^
Baptized as an infant on 11 January
1632: Adam Frans van der Meulen,
Flemish Baroque
painter, draftsman, and tapestry designer, active also in France, who died
on 15 October 1690.
— He was the eldest son of the seven children of Pieter van der Meulen
and his second wife Marie van Steen Wegen. He went to study under Pieter
Snayers [bap. 24 Nov 1592 – 1667], court painter in Brussels, on 18
May 1646, and in 1651 he became a master in the Brussels painters’ guild.
Probably soon after he married Catherina Huseweel. During the first 15 years
of his career, the so-called Brussels period, he painted small-scale genre
and history scenes with political and military events in the Baroque style
of Sebastiaen Vrancx, Pieter Snayers, and Jan Breughel the elder. Typical
examples are A Cavalry Battle (1653.), a Ceremonial Entry into
Brussels (1659), A General on Campaign (1660) and a Hunting
Scene (1662). His only religious subject, The Crucifixion,
also dates from these years. He moved to Paris in 1664, became an assistant
to Le
Brun and was made one of Louis XIV court painters, specializing in military
scenes. He accompanied the king on his campaigns, and his paintings and
designs for Gobelins tapestries are accurate historical documents of the
battles which they represent. He also made much less grandiose pictures
of such subjects as hunting parties and landscapes. He was the brother-in-law
of Adriaen
Frans Boudewyns.
— FRANCOIS
VANDER MEVLEN NATIF DE BRVXELLES, PEINTRE ORDINAIRE DE L'HISTOIRE DV ROY
TRES-CHRETIEN gravé par Pieter L. van Schuppen (1687,
52x39cm; half size; or see it full
size)
— LINKS
— Le
Passoge du Rhin par l'Armée Française à Lobith
(1672)
— L'Armée
de Louis XIV devant Tournai en 1667 (1684, 207x345cm; 704x1175pix, 162kb)
_ On the death of Philip IV of Spain, Louis XIV claimed the Low Countries
and the Franche-Comté in the name of his wife Marie-Thérèse. This policy
of conquest led the king to the gates of Tournai in 1667 during the so-called
War of Devolution. The city, badly protected by the old 13th century town
wall, could offer little resistance. It was besieged on 21 June 1667, capitulated
on the 23rd, and the king made a triumphal entry on the 25th. The treaty
of Aachen, on 02 May 1668, marked its attachment to France.
Here the artist has depicted, not the siege
of the city, but the setting up of the camp with, in the middle ground,
the deployment of the troops and, in the background, the city, recognizable
by its superb cathedral. Camp life is described by a multitude of picturesque
details, admirably painted and treated with vigour. The group of unsaddled
horses to the left, a type of depiction in which Van der Meulen excelled,
is particularly successful. A few touches of red, blue, and yellow enliven
the whole. Groups of trees carry the eye to the brightly-lit plain where
the musketeers are parading in blue uniforms and the light cavalry of the
guard in red. In the background Tournai, seen from the north-east, spreads
out its monuments behind its medieval walls. To the left of the cathedral
we make out the imposing Saint Martin's Abbey with its narrow spire and
the massive tower of Saint Brice. On the other side of the five belfries
and above the Romanesque nave, we glimpse the tower of the now demolished
Saint Nicaise's Church. Preparatory drawings were done by the artist in
situ during his journey in 1667, following the French troops.
After joining Charles Le Brun at the Manufacture
des Gobelins in 1664, Van der Meulen was commissioned with drawing the views
of the cities conquered by the king. The Brussels painting belongs to the
first series of the King's Conquests, painted for the Royal Pavilion in
Marly and placed in 1684, covering the various campaigns in Flanders, Franche-Comté
and Holland. Designed as decoration, this series is remarkable for its variety
and for its painting quality. Whilst the Brussels artist took French nationality
in 1673, he never, in his art, denied his Flemish origins. Here he imparts
a new dimension to the painting of battle scenes, achieving the right balance
between military scenes, topographical descriptions and landscapes.
