of Edouard Manet and English 18th-century artists, especially Thomas Gainsborough. Except for a few lessons from Henri Gervex and Ferdinand Humbert [1842–1934], he had no formal training, and many of his paintings have deteriorated because of poor technique. He worked best on a small scale, and some of his less ambitious oils and small sketches (e.g. Head of a Young Girl, 1885) are among his most appealing works. The few pastels he made during the 1880s and 1890s are also of high quality, as exemplified by the dramatic portrait of the poet Georges de Porto-Riche (1895). — The students of Blanche included Aleksandr Golovin, Duncan Grant, Henry Lamb, Amédée Ozenfant, Alfred Reth.— LINKS — Mr. Arsene Alexandre (62x50cm; half-size _ ZOOM not recommended to full size, except to those intested in the texture of the canvas)

1845 José Echena, Spanish artist who died in 1909.

1838 Joseph Keppler, Austrian born US caricaturist and magazine founder who died on 19 February 1894.

Happened on a 01 February:
2003 Reproduction of Moon Landscape, by 14-year-old Holocaust victim Petr Ginz, carried by Israeli Astronaut Ilan Ramon, perishes with space shuttle and its crew of seven. — MORE

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