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ART “4” “2”-DAY 15 January

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DEATHS: 1879 WARD — 1684 NETSCHER — 1955 TANGUY

BIRTHS: 1793 WALDMÜLLER — 1858 SEGANTINI — 1817 DAUBIGNY

1889: MILLET PAINTING INSPIRES POEM

^ Died on 15 January 1879: Edward Matthew Ward, English painter born on 14 July 1816.
— His parents encouraged his early interest in art. He was sent to a number of art schools, including that of John Cawse [1779–1862], before gaining entry to the Royal Academy Schools in 1835. He first exhibited at the Royal Academy in 1834 with Adelphi Smith as ‘Don Quixote’. In 1836 he went abroad for further study, visiting Paris and Venice on the way to Rome, where he spent three years. His first work of any consequence was Cimabue and Giotto, which he sent back to the Royal Academy show of 1839. On the way back to England at the end of that year Ward visited Munich to learn the technique of modern fresco painting in order to take part in the competition to decorate the Palace of Westminster, but his cartoon, Boadicea (1843), was unsuccessful. However, in 1852 he was commissioned to produce eight pictures for the Palace of Westminster, on subjects drawn from the English Civil War, the best of which is the Last Sleep of Argyll (1860s) in the Commons Corridor of the Houses of Parliament. He was the husband of Henrietta Mary Ada Ward [01 Jun 1832 – 12 Jul 1924].
— Photo of Ward

— LINKS
— Marie Antoinette Listening to the Act of Accusation, the Day Before her Trial (74x61cm)
— Sir Thomas More's Farewell to his Daughter (110kb)
— Scene from David Garrick (75x96cm)
— Doctor Johnson in the Ante-Room of the Lord Chesterfield Waiting for an Audience, 1748 (1845, 106x139cm)
— The Disgrace of Lord Clarendon, after his Last Interview with the King - Scene at Whitehall Palace, in 1667 (1846, 53x74cm) _ Edward Hyde, 1st Earl of Clarendon [1609-1674] was Lord High Chancellor to Charles II, who was one of England's most colorful and profligate kings. Clarendon was dismissed both as a result of Charles's general neglect of national affairs and because of a court conspiracy against him. The break between the two men took place on 30 August 1667. In this picture, Clarendon is seen leaving the King's palace at Whitehall. The back of Charles can be seen in the distance. Members of the court look on, rejoicing in Clarendon's fall.
— The South Sea Bubble, a Scene in 'Change Alley in 1720 (1847, 130x188cm) _ Ward took his inspiration for this picture from a passage in Lord Mahon's History of England (1837), which described the impact of the speculative boom of 1720 known as the South Sea Bubble. This was a brief period of wild financial speculation, when virtually any scheme, which gullible investors thought could make money, was eagerly seized upon. It was followed by a collapse. The artist's wife noted that Ward, in all his pictures, pointed to some particular moral. In choosing this subject, Ward clearly had in mind the Railway Mania of 1844-1845, which, like the South Sea Bubble, collapsed with many fortunes lost.

^ Born on 15 January 1793: Ferdinand Georg Waldmüller, Austrian Romantic painter who died on 23 August 1865.
— He received sporadic art lessons of varying quality in Vienna between 1807 and 1820, first under Zinther and then with Johann Baptist Lampi, Hubert Maurer [1738–1818], Josef Lange [1751–1831] and Wilhelm Johann Nepomuk Schödlberger [1799–1853] at the Akademie der Bildenden Künste. After 1811 he made a meager living painting miniatures and giving art lessons. Perhaps more significant than this haphazard formal training was Waldmüller’s extensive copying after the Old Masters at the court and municipal art galleries of Vienna, mostly between 1817 and 1821. His copy of Jusepe de Ribera’s Martyrdom of Saint Andrew (1821) is an example of his accomplished technique. However, commissions for copies barely enabled him to support himself.
— He studied at the Vienna Academy. He lived in Pozsony, then worked as a teacher of art in the house of Count Gyulay. After his return to Vienna, he copied pictures of old masters, and painted portraits and genre pictures. He became the most significant representative of biedermeier: he was second to none in depicting nature in delicate colors. In addition to portraits, his genre-pictures are significant: Midsummer Day (1844), Grandpa's Birthday (1845), Distraint (1847), Recruit Saying Farewell (1858), Godmother Saying Good-Bye, Neigbors (1859), Congratulators (1861), Going to Church in Spring, Bride Saying Good-Bye (1863), Christmas in a Peasant Room (1849), Returning Home from Church Festival and Panorama. He became a teacher of the Vienna Academy. After he had published his works on art education, he was forced to retire. He was reinstated in 1863.
— Waldmüller's students included József Borsos I, Béla Klimkovics, Viktor Madarász, Bertalan Székely, Mihály Zichy.
— LINKS
— György Gaál (1842, 63x50cm; 760x600pix, 62kb) _ György Gaál [1783-1855] was a writer, pioneer in collecting Hungarian folktales. He worked in Vienna.
— Portraits of Eleonore Feldmüller (1833, 99x79cm) and her husband, sailing-master Matthias Feldmüller (1837, 98x79cm)
— Children Making Their Grandmother a Present on Her Name Day (63x50cm)
— Der Alte Und Die Kuchenmagd (1818, 44x71cm) — The Center of Attention (46x60cm)
— A Dog By A Basket Of Grapes In A Landscape (1836, 65x80cm)

