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ART “4” “2”-DAY 09 February

DEATHS: 1909 CONDER — 1891 JONGKIND — 1675 DOU

BIRTHS: 1699 JEAURAT — 1650 VERKOLJE — 1950 MARISCAL

^ Died on 09 February 1909: Charles Edwin Conder, English painter, active in Australia and France, born on 24 October 1868.
— He was sent to Australia in 1884 to learn surveying under his uncle W. J. Conder. After about two years in survey camps, he attended evening classes at the Royal Art Society, Sydney; in 1887 he worked as a lithographic draughtsman for The Illustrated Sydney News. Tom Roberts, then in Sydney on a visit from Melbourne, was among the open-air landscape painters that he knew at this time. He taught Conder some of the principles of Impressionism, such as truth to the momentary effect of light and to colour values, and the rejection of the academic ideal of high finish. The most important painting of Conder’s Sydney years, The Departure of the ‘SS Orient’ from Circular Quay, 1888 (1888), already showed a distinct personal style, combining humour with nostalgia and selective observation with decorative finesse of handling and design. In December 1888 Conder joined Roberts and Arthur Streeton in Melbourne. During the following summers they painted together at the outer suburbs of Mentone, Box Hill and Eaglemont. Conder lived in a room in Melbourne fitted out in the Aesthetic style and used his studio as a form of self-expression. His friends in Melbourne included the English novelist Mrs Mannington Caffyn, who included a written portrait of Conder in her Australian novel A Yellow Aster (1894). In 1889 Conder joined Roberts, Streeton, Frederick McCubbin and others at the Buxton Galleries, Melbourne, in a show of small cedar panels, predominantly cigar-box lids, known as the ‘9 by 5 Impression Exhibition’ after the size of the panels.

— LINKS
— Le Moulin Rouge
— The Artist and the Editor (1906 drawing, 23x18cm)
— L'Alcade dans l'Embarras (lithograph 21x26cm; full size)
— A Pastoral Fantasy — The Sea-wall — A Dream in Araby
— A Spanish courtyard — L'entrée en scène — The Green Room
— La Mi~Carême — Schaunard's studio
— Swanage Bay (1901, 46x61cm) _ Although born in London, Conder grew up and first went to art school in Australia. He moved to Paris in 1890. While living there in the 1890s he often stayed in Normandy, where he painted
— Swanage (1901, 23x31cm) _ Conder stayed at Swanage in Dorset with his friend Augustus John [1878-1961] in the early summer of 1900. Both artists were working on large, decorative paintings, but Conder also made a series of oil sketches of the coast. This one is of the Swanage Coastguard Station, and a photograph from the time shows that it is portrayed quite accurately, even to the mast and flags at the top right. These artists were used to living in good company in London and Paris, and their working holiday in Swanage was an escape to sober living and hard work.

^ Born on 09 February 1699: Étienne Jeaurat (or Joras), French painter who died on 14 December 1789. }}}
— La véritable vocation de Jeaurat est la peinture de genre. Ses envois au Salon de l'Académie le prouvent (notre tableau a été exposé à celui de 1741 sous le numéro 19). Son répertoire est varié: pastorales, jeux d'enfant, turqueries; scènes domestiques dans la veine de Chardin ou de J.F. de Troy; scènes villageoises proches de l'art flamand. C'est dans le genre "poissard" que l'artiste, inspiré par ses amis littérateurs et sans doute aussi par les gravures de Hogarth, crée ses oeuvres les plus personnelles. Il laisse ainsi de la vie du peuple de Paris des témoignages d'un réalisme truculent.

