search 7500+ artists, their works, museums, movements, countries, time periods, media, specializations
ART “4” “2”-DAY  11 JUNE
<<< 10 Jun|   |||||   CLICK FOR OTHER DATES   |||||   /12 Jun>>>
DEATHS:  1956 BRANGWYN — 1722 CALRAET
BIRTHS: 1838 FORTUNY — 1776 CONSTABLE — 1912 BAZIOTES — 1902 NAY
^ Born on 11 June 1838: Mariano José Bernardo Fortuny y Marsal (or: ...y Carbo?), Spanish painter who died on 21 November 1874.
— During his brief but highly successful career he became one of the leading Spanish painters of the mid-19th century. His fame and fortune were primarily the result of his historical genre paintings. His work drew both on earlier Spanish art, especially the paintings and etchings of Goya, and on contemporary foreign works, notably the paintings of the Italian Macchiaioli and those of the French artist Ernest Meissonier. Father of Mariano Fortuny y Madrazo [11 May 1871 — 02 May 1949].
Photo of Fortuny.

LINKS

The Café of the Swallows (1868; 854x621pix, 63kb)
zoom to 1708x1242pix, 252kb — ZOOM to 2562x1862pix; 559kb — ZOOM to 3415x2483pix, 1091kb
_ detail 1
(890x1242pix, 153kb) _ detail 2 (947x1204pix, 171kb) _ detail 3 (901x1185pix, 173kb)

Moroccan Man (1869; 848x544pix, 48kb) — ZOOM to 2418x1445pix; 595kb
_ detail 1
(813x725pix, 71kb) _ detail 2 (888x1088pix, 125kb) _ detail 3 (860x1201pix, 182kb)

The Choice of a Model (1874, 53x81cm; 748x1200pix, 92kb)

The Painter's Children in the Japanese Room _ (1874, 44x93 cm; 741x1650pix, 128kb) _ This painting is without doubt a small jewel. Though, because of its size it might be considered a minor work, it is actually one of his most brilliant. The painter, the first Spaniard to become a trully cosmopolitan artist, enjoyed international fame and earned a large number of commissions throughout his short life. However in this small work — Fortuny was certainly a specialist in small formats — he wasn't working "on commission". He painted it just a few months before he died, never really finishing it, and is a reflection of his search in the last years of his life to find new roads and outlets for his painting. Thus, while some elements of the scene — such as the girl's leg — are perfectly drawn with meticulous detail, other parts of the painting show such loose, separated brush strokes that one might say that this presages Impressionism. The children in the painting are Mariano [1871-1949] and Maria Luisa [1868-1936], the product of his marriage to Cecilia Madrazo, the daughter of Federico de Madrazo y Küntz [1815-1894] and grandaughter of José de Madrazo y Agudo [1781-1859].