^ Died on 15 January 1684: Caspar Netscher, Dutch Baroque painter specialized in portraits born in 1639. He studied under Gerard Terborch. — {Would anything match Netscher nature paintings, if any existed?}
— Netscher may have been born in Heidelberg or Prague. Most of his career was spent in The Hague, where he settled in 1661 or 1662, but he trained in Deventer with Terborch. From his master he took his predilection for depicting costly materials — particularly white satin. He painted genre scenes and some religious and mythological subjects, but from about 1670 he devoted himself almost exclusively to portraits, often for court circles in The Hague. His reputation was such that Charles II invited him to England. His work, elegant, Frenchified, small in scale, and exquisitely finished, influenced Dutch portraiture into the 18th century, his followers including his sons Constantijn [1688-1723] and Theodor [1661-1732]
— Caspar Netscher's father was the German sculptor Johann Netscher [–1641] and his mother the daughter of Vetter, Mayor of Heidelberg. At an early age Caspar came to Arnhem, where he was apprenticed to Hendrik Coster, a little-known still-life and portrait painter (fl 1638–59). About 1654 Netscher moved to Deventer, where he completed his training in the workshop of Gerard ter Borch (ii). A number of signed and, occasionally, dated copies by Netscher after ter Borch survive from this period, such as the copy (1655; Gotha, Schloss Friedenstein) after ter Borch’s Parental Admonition (c. 1654; Amsterdam, Rijksmus.) and a freely handled version (1659; untraced) of ter Borch’s Doctor’s Visit (1635; Berlin, Gemäldegal.). Netscher’s first independent compositions, for example the small pendants Portrait of a Man and Portrait of a Woman (both 1656; Utrecht, Cent. Mus.), were strongly influenced by ter Borch. That these works are all fully signed suggests that Netscher held a special position in his master’s workshop.
— The students of Caspar Netscher included, besides his sons, Johannes Brande, Olivier Deuren [1666-1714], Jacob Does the Younger [1654-1699], Daniel Haringh [1636-1713], Maurice Linden, J. Spirk, Johannes Tiellius [1660-1719], Johannes Vollevens the Elder [1649-1728] Aleijda Wolfsen [1648-1690].

— LINKS
— Mary II, Wife of Prince William III (1684)
— William III, Prince of Orange and, from 1689, King of England (1684)
— A Lady (1679; 600x500pix _ ZOOM to 1400x1167pix)
— A Man in a Long-Haired Wig (1680; 600x488pix _ ZOOM to 1400x1139pix)
— Vertumnus and Pomona (1681; 600x440pix _ ZOOM to 1400x1027pix)
— The Visit (1865; 555x463pix _ ZOOM to 1295x1080pix)
— The Lace-Maker (1662, 33x27cm) _ Caspar Netscher is said to have been born in Prague but moved as a child to Arnhem, where he was a student of the local painter Herman Coster before entering the studio of Gerard ter Borch in Deventer. (The central figure in ter Borch's An Officer Dictating a Letter has been identified as Netscher.) He set out for Italy but only got as far as Bordeaux where he stayed for several years before returning to Holland in 1662 and settling in The Hague. He established a great contemporary reputation, . particularly as a portrait painter, and is said to have been invited to England by Charles II. He declined to go, although he painted many English and French sitters in The Hague. His portraits, most of which are on a small scale, were strongly influenced in style by van Dyck and his followers. In his early years, before devoting himself exclusively to portraiture, Netscher painted small-scale genre paintings and also some religious and classical subjects: the earlier ones are related stylistically to the work of ter Borch and Metsu, the later ones, to Frans van Mieris the Elder. This painting was cleaned in 1990 and the correct date of 1662 revealed. It stands, therefore, at the very beginning of Netscher's career as an independent artist in The Hague. It is one of his most successful works, remarkable for the modesty of its subject, its richness of color and firmness of modeling. It is an image which celebrates the effective performance of quiet domestic duties. The landscape print pinned to the wall (at the bottom of which can be seen the artist's signature and the picture's date) shows how such works were displayed in households which were not prosperous enough to afford paintings.
— Presentation of the Medallion (1655, 62x68cm) _ A young officer kneels to present a medallion to a young woman sitting by a table. She receives his attentions with no show of emotion, unlike the woman behind her and the young man beside her who are preparing to drink a toast. A feature of this work is the splendid painting of the elaborate costumes worn by the protagonists. It is not possible, nor is it important, to decide whether the officer is making a declaration of love or merely handing over the medallion on behalf of some absent friend. Netscher became a student of Terborch sometime during the 1650s and he was the student who most successfully emulated the style of his master. As a young man he made excellent copies of Terborch's works. It has been suspected that the Presentation of the Medallion is an adaptation of a painting by Terborch. Although it is typical of the best of Netscher's work, the somewhat affected gesture foreshadows the approach of the later more mannered period of genre painting.

^ Born on 15 January 1858: Giovanni Segantini, Italian Art Nouveau painter and draftsman who died on 28 September 1899. An exponent of divisionism, he was the only Italian painter of the late 19th century to have enjoyed an unbroken international reputation, especially in Germany and Austria.
— Segantini was orphaned when he was only eight years old and spent the rest of his childhood with relatives in Milan. As a young man Segantini lived on the proceedings of his decorative work while taking evening class in ornamental and decorative painting. Around 1880 he was discovered by the art dealer Vittore Grubicy de Dragon who sponsored his participation in local and international exhibitions. Segantini became particularly well known in Germany and in 1896 had a one-man show in Munich. He was much admired by artists such as Munch, Van Gogh and Ensor. The famous abstract artist Kandinsky characterised Segantini as one of the forerunners of spirituality in art. Segantini's early work comprised of idyllic rural scenes painted outdoors. Later on Segantini was encouraged by Vittore Grubicy to paint with the Divisionist technique. The primary concern of this technique was the question of how the eyes saw light; the separation, juxtaposition and overlaying of colors on the canvas was aimed to reproduce the luminous vibrations of rays which make up light. Like other painters, Segantini used Divisionism to suggest certain mystical qualities and to intensify a spectator's emotional response by enhancing the luminous quality of the scene.
The art critic and dealer Vittore Grubicy worked tirelessly to convince both the public and those in charge of government cultural policy that the artists practising the Divisionist technique were showing a new direction for art. Divisionism emerged at a time when Italian politics was characterised by an anxiety to promote a new national consciousness. The President of Italy Pasquale Villari, elected in 1896, stressed the importance of a national pride and warned against uncontrolled emigration. Yet the Divisionist technique was met with a degree of scepticism because it contradicted the traditional notions of the representation of the natural world. At the most extreme the paintings produced were considered the product of a diseased retina. The artists who painted in a Divisionist style were viewed as suffering from hysteria as well as diseases of the eye.

