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ART “4” “2”-DAY  19 February
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BIRTHS: 1885 MONTENEGRO — 1899 FONTANA
DEATHS: 2000 “HUNDERTWASSER” — 1878 DAUBIGNY — BURIAL: 1622 POURBUS
^ Died on 19 February 2000: Friedrich Stowasser “Friedensreich Hundertwasser”, Austrian painter and printmaker born on 15 December 1928 — Real name: Friedrich Stowasser; born in Vienna, he studied there and in Paris, 1951 in Morocco and Tunisia, 1961 in Japan, married 1962 Yuuke Ikewada in Vienna. After 1969 he signed his work Friedensreich Hundertwasser or Friedensreich Hundertwasser Regenstag. He lived in Venice on the Giudecca.
— Born to a Jewish mother, he foiled the Nazis and was able to shield some of his relatives for a time. During Nazi rule he studied in Vienna, at public schools and at the Montessori school before briefly attending the Akademie der Bildenden Künste. His floridly patterned works with their haunting and rich colours are dependent on the decorative tradition that produced Art Nouveau. The luxurious, sinuous forms and expressive distortions affiliate him to figurative artists such as Klimt and Schiele. Hundertwasser’s subject-matter modified these stylistic sources and was often influenced by his great interest in a sane environment expressed as a stable relationship between man, the built world and nature. He travelled widely and developed a pictorial vocabulary unspecific to any place or time. Hundertwasser made significant contributions to printing techniques with such works as the woodcut series Nana Hiakv Mizu (1973; with Japanese artists). The decorative and technical opulence of his work made him a controversial figure with the critics, while assuring him a large popular following.

— LINKS
— Venice (1963, color lithograph 24x33cm; 5/6 size)
— Good Morning City (1969, screenprint, 77x49cm; 3/10 size _ ZOOM to 3/5 size)
— Venezia (1968 color lithograph, 56x47cm; half-size _ ZOOM to full size)
— The 30 Day Fax Picture (1994, thirty A4 size FAXes, 151x130cm)
Tehuana^ Nació el 19 febrero 1885: Roberto Montenegro, pintor mexicano quién murió el 13 octubre 1968.
— Roberto Montenegro, artista polifacético, nació en la Ciudad de Guadalajara el 19 de febrero de 1885. Estudió en la Academia de San Carlos e incursionó a lo largo de su vida en muy variados estilos y vanguardias. En San Carlos conoce a Saturnino Herrán y a Diego Rivera, y en 1905, cuando recibiendo una beca del Gobierno de México, se traslada a París y a Madrid, entrando en contacto con diversos círculos literarios y artísticos; ahí conoce a Machado, Unamuno, Valle Inclán, Jean Cocteau y Juan Gris. Entre 1908-1909 viaja a Italia, pasando una temporada en Venecia, para posteriormente regresar a París y exponer en el Salón de Otoño. Al inicio de la Primera Guerra Mundial, huye a Barcelona; y algo muy importante de resaltar, es el hecho de que realiza entre 1915 y 1918 un mural en el Casino de Palma, cuando residía en Pollenza, Mayorca.
      A su regreso a México, es convocado por José Vasconselos para realizar diversos murales en los edificios públicos en conjunto con otros artistas de gran renombre, como es el caso de Fernando Leal, Diego Rivera, Orozco y otros. Roberto Montenegro incursionó a lo largo de su vida, en diversidad de estilos y vanguardias. Tuvo la enorme libertad de que su obra tocara las diferentes tendencias que surgían en aquellos años, entre ellas el Art Nouveau, el Surrealismo y eventualmente el arte abstracto. Hacia 1921 a iniciativa suya y ayudado por el Dr. Atl , Adolfo Best Maugard y Jorge Enciso, se realiza en la Ciudad de México la primera exposición de Artes Populares. Después sería el fundador del Museo de Artes Populares.
      Montenegro incursionó también en el mundo de la escenografía para la danza y el teatro. Igualmente participa en el rodaje de "Viva México" del cineasta soviético Sergei Eisenstein. De su vasta producción destacan lienzos influidos por la corriente fantástica, dentro de la cual llegó a alcanzar una personalidad muy fuerte y definitiva. Dentro de sus obras murales importantes, cabe destacar los realizados en la Capilla del exconvento de San Pedro y San Pablo, donde estuvo ubicada la Hemeroteca Nacional. Muere en la Ciudad de Morelia, Michoacán,
— Tehuana (70x70cm) [imagen >>>]
^ Died on 19 February 1878: Charles-François Daubigny, Parisian Barbizon School painter and printmaker born on 15 February 1817. He was one of the most important landscape painters in mid-19th century France and had an influence on the Impressionist painters.
— He studied under his father Edmond-François Daubigny [1789 – 14 Mar 1843] and in 1831–1832 was also trained by Jacques-Raymond Brascassat. At an early age he copied works by Ruisdael and Poussin in the Louvre, while also pursuing an apprenticeship as an engraver. At this time he drew and painted mainly at Saint-Cloud and Clamart, near Paris, and in the Forest of Fontainebleau (1834–1835). In 1835 he visited several Italian cities and towns, including Rome, Frascati, Tivoli, Florence, Pisa, and Genoa. He returned to Paris in 1836 and worked for François-Marius Granet in the painting restoration department of the Louvre. In 1840 he spent several months drawing from life in Paul Delaroche’s studio, although his early works were much more heavily influenced by 17th-century Dutch painters, whom he copied in the Louvre, than by Delaroche’s work.
— Besides his son “Karl” Daubigny [09 Jun 1846 – 25 May 1886], the students of Charles-François Daubigny included Dwight W. Tryon, Adolphe Appian, John Joseph Enneking, Alfred Roll, António Silva Porto.