A Summer Day, Morocco (25x66cm) — Idyll (1868)
^ Died on 11 June 1956: Sir Frank William Brangwyn, Welsh painter born on 13 May 1867. His students included Karl Albert Buehr.
— Frank Brangwyn, the son of an English architect, was born in Bruges, Belgium. When Frank was ten his family returned to London. He was apprenticed to William Morris for four years and afterwards travelled widely [and wildly?]. As well as working for The Graphic and The Idler, Brangwyn illustrated several books including Collingwood (1891), The Captured Cruiser (1893), The Wreck of the Golden Fleece (1893), Tales of Our Coast (1896), The History of Don Quixote (1898) and A Spiced Yarn (1899). By the early 20th century Brangwyn had a reputation for large pictures painted in a realistic style. He also designed furniture, carpets, textiles, ceramics, stained glass, metalwork and jewellery. During the First World War Brangwyn was an Official War Artist. In 1925 Brangwyn was commissioned to paint a set of wall paintings for the House of Lords. These were competed and rejected in 1930. This included the impressive war picture, Tank in Action. Offers for the murals came from all over the world but they were eventually installed in the Guildhall in Swansea.
LINKS
Church of Saint Nicholas, Paris (formerly Church Square) (etching 52x63cm; 909x1099pix, 247kb — ZOOM to 1819x2198pix, 904kb)
Tank in Action (1926, 366x376cm) _ The work of Brangwyn is that of an artist who made large formats and brutal realism his personal hallmark. Paying great attention to detail in his skillful stagings of attacks, he composed pictures whose dimensions and composition seek a spectacular effect. In 1924, he was commissioned to do a set of wall paintings for Westminster Palace, including this one, where his expressionism was found unacceptably morbid for the official building it was painted for.
The Empty Sepulchre (1920 color woodcut, 16x14cm)
The Mine (etching 30x22cm)
Windmill, Dixmude (etching 55x75cm)
56 prints at FAMSF
^ Born on 11 June 1776: John Constable, English Romantic painter specialized in Landscapes, who died on 01 April 1837, assistant to Claude Lorrain.
— One of the greatest British landscape painters, John Constable devoted his attention to the familiar scenery of his native Suffolk, Hampstead, and Salisbury. His nostalgic vision of the English countryside is for many people an ideal of rural England. His distinctive approach to landscape depended on long and close observation and study, particularly of clouds and light effects, which has been seen as an influence on the later Impressionists.
— Constable was born in East Bergholt, Suffolk, the son of a well-to-do mill owner. An early interest in drawing was encouraged by the connoisseur Sir George Beaumont and the etcher and draRsman J. T. ("Antiquity") Smith, and in 1799 Constable traveled to London and entered the Royal Academy Schools. He exhibited at the Royal Academy for the first time in 1802 and began making regular sketching and painting trips to rural parts of central and southeastern England, developing his style of plein-air sketching. Larger, more finished compositions were worked up in the studio, and in 1819 Constable exhibited at the academy the first of his sixfoot canvases showing scenes from the Stour River valley. He was elected an associate of the academy in 1819 but not a full member until 1829. Inclusion of three paintings in the Paris Salon of 1824 brought him to the excited attention of French artists, who saw in his work a new model of fidelity to nature. In later life, the vivid naturalism of his landscapes gave way to a looser, more expressionistic style. The lectures on landscape painting he presented in his last years, from 1833 to 1836, preserve a personal account of his theories and practices.
— Constable ranks with Turner as one of the greatest British landscape artists. Although he showed an early talent for art and began painting his native Suffolk scenery before he left school, his great originality matured slowly. He committed himself to a career as an artist only in 1799, when he joined the Royal Academy Schools and it was not until 1829 that he was grudgingly made a full Academician, elected by a majority of only one vote. In 1816 he became financially secure on the death of his father and married Maria Bicknell after a seven-year courtship and in the fact of strong opposition from her family. During the 1820s he began to win recognition: The Hay Wain (1821) won a gold medal at the Paris Salon of 1824 and Constable was admired by Delacroix and Bonington among others. His wife died in 1828, however, and the remaining years of his life were clouded by despondency.
      After spending some years working in the picturesque tradition of landscape and the manner of Gainsborough, Constable developed his own original treatment from the attempt to render scenery more directly and realistically, carrying on but modifying in an individual way the tradition inherited from Ruisdael and the Dutch 17th-century landscape painters. Just as his contemporary William Wordsworth rejected what he called the ‘poetic diction’ of his predecessors, so Constable turned away from the pictorial conventions of 18th-century landscape painters, who, he said, were always ‘running after pictures and seeking the truth at second hand'. Constable thought that ‘No two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of the world', and in a then new way he represented in paint the atmospheric effects of changing light in the open air, the movement of clouds across the sky, and his excited delight at these phenomena, stemming from a profound love of the country: ‘The sound of water escaping from mill dams, willows, old rotten planks, slimy posts and brickwork, I love such things. These scenes made me a painter.’
      He never went abroad, and his finest works are of the places he knew and loved best, particularly Suffolk and Hampstead, where he lived from 1821. To render the shifting flicker of light and weather he abandoned fine traditional finish, catching the sunlight in blobs of pure white or yellow, and the drama of storms with a rapid brush. Henry Fuseli was among the contemporaries who applauded the freshness of Constable's approach, for C. R. Leslie records him as saying: ‘I like de landscapes of Constable; he is always picturesque, of a fine color, and de lights always in de right places; but he makes me call for my great coat and umbrella.’
      Constable worked extensively in the open air, drawing and sketching in oils, but his finished pictures were produced in the studio. For his most ambitious works — ‘six-footers’ as he called them — he followed the unusual technical procedure of making a full-size oil sketch, and in the 20th century there has been a tendancy to praise these even more highly than the finished works because of their freedom and freshness of brushwork.
      In England Constable had no real sucessor and the many imitators (who included his son Lionel, 1825-87) turned rather to the formal compositions than to the more direct sketches. In France, however, he was a major influence on Romantics such as Delacroix, on the painters of the Barbizon School, and ultimately on the Impressionists
—   John Constable was one of the major European landscape artists of the XIX century, whose art was admired by Delacroix and Gericault and influenced the masters of Barbizon and even the Impressionists, although he did not achieved much fame during his lifetime in England, his own country. John Constable was born in East Bergholt, Suffolk, on 11 June 1776, the fourth child and second son of Ann and Golding Constable. His father was a prosperous local corn merchant who inherited his business from an uncle in 1764. Constable was educated at Dedham Grammar School, where he distinguished himself more by his draughtsmanship than his scholarship. In 1793 his father decided to train him as a miller and, consequently, Constable spent a year working on the family mill, which helped him to determine his course of life: he would be an artist.