— LINKS
— Landscape with Horses and Peasant Boy
— Still Life with Vegetables (1886)
— Springtime in the Alps (1897)
— Punishment of Lust (1891, 99x173cm; 718x1270pix, 88kb — ZOOM to 1593x2835pix, 3437kb) _ This painting is based on a Buddhist poem about women who reject the duties of motherhood, and is one of a series of disturbing Segantini paintings on this theme. The floating figures represent the souls of women who have had abortions, and are being forced to travel through an icy valley as punishment. Cold temperature suggests the opposite of passion, usually associated with heat. The snowy landscape is based on the Swiss Alps, where Segantini spent much of his life. — Artists have often imagined dramatic, violent weather as a fitting punishment for wrong doing. But here, the Italian artist Giovanni Segantini creates a punitive, purging weather effect that's very unexpected. Inspired by a Buddhist poem describing the passage of dead souls on their way to Nirvana, this image depicts the floating spirits of women who have been guilty of lust. In direct contrast to the heat of their passions during life, the punishment of these spirits is a long passage through a mountain landscape covered with snow, where the weather is still, silent and extremely cold. Segantini's attitude to women was common among men, and even women in his time, who firmly believed that women should stay at home and look after the children. But the profoundly unsettling imagery of this picture, set in the Swiss Alps where Segantini lived, was also informed by a private tragedy. The artist had lost his own mother when he was seven and he later found himself particularly affected and disturbed by the idea of women who abandon their children. Possibly unable to reconcile himself to his own loss, he made a number of works where bad mothers and uncaring women are tormented. In this picture a barren tree has caught the long flowing hair of one of the women in its branches. It's as if even the landscape itself cannot bear to see these unnatural creatures pass without extracting some revenge. — The Punishment of Lust belongs to a series of paintings produced between 1891 and 1896 on the theme of cattive madri. Segantini was inspired by Nirvana, a poem written by the 12th century monk Luigi Illica in imitation of the Indian text Panghiavahli. Illica's poem contained the phrase 'la Mala Madre' (reminiscent of 'la mala femmina' or prostitute) to describe those women who refused the responsibilities of motherhood. The souls of the women are depicted floating against a snowy background based on the Swiss Alps where Segantini spent much of his life. The grandeur and spirituality of the Alps must have been a constant inspiration to Segantini whose last words before he died are recorded to have been: "I want to see my mountains". In the painting the spirits of the women are punished for having committed the sin of abortion consciously or by neglect. Segantini had lost his mother when he was seven years old and was probably passionate to represent the trauma of the mother for the loss of her child. Segantini believed that a woman's role in life was motherhood and that a woman who objects to this role was mean, bad or selfish. His beliefs drew from both religious and metaphysical ideas: the sanctity and motherhood of the Virgin Mary combined with the fertility of nature. The tree in this series of paintings is a religious symbol of the tree of life which, although bare and dead in the winter, will be reborn and blossom in the spring. Segantini came from a country shaped by catholicism. Although in his private life he never conformed to catholic doctrine, for example he refused to marry his partner and mother of his four children, his work was strongly influenced by religious ideas. What may have attracted Segantini to religion may have been the hope for a life after death. Indeed in another painting from the same series, L'Angelo della Vita (1894) the mother has the pose of the Madonna bending lovingly over the baby, while in the mountain landscape the snows have melted and the birch tree is bringing forth young shoots. The painting is connected with the Christian tradition of redemption. The poem Nirvana which inspired the painter also suggests the possibility of regeneration: the bad mother may eventually find her natural instincts blossoming again, just as an apparently dead wintry tree will bring forth leaves as the season moves towards spring. Despite the tragic theme of the painting the overall effect and feeling achieved by the thread-like brushstrokes of Segantini is very atmospheric and dreamy. The mysterious atmosphere set by the painting is in line with the painter's metaphysical views about the connection between human and natural life.
— The Plow (535x995pix, 327kb)

