ART 4
2-DAY 17 January |
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Died on 17 January 1706: Phillip Peter
Roos, Rosa da Tivoli Mercurius,
German artist born on 30 August 1657, brother of Johann Melchior Roos [27
Dec 1663 – 1731], son of Johann
Heinrich Roos [27 Oct 1631 – 03 Oct 1685], and nephew of Theodor
Roos [Sep 1638 – 07 Jun 1687], and father of Cajetan Roos who was
the father of Joseph Roos [09 Oct 1726 – 25 Aug 1805]. — Phillip Peter Roos went to Italy in 1677 on a scholarship from the Landgrave of Hesse. In Rome he studied under Giacinto Brandi, whose daughter Maria Isabella he married in 1681, after converting to the Catholic faith. In 1684–1685 he bought a house near Tivoli, which gave rise to his soubriquet ‘Rosa da Tivoli’. From 1691 he seems to have lived mainly in Rome. Roos was a member of the Schildersbent, which gave him the nickname ‘Mercurius’ because of the speed with which he painted. Apart from a Self-portrait (1700), he painted exclusively domestic animals with their herdsmen in the Roman Campagna. The animals dominate the foreground, leaving only small glimpses through to landscapes set beneath louring skies. Roos applied his paint in impastos, rendering the coats, the stance and the movements of each species in a virtuoso manner. The light bodies of the animals seem to grow fascinatingly out of the darkness. In the 1680s Roos tended to depict small groups of animals—sheep, goats, often headed by a billy goat with twisted horns. The herders lie at the side dressed in coarse clothing, close to the animals. Far off, wildly precipitous valleys alternate with high cliff-faces lit by a yellow-brown light; the distant mountains are conveyed in tones of light blue. Altogether the pictures are characterized by a spectral, somber, wild and daring boldness. LINKS — A Shepherd and his Flock (600x764pix _ ZOOM to 1400x1783pix) — A Sitting Shepherdess and her Flock (525x742pix _ ZOOM to 1225x1731pix) — Shepherd Boy with Sheep and Goats, (122x173cm; 1/5 size, 239kb _ ZOOM to 2/5 size, 959kb _ ZOOM++ not recommended to fuzzy 4/5 size, 1683kb) |
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Died on 17 January 1863: Émile Jean
Horace Vernet, French Academic
painter, specialized in Orientalism
and Battle Scenes, born on 30 June 1789. He was the brother-in-law of Hippolyte
Lecomte [28 Dec 1781 – 25 Jul 1857], and the father-in-law of Paul
Delaroche [1797-1856], and the uncle of Charles-Marie
Bouton [1781-1853]. — He was born in the lodgings of his father Carle Vernet [14 Aug 1758 – 27 Nov 1836] at the Palais du Louvre, where his grandfather Joseph Vernet [14 Aug 1714 – 05 Dec 1789] also lived; his maternal grandfather was Jean-Michel Moreau le jeune [26 Mar 1741 – 30 Nov 1814]. To these antecedents and influences are ascribed the supreme ease of his public career, his almost incredible facility, and his fecundity. His early training in his father’s studio was supplemented by formal academic training by François-André Vincent [30 Dec 1746 – 03 Aug 1816] until 1810, when he competed unsuccessfully for the Prix de Rome. He first exhibited at the Salon in 1812. In 1814 Vernet received the Légion d’honneur for the part he played in the defense of Paris, which he commemorated in La Porte de Clichy: la défense de Paris, 30 mars 1814 (1820), a spirited painting that represented a manifesto of Liberal opposition to Restoration oppression. — Thomas Jones Barker was an assistant of Vernet. — Vernet's students included Jacques-Laurent Agasse [27 Dec 1767 – 24 Mar 1849], Pedro Américo de Melo, Paul-Jean Clays, Feodor Dietz, Jozef Israëls [1824-1911], Janet-Lange [26 Nov 1815 – 25 Nov 1872], Eugène Lami, Charles Langlois, Joseph-Nicolas Robert-Fleury [08 Aug 1797 – 05 May 1890], Frederick Tayler, Gustaf Wappers [23 Aug 1803 – 06 Dec 1874], Ignace-François Bonhomme [15 Mar 1809 – 01 Oct 1881]. — Drawing Portrait of Vernet LINKS — Self-Portrait in Rome (1832; 380x316pix, 14kb) _ Vernet stands authoritatively before the Villa Medici, seat of the French Academy in Rome, where he