— LINKS
— Paysage près de Crémieu (1849, 63x91cm; 886x1280pix _ ZOOM to 1683x2432pix, 2959kb)
— Le Carrefour du Nid d'Aigle, Forêt de Fontainebleau (1844, 79x113cm; 840x1204pix _ ZOOM to 1564x2241pix, 2926kb)
— Un Étang dans le Morvan (1869, 113x165cm; 876x1280pix, 683kb _ ZOOM to 1674x2445pix)
— Les Dunes à Camiers (1871, 57x65cm; 960x1166pix _ ZOOM to 1836x2230pix, 2714kb)
— Paysage de moisson avec ciel orageux (1865; 600x1280pix _ ZOOM to 1400x2987pix)
— Bateau sur l'Oise (1865; 600x1016pix _ ZOOM to 1400x2371pix)
— Les Bords de L'Oise à Conflans (1859, 39x67cm; 1/3 size _ ZOOM to 2/3 size)
— Le Village de Gloton (30x54cm) — Cattle at the Pool
— Valmondois
— Le Hameau d'Optevoz (1857)
— The Flood-Gate at Optevoz I (1854; 600x1008pix _ ZOOM to 1400x2352)
— The Flood-Gate at Optevoz II (1855; 600x1108pix _ ZOOM to 1400x2585)
— The Flood-Gate at Optevoz III (1859; 574x880pix, 120kb)
— Harvest (1875) — Les Péniches
— 51 prints at FAMSF
^ Born on 19 February 1899: Lucio Fontana, Argentine~Italian sculptor and painter who died on 07 September 1968.
— Entre 1905 y 1922 Lucio Fontana hizo sus estudios primarios y secundarios en Milán, y los de arte en la Academia de Brera, de esa ciudad. Pasa los seis años siguientes en su Rosario natal, donde inicia su obra de pintor y escultor, y vuelve a instalarse después en Milán (1928-39): se vuelca entonces a la abstracción, sin abandonar del todo lo figurativo. Se asocia, en 1935, al grupo Abstraction-Creation, y empieza su labor como ceramista.
      La guerra lo devuelve a la Argentina y se afinca en Buenos Aires, en 1939: aquí se cuenta entre los fundadores de la Escuela de Arte Altamira, en la cual dicta clases; y en este período hace esculturas figurativas. Publica, en 1946, aunque firmado por sus alumnos, el Manifiesto blanco, al que seguirá, en 1947, cuando ha retornado — definitivamente — a Milán, el Manifiesto especialista, primero de una larga serie que informa su revolucionaria obra de la época.
Concepto Espacial      La gran ruptura artística de Lucio Fontana — dicho sea en términos teóricos y también materiales — ocurre en 1949, cuando empieza a realizar sus telas con perforaciones (buchi), que serán sucedidas, una década más tarde, por las telas con tajos (tagli), como en la obra aquí presentada. Es evidente la naturaleza conceptualista y gestual de estas creaciones de Fontana — que él llevará además a otros soportes, como el papel y el metal —, y su sentido estético: al rasgar la tela y quebrar su continuidad, acaba con la idea que de ella tuvo y tiene la pintura, la de una superficie ilusoria capaz de albergar una representación ficticia; por lo tanto, recupera la verdad de esa tela en beneficio de una nueva (forma de) creación. El tajo, que conecta el anverso y el reverso del lienzo, integra el espacio real a la obra y abre una vía de comunicación con el infinito, aboliendo la necesidad de pintar.
— [Concepto espacial (1959, tela rasgada, 65x72cm) >]
— Lucio Fontana explored the problem of representing space. Born in Argentina, Fontana studied sculpture at Milan's Brera Academy in the late 1920s. His early sculptures embraced both figurative and abstract forms. In addition to his work as a sculptor, Fontana wrote and collaborated on a number of theoretical manifestos. He is best known for pioneering the concept of "Spatialism," which, like Cubism, radically disavowed the practice of creating the illusion of three-dimensional space on a flat surface. Beginning in 1949, Fontana turned to painting in order to confront this issue directly. First he punctured holes in canvases as a means of integrating the imaginary space represented on the surface of his paintings with the real space that surrounded them. By the late 1950s he was slashing monochromatic canvases with a razor blade. In doing so, the artist transformed a seemingly destructive gesture into an act of creation that challenged traditional easel painting and the sanctity of the picture plane. In 1959, Fontana resumed his work as a sculptor with a series of spherical works known as Nature forms.