^ Died on 15 January 1955: Yves Tanguy, French US Surrealist painter born on 05 January 1900. [a tan guy?]
— Born of Breton parents, Tanguy began painting around 1920. His first canvases and drawings date from that year. Of primary importance to his artistic formation was his early encounter with a painting by Giorgo De Chirico in 1923, the date at which he decided to become an artist. He fully adhered to the surrealist movement after a decisive meeting with André Breton. He remained dedicated to the movement's inspiration until his death on January 15, 1955. _ 1900 Yves Tanguy is born on January 5 in Paris, where his father worked in the military. 1907 Death of his father. Yves leaves for a region near Nantes to live with relatives. 1911-1918 Studies in Paris with Pierre Matisse. His brother Henri dies during the war in 1914. In 1916 his mother lives in Locronan (Britanny), but Yves stays in Paris with his sister Emilie. 1918-1919 Sails with the merchant marine in South America and Africa. 1920 Meets Jacques Prevert in the army. 1922 Returns to Paris, where he frequents a bookstore and works to survive.
      1923 Sees De Chirico's Le cerveau de l'enfant and takes up painting. 1924 Marcel Duhamel installs his two friends, Prevert and Tanguy, in a house on the "Rue du Chateau Vert". André Breton publishes the first Surrealist Manifesto. 1925 Marriage with Jeanne Ducroq. Exhibits three etchings for the first time. Decisive meeting with Andre Breton. 1926 "L'Anneau d'invisibilite" is the first painting to be reproduced for "La révolution surréaliste". 1927 First personnal exhibition in Paris in "la Galerie Surréaliste", in Paris with help of Breton for the name of his paintings. 1928 His material situation is difficult. 1929 Exhibition in Paris with Dali, Magritte and Arp
      1930 Travel in Africa then return in Paris. 1931 MeetsJacques Hérold a rouman artist. 1932 Meets Marcel Jean. 1933 Present in some collective exhibitions. 1935 Second personnal exhibition in Paris without echo and expose for the first time in America (Hollywood). The american artistic centers are interested. 1936 Exhibitions in New-York, Hollywood and san Francisco. Photography by Man Ray 1937 Meets Patrick Waldberg. Appears in movie "Violon d'Ingres" of Brunius. 1938 Personnal exhibition in Paris and London.
      1939 Meets Kay Sage in France. Contract with Pierre Matisse Galery. Leaves France to rejoin Kay Sage in New-York. 1940 Marriage with Kay Sage and travel through american west 1941 Travel with Kay in Canada and Washington. Meet Dorothea Tanning. 1942 Visit of Mexico by Kay and Yves. Relation with Masson's and Calder's families in Roxbury (Conn.). Exhibition 'Artiste en Exil' 3-28 march. 1943-1945 Several exhibitions in Pierre Matisse Gallery (NY). 1946 Kay and Tanguy buy a house in Woodbury (Connecticut). 1946 Visit by the friend Marcel Duhamel in Woodbury. 1947 International surrealist exhibition in "Galerie Maeght", Paris.
      1948 Becomes US citizen. 1949 In October, he exhibits at the Nina Dausset Gallery, in Paris, where he sells 12 of his works. 1950 Last exhibition at Pierre Matisse Gallery in London 1951 Visit to Ernst-Tanning in Sedona (Arizona). 1952 Exhibition in Kunsthalle with Klee and Miro. 1953 First travel in Europe since 1939. Exhibitions in Rome, Milan, Paris. 1954 Appears in movie "8x8" of Richter. Exhibition together with Kay Sage in Wadsworth Atheneum (Hartford).
      1955 Yves Tanguy dies on 15 January, having suffered a cerebral hemorrhage. In New York City, the Museum of Modern Art hosts a retrospective of his work in June. 1963 Kay Sage finish the "summary of his works". On 08 January, 8, Kay Sage commit suicide.

— Tanguy, Yves (1900-55). French-born American painter. Originally a merchant seaman, he was impelled to take up painting after seeing pictures by de Chirico and in 1925 joined the Surrealist group. In 1939 he emigrated to the USA, where he lived for the rest of his life, marrying the American Surrealist painter Kay Sage in 1940 and becoming a US citizen in 1948. Tanguy's most characteristic works are painted in a scrupulous technique reminiscent of that of Dalí, but his imagery is highly distinctive, featuring half marine and half lunar landscapes in which amorphous nameless objects proliferate in a spectral dream-space (The Invisibles, 1951).

— De famille bretonne, Tanguy se destinait à la marine marchande. En 1921, il vient à Paris où il rencontre Jacques Prévert. Un tableau de Chirico, vu dans une galerie parisienne, lui révèle sa vocation de peintre. En 1925, il adhère en même temps que Prévert au groupe surréaliste, avec lequel il expose. À la différence de surréalistes comme Dalí, Giorgio De Chirico et René Magritte, qui agencent des objets familiers dans des rapports insolites et déconcertants, Tanguy crée des formes imaginaires surgies de l’inconscient et du rêve. En 1939, il visite les États-Unis et le Canada. Il s’installe dans le Connecticut à Waterbury où il mourra; il acquiert la nationalité américaine en 1948. Jusqu’à la fin de sa vie, il reste fidèle à la même inspiration, composant inlassablement des paysages peuplés de formes cartilagineuses, les êtres-objets dont a parlé Breton, paysages mi-marins, mi-lunaires, baignés d’une froide lumière et traités en touches minutieuses. Dans ses dernières œuvres, telles La Multiplication des arcs , toile de grand format réalisée en 1945 (Museum of Modern Art, New York), ou Nombres imaginaires , exécutée la même année, Tanguy accumule des structures minéralogiques déployées jusqu’à la ligne rigoureuse de l’horizon.