was director from 1829 to 1835. In the foreground, a stepladder with palette and brushes indicates Vernet's talent for painting large canvases. The newly popular paper-wrapped cigarette he holds proves his stylishness, while the rising smoke catures the momentary quality of the portrait. — L'Atelier d'Horace Vernet (1828; 600x724pix _ ZOOM to 1400x1689pix) — Judah and Tamar (1840; 600x428pix _ ZOOM to 1400x999pix _ ZOOM++ to 3419x2439pix; 3218kb) _ Judah pays off Tamar with a gold ring and a necklace, before his sarcastic saddled camel and a hilly landscape. — An Arab (100x81cm) — Traversée du Désert (1827; 600x744pix _ ZOOM to 1400x1736pix) — La Barricade de Clichy. Défense de Paris, le 30 mars 1814 (600x816pix _ ZOOM to 1400x1904pix) — Philippe-Auguste avant la Bataille de Bouvines (1827; 600x1004pix _ ZOOM to 1400x2343pix) — La Bataille de Fontenoy (1828; 600x1024pix _ ZOOM to 1400x2389pix) — La Bataille de Iena (1836; 600x700pix _ ZOOM to 1400x1633pix) — La Bataille de Wagram (1836; 600x812pix _ ZOOM to 1400x1895pix) — Bandits Italiens Surpris par les Troupes Pontificales (1836; 600x940pix _ ZOOM to 1400x2193pix) — Edith Trouve la Tête de Harold Après la Bataille de Hastings (1836; 600x752pix _ ZOOM to 1400x1755pix) Le Raconteur Arabe (1833, 100x138cm _ ZOOM to 1400x2025pix) La Chasse au Lion (1836, 57x82cm _ ZOOM to 1400x1989pix) Napoleonic Battle in the Alps (1814, 90x117cm) The Battle of Habra, Algeria in December 1835 Between Emir Abd El Kadar and the Duke of Orleans (1840, 88x118cm) — Le Dernier Grenadier de Waterloo (46x56cm) — Lieutenant Colonel, comte de Thalouet (100x83cm) — Village Musicians (1832, 52x44cm) — A Fisherman Setting Out (1824, 39x46cm) Judith and Holofernes (42x32cm) Raphael and Pope Leo X 23 lithographs at FAMSF |
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Died on 17 January 1886: Paul~Jacques~Aimé Baudry,
French painter, specialized in portraits,
born on 07 November 1828. — Like many artistic children from the provinces in 19th-century France, he went to Paris with a grant from his municipality to pay his tuition fees. He entered the studio of Michel-Martin Drolling in 1844 and enrolled at the École des Beaux-Arts in 1845. In five successive attempts at the Prix de Rome, he rose up through the ranks of the finalists, winning the first prize (which he shared with Bouguereau) in 1850 with Zenobia Found by Shepherds on the Banks of the Araxes. Critics had already noticed that he was more attracted by Venetian painting than was customary among candidates for the prize. This was reaffirmed by the works he sent from Rome to Paris, especially his La Fortune et le jeune enfant (1857, 146x194cm; angled photo of framed painting), which was clearly indebted to Sacred and Profane Love (1514, 118x279cm; 501x1459pix, 112kb), the masterpiece by Titian. Baudry entame sa carrière parisienne en 1857. Il exécute tout d'abord deux ensembles décoratifs, l'un pour M. Guillemin en 1857 (aujourd'hui à l'Hôtel Marigny), l'autre pour le ministre Achille Fould en 1858 (pour l'Hôtel Fould, aujourd'hui au Château de Chantilly) et il reçoit la commande d'une vingtaine de portraits. Mais pour établir sa réputation il se devait d'exposer des compositions représentatives de son art au Salon, alors le seul moyen pour un artiste de montrer ses oeuvres, de se faire connaître et d'être jugé. Au Salon de 1857 il avait été accueilli de façon plutôt favorable, mais avec des oeuvres réalisées à Rome dans le cadre de l'Académie de France. Au Salon de 1889 il exposa, outre des portraits, deux tableaux : La toilette de Vénus et La Madeleine pénitente. — Émile Schuffenecker was a student of Baudry. LINKS — Charlotte Corday (1860; 600x445pix, 125kb _ ZOOM to 1400x1038pix _ ZOOM++ to 2494x2000pix, 576kb) _ Compare La Mort de Marat (1793, 162x125cm) by David [30 Aug 1748 – 29 Dec 1825] Le Tourment de Vestale Le Lutteur Meissonier (1848) — Louis Cézard (1871, 77x64cm; 396x330pix, 46kb) _ The sitter looks more like a Louise than a Louis. — La Vague et la Perle (1862) — L'ivresse de Noé (188x298cm; 412x640pix, 57kb) |