— LINKS
— L'Accouchée (1865; 600x484pix _ ZOOM to 1400x1129pix)
— Bain de Femmes (1741, 64x52cm) — Jeune Dessinateur (64x54cm; 512x420pix, 49kb)

^ Died on 09 February 1891: Johan Barthold Jongkind, Dutch Realist painter and printmaker born on 03 June 1819.
— Jongkind's small, informal landscapes continued the tradition of the Dutch landscapists while also stimulating the development of Impressionism.
— Originaire de Latrop, aux Pays-Bas, Johan Barthold Jongkind fit sortir l'art néérlandais de son provincialisme idyllique et devint du même coup l'un des plus notables précurseurs de l'évolution européenne ultérieure. Elève d'Andreas Schelfhout à La Haye et d'Isabey à Paris, il se fixa de 1855 à 1860 à Rotterdam, mais passa ensuite les trente dernières années de sa vie a Paris. Ses premières oeuvres hollandaises — surtout les représentations fluviales et marines — se distinguent cependant déjà par une atmosphère étonnamment transparente et un haut degré de luminosité. Créée en 1856, la toile intitulée Le Port de Rotterdam semble avoir pour sujet réel les teintes vaporeuses suspendues entre les objets, ainsi que les reflets de l'eau. Le coloriage de Jongkind obéissait encore aux règles de la cohésion tonale, mais dans la luminosité de ses atmosphères l'artiste dépassait jusqu'aux Français les plus hardis. A quel point il était attaché a l'inspiration puisée aux mille aspects de la nature vivante ressort aussi du fait qu'il aimait peindre et repeindre le même motif sous un éclairage different. Né exactement la même année que Colbert, et à peu près contemporain des principaux pleinairistes de l'école de Barbizon, Jongkind allait devenir, a côté de Boudin, l'un des plus grands promoteurs de l'impressionisme. Il n'a pas seulement enthousiasmé Manet, mais aussi, comme pas un autre, confirmé Monet dans son esthétique. Jongkind est mort à Côte-Saint-André, France.

— LINKS
— Le Pont de la Tournelle (1859, 45x73cm)
— Notre-Dame de Paris, Vue du Pont de l'Archévêché (1849; 601x1056pix)
— Notre-Dame de Paris, au Clair de Lune (1879; 600x784pix _ ZOOM to 1400x1829pix)
— Vue de Bas-Meudon (1865; 600x852pix _ ZOOM to 1400x1988pix)
— Clair de Lune (1853) — Harbor Scene (1865, 14x23cm)
— Sortie du Port de Honfleur (1864, 24x31cm)
— La Jetée en bois dans le port de Honfleur (1865, 24x32cm)
— Moulins en Hollande (1867, 15x20cm)
— Vue du Port à Chemin de Fer à Honfleur (1866 etching, 27x34cm)
— Vues de Hollande: Les deux Barques à voile (18x21cm)
— Vues de Hollande: La Barque amarrée, (18x21cm)
— La Seine et Notre-Dame à Paris (1864)
— In Holland; Boats near the Mill (1868) — The Church of Overschie
— Honfleur (1865, 52x82cm) _ This canvas was painted in August–September 1865, during Jongkind's third visit to Honfleur, on the Normandy coast, where Monet also worked in the early and mid-1860s.
— 38 images at Webshots

^ Born on 09 February 1650: Jan Verkolje (or Verkolye) Sr., in Amsterdam, Dutch Baroque painter and engraver who was buried in Delft on 08 May 1693.
— Jan Verkolje spent six months as the student of Jan Andrea Lievens [1644–1680], when he completed unfinished mythological and genre pictures by Gerrit Pieterszoon van Zijl [1619–1665]. Verkolje married in Delft in 1672 and in the following year joined the city’s Guild of Saint Luke, serving as its dean between 1678 and 1688.
Verkolje’s genre scenes, for example The Music Party (1673), The Messenger (1674) and The Elegant Couple (1674), were influenced by Gabriel Metsu, Gerard ter Borch II and Caspar Netscher. Verkolje’s portraits commanded high prices and were greatly valued for their outstanding finish, a style more polished than that of his predecessors. His work as a mezzotint engraver was equally appreciated and sought after. On the basis of a few mezzotints made between 1680 and 1684 after the work of English artists, it is generally supposed that Verkolje lived in London at that time, although this is unproven. As a draftsman, he made precise, small cabinet pieces usually employing pen and ink with brown wash or watercolor heightened with white chalk.
— Among the many students of Jan Verkolje were his sons Nicolaas Verkolje [11 Apr 1673 – 21 Jan 1746] and Jan Verkolje Jr., Albertus van der Burch [1672->1727[, the mezzotint engraver Jan van der Spriet (active about 1700), Willem Verschuuring [1657-1715] and Thomas van der Wilt [1659-1733].