— 1900 Yves Tanguy naît le 05 janvier au Ministère de la Marine (Place de la Concorde — Paris) où son père travaillait comme adjudant-surveillant. C'est le 4ème et dernier enfant d'une famille originaire du Finistère (Brest). 1908 Son père meurt à 57ans. Pour subvenir aux besoins de sa famille, Thérèse, sa mère prend un bureau de tabac. Son travail l'oblige à confier Yves à une cousine à Pont-Rousseau près de Nantes puis chez des parents pharmaciens (Nédelec) en Côtes d'Armor à Plestin-les-grèves pendant 4 ans. 1911-1913 Études secondaires au lycée Montaigne (Paris) d'où il se fera renvoyer à la découverte d'un flacon d'éther dans ses chaussettes. 1914-1918 Le 22 Aug 1914, Henri, son frère est tué à Longwy (Nord). En 1916, sa mère se retire à Locronan (Finistère) dans l'ancien prieuré acheté en 1912 mais Yves reste à Paris où il habite rue Coëtlogon avec sa soeur Emilie, institutrice. Il retrouvera sa "petite maman" pendant les vacances en Bretagne. Il va alors au lycée Saint Louis (Paris) où il rencontre Pierre Matisse, le fils du peintre 1918-1919 Tanguy s'engage dans la marine marchande puis devient élève officier pendant 18 mois. Il voguera vers les côtes du Brésil, de l'Argentine, d'Afrique puis de l'Angleterre et du Portugal.
      1920 Au printemps, il fait son service militaire au 37ème régiment d'infanterie à Saint-Nicolas-du-Port près de Lunéville où il cotoiera Jacques Prévert comme voisin de chambrée. 1921 S'engage dans les chasseurs d'Afrique et part pour Tataouine (Tunisie). 1922 Démobilisé avec le grade de sergent, il revient à Paris où il rencontre Jeanne Ducrocq et retrouve Prévert. Il vit alors de petits métiers comme livreur aux halles, coulissier en Bourse et même conducteur de tramway. 1923 Yves Tanguy et Jacques Prévert sont alors inséparables, ils passeront d'ailleurs leur été à Locronan chez madame Tanguy. C'est à la fin de cette année que Tanguy aurait aperçu dans la vitrine d'une galerie un tableau de Giorgio de Chirico Le Cerveau de l'Enfant qui le décide à devenir peintre.
      1924 Au début de l'année, Marcel Duhamel, un hôtelier ami de Prévert, loue une maison au 54 de la rue du Château (derrière la gare Montparnasse) pour héberger les deux amis et lui-même pour leur éviter la misère. Yves découvrira Lautréamont, les numéros de "la Révolution Surréaliste" et le premier manifeste du surréalisme édité par André Breton. Celui-ci suscite l'enthousiasme des trois amis. 1925 Le 30 Jul, Yves Tanguy épouse Jeanne à Paris. Il expose pour la première fois trois dessins au Salon de l'Araignée (Paris). En décembre, à la suite du banquet en l'honneur de Saint-Pol Roux, il fait la connaissance d'André Breton, par l'entremise de Marcel Duhamel, lors d'un réunion rue Fontaine (tous deux ont pris de la cocaïne pour se donner du courage face au "monstre" qu'est déjà Breton). Lors de cette rencontre, il aura la surprise de retrouver l'oeuvre de Chirico (aperçue en 1923) exposée chez Breton, qui l'a fait basculer dans la peinture. Cette rencontre sera décisive avec Breton et Tanguy adhère aussitôt, et pleinement, au mouvement surréaliste.
      1926 L'Anneau d'invisibilité première toile de Tanguy reproduite en octobre dans « La Révolution surréaliste» n° 7. Sa période dite de "Fumée" commence. 1927 Première exposition personnelle à la Galerie Surréaliste, à Paris, avec une préface de Breton qui l'aidera à tirer le nom de ses toiles d'un ouvrage de psychiatrie. En juillet, Passe ses vacances avec Jeannette dans la Manche avec Max Morise, Marcel Noll et Simone Breton (délaissée par André pour Lise). 1928 Participe aux discussions de groupe sur la sexualité organisé par Breton. Quitte la rue du Château pour s'installer avec Jeannette au Medical Hôtel puis au Terrass' Hôtel. Leur situation matérielle devient difficile car il vend peu. 1929 En juillet, passe quelques jours sur l'île de Sein en compagnie de André Breton et Suzanne, Georges Sadoul et Unik. Expose en octobre aux côtés de Dali, Magritte et Arp, à la Galerie Camille Goemans, à Paris. A la suite du pamphlet sur Breton "le cadavre" cosigné par Jacques Prévert, Tanguy rompt avec son vieil ami et ancien colocataire. Fait la connaissance de Hayter (à l'origine de l'atelier 17).
      1930 Le 14 février, participe au commando conduit par René Char au Maldoror, un cabaret-dancing dont le nom leur semble être une provocation intolérable. Voyage en Afrique, les tableaux éxécutés à cette époque (dite des coulées 1930-1931) se renouvellent. Revient à Paris et s'installe 23 rue du Moulin Vert. Reste fidèle à Breton malgré le changement de cap de ses anciens amis dont Prévert. En juin, il cosigne le texte de soutien pour l'édition du second manifeste rédigé par André Breton. Trois de ses toiles (Mottes de terre, Fraude dans un jardin, l'Orage) ainsi que celles de Dali, Arp, Ernst, Miro et Man Ray sont lacérées par de jeunes protofascistes (Ligue des patriotes et les Jeunesses anti-juives) une semaine après la première du film de Bunuel "l'âge d'or" au Studio 18, le 03 decembre (le film sera interdit le 11 decembre). 1931 Commence à avoir une audience notable, au même titre que Ernst et Dali. Rencontre un artiste roumain, Jacques Hérold dont naîtra une amitié profonde. 1932 Fait la connaissance de Marcel Jean. 1933 Participe à plusieurs expositions surréalistes collectives à Paris et Bruxelles. illustre depuis quelques années des ouvrages d'écrivains (Aragon, Péret, Tzara, Arp, Eluard). Participe au cours de gravure de William Stanley Hayter à l'atelier 17 avec Max Ernst, Mirò et Giacometti.

