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ART 4 2-DAY 07 February
Died on 07 February 1848: Christen
Schjellerup Købke, Danish Realist
painter born on 26 May 1810.
— He is the most internationally renowned Danish painter and, with his teacher, C. W. Eckersberg, was one of the leading artists of the Danish ‘golden age’ of painting in the 1830s and 1840s. He is most famous for his intimate depictions of familiar landmarks in Copenhagen and North Zealand, notably Frederiksborg Castle, near Hillerød. The skill with which he rendered architectural silhouettes and the light of the Danish sky has won him great acclaim. His charming and intimate portraits of family, fellow artists and friends are among the best examples of Nordic portrait painting.
— Lorenz Frølich was a student of Købke.
The View of the Plaster Cast Collection at Charlottenborg Palace (1830)
Frederik Sødring (1832) Frederiksborg Castle Seen from the Northwest (1836)
View of Lake Sortedam (1838) View of Østerbro from Dosseringen (1838)
Died on 07 February 1902: Thomas Sidney
Cooper, English painter, specialized in farm
mammals, born on 26 September 1803.
— He was encouraged in his ambition to become an artist by Sir Thomas Lawrence and the animal painter Abraham Cooper [1787–1868], no relation. He entered the Royal Academy Schools, London, in 1823. He subsequently taught art in Brussels where he met Eugene Verboeckhoven, whose work had a profound influence on him. Through Verboeckhoven he came to appreciate the work of such 17th-century Dutch painters as Aelbert Cuyp and Paulus Potter. In 1831 he returned to London, exhibiting at the Royal Society of British Artists. He exhibited 48 pictures at the British Institution between 1833 and 1863. The majority of his work was, however, exhibited at the Royal Academy; from 1833 to 1902 he exhibited 266 works there without a break, and he remains the longest continuous exhibitor in the Academy’s history.
— Photo of Cooper
— In The Highlands (1890, 66x56cm) — Cattle and Sheep in a Landscape (1880, 61x91cm)
— Cattle and Sheep Resting in an Extensive Landscape (1877, 92x147cm)
— Dairy Cows Resting (1875, 76x109cm) — A Wooded Ford (1866, 102x138cm)
— The Chill of Winter (1862, 50x71cm) — Sheep in Winter (1860, 25x38cm)
— Rams and a Bull in a Highland Landscape (1855, 95x136cm)
— In the Canterbury Meadows (1842, 43x53cm)
— Near Canterbury: a Boy on a Donkey driving Cattle along a Road, the Cathedral beyond (1833, 30x40cm)
Died on 07 February 1749: Jan
van Huysum, Dutch painter born on 15 April 1682.
Van Huysum was, with Rachel Ruysch, the most distinguished flower painter of his day. He had a European reputation and was much imitated. The light colors he used, the even lighter backgrounds, and the openness of his intricate compositions became distinguishing features of 18th century Dutch flower painting. He occasionally painted subjects other than flowers, including a self-portrait. His father, Justus the Elder [08 Jun 1659 – Apr 1716], was a flower and landscape painter and he had three painter brothers: Justus the Younger [1684-1707]; Michiel [–1759]; and Jacob [1687-1740], who worked in England and imitated Jan's style.
Still Life with Flowers (1723)
Bouquet of Flowers in an Urn (1724) _ The main line of eighteenth-century Dutch still-life painting is represented by the Amsterdamers Rachel Ruysch and Jan van Huysum, who both specialized in elaborate flower and fruit pictures. They were the most popular still-life painters of the period; their works commanded high prices and were found in famous collections throughout Europe, and their colorful paintings still have wide appeal. The status they were accorded in their time indicates there were powerful patrons and collectors who took exception to the teachings of academic theorists who minimized the significance of still-lifes by placing them. [Do not confuse Amsterdamers with hamster damners, even if a few, a very few, might be both]
Hollyhocks and Other Flowers in a Vase (1710, 62x52cm) _ Dutch painters described the visible world with remarkable precision and one of the forms this description took was the still life. In the earliest years of the seventieth century still-lifes often had a vanitas element. Among the apparently random accumulation of objects were clocks, snuffed-out candles, faded flowers and skulls, reminders of the passage of time and the inevitability of death and decay. As the century progressed these elements dropped away and still-lifes became simply displays of the rare, exotic, expensive and beautiful. Jan van Huysum, whose career spanned the first half of the eighteenth century, was the heir to this great tradition of still-life painting and, as far as floral still-lifes are concerned, its greatest exponent. This painting is undated but must belong to the first half of his career before about 1720, when he began to paint more elaborate and artificial flower pieces, which are light in tone on light backgrounds, in an almost pastel palette. It probably dates from about 1710. Jan van Huysum lived and worked in Amsterdam. He was one of a dynasty of painters, having been trained by his father Justus van Huysum, also a still-life painter, and was later imitated by his younger brother, Jacob.
Vase of Flowers (63x50cm) _ Son of Justus, a decorator of apartments and gardens, Jan van Huysum was one of the most famous Dutch painters of floral still-lifes, establishing himself in a pictorial genre that was already popular and widespread, and taking it to a perfection and virtuosity which was at times even mechanical. However, whereas in French artists, whom the painter was inspired by, ability and technical complexity were also reflected in the sometimes excessive elaboration of the portrayal, van Huysum stayed within the sober Quattrocento Flemish-Dutch tradition, even though he used motifs characteristic of the seventeenth century (the dark background and the presence of rare species of flowers).