— Construction
du Château de Versailles (1669, 103x139cm; 920x1066pix, 158kb) _ The
Château de Versailles, a 17th-century palace built by Louis XIV, was the
principal residence of the kings of France and the seat of the royal government
for more than 100 years. The first scenes of the French Revolution were
also enacted at the palace, whose gardens, the masterpiece of André Le Nôtre,
have become part of the national heritage of France and one of the most
visited historic sites in Europe. Although it was a place of entertainment,
the grandiose palace was also well equipped as a center of government. Of
about 20'000 persons attached to the court, some 1000 courtiers with 4000
attendants lived in the palace itself. About 14'000 soldiers and servants
were quartered in annexes and in the town, which was founded in 1671 and
had 30'000 inhabitants when Louis XIV died in 1715.
The palace of Versailles led to the French
court style in interior decoration and furnishings, as well as in exterior
decoration and gardens. Versailles was intended to be the outward and visible
expression of the glory of France, and of Louis XIV, then Europe's most
powerful monarch. His finance minister, Colbert, set up a manufacture that
made works of art of all kinds, from furniture to jewelry, for interior
decoration. A large export trade took French styles to almost every corner
of Europe, made France a center for luxuries, and gave to Paris an influence
that has lasted till the present day. The vast initial cost of Versailles
has been more than recouped since its completion. Even Louis XIV's most
violent enemies imitated the decoration of his palace at Versailles. In
1667 Charles Le Brun was appointed director of the Gobelins factory, which
had been bought by the King, and Le Brun himself prepared designs for various
objects, from the painted ceilings of the Galerie des Glaces {Hall of Ice-Cream?
... no... of Mirrors} at Versailles to the metal hardware for a door lock.
— Louis
XIV at the Taking of Besançon (1674; 575x692pix, 157kb)
— Landscape,
Horses Drawing Cart Loaded With Bales (etching 18x26cm; full size)
^
Died on 11 January 1837: baron François
Pascal Simon Gérard, French Neoclassical
painter and illustrator born on 04 May 1770.
— He spent most of his childhood in Rome, where he was born. His talent
as an artist revealed itself early and during this period he acquired a
love of Italian painting and music, which he never lost. In 1782 his family
returned to Paris, where, through the connections of his father’s employer
Louis-Auguste le Tonnelier, Baron de Breteuil, Minister of the King’s Household,
Gérard was admitted to the Pension du Roi, a small teaching establishment
for young artists which had been founded by the Marquis de Marigny. After
18 months he entered the studio of the sculptor Augustin Pajou, where he
remained for two years, before transferring to that of the painter Nicolas-Guy
Brenet. He became a student of David in 1786 and quickly found special favor
with his master.
— Gérard was one of the most accomplished students of Jacques-Louis
David [1748-1825] to emerge during the 1790s. Best known for his portraits,
he carried on the tenets of David's classical teaching into the 1830s. Gérard
was born in Rome and spent his childhood in Italy where his father served
as an administrator under the French ambassador to the Holy See. After his
family returned to Paris, he apprenticed to the sculptor J.-B. Pajou and
then the painter Nicholas-Guy
Brenet before entering David's studio in 1786. Gérard took second
place in the Prix de Rome of 1789 but did not compete further. Illustrations
for works by ancient authors published by Didot Freres helped him support
his family during the Revolution. He exhibited at the Salons of 1791 and
1793 but drew particular attention for his Belisarius at the Salon
of 1795 and his portraits from the later 1790s. Napoleon confirmed his fame
with commissions for official portraits and decorations on the theme of
Ossian for his home at Malmaison, and there followed a series of large history
paintings, such as the Battle of Austerlitz of 1810. Commissions
continued under Louis XV111, and his Henry IV Entering Paris. Much
honored and decorated, Gérard continued to paint until his death
in 1837 although his work declined in quality after about 1830.