        In 1796-1798 he took lessons from John Thomas Smith and later from George Frost, who supported his love of landscape painting and encouraged him to study Gainsborough's works. In 1700 he entered the Royal Academy Schools. As a student he copied Old Master landscapes, especially those of Jacob van Ruisdael. Though deeply impressed by the work of Claude Lorrain and the watercolors of Thomas Girtin, Constable believed the actual study of nature was more important than any artistic model. He refused to "learn the truth second-hand". To a greater degree than any other artist before him, Constable based his paintings on precisely drawn sketches made directly from nature. His most notable picture of his early works are Dedham Vale (1802), 'A Church Porch' (The Church Porch, East Bergholt) (1809), Dedham Vale: Morning (1811), Landscape: Boys Fishing (1813), Boatbuilding (1814), Wivenhoe Park (1816), Weymouth Bay (1816). Flatford Mill (1817) was his last work of the period, created en plein-air.
        He married Maria Bicknell in 1816 and they settled in London. After 1816 he changed the method of his work turning away from realistic agrarian landscapes such as Landscape: Ploughing Scene in Suffolk (A Summerland) (1814). Now he was working mostly in his studio in London and had to work out the image from his memory, starting each picture from a full-size sketch. The sketches enabled his memory to develop gradually until everything he could remember about the scene was satisfactorily suggested. At this point he would begin the finished painting. Each of his large canvass starting with The White Horse (1819) and continuing through Landscape: Noon (The Hay-Wain) (1821), The Lock (A Boat Passing a Lock) (1824), The Leaping Horse (1824-1825), The Cornfield (1826) was fulfilled in this way.
        Although he never was popular in England, some of his works were exhibited in Paris and achieved instant fame. In 1829 he was finally elected a Royal Academician.  His other important works of these period were Hampstead Heath (c.1820), Salisbury Cathedral, from the Bishop's Grounds (1823), A Mill at Gillingham in Dorset (Parham's Mill) (1826), Dedham Vale (1828), Hadleigh Castle (1829), Old Sarum (1829), Salisbury Cathedral, from the Meadows (1831). He died working on Arundel Mill and Castle (1837).
LINKS
A Woman (64x53cm)
A View on Hampstead Heath with Harrow in the Distance (1822, 29x50cm)
Hampstead Heath, Looking Towards Harrow (1821, 24x30cm)
Hampstead Heath Looking Towards Harrow (14 Aug 1821, 70x56cm) _ Constable first rented a house in Hampstead in 1819, but it was in the summers of 1821 and 1822 that he made the most of the high vantage point and open spaces of Hampstead Heath to study clouds, and sketch distant views. Here he combines a panoramic view looking northwards with a dramatic and complex sky. The picture is inscribed on the back ‘5 o’ clock afternoon: August 1821 very fine bright & wind after rain slightly in the morning’ which is what the weather show for 14 August.
Arundel Mill (1835, 22x30cm) — Salisbury Cathedral
Salisbury Cathedral from the Meadows, (1831) 151.8 x 189.9 cm; oil on canvas John Constable Constable painted Salisbury Cathedral many times. Here the cathedral is set against a stormy sky – the preceding rainfall has darkened the stone to an impressive and dramatic black. Painted shortly after the death of his wife the painting can be read symbolically. The passing of the storm, the rainbow, and the church’s spire - which seems to pierce through the cloud to bright sky beyond - might all suggest Constable’s faith giving him hope and support after his loss.
Wivenhoe Park, EssexWhite Horse in Ferry _ detail
^ Died on 11 June 1722: Abraham Pieterszoon van Calraet (or Kalraet, Kalraat), [buried on 12 June 1722], Dordrech painter baptized as an infant on 12 October 1642.
— Abraham van Calraet, the son of a woodcarver, one of six artist brothers, of whom Barendt [1649-1737], and possibly Abraham himself, studied under Cuyp. He was first the student of the Huppe brothers, sculptors in Dordrecht, and subsequently practiced as a wood-carver and as a painter of still-life, stable scenes, landscapes with horses, and some portraits. In 1680 he married in Dordrecht a daughter of the painter C. Bisschop.
     Abraham van Calraet was Aelbert Cuyp's principal seventeenth century follower. Confusion between the two is compounded by the signature 'A.C.' found on van Calraet's views of Dordrecht, pictures of horsemen, and still-lifes; it is sometimes erroneously accepted as Aelbert Cuyp's own monogram. Abraham was the eldest son of Pieter Janszoon van Calraet [1620–1681], a sculptor from Utrecht. Abraham was taught by the Dordrecht sculptors Aemilius and Samuel Huppe, although nothing is known of his activity as a sculptor. Abraham learnt to paint figures and fruit. His brother Barent van Calraet [1649–1737], who specialized at first in horse paintings but later imitated the Rhine landscapes of Herman Saftleven, was a pupil of Aelbert Cuyp. A painting of Two Horses in a Stable, initialed APK, indicates that Abraham, too, must have been well acquainted with Cuyp and provides the basis for identifying Abraham’s painting style. A large number of landscapes with horses, paintings of livestock in stables and still-lifes, all initialled A.C. and formerly attributed to Aelbert Cuyp, are now generally considered to be the work of van Calraet, although many of these are in fact copies after him.
LINKS
Still-life with Peaches and Grapes (1680; 800x652pix, 75kb)
A Boy holding a Grey Horse (420x365pix, 34kb) _ This picture is attributed to Calraet because of its closeness in style to signed paintings by him. It does, however, bear a false Cuyp signature and in the past has been catalogued as his work. The horse in particular appears in pictures by both artists. It is not unusual for paintings by Calraet to be mistaken for works by Cuyp. There are several versions of this subject, including another one which is also falsely signed as the work of Cuyp.
Scene on the Ice outside Dordrecht (1665, 34x58cm; 394x640pix, 41kb) _ Dordrecht is seen here from the north, across the river Maas. In the left background is the Groothoofdspoort, a watergate which still survives, although it was altered in the late 17th century. To the right of it is the Grote Kerk which is largely unchanged today. This painting perhaps derives from a view of Dordrecht in the background of a work by Aelbert Cuyp which was probably painted in the 1650s. Although the costumes in the painting are of the 1660s, the picture may have been painted later. Partly because of the parallels between the city views in this picture and in works by Cuyp, the painting has in the past been attributed to him.
^ Born on 11 June 1912: William A. Baziotes, US Abstract Expressionist painter in a biomorphic style influenced by Surrealism. He died on 04 June 1963.
— Studied at the National Academy of Design in New York 1933-1936 and afterwards worked 1936-1940 on the WPA Federal Art Project, first as a teacher and later as an easel painter. Attracted to Surrealism in the early 1940s, became friendly with Matta and Motherwell, and experimented in 1942-3 with various types of automatism. First one-man exhibition at Art of This Century, New York, 1944. Collaborated with Motherwell, Hare, Rothko and later Newman in running the art school The Subjects of the Artist 1948-1949. Attained about 1950-1952 his characteristic style usually based on a few elemental animal or plant forms in an underwater setting. Died in New York.