      1934 Le 03 Feb, signe la lettre collective demandant l'exclusion de Dali du groupe pour ses positions pro-Hitlérienne (avec 7 autres surréalistes dont Breton et Péret). Lors des durs affrontements de l'émeute anti-fasciste regroupant communiste et surréalistes, Tanguy a les dents cassés d'un coup de matraque. 1935 Deuxième exposition personnelle à la Galerie des Cahiers d'Art, à Paris, qui reste sans écho. Au contraire, pour sa première exposition Outre-Atlantique à la Stanley Rose Gallery, à Hollywood où 32 oeuvres sont présentées, il suscite l'intérêt des milieux artistiques américains. Tanguy présente au groupe surréaliste Victor Brauner qui en deviendra un membre important. En décembre, il participe à la réunion qui provoquera l'exclusion de Giacometti du groupe. A la même époque, tiraillé entre Jacqueline (jeune mère de sa fille Aube) et le mouvement, Breton se confie volontiers aux Tanguy. 1936 Expositions personnelles chez Julien Levy, à New York en juin, puis aux Howard Putzel Galleries, à Hollywood et San Francisco. Se fera photographier par Man Ray 1937 Fait la connaissance de Patrick Waldberg. Apparaît dans le film de Jacques Brunius "Violon d'Ingres"
      1938 Expositions personnelles préfacées par Breton à la Galerie Bucher-Myrbor (Paris) puis à Londres chez Guggenheim-jeune. Se rend au Salon des Surrindépendants où il s'intéresse à un tableau de Kay Sage. Participe à l'exposition internationale du surréalisme qui s'ouvre le 17 janvier à la Galerie des beaux-arts à Paris. Il passe l'été à Trévignon (Bretagne) avec Matta et Gordon Onslow Ford. André Breton part pour le Mexique et confie à Tanguy le soin de vendre les biens de la Galerie Gradiva et d'en transférer le produit à la galerie de Jeanne Bucher. 1939 Pierre Matisse le prend sous contrat et organise une exposition Tanguy dans sa galerie de New-York, (1er surréaliste français à être exposé aux USA). Compte tenu des expulsions périodiques du mouvement, Tanguy reste dans le dernier carré des initiateurs avec Masson, Péret et bien sûr Breton. Fait la connaissance de Kay Sage, (alors mariée avec le Prince Rainier de Faustino, gentilhomme italien) à Chemillieu dans un grand manoir loué par Gordon Onslow-Ford, où il retouvera Matta, Francès et Breton. Breton n'écrira durant son séjour qu'un seul texte : un poème en l'honneur de Tanguy. En novembre, après la déclaration de guerre, réformé, Tanguy rejoint Kay Sage à New York où il débarque avec Matta rencontré 3 ans plus tôt et Anne Matta. Avec Kay, ils s'installe tous deux à Waverly Place (NY). 1940 S'installe avec Kay à Greenwich Village (New York) puis ils voyagent à travers l'ouest américain. Ils se marient le 17 août à Reno (Nevada), le divorce de Tanguy étant prononcé. Démobilisé début juillet, Breton souhaite quitter la France pour l'Amérique. A l'automne, Breton écrit à plusieurs reprises à Tanguy pour demander son aide. Celui-ci lui tansmet une invitation officielle pour des conférences au Mexique et Kay offre de participer aux frais de voyage, mais Breton décline l'invitation. Tanguy tente alors de lui obtenir un visa de transit pour New-York en vain malgré la garantie financière donnée par Pierre Matisse et la garantie morale de David Hare. 1941 Ce n'est qu'en juin 1941que Tanguy et Kay pourront accueillir Breton sur le sol américain. Kay Sage avait loué pour lui et Jacqueline un studio sur la 9e Rue Ouest. Le 17 Jul, les Tanguy ainsi que Breton , Matta et Calas, accueillent Max Ernst à New-York. Voyage des Tanguy au Canada et à Washington . La situation matérielle du peintre s'améliore gràce à Kay Sage. Première rencontre avec Dorothea Tanning (future Madame Max Ernst). De même, il rencontre Fred Becker à l'atelier 17.
      1942 Visite de Mexico. Kay et Yves fréquentent les familles Masson et Calder à Roxbury (Conn.). Participe à l'exposition 'Artists in Exile' du 03 au 28 mars à la Galerie Matisse aux côtés de Matta, Ernst et Masson. 1943-1945 Les nombreuses expositions dans la galerie de Pierre Matisse (New York) lui procure une notoriété grandissante. 1946 Achète avec Kay Sage Town Farm (une maison coloniale restaurée) à Woodbury (Connecticut) dont la grange servira d'atelier. 1947 Certaines de ses toiles sont vues à l'exposition rétrospective 'le Surréalisme en 1947', Galerie Maeght, à Paris. 1948 Prend la nationalité américaine le 13 Aug. Son exposition à la Galerie Copley, Beverley Hills reste sans écho. 1949 En octobre, il expose à la Galerie Nina Dausset, à Paris, où il vend 12 de ses oeuvres. En octobre toujours, Tanguy est le témoin de Pierre Matisse lors de son mariage avec Patricia Echauren (ex épouse Matta). 1950 Expose une dernière fois chez Pierre Matisse puis à la London Gallery, à Londres. 1951 Se rend à Sedona, en Arizona, chez Max Ernst et Dorothea Tanning sa femme. 1952 Expose à la Kunsthalle avec Klee et Miro. 1953 Premier voyage en Europe depuis 1939 (et dernier de sa vie) pour des expositions à la Galleria de l'Obelisco, à Rome, puis del Naviglio, à Milan puis Galerie Renou & Poyet, à Paris. 1954 Participe au film de Richter « 8 X 8 ». Exposition commune avec Kay Sage au Wadsworth Atheneum (Hartford-Conn.).
      1955 Le 15 janvier au petit matin, une hémorragie cérébrale terrasse Yves Tanguy . Transporté d'urgence à Waterbury, il y meurt quelques heures plus tard. En juin, le Museum of modern art (New York) lui consacre une rétrospective. 1963 Pendant les huit ans qui vont suivre, Kay va rassembler avec l'aide de Pierre Matisse tous les travaux d'Yves dans un recueil. Le 08 janvier, Kay Sage met fin à ses jours après avoir terminé ce travail.

— LINKS
— From One Night to Another (1947, 114x91cm; 1/5 size, 89kb _ ZOOM to 2/5 size, 304kb _ ZOOM++ to 4/5 size, 1336kb — or, for a more manageable picture, remove the almost featureless "cloudy sky" which takes up the top half of the picture, and see the interesting part 2/5 size or 4/5 size)
— Reply to Red (1943, 30x63cm; 554x1154pix, 408kb _ ZOOM to 1385x2886pix)
— Through Birds, Through Fire, and Not Through Glass (1943, 102x89cm; 855x748pix _ ZOOM to 2138x1870pix, 2092kb)
— Indefinite Divisibility (1942, 102x89cm; 1497x1268pix, 139kb)
— Surrealist Composition (1930; 600x474pix, 103kb _ ZOOM to 1400x1106pix, 160kb)
— The Invisibles (1951) — Extinction des lumières inutiles (1927, 92x65cm; 700x513pix, 236kb)
— Le Malheur Adoucit les Pierres (1948, 91x71cm) _ This painting shows a dark, stormy sky looming over a landscape strewn with lithic remains. Some of the mysterious formations resemble the debris of a nuclear explosion or perhaps stones that have undergone a strange geological metamorphosis. Other shapes give the appearance of folded paper, often associated with Surrealist and Dadaist work closely associated with them. Tanguy was born in France but came to the United States just before the outbreak of World War II. He married the American painter Kay Sage and became a naturalized citizen. Some of Tanguy's biographers maintain that a trip he took to Africa in 1931 was the inspiration for the stonelike forms in his paintings, while others have cited a visit to Mexico in 1942 as his motivation. Suffering Softens Stones, impenetrable and personal as its message may be, creates an ominous atmosphere through a landscape that is both alien and convincing.