— Among Gérard's students were Antoni Brodowski [26 Dec 1784
bapt. – 31 Mar 1832], Constance Marie Charpentier [1767 – 03
Aug 1849], Peter Krafft [15 Sep 1780 – 28 Oct 1856], Victor Schnetz
[14 Apr 1787 – 16 Mar 1870], Joseph Karl Stieler [01 Nov 1781 –
09 Apr 1858]. Paulin Guérin [24 Mar 1783 – 16 Jan 1855] was
Gérard's assistant.
^
Born on 11 January 1503:Girolamo
Francesco Maria Mazzola “Parmigianino” “Le Parmesan”,
Italian Mannerist
painter, draftsman, and printmaker,
who died on 24 August 1540; son
of Filippo Mazzola [1460 – <30 Jun 1505], and nephew of Pier'Ilario
II Mazzola [1476 – >30 May 1545] and of Michele Mazzola [1469->1529].
—
[He did paint in oils, but there is no substance to the corny story that
one of his descendants, after immigrating to the US and simplifying his
last name by removing one z, founded the Corn
Products Refining Company which, in his honor, introduced in June 1911
a new cooking and salad oil made from corn and named it Mazola.
Actually this brand name was concocted from the words “maize”
and “oil”.] — [As for Parmesan
cheese, its only relationship to Parmigianino is that they both are
from the Parma region]
— Beginning a career that was to last only two decades, Girolamo Francesco
Mazzola moved from precocious success in the shadow of Correggio in Parma
to be hailed in the Rome of Clement VII as Raphael reborn. There he executed
few large-scale works but was introduced to printmaking. After the Sack
of Rome in 1527, he returned to northern Italy, where in his final decade
he created some of his most markedly Mannerist works. Equally gifted as
a painter of small panels and large-scale frescoes both sacred and profane,
he was also one of the most penetrating portrait painters of his age. Throughout
his career he was a compulsive draughtsman, not only of preparatory studies
for paintings and prints, but also of scenes from everyday life and of erotica.
— Girolamo Francesco Mazzola was born in Parma and studied there with
Correggio.
One of the chief disciples of Correggio's sensuous style, he blended it
with the classical style of the Roman painter Raphael.
About 1523 Parmigianino went to Rome, from
which he fled to Bologna in 1527, after the sack of Rome by the armies of
Holy Roman Emperor Charles V. In Bologna he painted some of his finest works,
including the Madonna and Child with St. Margaret and Other Saints..
He returned to Parma in 1531 and began the
frescoes of the Church of Santa Maria della Steccata, which he left unfinished
at his death. The
Madonna with the Long Neck (1535) and Cupid
Carving his Bow are among his principal works.
Also a distinguished portrait painter, and
one of the first Italian etchers, Parmigianino painted studies of the Italian
navigators Christopher Columbus and Amerigo Vespucci and a Self~Portrait
in a convex mirror (1523)
— Girolamo Bedoli was a student of Parmigianino and added the Mazzola
surname to his own, becoming known as Girolamo
Mazzola Bedoli. Other students of Parmigianino included Andrea
Schiavone.
— LINKS
— Self~Portrait
in a convex mirror (1523, 24cm diameter)
— Madonna
dal Collo Lungo (1535, 216x132cm)
— Cupid
Carving his Bow (1533, 135x65cm)
— The
Conversion of Saint Paul (1552, 177x128cm) — Rest
on the Flight to Egypt (1524, 110x89cm)
— 16
prints at FAMSF
^
Born on 11 January 1549: Francesco
Giambattista da Ponte Bassano, Italian Mannerist
painter who died by suicide on 03 July 1592.
— His father, Jacopo
Bassano, [1517 – 13 Feb 1592] was the most celebrated member of
a family of artists who took their name from the small town of Bassano,
about 65 km from Venice (original name: Jacopo da Ponte). Francesco the
Younger had three painter brothers: Gerolamo [1566-1621], Giovanni Battista
[1553-1613], and Leandro
[26 Jun 1557 – 15 Apr 1622]. They continued their father's style. Francesco
and Leandro both acquired some distinction and popularity working in Venice.