— He was brought up in Reading PA, by his Greek immigrant parents. When his father’s business failed in the mid-1920s, he was exposed to poverty and the life of illegal gambling dens and local brothels, all of which later contributed to the spirit of evil lurking in his paintings. In the early 1930s he worked briefly for a company specializing in stained glass for churches, which may have affected the mysterious and translucent painted environments in his later canvases. His early interest in poetry was heightened by his close friendship with the Reading poet Byron Vazakas, who introduced him to the work of Charles Baudelaire and the French Symbolists; these writers soon became an important source for Baziotes’s own search to communicate strong emotions and bizarre states of mind. Themes from Baudelaire’s poetry are suggested in Baziotes’s treatment of twilight, water, the color green, and mirrors, while The Balcony (1944) is among the paintings to derive its title from a specific poem.
— The son of Greek immigrants, Baziotes was born in Pittsburgh and later studied at the National Academy of Design in New York in 1933-1936. In 1936 he was hired by the Works Progress Administration to teach art at the Queens Children's Museum. As a young artist in New York in the early 1940s, Baziotes was exposed to émigré European avant-garde art of the early 20th century and became particularly interested in Surrealist painting methods and, in particular, Surrealism's efforts at tapping the unconscious in the formation of images. During the 1940s, for instance, he spread color thinly across the canvas surface until an image — automatically and accidentally — suggested itself; he then developed and adjusted the painted surface slowly, while never moving into total abstraction. His subjects invoke the fantastic and dreamlike world of boundless, amoeboid creatures, while the surfaces of his canvases seem to emanate a softly glowing — sometime eerie, always mysterious — light, as if those subjects were suspended in some kind of gelatinous substance.
— Baziotes was born in Pittsburgh, to parents of Greek origin. He grew up in Reading, Pennsylvania, where he worked at the Case Glass company from 1931 to 1933, antiquing glass and running errands. At this time, he took evening sketch classes and met the poet Byron Vazakas, who became his lifelong friend. Vazakas introduced Baziotes to the work of Charles Baudelaire and the Symbolist poets. In 1931, Baziotes saw the Henri Matisse exhibition at the Museum of Modern Art in New York, and in 1933 he moved to that city to study painting. From 1933 to 1936, Baziotes attended the National Academy of Design.
      In 1936, he exhibited for the first time in a group show at the Municipal Art Gallery, New York, and was employed by the WPA Federal Art Project as an art teacher at the Queens Museum. Baziotes worked in the easel division of the WPA from 1938 to 1941. He met the Surrealist émigrés in New York in the late 1930s and early 1940s, and by 1940 knew Jimmy Ernst, Matta, and Gordon Onslow-Ford. He began to experiment with Surrealist automatism at this time. In 1941, Matta introduced Baziotes to Robert Motherwell, with whom Baziotes formed a close friendship. André Masson invited Baziotes to participate with Motherwell, David Hare, and others in the 1942 exhibition First Papers of Surrealism at the Whitelaw Reid Mansion in New York. In 1943, he took part in two group shows at Peggy Guggenheim’s Art of This Century, New York, where his first solo exhibition was held the following year. With Hare, Motherwell, and Mark Rothko,
      Baziotes founded the Subjects of the Artist school in New York in 1948. Over the next decade, Baziotes held a number of teaching positions in New York: at the Brooklyn Museum Art School and at New York University from 1949 to 1952; at the People’s Art Center, the Museum of Modern Art, from 1950 to 1952; and at Hunter College from 1952 to 1962. Baziotes died in New York.
LINKS
The Room (1945, 46x61cm; 427x573pix, 117kb) _ William Baziotes and other members of the New York School were influenced by the European Surrealists who had fled to the United States during World War II. Like the Surrealists, Baziotes used objects in his environment as triggers for the memory of early sensations or as conduits to the unconscious. This procedure produced in him an acutely sensitized state of mind that he attempted to formulate visually in his paintings. Baziotes saw this visual manifestation of states of mind as parallel to the literary achievement of the Symbolist poets and of Marcel Proust, whose work he much admired.
      Baziotes makes allusions in his paintings to the external world of objects, but these remain elusive and changeable. He usually added his titles after the compositions had emerged through intuitive decisions. Although the titles do not identify subject matter, they nevertheless guide interpretation. Thus, the title of the present work may encourage one to experience the mood of an interior space illuminated by diffused twilight. An atmosphere of nostalgic reverie is evoked by scumbled, weathered layers of gouache in which pastel colors predominate. Unlike Baziotes’s most characteristic works, in which biomorphic shapes float freely on an indefinite background, The Room is constructed architectonically. The gridded structure derives from Piet Mondrian and the Cubists, models for Baziotes before his encounter with the Surrealists.
Dusk (1958, 153x123 cm; 573x456cm, 35kb) _ Baziotes’s paintings are freely improvised, intuitive affairs created in the spirit of Surrealist automatism. Each canvas, he claimed in 1947, “has its own way of evolving. . . . Each beginning suggests something. . . . The suggestion then becomes a phantom that must be caught and made real.” For Baziotes, the “reality” he aspired to exists only in a poetic realm, one in which color and form serve as analogues for psychological and emotional states. This use of visual metaphor was inspired by the artist’s love for poetry, particularly that of Charles Baudelaire, whose theory of “correspondences” proclaimed the fundamental equivalence of all things in nature and the capacity of any designated thing to symbolize something beyond itself. By the late 1940s Baziotes achieved his signature formal motif—delicate, semitranslucent, biomorphic shapes suspended within aqueous fields of muted color—which invokes the Baudelairian world of allusion and association. “The emphasis on flora, fauna and beings,” explained the artist about his painting, “brings forth those strange memories and psychic feelings that mystify and fascinate all of us.”
      Baziotes shared his keen interest in nature with other artists of the New York School, who were motivated simultaneously by their search for primordial truths and their fascination with scientific inquiry. What bridged these two utopian investigations was the microscope; the invisible world of protean forms it revealed promised to disclose the origins of life. This preoccupation with identifying metaphysical features of the organic realm may illuminate Baziotes’s predilection for marine imagery, as demonstrated in Aquatic, a painting of serpentine forms swimming through a calm, watery world. The symbolic possibilities of the ocean are vast and Baziotes drew on many of its meanings. Aquatic has been interpreted as an expression of the artist’s romantic vision of the sea as a domain of symbiotic relationships. The artist was captivated by the mating practice of eels, which swim through the ocean, rarely touching but always together. The delicately intertwined lines in the picture have been thought to represent these faithful eels on their course through the watery depths. Dusk, one of many pictures relating to nocturnal themes, is a lyrical evocation of a contemplative moment, the nuanced ebb of time between day and night, the half-light of evening.