^ Born on 15 January 1817: Charles-François Daubigny, Parisian Barbizon School painter and printmaker, who died on 19 February 1878. 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 also was 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 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

^
Died on a 15 January:

1909 Robert Zünd, Lucerne, Switzerland, painter born on 03 May 1827. He was trained by Jakob Schwegler [1793–1866] and Joseph Zelger [1812–1885], whom he accompanied on a study visit to the Engadine. Zelger encouraged him to go to Geneva in 1848. There he was a student first of François Diday and then of Alexandre Calame, who influenced his early work. However, while Calame painted dramatic mountain scenes, Zünd preferred the idyllic, tranquil region of the Alpine foothills. In 1851 he moved to Munich, where he met the Swiss painter Rudolf Koller, who remained a close friend. From 1852 he often stayed in Paris. He studied paintings by 17th-century Dutch and French artists in the Louvre and became acquainted with Alexandre-Gabriel Decamps, Louis Français, Louis Cabat, Frank Buchser, and Albert Anker.

^ 1926 Eugeniusz (or Eugen) Zak, Polish artist born on 15 December 1884. — The Nun (100x80cm; 390x313pix, 34kb) — Tancerz (1921; 397x294pix, 41kb)

1887 Friedrich von Amerling, Austrian artist born on 14 April 1803. He came from a family of craftsmen and studied (1815–1824) at the Akademie der bildenden Künste, Vienna, where one of his teachers was the conservative history painter Hubert Maurer [1738–1818]. From 1824 to 1826 he attended the Academy in Prague, where he was taught by Josef Bergler II [01 May 1753 – 25 Jun 1829]. In 1827 and 1828 Amerling stayed in London, and he met the portrait painter Sir Thomas Lawrence [13 Apr 1769 – 07 Jan 1830], whose work was to be a strong influence on Amerling’s painting during the next two decades. Amerling also traveled to Paris and Rome but was recalled to Vienna on an official commission to paint a life-size portrait of the emperor Francis I of Austria. With this work, Amerling became the most sought-after portrait painter in Vienna, a position he was to retain for about 15 years.

1868 Lucie-Marie Mandix Ingemann, Danish artist born on 13 February 1792.

1845 John Knox, Scottish artist born in 1778.

1811 Vincent Janszoon van der Vinne, Dutch artist born on 31 January 1736. He and his brother Jan Janszoon van der Vinne [1734-1805] seem to have been the last of some 10 artists which the Haarlem Mennonite van der Vinne family produced during the 17th and 18th centuries. Vincent and Jan were sons of Jan Laurenszoon van der Vinne [1699–1753], and nephews of Vincent Laurenszoon van der Vinne II [1686–1742] and of Jacob Laurenszoon van der Vinne [23 Jun 1688 – 17 Jan 1737]. They were the grandsons of Laurens Vincentszoon van der Vinne [1658–1729], and the grandnephews of Jan Vincentszoon van der Vinne “des Nageoires” [03 Feb 1663 – 01 Mar 1721] and of Izaak Vincentszoon van der Vinne [1665–1740]. And they were the great-grandsons of Vincent Laurenszoon van der Vinne I [11 Oct 1628 – 26 July 1702]. — {If any of them vas really a vinne, vhy isn't there any sample of his vork in the vorld vide veb?}

1743 Caspar Hirschel, German artist born in 1698.

^ 1687 (burial) Jacob Esselens, Amsterdam Dutch Baroque draftsman and painter born in 1626. — {Can anyone silence Esselens excellence?} — He was referred to as a ‘painter’ on the occasion of his (late) marriage on 11 April 1668, but in the will drawn up after the death of his wife in 1677 he is called a ‘merchant’. He did indeed trade in silks and velvets. As an artist, he was self-taught and should probably be considered an amateur. His textile business occasioned visits, among other places, to Italy, France, England, and Scotland, where he made accomplished landscape drawings. Panoramic views of English towns (Chatham, Greenwich, London, Rochester, and Rye) dating from the 1660s were later included in the Atlas van der Hem. In 1663 he journeyed along the Rhine with Gerbrand van den Eeckhout and Jan Lievens, as is evident from the many drawings by all three artists of the same locations, including Rhenen, Arnhem and Cleve (e.g. Amsterdam, Rijksmus.; Edinburgh, N.G.; Haarlem, Teylers Mus.; St Petersburg, Hermitage). Besides these topographical views, Esselens also drew imaginary landscapes, for example of riverbanks and coastlines with fishermen or tradesmen in the manner of Simon de Vlieger, woody landscapes suggesting the influence of Anthoni Waterlo and hilly landscapes in the style of his travelling companions van den Eeckhout and Lievens. Some works (see fig.) seem to have been inspired by etchings and drawings of the Dutch countryside made by Rembrandt in the 1640s and 1650s. It would, however, be an exaggeration to consider Esselens a pupil of Rembrandt, as has often been suggested since the 19th century. Despite a clearly recognizable personal style of drawing, Esselens was often inspired by the work of other draughtsmen. This is also true of his paintings, which are somewhat eclectic in nature but sometimes of a surprisingly high artistic standard. His seaside views with their characteristic atmosphere, betray the influence of Adriaen van de Velde, but the use of silver-grey tints also suggests that of Simon de Vlieger. He painted arcadian landscapes, in a rather uninspired style, that are reminiscent of Cornelis van Poelenburgh, but he also occasionally produced charming landscapes bathed in southern light, for instance the Landscape with Hunters and the ‘Scottish’ Landscape. In his non-topographical landscapes, animals and, especially, figures play an important role: fishermen or townspeople are seen buying fish in his beach views, while in other works elegantly dressed ladies and gentlemen are involved in recreational pursuits (e.g. Elegant Hunting Party on the Bank of a River). He died wealthy; his friend and fellow silk merchant Abraham Rutgers [1632 – 1699], who was also an avid amateur draftsman, was appointed guardian of his children. Rutgers was also the administrator of Esselens’s estate, which included many of the latter’s drawings, which he repeatedly copied. — LINKS — Riverscape with a Pair of Anglers (600x904pix _ ZOOM to 1400x2109pix) — Mountain scenery (1670, 53x69cm) _ a memory from Esselens's stay in Scotland.