— From one of the 16th century’s largest and most productive north
Italian families of painters, Francesco Bassano was one of four sons born
to Jacopo Bassano. Jacopo was trained in Venice, and after returning to
Bassano established an important workshop there. He became known by the
name of the town, and together with his sons Francesco, Giovanni Battista,
Leandro, and Gerolamo ran a large and well organized operation.
In addition to altarpieces and other paintings
of a religious nature, the Bassano workshop produced mainly works celebrating
country life and nature as shaped by the work of farmers. These paintings
were so well received that the younger men were required to paint endless
new versions of them, frequently entire series. It is difficult to distinguish
between their various hands, thus authorship of specific works is disputed.
In 1579 Francesco moved from Bassano to Venice,
where he committed suicide.
— LINKS
— Jacopo and Francesco jointly painted The
Element of Water (1577, 144x187cm; 917x1182pix, 803kb — ZOOM
to 1676x2161pix, 2952kb) _ This nocturne shows a fish market being set up
on a riverbank at dawn. The vendors display a variety of seafood, while
other activities involving water, such as laundering, ferrying, and drinking,
take place nearby. Above, Neptune, god of the sea, drives his chariot across
the sky. The dramatically lit landscape with many figures and meticulously
rendered still-life details represents a new type of pastoral scene devised
by Jacopo Bassano and his son Francesco. The large Bassano family workshop
produced several series of such landscapes — the Four Seasons, the
Four Elements, the Months, and well-known biblical stories. These proved
so popular that the Bassanos made replicas of them for decades. This painting,
in which Francesco is believed to have had the primary role, is from a suite
of the Four Elements (Earth, Air, Fire, Water). It is the earliest surviving
version of a subject copied well into the 1580s.
— The
Adoration by the Shepherds (600x936pix _ ZOOM
to 1400x2184pix)
— The
Departure of Abraham for Canaan (600x744pix _ ZOOM
to 1400x1736pix) — Autumn
(1577, 115x145cm; 762x1008pix, 71kb) — Summer
(97x127cm; 770x1026pix, 182kb)
— Jacopo and Francesco jointly painted Christ
in the House of Mary, Martha, and Lazarus (1577, 98x126cm) _ Beginning
in the mid-1570s the Bassanos, father and sons, specialized in Biblical
scenes or allegories in which they stressed genre details over narrative
content. In these pictures they marketed what they knew best –– life in
the countryside around the provincial town of Bassano. This image of Christ
being welcomed into the house of Mary, Martha, and Lazarus emphasizes not
the protagonists but the exaggerated abundance of foodstuffs and utensils
and the preparations for a sumptuous meal. The Bassanos favored nocturnal
scenes with a variety of light effects, using glowing colors and scintillating
highlights to increase the sense of material reality.
— The
Return of the Prodigal Son (1580; 632x906pix, 50kb)
^
Died on 11 January 1966:
Alberto Giacometti, Swiss Surrealist
sculptor, painter, draftsman, and printmaker, born on 10 October 1901, son
of Giovanni Giacometti [07 March 1868 – 25 June 1933].
— Alberto Giacometti began drawing about 1910 to 1912, followed by
painting and sculpting from 1913 to 1915. While at secondary school in Schiers,
near Chur (1914–1919), he developed his drawing style primarily through
portraiture. In 1919–1920 in Geneva he studied painting at the École
des Beaux-Arts and sculpture at the École des Arts et Métiers but
was more impressed by subsequent visits to Italy (1920–1921), where he worked
without formal instruction. In sculpture he worked in an academic mode,
while in painting he emulated his father’s Post-Impressionist and Fauvist
style, which he thoroughly mastered by late 1921, as in Self-portrait.