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Died on 17 January 1686: Carlo
Carlino Dolci, Italian Baroque
painter born on 25 May 1616. He was the cousin of Onorio
Marinari. Carlo Dolci, allievo di Jacopo Vignali, eseguì a diciassette anni il bel ritratto di Ainolfo de' Bardi, volgendosi poi a dipingere soggetti sacri. Dolci was the leading painter in Florence in the mid-17th century, and an exponent of the restrained style of Late Baroque comparable with Sacchi's Roman works. Dolci was extremely precocious and one of his finest pictures is the portrait, painted when he was 16, of Fra Ainolfo dei Bardi (1632). Nevertheless, he later became very neurotic and felt himself to be professionally inadequate. Most of his later works are small devotional pictures often painted on copper in an extremely finicky and detailed manner. When Giordano was in Florence in 1682 he said jokingly that his own virtuoso style had brought him a fortune of 150,000 scudi, but that by spending so much time on his works Dolci would starve; an idea that preyed on Dolci's mind. One of his best works is the Martyrdom of Saint Andrew (1646). — Dolci was the major Florentine painter of the 17th century. He enjoyed an international reputation in his own lifetime. He was a gifted portrait painter and painted a number of large altarpieces, but his reputation is largely based on his half-length, single-figure paintings, characterized by their intense religiosity and meticulous technique. His mature style was complex and sophisticated. Intended for cultivated and aristocratic circles, his was never a popular art in any sense. Dolci’s disturbed personality — full of tormented fantasy and dark fantasms — is evident throughout his work after the later 1640s. LINKS Self-Portrait (1674) — Saint John the Evangelist (600x360pix _ ZOOM to 1400x840pix) Saint Catherine Reading a Book The Guardian Angel (1675) Flowers (1675) Ainolfo de' Bardi (1632, 150x119cm) _ This portrait was painted by Dolci, as appears from an inscription on the back, at the age of sixteen years; and it surpasses, both for the conception and the success and brilliance of the execution, later pictures by this precocious artist. Fra Ainolfo de' Bardi, Knight of Jerusalem, was a very notable soldier and man of politics in his day. He was born in 1573 and died in 1638. Magdalene (1670, 73x56cm) _ This is among the most noted works of Carlo Dolci. |
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Died on 17 January 1654: Paulus
Potter, Dutch painter, specialized in animals, born on 20
November 1625. [ancestor of Harry?] Dutch painter and etcher, celebrated chiefly for his paintings of animals. Animals appear prominently in all of Potter's works, sometimes singly but usually in small groups silhouetted against the sky, or in greater numbers with peasant figures and rustic buildings in an extensive landscape. Potter is one of the minor Dutch masters. Potter entered the Guild of Saint Luke at Delft in 1646. In 1649 he moved to The Hague, where in the following year he married Adriana, daughter of the architect Claes van Balkeneynde. In 1652 Potter settled in Amsterdam. He probably received his early training from his father, the painter Pieter Potter [1597-1652], but his style shows little dependence upon that of earlier masters. In so short a career there was little development in style between the earlier and the later works, but 1647 seems to mark a peak in his achievement, for many of the finest paintings bear this date. Among works that depart from his normal scale or style, the huge Young Bull (1647), which is life-size, is his most celebrated, though not necessarily his finest work, while Orpheus Charming the Beasts (1650) is an excursion into a poetic world. Potter's etchings of animals show all the skill and sympathy of his paintings. LINKS Four Cows in a Meadow (1651) _ The bulk of Potter's work is devoted to horses and to scenes of cows, goats, sheep, and pigs, which show an extraordinary sensitivity to the various ways in which