— LINKS
^ Buried on 19 February 1622: Frans Pourbus II (or Porbus, Purbis), Flemish painter born in the fall of 1569, son of Frans Pourbus I [1545 – 19 Sep 1581] and of a niece of Frans Floris I [<01 Oct 1520 – 01 Oct 1570]. — (An unreliable source gives 09 February 1622 as the date of the death of Frans Pourbus II)
— Two Flemish court painters of Bruges origin who earned their reputation abroad, Frans Pourbus the Younger and Marcus Gheeraerts the Younger [1562-1636], were active at the close of the sixteenth century and especially in the first quarter of the seventeenth. They are descendants of famous Bruges painter families. Their solid, old-fashioned technique and the rigid, immovable expression of their figures seem more like an extension of the sixteenth century than a herald of the seventeenth. Frans Pourbus the Younger was Pieter Pourbus' grandson. He was trained in Antwerp and worked briefly for the Archdukes Albert and Isabella before going on to become court painter at Mantua, under Duke Vincenzo Gonzaga, and in Paris, under Marie de' Medici and Louis XIII.
— It is likely that Frans Pourbus II, like his father before him, was trained in the Bruges studio of his grandfather Pieter Janszoon Pourbus [1523 – 30 Jan 1584]. Frans the younger became a master in the Antwerp Guild of Saint Luke in 1591. He followed the family tradition and painted individual and group portraits, and, occasionally, religious subjects. From about 1594 he was in Brussels and about 1599 spent a year working at the court of the Archdukes Albert and Isabella. His early work, for instance the portrait of Petrus Ricardus (1592), was close to the smooth and brilliant style of his grandfather but was also influenced by the realism of Adriaen Key. One work that can be related to his work for the Brussels court is a gouache copy of a portrait of Archduchess Isabella, inscribed AUTOGRAPH. APUD PICTOREM CELEBREM F. PORBUS, AD VIVUM DEPICT.
      In September 1599 Vincenzo Gonzaga I, 4th Duke of Mantua, was in Brussels and appointed Frans the younger his chief portrait painter. Frans left for Mantua in 1600 (where Rubens was also working); he is recorded as having executed a number of portraits of the ducal family, but this did not preclude his working for other important patrons: Emperor Rudolf II was considering marriage and Pourbus went to Innsbruck (1603) and Graz (1604) to paint portraits of prospective brides (e.g. Archduchess Eleonore, 1604). Vincenzo Gonzaga’s son Francesco despatched Pourbus to Turin on the same errand, and Pourbus painted the daughters of Charles-Emanuel I, 11th Duke of Savoy (in 1608 Francesco married Margaret of Savoy). In 1606 Pourbus went to Paris to record the French royal family on the occasion of the Dauphin’s baptism for his aunt and godmother, Duchess Eleonora Gonzaga. The following year Pourbus was in Naples, whence he advised the Duke of Mantua to purchase Caravaggio’s Judith Beheading Holofernes and the Madonna of the Rosary (1607).
— Giusto Suttermans was a student of Pourbus.