In January 1922 he began studying sculpture in Paris under Émile-Antoine
Bourdelle at the Académie de la Grande Chaumière, where he continued intermittently
for five years. In 1925 he ceased drawing and painting to concentrate on
sculpture, and his brother Diego
Giacometti [15 Nov 1902 – 15 July 1985] joined him in Paris. In
1927 they moved into the studio at 46, rue Hippolyte-Maindron in Montparnasse,
where Alberto worked for the rest of his life, with annual visits to his
family in Switzerland.
— Alberto Giacometti was born in Borgonovo, Switzerland, and grew
up in the nearby town of Stampa. His father, Giovanni, was a Post-Impressionist
painter. From 1919 to 1920, he studied painting at the Ecole des Beaux-Arts
and sculpture and drawing at the Ecole des Arts et Métiers in Geneva.
In 1920, he traveled to Italy, where he was impressed by the works of Alexander
Archipenko and Paul Cézanne at the Venice Biennale. He was
also deeply affected by African and Egyptian art and by the masterpieces
of Giotto and Tintoretto. In 1922, Giacometti settled in Paris, making frequent
visits to Stampa, and occasionally attended Antoine Bourdelle’s sculpture
classes.
In 1927, the artist moved into a studio with
his brother, Diego, his lifelong companion and assistant, and exhibited
his sculpture for the first time at the Salon des Tuileries, Paris. His
first show in Switzerland, shared with his father, was held at the Galerie
Aktuaryus, Zurich, in 1927. The following year, Giacometti met André
Masson, and by 1930 he was a participant in the Surrealist circle until
1934. During the early 1940s, he became friends with Simone de Beauvoir,
Pablo Picasso, and Jean-Paul Sartre. From
1942, Giacometti lived in Geneva, where he associated with the publisher
Albert Skira. He returned to Paris in 1946. The artist’s friendship
with Samuel Beckett began around 1951. Giacometti died in Chur, Switzerland.
— Milo Milunovic was a student of Alberto Giacometti.
^
Born on 11 January 1936: Eva
Hesse, born German in Hamburg, US Minimalist
painter and sculptor who died on 29 May 1970.
— She arrived in New York in 1939. From 1954 to 1957 she studied at
Cooper Union in New York and in 1959 at Yale University School of Art in
New Haven CT under Josef Albers. Her individual style first appeared in
drawings shown in the early 1960s, for example at her first one-woman exhibition
at Allan Stone Gallery in New York (1963). Hesse considered herself a painter
until 1965, when, during a year in Germany, she constructed and exhibited
14 papier-mâché reliefs, with cord-wrapped wires embedded, projecting or
dangling from them, at the Kunsthalle, Düsseldorf; among these exhibited
works was Tomorrow’s Apples (5 in White) (1965). Hesse’s friends
included Sol LeWitt, Robert Smithson, Nancy Holt [1938~], Mel Bochner [1940~]
and Dan Graham.
— The artist who did the most to humanize Minimalism without sentimentalizing
it was Eva Hesse. Dying of brain cancer at thirty-four, an age at which
most artist's careers are barely under way, she left a truncated body of
work but one of remarkable power: an instrument of feeling that spoke of
an inner life, sometimes fraught with anxiety...
Spurred by the examples of Joseph
Beuys, Claes Oldenburg, and Jean
Dubuffet, Hesse grew more and more interested in what usually didn't
pertain to sculpture. Backing away from its 'male' rigidity, which included
the high-style rhetoric of Minimalism, she allowed her fascination with
the 'female' and the inward, including what was grotesque and pathetic,
to enlarge. The phallic mockery in Hesse's work can be comically obscene:
black salamis wound with string, slumping cylinders of fiberglass. Even
when it looks entirely abstract, her work refers to bodily functions. Hang
Up (1966) looks at first like a query about illusion and reality
- the big rectangular frame hanging on the wall with no picture in it, but
with a loop of steel tube spilling onto the gallery floor and connecting
the frame's top left to its bottom right corner. But again, there's a fleshy
metaphor. Both tube and frame are wrapped in cloth, like bandaged parts
of a patient, and the tube might be circulating some kind of fluid. Blood?