— LINKS
— The Music Party (1673) _ Dutch painters achieved stunning naturalistic effects in pictures of various social situations, including musical companies. These artists shared an interest in using perspective to accurately describe architecture, as well as in painting refined lighting effects. Jan Verkolje was an artist who carefully examined the physical world and created pictures based on everyday life. The work of Verkolje and his peers, Johannes Vermeer and Pieter de Hooch among them, appealed to the increasingly wealthy Protestant middle class in the Netherlands, who preferred scenes that reflected their own tastes and interests, instead of paintings with religious or mythological subject matter. Here, the prosperity of Dutch society is evident in the depiction of a well-to-do young people enjoying their leisure time with music, reading, and an apparently playful conversation. A young servant carrying fruit enters the scene in the background; such servants, originally from the colonies the Dutch had established, were brought to the Netherlands and made a part of the household and raised as Protestants. The young servant, dressed as a courtier, is another symbol of middle-class affluence in seventeenth-century Dutch life.
— Johan de la Faille (1674, 41x 30cm)
— Margaretha Delff, Wife of Johan de la Faille (1674, 41x30cm)
— The Messenger (1674, 59x54cm)

^ Died on 09 February 1675: Gerrit Dou (or Dow, Dov), Dutch Baroque painter born on 07 April 1613.
— Dou was born in Leiden. He learned glass painting from his father and in 1628 became Rembrandt's first student. After some early portraits, he painted chiefly small domestic scenes characterized by minute detail often painted under a magnifying glass, skillful chiaroscuro, and lifelike effect. Among these are A Poulterer's Shop {a fowl picture} and Evening Light. Dou's work was very popular and continued to be influential until the mid-19th century when appreciation for precision in painting declined under the pernicious influence of impressionism.
— In 1628 Dou became the first student of the young Rembrandt van Rijn, basing his early work closely on his master's. After Rembrandt moved to Amsterdam, Dou developed a style of his own, painting usually on a small scale, with a surface of almost enamelled smoothness. He was astonishingly fastidious about his tools and working conditions, with a particular horror of dust. Some of his pictures were painted with the aid of a magnifying glass. He painted numerous subjects, but is best known for domestic interiors. They usually contain only a few figures framed by a window or by the drapery of a curtain, and surrounded by books, musical instruments, or household paraphernalia, all minutely depicted. He is at his best in scenes lit by artificial light.
With Jan Steen [1625-1679] Dou was among the founders of the Guild of St Luke at Leiden in 1648. Unlike Steen he was prosperous and respected throughout his life, and his pictures continued to fetch big prices (consistently higher than those paid for Rembrandt's work) until the advent of the sloppy and lazy Impressionism influenced taste against the neatness and precision of his style. Dou had a workshop with many students, including Quirijn van Brekelenkam, Frans van Mieris and Godfried Schalcken. They perpetuated his style and Leiden continued the fijnschilder tradition until the 19th century.