Untitled [fish and alga?] (427x566pix, 35kb)
Green Night (1957, 92x122cm; 300x400pix, 34kb)
Primeval wall ("A teacher affects eternity; he can never tell where his influence stops."), from the series Great Ideas of Western Man (1959, 62x77cm; 418x528pix, 50kb)
Scepter (1961, 168x198cm; 447x528pix, 38kb)
^ Born on 11 June (July?) 1902: Ernst Wilhelm Nay, German artist who died on 08 April 1968. — [Did he ask people to “just say Nay”?] [Did he know how to talk to horses? Could Nay neigh?]
— 1902 Ernst Wilhelm Nay wird am 11. Juni als zweites von sechs Kindern in Berlin geboren. Eltern: Johannes Nay, Regierungsrat, später Vortragender Rat im Reichsschatzamt, Berlin, und Elisabeth Nay geb. Westphal.
  • 1912 Besuch des Humanistischen Gymnasiums in Berlin-Steglitz
  • 1914 Nays Vater fällt im Alter von 52 Jahren als Hauptmann in Belgien
  • 1915 Nay kommt auf das Internat Schulpforta in Thüringen
  • 1921 Abitur in Schulpforta. Rückkehr nach Berlin, Tätigkeiten u.a. in der Buchhandlung Gsellius, im Kaufhaus des Westens, als Architekt beim Film. Erste Landschaften und Portraits.
  • 1923 Teilnahme am Abendakt der Berliner Kunstgewerbeschule.
  • 1925 Besuch einer Hofer-Ausstellung in der Berliner Akademie der Künste. Nay setzt sich mit den Werken von C.D. Friedrich, mit Picasso, Braque, Gris, Matisse, Chagall, Kandinsky, Klee sowie den Malern des "Sturm" auseinander. Er malt Bildnisse seiner Mutter, der Freundin seiner Schwester und eines jungen Mannes und zeigt seine Arbeiten Carl Hofer, der ihn als Stipendiaten in seine Malklasse an der Berliner Akademie aufnimmt.
  • 1927 Paul Westheim berichtet erstmals ausführlich über Nay in der von ihm herausgegebenen Zeitschrift "Das Kunstblatt". Beteiligung an der Berliner Akademie-Ausstellung und der "Ausstellung der jungen Maler" in der Deutschen Kunstgemeinschaft, Berlin.
  • 1928 Kurze Reise nach Paris. Nay begeistert sich für Poussin.
  • 1930 Carl Georg Heise vermittelt einen Aufenthalt auf Bornholm. Dort entstehen Strandbilder, von denen die Nationalgalerie Berlin eines erwirbt.
  • 1931 Nay erhält die Prämie des Staatspreises der Preußischen Akademie der Künste, Berlin - und damit verbunden - ein neunmonatiges Stipendium für die Villa Massimo in Rom, wo er sich bis
  • 1932 aufhät.
  • 1932 Mystisch ornamentale Tierbilder entstehen
  • 1932-1935. Eheschließung mit Helene (Elly) Kirchner in Berlin. Erste Begegnung mit dem Kunsthändler Günther Franke in München, der später fast alljährlich Nays Arbeiten in seiner Galerie zeigt.
  • 1933 Beteiligung an der Ausstellung "Lebendige deutsche Kunst" in der Galerie Flechtheim in Berlin
  • 1934-1936 Nay hält sich in den Sommermonaten an der Ostsee auf, wo die mit der Rohrfeder gezeichneten "Fischerzeichnungen entstehen. Später arbeitet er im Berliner Atelier. Es entstehen die "Dünen- und Fischerbilder" und die ersten Holzschnitte. Nay macht Bekanntschaft mit Erich Meyer und Alfred Hentzen, die beide an Berliner Museen tätig sind.
  • 1937 Durch Vermittlung von C.G. Heise reist Nay nach Norwegen als Gast von Edvard Munch; Besuch bei Munch in dessen Atelier in Skoein bei Oslo; dreimonatiger Aufenthalt auf den Lofoteninseln. Dort entstehen Aquarell, zurück in Berlin die "Lofotenbilder".
  • 1937-1938 In der Ausstellung "Entartete Kunst", die in München, Berlin, Leipzig, Düsseldorf und Dortmund gezeigt wird, ist Nay mit zwei Werken vertreten. Nay wird in Deutschland mit Ausstellungsverbot belegt. Zehn Bilder aus öffentlichen Museen werden beschlagnahmt.
  • 1938 Aquarellausstellung in Oslo, veranstaltet von dem Kunsthändler Holst Halvorsen. Im Sommer Reise nach Norwegen, auf die Lofoten und nach Romsdalen bei Trondheim; es entstehen Aquarelle, später in Berlin vorwiegend figurale "Lofotenbilder".
  • 1939 Kurze Reise nach Bulgarien, Aquarelle.
  • 1940 Eingezogen zum Kriegsdienst; Soldat in der Bretagne. Nay malt in seiner Freizeit kleine Aquarelle.
  • 1942-1944 Durch Vermittlung von Hans Lühdorf Kartenzeichner in Le Mans. Auslagerung des grössten Teils seiner Arbeiten bei Erich Meyer in Berlin, Günther Franke in München und bei einem Onkel Nays in Muskau, Niederlausitz.
  • 1943 In Berlin ausgebombt
  • 1944 Rückzug über Amiens in die Eifel.
  • 1945 Als Obergefreiter von den Amerikanern entlassen. Da sein Atelier in Berlin zerstört ist, geht Nay nach Hofheim im Taunus, wo er von Hanna Bekker vom Rath ein kleines Atelierhaus beziehen kann. Bekanntschaft mit Ernst Holzinger, Direktor des Städelschen Kunstinstituts in Frankfurt am Main, dem Politiker Adolf Arndt und dessen Frau, dem Ethnologen Adolf Friedrich und dem Schriftsteller Fritz Usinger.
  • 1945-1948 In Hofheim im Taunus entstehen die mythisch-magischen "Hekatebilder"
  • 1946 Erste Nachkriegsausstellung bei Günther Franke in München und Gerd Rosen in Berlin.
  • 1947 Ausstellungen in den Galerien Alex Vömel, Düsseldorf, Werner Rusche, Köln, bei Franz in Berlin, im Hamburger Kunstverein und der Overbeck-Gesellschaft in Lübeck.
  • 1948 Beteiligung an der Biennale in Venedig. Bekanntschaft mit dem Sammlerehepaar Günther und Carola Peill.
  • 1949 In beiderseitigem Einverständnis Scheidung von Elly Nay. Eheschließung mit Elisabeth Kerschbaumer. - In Worpswede entsteht seine erste grosse Graphikserie. Zehn Farblithografien verlegt bei Michael Hertz, Bremen.
  • 1949-1951 Abstrakt-figurale Bilder
  • 1950 Retrospektive Ausstellung in der Kestner-Gesellschaft, Hannover
  • 1951 Übersiedlung nach Köln
  • 1952 Im Kölner Atelier entstehen im Handdruck vier Farbholzschnitte. Retrospektivausstellung anlässlich seines 50. Geburtstags im Haus Waldsee, Berlin. Kunstpreis der Stadt Köln; Karl Ströher Preis, Darmstadt
  • 1952-1953 Gegenstandslose, rhytmisch intonierte Bilder
  • 1953 Für zwei Monate Gastdozent an der Landeskunstschule in Hamburg. Es entsteht die theoretische Schrift Nays "Vom Gestaltwert der Farbe". Goldmedaille des "Premio Lissone" Italien. Beteiligung an der Ausstellung "Europäische Kunst des 20. Jahrhunderts" in den Museen Luzern und Basel.
  • 1954 Im Sommer in Lökken, Dänemark entstehen grossformatige Aquarelle.
  • 1955 Beginn der Scheibenbilder-Periode; Bilder und Aquarelle, in denen die Scheibe in Abwandlungen das Hauptthema des Bildes ist. Ausstellung in der Kleemann Gallery, New York. Lichtwark-Preis der Freien und Hansestadt Hamburg. Grosse retrospektive Ausstellungen in der Hamburger Kunsthalle, Ausstellung in der Kestner-Gesellschaft, Hannover. Beteiligung an der "documenta I" in Kassel.
  • 1955-1956 Im Winter in Crans sur Sierre, Schweiz, Aquarelle.
  • 1956 Einzelausstellung im Deutschen Pavillon auf der Biennale in Venedig. Grosses Wandbild für das Chemische Institut der Universität Freiburg. Ernennung zum Mitglied der Akademie der Künste, Berlin. Grosser Preis des Landes Nordrhein-Westfalen für Malerei. Beteiligung an der Ausstellung " A century of german Art" in der Tate Gallery in London.
  • 1957 Nay mietet in Paris ein Atelier und druckt dort bei Georges Visat fünf farbige Aquatinten. Beteiligung an der Ausstellung deutscher Kunst im Museum of Modern Art in New York.
  • 1958 Erneut in Paris; Gemälde und vier Aquatinten. Einzelausstellung in der Galerie Les Contemporaines, Brüssel. Teilnahme an der Ausstellung "50 Jahre moderne Kunst" im Rahmen der Weltausstellung in Brüssel.
  • 1959 Ausstellung in der Kleemann Gallery, New York. Reise nach New York. In den Sommermonaten auf Mykonos; Aquarelle. Beteiligung an der "documenta II" in Kassel. Retrospektivausstellung im Kunstverein für die Rheinlande und Westfalen, Düsseldorf.
  • 1960 Guggenheim-Preis, New York, deutsche Sektion. In den Sommermonaten auf Sizilien, Aquarelle. Retrospektive Ausstellungen in der Kunsthalle Basel "Baumeister und Nay" und in der Marlborough New London Gallery. Beteiligung an der Biennale in Sao Paolo.
  • 1961 Ausstellung in der Knoedler Gallery, New York. Nay malt mehrere grossformatige Bilder, eines wird für die Deutsche Oper Berlin erworben. Reise nach New York, Washington, Boston, Los Angeles, San Francisco, Chicago.
  • 1962 Zum 60. Geburtstag grosse retrospektive Ausstellung im Museum Folkwang, Essen. Ausstellung in der Knoedler Gallery, New York. In der Ausstellung "Entartete Kunst - Bildersturm vor 25 Jahren" in München ist Nay mit 3 Bildern vertreten.
  • 1963 Reise nach USA und Mexico; in Mexico-City besucht Nay Paul Westheim. Ende der Scheibenbilder-Periode. Es entstehen Bilder mit durchstrichenen Scheiben, daraus resultiert eine augenähnliche Form.
  • 1964 Mit den sogenannten dramatischen oder "Augenbildern" beginnt eine neue Periode. Im Kölner Atelier entstehen die drei grossen Deckenbilder für die "Documenta III" in Kassel. Ausstellungen in der Knoedler Gallery, New York und Paris, im Kunstverein Münster und Retrospektivausstellungen in den Kunstvereinen Hamburg und Karlsruhe. Sonderausstellung von Zeichnungen und Aquarellen in der I. Internationalen der Zeichnung in Darmstadt. Berliner Kunstpreis. Im Sommer auf Mykonos, Aquarelle.
  • 1965 Ausstellung im Kunstverein Frankfurt am Main. Im Sommer auf Kreta, Aquarelle. Ausstellung bei Holst Halvorsen in Oslo
  • 1966 Übergang zum Spätstil; Vereinfachung der Formen, Reduzierung der Farben. Einzelausstellung innerhalb der Ausstellung "Salon International des Galeries Pilotes" in Lausanne durch die Galerie Spiegel, Köln. Reise nach New York, Los Angeles, Hawaii, Hong Kong und Japan. Grosse retrospektive Ausstellung im Württembergischen Kunstverein, Stuttgart.
  • 1967 Grosse Retrospektiven in der Städtischen Kunsthalle Mannheim, in der Akademie der Künste, Berlin, und im Museum des 20. Jahrhunderts, Wien. Im Sommer in Ronchi, Italien; Aquarelle. Im Herbst Einzelausstellung der neuesten Bilder in der Galerie im Erker, St.Gallen (Schweiz). Im Winter in Bayern, grossformatige Bilder, Gouachen und Aquarelle. - Grosses Verdienstkreuz der Bundesrepublik Deutschland.
  • 1968 Im Februar letzte Reise nach Berlin zur Uhlmann-Ausstellung. Im März entstehen die Gemälde "Rotfiguration", "Blaufiguration", "Gelb-Schwarz", und das letzte Bild des Künstlers, "Weiss-Schwarz-Gelb", in drei Varianten. Letzte abgeschlossene Arbeit: Entwürfe für die Wandkeramik (3x9 m) des Kernforschungszentrums in Karlsruhe.
  • 1968 Am 8. April stirbt Ernst Wilhelm Nay an Herzversagen in seinem Haus in Köln.