Lymph? Fantasies? Even in absence, the body is somehow there, as an ironically
suffering presence; the title phrase, “Hang-Up”, means both what
you do to pictures and (in 'sixties slang) a mental block, a neurosis.
However, Hesse wasn't an art martyr and her
images are very much more than mere enactments of illness or oppression.
They reflect on identity, sometimes with wry wit or an angry fatalism; but
to see Hesse as a precursor of 'victim art' does her a disservice. She never
wanted to see her work smugly categorized as 'women's art.' Quite the contrary;
Hesse wanted it to join the general discourse of modern images, uncramped
by niches of gender or race. 'The best way to beat discrimination in art
is by art,' she brusquely replied to a list of questions a journalist sent
her. 'Excellence has no sex.' Very old-fashioned of her, by today's standards
of cultural complaint.
— LINKS
— One
More than One
— Untitled
(1965, 50x65cm) _ could be a picture of discarded failed attempts at designing
fancy clothes hangers.
Died on a 11 January:
2004 Johan Wilhelm Kluver, of melanoma. Born in Monaco on 13
November 1927 and raised in Salen, Sweden, he was a physicist who, after he
moved to the US, provided the engineering that helped start “multimedia
art” in the 1960's, starting in 1960 with a self-destroying machine though
up by Jean
Tinguely [1925-1991], which tore itself apart in a spray of smoke and fire.
Kluver also provided the engineering for the sound sculpture Oracle
of Rauschenberg
[1925~], the electronic performances Variations V (1965) and Variations
VII of “inventor of sounds” John
Cage [05 Sep 1912 – 12 Aug 1992], and the floating Silver Clouds
of Warhol
[1928-1987].
1910 Lorenzo Valles, Italian artist born in 1830.
1832 Jean-Claude Naigeon, French artist born on 12 December
1753.
1781 Catherine Lusurier (or Luzuriez), French artist born in
1753.
1818 Pieter Joseph Sauvage, Flemish artist born on 19 January
1744.
^1682
(13 Jan?) Francesco Cozza, Italian painter and etcher born in 1605.
He painted religious works and decorative frescoes, in a classical style of
exceptional purity and restraint. He probably moved at the end of the 1620s
to Rome, where he studied with Domenichino (Pascoli), whose influence is evident
in his first dated work, Saint Joseph with Child and Angels (1632). Here
Cozza’s isolation from the most modern trends in Roman painting, and his
fidelity to Domenichino and to the Roman works of Annibale Carracci, is already
established and was to endure throughout his career. In 1634 and 1635 he worked
on frescoes of the Virtues in the pendentives of the dome of S Ambrogio
alla Massima, Rome. Unlike the pendentive figures by Domenichino at San Andrea
della Valle and at San Carlo ai Catinari, Rome, which respond to the illusionism
of Giovanni Lanfranco’s Baroque art, Cozza’s Virtues retain
a sober classicism and emphasize a clear didactic content. He very probably
followed Domenichino to Naples in 1635–1636. Here he studied the work of
Pacecco, whose art has an affinity with his both in feeling and in a concern
for the clear and lucid rendering of devotional subjects. Typical of Cozza’s
work of this period is the Holy Family in the Carpenter’s Shop.
His approach was well received in Naples, where the new Baroque art of Lanfranco
was not yet established.
1616 (15 Jan?) Orazio Borgianni, Italian painter and etcher,
also active in Spain, born in 1578. He was the son of a Florentine carpenter
and stepbrother of the sculptor and architect Giulio Lasso. He accompanied Lasso
to Sicily, and his earliest known work is a modest painting, in a Mannerist
tradition, of Saint Gregory in his Study (1593). He finished his training
in Rome, and his study of the art of ancient Rome is evident in his early paintings,
both in his use of Classical ruins and in the sculptural folds of his drapery.
He must also have painted from nature and responded to the naturalism of Caravaggio.