farmyard animals behave at different times of the day as well as to the different quality of light in the morning or at dusk in landscapes that almost invariably make country life appear idyllic. Notable too are are his portraits of dogs. Orpheus Charming the Beasts (1650) Diederik Tulp (1653) _ Potter worked for the court in The Hague, in nearby Delft, and in 1652 he settled in Amsterdam. According to Houbraken Nicolaes Tulp persuaded him to move to the metropolis where the famous doctor became his mentor. If true, once again Tulp showed he had an eye for young talent. Two decades earlier he had asked the twenty-six-year-old Rembrandt to paint the Anatomy Lesson (1632) which established Rembrandt's reputation in the city. In 1653 Potter painted this life-size equestrian portrait which has been traditionally identified as his likeness of Tulp's son Dirck (Diederik); however, the tradition may very well be apocryphal. The portrait proves that Potter was no exception to the rule that seventeenth-century Dutch painters never match the life-size equestrian portraits of royalty and their ministers by Velázquez, Rubens, or Van Dyck Landscape with Shepherdess and Shepherd Playing Flute (1644, 67x114cm) _ The painting reflects the influence of Elsheimer, or the Dutch followers of Elsheimer. The Farm (1649, 81x116cm) _ Potter's career was short. He died a few months after his twenty-eighth birthday. His early works show the influence of his father, the painter Pieter Symonszoon Potter (1598-1652) and Moeyaert who painted cattle in his biblical and mythological pictures. He is documented as a student of Jacob de Wet, a Rembrandt follower, and probably also knew the innovative prints done in the thirties by Moeyaert, Gerrit Bleker (active 1625-1656), and Pieter van Laer, which prominently feature cattle, horses, and other livestock; he himself made etchings of animals. Potter tried his hand at a few subject paintings, but the bulk of his work is devoted to horses and to scenes of cows, goats, sheep, and pigs, which show an extraordinary sensitivity to the various ways in which farmyard animals behave at different times of the day as well as to the different quality of light in the morning or at dusk in landscapes that almost invariably make country life appear idyllic. Young Bull (1647, 236x339cm) _ In the work of Paulus Potter views of nature and animals are seen for their own sake, and not as a backdrop for human action. Potter can paint equally well the bright sunlight and the cool air, but his real fame lies with his penetrating portraits of animals. His best-known work is the life-size Young Bull, an unusual heroization of a single animal, a counterpart to the monumental trend of Ruisdael and Cuyp. Although at first blush it appears to be a portrait of a prize young bull Potter most probably composed his famous beast from studies of more than one animal since its dewlap, horns, and teeth belong to bulls of different ages. The ancient Greek painter Zeuxis used a similar method; when he painted his portrait of Helen in the city of Croton he chose five beautiful virgins, in order to copy the finest features of each, for in one woman he felt he could not find perfect beauty. During the nineteenth century the Young Bull by the 22-year-old Potter ranked close in fame to the Night Watch of Rembrandt. Later generations have been less captivated by Potter's fidelity to nature when he worked life-size. Although the shapes of the farmer, the tree, and the bull against the light sky are impressive and the textures of the animals have been convincingly represented by the use of an original impasto which approaches relief, the entire foreground of this huge canvas seems airless. Atmosphere enters the picture only in the lovely distant view on the right, where a sunny light plays upon the cattle in the meadows and on the woods, making this passage one of his loveliest landscapes. Potter is more consistent on a small scale, and his cabinet pieces show him at his best. 16 etchings at Fine Arts Museums of SF |