    — Der deutsche Maler Ernst Wilhelm Nay gilt als Vermittler zwischen der abstrakten Malkunst der Vorkriegszeit und den Malern der Nachkriegszeit in Deutschland. Bekannt wurde er mit seinen „Kreischeibenkompositionen“ (1955). Künstlerisch debütierte er im Stil des deutschen Expressionismus und Kubismus. Nay entwickelte dann seine Malerei zu einer flächigen Abstraktion mit einer rhythmischen Farbgestaltung, bei der die Farbe gestaltende Kraft besitzt.
          Ernst Wilhem Nay wurde am 11. Juli 1902 in Berlin geboren. Ernst Wilhem Nay absolvierte zunächst eine Lehre als Buchbinder. In der Bildenden Kunst war er ein Autodidakt. Schon früh malte er Landschaften und Portraits wie zum Beispiel der Titel „Franz Reuter“ (1925). Sein Talent wurde von dem Maler Karl Hofer entdeckt. Nay wurde in den Jahren von 1925 bis 1928 an der Berliner Akademie sein Schüler. In dieser Zeit malte er im Stil der realistischen Naturwiedergabe.
          Ab dem Jahr 1928 hielt er sich mehrere Male in Paris auf. Zu seinem anfänglich figurativen Stil fand er Vorbilder bei den deutschen Expressionisten wie zum Beispiel bei den beiden Malern und Grafikern Ernst Ludwig Kirchner und Emil Nolde. In der Raumkonzeption seiner Bilder ließ er sich vom Werk des spanischen Malers José Victoriano González Pérez, besser bekannt unter seinem Künstlernamen Juan Gris, anregen.
          Es entstanden Figurenbilder, mit dem zentralen Thema des Menschen in der kosmischen Natur, in eigenständiger Form. Schon im Jahr 1931 erhielt er den Staatspreis der Preußischen Akademie, der mit einen einjährigen Aufenthalt in der Villa Massima in Rom verbunden war. Anfang der dreißiger Jahre löste er sich von seinem bisherigen Stil und fertigte Tierbilder, die er als Kleinformat im magisch-surrealen Malduktus gestaltete. Vom Surrealismus ausgehend entwickelte sich der Künstler immer mehr zur abstrakten Stilaussage.
          Im Jahr 1937 stuften ihn die Nationalsozialisten als entarteten Künstler ein. Mehrere seiner Bilder wurden beschlagnahmt, und er wurde mit einem Ausstellungverbot belegt. In dieser Zeit hielt er sich oft in Norwegen auf. In den Jahren 1937 und 1938 lud ihn der norwegische Maler und Grafiker Edvard Munch auf die Lofoten ein. Dort schuf er Landschaftbilder in einem formal vereinfachten Stil, die aber durch die rhythmische Farbgebung über das Abbildhafte hinausweisen. Während des Zweiten Weltkrieges war er als Kartenleser tätig.
          In ähnlicher Weise entstanden Landschafts- und Figurenbilder von der Ostsee. Eines seiner zentralen Werke aus dieser Zeit trägt den Titel „Ausfahrt der Fischer“, das im Jahr 1936 entstand. Heute hängt es in der Niedersächsischen Staatsgalerie in Hannover. Nach dem Ende des Zweiten Weltkrieges befasste sich Ernst Wilhelm Nay mit dichterischen, legendenhaften, biblischen und mythologischen Motiven. Seine Einzelfiguren und Liebespaare realisierte er in dieser Zeit mit einer intensiven Farbgebung.
          Als gestalterisches Element gewann die Farbe in den Bilder dieser Zeit einen immer höheren Stellenwert. In den Fünfzigern begann Nay in der gegenstandslosen Malerei mit der gleichen ausgeprägten Auswahl an Kolorierung. Es entstanden flächig-abstraktive Bilder wie „Mit blauer Dominante“ (1951) oder „Akkord in Rot und Blau“ (1958), wobei bereits die Titel auf die Farbbilder verweisen. Im Jahr 1951 siedelte er als freier Maler nach Köln über.
          Sein praktisches Kunstwerk wird begleitet von der kunsttheoretischen Schrift „Vom Gestaltwert der Farbe: Fläche, Zahl, Rhythmus“, die im Jahr 1955 publiziert wurde. Im Jahr 1956 wurde er mit dem Großen Kunstpreis für Malerei des Landes Nordrhein-Westfalen geehrt. 1960 erhielt Ernst Wilhelm Nay den Guggenheim-Preis der deutschen Sektion. Und 1964 zeichnete ihn Berlin mit dem Kunstpreis der Stadt aus. Ab dem Jahr 1965 wurden Nays Bilder in der Farbe greller. Sie erinnerten in ihrer ornamental-flächigen Komposition an die Werke von Henri Matisse. Ernst Wilhelm Nay starb am 8. April 1968 in Köln.