About 1598 Borgianni was in Spain and in 1601 he was in Pamplona. He stayed
at least until June 1603, when he signed a petition for the establishment of
an Italian-style academy of painting in Madrid. Among the other signatories
was the Madrid-born Eugenio Cajés, whom Borgianni may have met in Rome,
since Cajés was in Italy about 1595. Probably in this first Spanish period
Borgianni painted, in a mood reminiscent of El Greco, the Crucifixion
set in a dark landscape with Roman ruins and stormy clouds. The Saint Christopher
, with a fantastic, rocky landscape, and the Stigmatization of St Francis
are from the same period.
Born on a 11 January:
1849 Ignacio Pinazo y Camarlench, Spanish artist who died on
18 October 1916.
1843 Adolf Eberle, German artist who died on 24 January 1914.
1838 (02 Feb?) Leopold Horowitz, in Kassa (now Kosice, Slovakia),
Hungarian Jewish painter born on who died on 16 November 1917. After attending
drawing classes in Kassa, he continued his studies at the Akademie der Bildenden
Künste in Vienna. In 1860 he won a scholarship, enabling him to travel to Paris,
where he settled, painting mostly portraits and genre pictures. In 1868 he moved
to Warsaw, where he completed the biblical composition Anniversary of the
Destruction of Jerusalem and painted a series of portraits of Polish and
Russian aristocrats. Horovitz had his greatest success with his portraits, for
which he was internationally renowned. Like Fülöp Elek László, and several other
Hungarian portrait painters, Horovitz was able to travel widely in order to
carry out portrait commissions. Between 1901 and 1906 he painted Emperor
Francis Joseph five times. He also painted a number of leading figures
in Hungarian political, scientific and literary circles, for example Ferenc
Pulszky (1890).
^
1836 Alexander Helwig Wyant, US painter who died
on 29 November 1892. He began as an itinerant painter of topographical landscapes
along the banks of the Ohio River about 1854, influenced by such landscape artists
as Worthington Whittredge and George Inness. In 1863–1864 Wyant moved to New
York, where he was impressed by the paintings of the Norwegian artist Hans Gude
in the Düsseldorf Gallery. This led him to work with Gude in Karlsruhe, Germany,
in 1865. On his way both there and back, he studied paintings by Constable and
used a more painterly technique especially for views of Ireland, for example
Irish Landscape (1865, 30x51cm). Gude’s influence in Germany was very
strong, when Wyant painted hard-edged, but broad and expansive landscapes such
as Tennessee (formerly The Mohawk Valley) (1866) — Photo
of Wyant — LINKS
— Rocky
Ledge, Adirondacks (1884, 110x85cm; 1000x779pix, 322kb) — Mount
Washington from the North Conway Intervale (36x56cm; 317x500cm; 43kb) —
Landscape
near Arkville (1889 51x77cm; 344x512pix) — Spring
(38x59cm; 344x528pix, 64kb) — Autumn
Landscape and Pool (313x380pix, 15kb)
1831 Charles Olivier de Penne, French artist who died on 18
April 1897. — [Is it of him that they say: “de Penne is mightier than
the soared.”?]
^
1797 (1798?) Carl Anton Joseph Rottmann,
German painter who died on 07 July 1850. — {When overhearing people discussing
his theories of art, did he get tired of them saying: “That's rot, man.”}—
He was taught by his father the university drawing master Friedrich Rottmann
[1768–1816]; among the fellow students of Carl Rottmann were Carl Philipp Fohr
and Ernst Fries. In 1815 Rottmann painted a large watercolor, Heidelberg
Castle at Sunset . The idealistic forms and romantic lighting are derived
from the Scottish painter George Augustus Wallis [1770–1847] who stayed in Heidelberg
from 1812 to 1816 on his return from Rome where he had been friendly with Joseph
Anton Koch. Rottmann’s first picture in oils was derived from two famous paintings
in the collection of the Boisserée family, the Pearl of Brabant by
Dieric Bouts the elder or the younger and the Seven Joys of the Virgin
by Hans
Memling. Such a synthesis of two different sets of images was to typify
much of Rottmann’s later work. At about the same time Rottmann painted his idealized
view of Eltz Fortress. However, his most beautiful early work in oils
is Heidelberg Castle at Sunset with Crescent Moon (1820). This work
already contains many individual motifs that are important in interpreting the
content of Rottmann’s later work.