— LINKS
— Self Portrait (1650) with pipe (opium pipe?) and book open to a full-page illustration (huge image). — same Self-Portrait (regular image).
— earlier Self-Portrait (1638) — a later Self-Portrait (1663) — an ever later Self-Portrait (1665)
— Old Woman Reading a Lectionary (Rembrandt's Mother) (1630, 71x55cm) (huge image) _ Old Woman Reading a Lectionary (Rembrandt's Mother) (regular image) _ Young Dou admired and imitated Rembrandt, his teacher, closely. He frequently used Rembrandt's schemes and paraphernalia. A comparison of his Old Woman Reading a Bible (also called Rembrandt's Mother) with Rembrandt's Old Woman Reading (1631) shows the master's superiority and the student's limitations. The face Dou painted is like a mask; it has a frozen surface which appears to have been over-exposed to the light.
The woman is reading about the entry of Jesus into Jericho, an episode from Saint Luke's Gospel (19:1-27). The illustration shows the tax-collector Zacchaeus, who climbed into a tree to observe the event. Jesus, who is shown looking up at him, went to the man's house despite his disciples' objections to his visiting a tax-collector, for the profession was considered corrupt. To Protestants, the story proved that sinners are saved by faith (to Catholics too, but not by faith ALONE: “Zacchaeus stood up and said to the Lord, "Look, Lord! Here and now I give half of my possessions to the poor, and if I have cheated anybody out of anything, I will pay back four times the amount." [Luke 19:8] See also 1 Cor 13:2 ” if I have a faith that can move mountains, but have not love, I am nothing.” and 13:13 “these three remain: faith, hope and love. But the greatest of these is love.” and James 2:17: “faith by itself, if it is not accompanied by action, is dead.”).
“He wanted to see who Jesus was, but being a short man he could not, because of the crowd. 4 So he ran ahead and climbed a sycamore-fig tree to see him, since Jesus was coming that way. 5 When Jesus reached the spot, he looked up and said to him, "Zacchaeus, come down immediately. I must stay at your house today." (Luke 19:3-5)
— Rembrandt's Mother (1865; 600x484pix _ ZOOM to 1400x1129pix)
— The Night School (huge image) _ The Night School (regular image) — Cardplayers by Candlelight (1660) _ Dou can be credited with starting a hardy vogue around the middle of the century for small pictures of nocturnal scenes lit by candlelight or lanterns, which usually throw a harsh red light. In these paintings the incident depicted — children at school, card players, a group around a table — is usually more important than the dramatic potential of the chiaroscuro.
— Old Woman with a Candle (1661, 31x23cm) This painting by the student of Rembrandt and the founder of the Leiden school of 'fine painting' represents a type common in Leiden from the mid-1640s: the bust portrait of an allegorical figure in an architectural frame. Here the old woman is shielding a candle flame, symbol of the transience of human life.
— Woman Peeling Carrot (57x43cm) _ Dou popularized the the compositional device of a figure engaged at some occupation at a window.
— Officer of the Marksman Society in Leiden (1630, 66x51cm) _ The cavernous background contains all the detail of a still life in the carefully painted armor, drum, saddle and guns seen in what must be an arsenal. It is only the figure of the officer with his plumed headband which makes this a genre painting. Like most of Dou's works this picture is quite lacking in incident. The man is no more than a carefully painted object included in the picture along with the rest of the contents of the store-room. _ detail _ The artist is more interested in the still-life occupying the foreground of the painting than the the stiff figure in the background whose clothing seems to be part of the still-life. The helmet, the drum and the shield can be found in several other paintings of the artist.
— Painter in his Studio (1647, 43x34cm) _ It is assumed that the painter represented is Rembrandt, the master of Dou.
— Old Woman (1645, 20x16cm) _ This small painting is part of a series painted of the same sitter who was probably the artist's mother.
— A Woman (82x65cm) _ At one time this portrait was attributed to Jan Vermeer van Delft.
— Old Woman Watering Flowers (1664, 28x23cm) _ Dou popularized the the compositional device of a figure engaged at some occupation at a window.
— The Physician (1653, 49x37cm) _ Dou was an assistant and student of the young Rembrandt between 1628 and 1631. He became a master of the genre painting with a lot of still-life elements. A characteristic example of his works is The Physician
— The Quack (1652, 112x83cm) _ This painting shows the characteristic qualities of the style of Dou and of the Leiden school he was to start: meticulous drawing, high or ever slick finish, and dark glossy colors — hence the name of the school: the Leiden Fijnschilders”.
— Young Mother (1658) _ In 1660 the States of Holland selected Dou's Young Mother as one of the precious gifts to Charles II on the occasion of the Restoration. This picture is painted so finely as hardly to be distinguished from enamel.
— The Grocer's Shop (1647, 38x29cm) _ Dou popularized the the compositional device of a figure engaged at some occupation at a window. The earliest dated one is this The Grocer's Shop. Soon after, the window motif occurs frequently in the Leiden School. The window frames quickly become more elaborate, bas-reliefs are introduced under the sills, and the windows are draped with curtains.
— A Poulterer's Shop (1670) _ Signed on the sill: GDOV [Gd in monogram]. Dou popularised 'niche' pictures of this type, showing an interior seen through an aperture. The painting is a late work, probably of about 1670, and signed below the peahen. The relief on the parapet, showing children playing with a goat, is probably based on a marble bas-relief by François Duquesnoy [1597-1643], famous Flemish sculptor who worked in Rome. The design is also recorded on an ivory plaquette. It appears in other paintings by Dou from 1651 onwards. This painting can be compared with another work by Dou, the Grocer's Shop of 1672.
— The Prayer of the Spinner (28x28cm)
— 24 images at Webshots