    Vom Purpur und blauen Spitzen (1952, 100x120cm; 966x1200pix, 90kb)
    Purpurmelodie
    (558x800pix, 44kb)
    Composition (1953) — Abstract Composition (1957)
    VerwandlungKomposition In Blue (1954) — Sphaerisch Blau (1962)
    Blaue Bahn (1957, 391x500pix, 56kb) _ Öl auf Leinwand Die Farbscheiben, die seit 1954 Nays Gemälde bestimmten, verwandeln die neutrale Bildfläche in einen bewegten pulsierenden Farbraum.
  • ^
    Died on a 11 June:


    1970 Camille Bombois, French painter born on 03 February 1883. As a child he lived on a barge. After working in various rural trades, he became a fairground wrestler in order to live near Paris, moving there to work as a typographer by night so that he could paint by day. In 1922 he exhibited for the first time at the Foire aux Croûtes in the open air at Montmartre. His work was noticed in 1924 by Wilhelm Uhde, who bought nearly all his production and who exhibited his work in the Galeries des Quatre Chemins in 1927. Bombois’s pictures were included in the important exhibition Les Maîtres populaires de la réalité (1937) and in 1944 he was given his first one-man show at the Galerie Pétridès; by the 1960s he had an international reputation as a naive artist.

    1907 Charles Wilda, Austrian artist born on 20 December 1854. — [Was the artwork of Wilda wilder than the wildest of Wildens [1585 – 16 Oct 1653]?]