Born on a 15 January:

1869 Stanislas Wyspianskiy, Kraków Polish painter, pastellist, decorative artist, illustrator, writer, and theater director, who died on 28 November 1907. He was the son of the Kraków sculptor Franciszek Wyspianski [1836–1902] and studied at the Kraków School of Fine Arts, mostly under Wladyslaw Luszczkiewicz [1828–1900] and Jan Matejko. In 1889 Wyspianski and Józef Mehoffer, the school’s most talented students, were appointed to complete Matejko’s painted decorations for St. Mary, Kraków, a task that prompted Wyspianski’s interest in both decorative painting and stained glass. In 1890 he visited Italy, Switzerland, France, Germany, and Prague. In 1891 he continued his training in Paris, where he remained with intervals until 1894, studying at the Académie Colarossi under Joseph Blanc, Gustave Courtois [1852–1924] and Louis Auguste Girardot [1858–]. Wyspianski also worked independently in Paris, studying paintings in the museums and fascinated by contemporary art. Through Wladyslaw Slewinski, he met Paul Gauguin and members of the Nabis.

1822 Hubert Salentin, German artist who died on 07 July 1910.

1737 Johann Josef Karl Henrici, German artist who died on 27 October 1823.

1714 (baptism) Jan Josef Horemans I “le Clair”, Antwerp Flemish artist who died after 1790, son of Jan Josef Horemans I “le Sombre” [16 Nov 1682 – 07 Aug 1752] and nephew of Peter Jacob Horemans [26 Oct 1700 – 1776]. Jan Josef Horemans II qualified as a master of the Guild of Saint Luke in Antwerp on 10 February 1767 and was dean of the Guild on two occasions (1768–1769 and 1775–1776). He was a placid apologist for bourgeois virtues and, following his father’s example, admirably recreated the atmosphere of his age in a multitude of small paintings that are pleasantly animated and have an old-fashioned charm. He also signed in the same way as his father, but his style was more distinguished and sensitive and his palette lighter (earning him the nickname that distinguishes him from his father). Works such as the Musical Company, the Interior with Figures, The Minuet and the Portrait of a Family (1772) combine traditional genre painting with the 18th-century conversation piece. Jan Josef II sometimes incorporated into his own compositions figures taken unchanged from David Teniers II or Hieronymus Janssens, as in the New Neighbors. He also occasionally painted interior decorations, such as the wall panels of The Seasons (sold at Christie’s on 31 May 1977), and accepted a number of official commissions, such as the Entry of Charles of Lorraine into Antwerp in 1749. He was still exhibiting paintings in Antwerp in 1790.

^ 15 January 1899 The Man with a Hoe, poem by a US schoolteacher, Charles Edward Anson Markham (1852-1940), who used the penname Edwin Markham, is published. It was inspired by a 1863 painting: L'homme à la houe by the French artist, Jean-François Millet [04 Oct 1814– 20 Jan 1875]. The poem quickly became as famous as the painting. Both continue to be moving testimonies to what the too prevalent inhumanity of humanity can cause.

The Man with a Hoe

Bowed by the weight of centuries he leans
Upon his hoe and gazes on the ground,
The emptiness of ages in his face,
And on his back, the burden of the world.
Who made him dead to rapture and despair,
A thing that grieves not and that never hopes,
Stolid and stunned, a brother to the ox?
Who loosened and let down this brutal jaw?
Whose was the hand that slanted back this brow?
Whose breath blew out the light within this brain?

Is this the Thing the Lord God made and gave
To have dominion over sea and land;
To trace the stars and search the heavens for power;
To feel the passion of Eternity?
Is this the dream He dreamed who shaped the suns
And marked their ways upon the ancient deep?
Down all the caverns of Hell to their last gulf
There is no shape more terrible than this--
More tongued with cries against the world's blind greed--
More filled with signs and portents for the soul--
More packed with danger to the universe.

What gulfs between him and the seraphim!
Slave of the wheel of labor, what to him
Are Plato and the swing of the Pleiades?
What the long reaches of the peaks of song,
The rift of dawn, the reddening of the rose?
Through this dread shape the suffering ages look;
Time's tragedy is in that aching stoop;
Through this dread shape humanity betrayed,
Plundered, profaned and disinherited,
Cries protest to the Powers that made the world,
A protest that is also prophecy.

O masters, lords and rulers in all lands,
Is this the handiwork you give to God,
This monstrous thing distorted and soul-quenched?
How will you ever straighten up this shape;
Touch it again with immortality;
Give back the upward looking and the light;
Rebuild in it the music and the dream;
Make right the immemorial infamies,
Perfidious wrongs, immedicable woes?

O masters, lords and rulers in all lands,
How will the future reckon with this Man?
How answer his brute question in that hour
When whirlwinds of rebellion shake all shores?
How will it be with kingdoms and with kings--
With those who shaped him to the thing he is--
When this dumb Terror shall rise to judge the world,
After the silence of the centuries?

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