^ Born on 09 February 1950: Javier Mariscal, dissenyador, dibuixant, pintor, i escultor valenciano.
— Mariscal estudia disseny gràfic a l'Escola Elisava i art imprès a l'Escola Eina de Barcelona. Dibuixa, edita i distribueix El Rrollo enmascarado, el primer còmic underground de l'estat espanyol (1974). Posteriorment, publica els seus dibuixos a Star, El Víbora, Cairo o Vogue. Ha realitzat tot tipus de treballs gràfics, d'illustració i publicitaris, com la creació del conegut logotip BAR CEL ONA (1979), a més de dissenys d'objectes i mobiliari, decoració i interiorisme que han tingut una difusió internacional, com la collaboració amb la firma Menphis de Milà. A partir del 1988, data en què el dibuix del seu personatge "Cobi" és triat com a mascota olímpica, participa en activitats relacionades amb el projecte de Barcelona 92.
També fou autor de les mascotes "Petra", per als paralímpics, i "Nosi", per a l'Olimpíada Cultural dels mateixos Jocs Olímpics del 1992. També ha creat sèries de dibuixos animats per a la televisió, com The Cobi Troupe (1990). La seva obra plàstica ha tingut una important projecció exterior i ha donat peu a nombroses publicacions, així com a exposicions nacionals i internacionals, entre les quals destaca "100 años con Mariscal", a València i Barcelona (1988), i una mostra itinerant a la Takashimaya Art Gallery a Tòquio, Osaka, Kyoto i Yokohama. La seva obra pictòrica, de caràcter irònic i quotidià, està influenciada per la seva activitat com a illustrador. El 1987 participa en la VIII Documenta de Kassel (Alemanya).

— Far de Fomentera — Vinyetes — Carros (1998) [baix]

Died on a 09 February:

1920 Pietro Scoppetta, Italian artist born on 15 February 1863. — {Scoppetta? scopetta? little broom?}

1918 Wilhelm List, Austrian artist born on 22 November 1864. — {It seems that no Internet artists' biographies' list lists List}