1787 Joseph Rebell, in Vienna, Austrian painter who died on
18 December 1828 while on a visit to Dresden. — {He was not a rebel Rebell,
but rather a conformist Rebell} — He studied (1808–1810) at the Akademie
der Bildenden Künste in Vienna. His early work is heavily influenced by classicism
and by heroic depictions of landscape in the manner of Claude. Of decisive importance
was his long stay in Italy: in Milan (1810–1811), Naples (1813–1815), and Rome
(1816–1824). Influenced by such artists who had worked in Rome as Joseph Vernet
and Joseph Anton Koch, he turned to the genre of the veduta, producing such
works as View from Posillipo on Capri (1821). However, he reached his
full development as a landscape painter only after 1824, when he was appointed
Director of the Imperial Picture Gallery in the Belvedere in Vienna by Emperor
Francis (reg 1804–1835). For the Emperor he painted a series of works depicting
the imperial residences in Lower Austria (e.g. View of the Estate of Emmersdorf,
1826), in which the style is similar to that of Ferdinand Georg Waldmüller.
1774 Charles Henry Schwanfelder, British artist who died in
1837.
^
1684 Jean-Baptiste van Loo, Aix-en-Provence French
painter, grandson of Jacob van Loo [1614 – 27 Nov 1670], a Flemish history
and genre painter working in Amsterdam before moving to Paris, where he distinguished
himself as a portrait painter. Jean-Baptiste van Loo died on 19 September 1745.
He showed early artistic promise; first trained by his father Louis-Abraham
van Loo [1656-1712], he acquired a reputation by painting religious pictures
for churches at Aix-en-Provence and Toulon, including The Agony of St Joseph
for Sainte Marie-Madeleine at Aix. In 1712 he visited Nice, Monaco and Genoa
and during the following year worked for Victor Amadeus II, Duke of Savoy, and
other noblemen. The patronage he received enabled him in 1714 to go to Rome,
where he studied under Benedetto Lutti and painted works for churches, including
a Flagellation. There he also helped to restore 16th-century paintings
by Giulio Romano and Primaticcio. After a successful career as a history painter
in Italy and France he went to England where he before achieved even greater
success as a portrait painter. He had earlier furthered the career of his brother
Carle Vanloo [], the family’s most famous member. — Three of the sons
of Jean-Baptiste van Loo became painters. The eldest, Louis-Michel van Loo [02
Mar 1707 – 20 Mar 1771], worked in Rome and Paris but is chiefly distinguished
for the powerful influence that he exerted on the development of Spanish painting
while working as portrait painter to the Spanish court. The promising career
of François van Loo [1708–1732] was cut short by his early death. The youngest
of the three, Amédée van Loo [25 Aug 1719 – 15 Nov 1795], became court
painter to Frederick the Great of Prussia, producing history paintings and portraits.
— LINKS
— The Triumph
of Galatea (180kb)
Italian Mannerist
painter, draftsman, and printmaker,
who died on 24 August 1540; son
of Filippo Mazzola [1460 – <30 Jun 1505], and nephew of Pier'Ilario
II Mazzola [1476 – >30 May 1545] and of Michele Mazzola [1469->1529].
—
[He did paint in oils, but there is no substance to the corny story that
one of his descendants, after immigrating to the US and simplifying his
last name by removing one z, founded the Corn
Products Refining Company which, in his honor, introduced in June 1911
a new cooking and salad oil made from corn and named it Mazola.
Actually this brand name was concocted from the words “maize”
and “oil”.] — [As for Parmesan
cheese, its only relationship to Parmigianino is that they both are
from the Parma region]