    1882 Ludwig Mecklenburg, German artist born on 15 September 1820.

    1842 Jean-Victor Bertin, French painter and lithographer born on 20 March 1767. — Relative? of Édouard Bertin [1797-1871]? — In 1785 Jean-Victor Bertin entered the Académie Royale de Peinture as a student of the history painter Gabriel-François Doyen. By 1788 he had become a student of the landscape painter Pierre-Henri de Valenciennes who directed him towards idealized Italianate landscape. Between 1785 and 1793 Bertin participated unsuccessfully in academic competitions and his official début came only in 1793 when he exhibited in the ‘open’ Salon. After 1793 he contributed consistently to the Salon until his death. In 1801 he received a Prix d’Encouragement for the Town of Pheneos. Like many of his early Salon works, it is now known only through engravings. Among his early extant Salon works are The Statue, or Interior of a Park (1800), Vue de Ronciglione (1808) and Arrivée de Napoléon à Ettlingen (1812) — Bertin's students included Camille Corot, Daubigny , Alexandre-Jean-Baptiste Hesse, Achille Michallon, Anton Sminck Pitloo, Philippe Rousseau, Johann Jakob Ulrich.

    1837 Jean-François Garneray, French artist born in 1755. — Relative? of Hippolyte-Jean-Baptiste Garneray [23 Feb 1787 – 07 Jan 1858]?

    1818 Pieter Joseph Sauvage, Flemish artist born on 19 January 1744.

    1794 Christian Friedrich Reinhold Liszeweski, German artist born in 1725.

    1757 Matthäus Arents Terwesten, Dutch artist born on 23 February 1670. — [I can't find on the Internet any work of Terwesten, Tereasten, Ternorthen, Tersouthen, Biswesten, etc.]

    ^
    Born on a 11 June:


    1812 Wouter Verschuur, Dutch artist who died on 04 July 1874. — An Inn [Was it for sure Verschuur who painted it?]

    ALPHABETICAL LIST OF ARTISTS with a notice on this site
    HISTORY “4” JUN 11      ANY DAY  OF THE YEAR IN HISTORY     ALTERNATE SITES
    TO THE TOP
    PLEASE CLICK HERE TO WRITE TO ART “4” JUNE
    http://h42day.0catch.com/art/art4jun/art0611.html
    http://members.xoom.virgilio.it/all42day/art/art4jun/art0611.html
    http://www.artcyclopedia.com/art42day/art0611.shtml

    updated Wednesday 11-Jun-2003 4:33 UT
    safe site
    site safe for children safe site