— LINKS
— A 54-year-old Lady (1591, 100x74cm; 3/10 size, 129kb _ ZOOM to 3/5 size, 528kb _ ZOOM++ to 6/5 size, 2559kb)
— Marie de Médicis turned one-quarter to her left (1617, 1600x1208pix)
— Marie de Médicis turned one-quarter to her right (1617, 215x115cm, 800x413pix, 52kb)
— Archduke Albert of Austria (1600, 10x7cm; full size _ ZOOM to double size)
— Archdukes Albert and Isabella (two panels 60x42cm each, 850x1206pix, 192kb) _ Archduke Albert of Austria [1559 - 1621] was appointed Governor of the Netherlands in 1595, and from 1598 became joint sovereign of the Seventeen Provinces with his wife, the Infanta Isabella Clara Eugenia [1566 - 1633], Archduchess of Austria, daughter of Philip II of Spain . The official double portrait by Pourbus was reproduced on several occasions. This is an early 17th century replica, one of the best early versions of a pair of portraits of which Pourbus invented the prototype. Rubens undoubtedly took these earlier works as the basis for his first portraits of Archduke Albert (122x89cm; 420x320pix, 25kb) and Infanta Isabella (121x89cm; 420x320pix, 28kb) after he was appointed their court painter in 1609.
— Henry IV, King of France, in Armor (770x488pix, 73kb)
— Claude de Lorrain, Prince of Chevreuse (1610, 198x123cm) 812x480pix, 54kb)
— Petrus Ricardus (1592, 107x77cm, 1127x807pix, 87kb) _ Until about 1600, Pourbus painted in the smooth and technically brilliant style established by his grandfather, which he augmented with an analytical realism attributable to Adriaan Key. This portrait of a famous professor at the University of Louvain is a good example of this style.

Died on a 19 February:
1750 Jan-Frans van Bredael I, Flemish artist born on 01 April 1686.
1735 Ottmar Elliger II, German artist who dies on his 69th birthday.
1666 Willem van Honthorst, Dutch painter born in 1594 — brother of Gerrit van Honthorst [04 Nov 1590 – 27 Apr 1656]
1657 Evert van Aelst, Dutch artist born in 1602 — Relative? of Willem van Aelst [1627-1683] ?


Born on a 19 February:
1877 Gabriele Münter, German Expressionist painter, wife of Wassily Kandinsky. She died in 1962. — LINKS — Jawlensky and Werefkin (1909) — Marianne von Werefkin (1909) — Tombstones in Kochel (1909) — Kandinsky and Erma Bossi, After Dinner (1912) — The Russians' House (1931)
1876 (or 20 Feb) Constantin Brancusi, Romanian abstract sculptor who died on 15 or 16 March 1957, having become a French citizen a few days before. — LINKS
1849 Hans Dahl, Norwegian artist who died in 1937. — Relative? of Johan Christian Dahl [1788-1857]?
1843 Leonardo de Mango, Italian artist.
1815 Don Federico de Madrazo y Küntz, Spanish painter who died on 10 January 1894. — LINKS — Amalia de Llano y Dotres- The Countess of Vilches (1853) — The General Duke of San Miguel (1854)
1753 Willem van Leen, Dutch artist who died on 06 April 1825.
1666 Ottmar Elliger II, German artist who died on his 69th birthday.
1640 Nicolaes van Veerandael, Flemish artist who died on 11 August 1691.

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