1916 Aloys François Joseph Loir, French artist born on 22 December 1845.

^ 1905 Adolf Friedrich Erdmann von Menzel, German Realist painter, draftsman, illustrator, printmaker, and teacher, born on 08 December 1815. He was the most important artist working in Berlin in the second half of the 19th century and in his later years was one of the most successful and respected artists in Germany. Living virtually all his life in Berlin, he executed numerous paintings and illustrations relating to events in Prussia’s recent history and was the foremost chronicler of the life of Frederick the Great (reg 1740–1786). Through his portraits and industrial scenes and his more intimate studies of interiors and local religious events he became one of the greatest German proponents of Realism. — LINKS — Meissonier's Studio, circa 1880 - 1889 — The Artist's Sister with a Candle (1847) — Portrait of a Man — 49 prints at FAMSF

1675 Ambrosius Brueghel, Antwerp Flemish painter born on 10 August 1617.— After the death of his father, Jan 'Velvet' Brueghel [1568 – 13 Jan 1625], Ambrosius was placed under the guardianship of Rubens, Hendrick van Balen, Cornelis Schut, and Pieter de Jode. — Ambrosius Brueghel was grandson of Pieter Brueghel the Elder [1525-1569], half-brother and possibly student of Jan Brueghel the Younger [13 Sep 1601 – 1678], nephew of Pieter Brueghel the Younger [1564-1638]

Born on a 09 February:

1815 Reinhard Sebastian Zimmermann, German artist who died on 16 November 1893.

1794 (or 10 or 11 Feb 1794) Henri Auguste Calixte César Serrur, French painter who died on 02 September 1865. — Ajax (1820)

^ 1662 Paolo de Matteis, Italian painter and silversmith who died on 26 July (26 Jan?) 1728. He studied under Francesco di Maria. De Matteis was important to the history of painting in Naples in the transitional period between the 17th and 18th centuries. His elegant art encouraged the movement away from Baroque drama towards a more tender, rocaille style in harmony with the earliest manifestations in Naples of the Arcadian school of poetry and of the Enlightenment. He painted frescoes, altarpieces and allegorical and mythological pictures. — De Matteis was first trained in Luca Giordano's workshop in Naples. Before 1683 he launched his career in Rome, where, according to legend, he was "discovered" by the Spanish ambassador while copying altarpieces in Saint Peter's Cathedral. When the ambassador was nominated Viceroy of Naples, de Matteis followed him there. Responding to changing tastes and Carlo Maratta's influence, de Matteis developed a delicate, graceful manner that broke with the vigor of the Baroque. Within ten years, his reputation was international, rivaling that of Francesco Solimena. From 1702 to 1705, de Matteis worked for the French court in Paris, where he met influential nobles and bankers; the elegant French style confirmed the direction his painting had already taken. Returning to Naples, which the Austrians had seized from Spain, de Matteis accepted commissions from both the Austrian aristocracy and intellectuals and nobility abroad. Renowned for his speed and virtuosity, he also painted decorative schemes for Neapolitan churches. In 1712 the third Earl of Shaftesbury, a renowned aesthetician, hired de Matteis to paint a canvas according to the Earl's own aesthetic theories. Between 1723 and 1725, de Matteis lived in Rome, where he received a commission from Pope Innocent XIII. In his final years, he made models for sculpture in silver. — The students of de Matteis included Sarnelli, Inácio de Oliveira Bernardes, Francesco Peresi. — LINKS — An Allegory of Divine Wisdom and the Fine Arts (1685, 359x253cm; 480x340pix, 49kb) _ At the very top of the composition, a personification of Science extends her arm to Painting, while Architecture sits at her feet with a compass and a rolled-up architectural drawing. Virtue holds a laurel wreath over the head of the central figure, who displays a canvas of Time revealing Truth. Known for his facility, Paola de' Matteis supposedly completed this elaborate canvas, his earliest known painting, in only five days, soon after his return from Rome. The smooth, clear contours and idealized beauty of Virtue reflect the classicizing lessons he learned there, while the foreshortened figure of Science reveals his roots in the dramatic Neapolitan Baroque. — Galatea (768x784pix)

1617 Nicolaas van Eyck I, Dutch artist who died in 1679.

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