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ART “4” “2”-DAY  24 JUNE
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DEATHS: 1964 DAVIS — 1953 GLEIZES
BIRTHS: 1913 CARREÑO — 1616 VAN BOL — 1883 METZINGER
FIRST EXHIBIT: 1901 PICASSO
^ Born on 24 June 1913: Mario Servando Carreño, Cuban painter. He studied at the Academia de San Alejandro in Havana (1925–1930), at the Academia de San Fernando in Madrid (1932–1935) and at the École des Arts Appliqués in Paris (1937–1939). He lived in New York from 1944 to 1950. During the 1940s he was part of the Caribbean avant-garde that applied Cubist and Surrealist approaches to regional themes, producing paintings such as Caribbean Enchantment (1949). Widely traveled and stylistically diverse, in the 1950s he worked primarily in geometric abstraction, but after settling permanently in Santiago, Chile, in 1957, he integrated these Constructivist forms into dreamlike settings influenced by the Andean landscape and by the poetry of his friend, Pablo Neruda [1904–1973], as in Land of Volcanoes (1974). In the 1960s and early 1970s he treated the threat of nuclear war in paintings such as 20th-century Totem (1973), which depicts a column of mannequin fragments over a desolate terrain. In 1948–1949, and again in the early 1980s, Carreño worked on the Antillanas series, which celebrates the lore and colors of the Caribbean.
— LINKS
— Mujer con Guitarra (1972, 130x95cm)
 _ detail 1 (3 fruits in bowl) (723x472pix, 33kb)  _ detail 2 (mid~section) (723x476pix, 25kb)  _ detail 3 (bowl~head with leaves) (643x978pix, 72kb)
— Cuba Libre (416x375pix, 63kb)
— Mujer Sentada (1943, 35x28cm; 864x838pix, 143kb)
just kidding!!! click for REAL self-portrait^ Died on 24 June 1964: Stuart Davis [click image for self~portrait >], US Abstract painter born on 07 December 1894.
— He grew up in an artistic environment, for his father was art director of a Philadelphia newspaper, who had employed Luks, Glackens, and other members of the Eight. He studied with Robert Henri from 1910 to 1913, made covers and drawings for the social realist periodical The Masses, which was associated with the Ashcan School, and exhibited watercolors in the Armory Show, which made an overwhelming impact on him. After a visit to Paris in 1928-1929 he introduced a new note into US Cubism, basing himself on its Synthetic rather than its Analytical phase. Using natural forms, particularly forms suggesting the characteristic environment of US life, he rearranged them into flat poster-like patterns with precise outlines and sharply contrasting colors (House and Street, 1931). He later went over to pure abstract patterns, into which he often introduced lettering, suggestions of advertisements, posters, etc. (Owh! in San Pao, 1951). The zest and dynamism of such works reflect his interest in jazz. Davis is generally considered to be the outstanding US artist to work in a Cubist idiom. He made witty and original use of it and created a distinctive US style, for however abstract his works became he always claimed that every image he used had its source in observed reality: “I paint what I see in America, in other words I paint the American Scene.” [was he legally blind?]
— LINKS
— Self~Portrait (1919) — Ivy League (1953 screenprint 13x20cm) — Untitled [because uninteresting?] (color screenprint 28x36cm) — Report from Rockport (1940, 61x76cm) — The Mellow Pad (1951, 66x107cm) — Rapt at Rapport's (1952) — Night Life (1962) — Untitled (Male and Female Figures) clothed (1914) — Detail Study for Cliché (1957)
^ Born on 24 June 1616: Ferdinand Janszoon van Bol, Dutch Baroque era painter who died on 24 July 1680.
— Studied under Rembrandt van Rijn. Bol's students included Sir Godfrey Kneller and Cornelis Bisschop.
— Ferdinand Bol was born in Dordrecht in 1616. He studied in Rembrandt’s studio around 1635; the master strongly influenced the development of the young artist. Bol stayed and worked in Amsterdam till the end of his life in 1680; he painted portraits, historical compositions and sometimes still-lifes. In his early works the powerful authority of Rembrandt is seen, but already in 1650s he changed his palette to a lighter one.
— Dutch painter and etcher. He was a pupil of Rembrandt in the mid-1630s and in his early work imitated his master's style so well as to create occasional difficulty in distinguishing between them. The portrait of Elizabeth Bas in the Rijksmuseum, Amsterdam, is the best-known instance; it was acknowledged as a Rembrandt until 1911, when it was attributed to Bol, and although this opinion is still generally accepted, there has been renewed support for Rembrandt as the author. As Bol's career prospered, both as a portraitist and a painter of historical subjects, his style moved away from that of Rembrandt, becoming blander and more elegant in the style of van der Helst. In 1669 he married a wealthy widow and seems to have stopped painting. Sir Godfrey Kneller was Bol's most distinguished pupil.
— Ferdinand Bol Leaning on Window Sill (etching 19x15cm) by Adam von Bartsch
— Young Man in Velvet Cap (Ferdinand Bol) (1637 etching, 10x8cm) by Rembrandt van Rijn
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— Self Portrait (1667) — Aeneas at the Court of Latinus (1663) — Consul Titus Manlius Torquatus Beheading His Son (1663) — Elisabeth Jacobsdochter Bas (1640) — Maria Rey, Wife of Roelof Meulenaer (1650) — Roelof Meulenaer (1650) — The Peace Negotiations between Claudius Civilis and Cerealis (1670)
— Venus and Adonis (1657, 168x230cm) _ The story of Venus and Adonis is taken from the tenth book of Ovid's Metamorphoses. Venus, the goddess of love, becomes enamoured of the beautiful young huntsman, Adonis. In Bol's painting Venus and the young Cupid try in vain to prevent Adonis from going hunting, as the goddess has had a premonition that the hunting party will have fatal consequences, and indeed the hunter is killed by a wild boar. The story of Venus and Adonis was a favorite in the Netherlands. Rubens painted the subject several times and Bol later painted another picture of the same theme. It was probably the moral component that made the story popular: Adonis was seen as the epitome of reckless youth, whose rejection of Venus' advice led him to his death.
— Jacob's Dream (1642, 128x97cm) _ In his later career Bol turned to a more courtly style and a lighter tonality, the faces of his models look rather pasty, and the highlights on the red velvet he loved to paint appear to have been dusted lightly with talcum powder. In a subject picture like the Jacob's Dream Bol captures something of the mood and tender character of Rembrandt's art of this period; but the elegant and noble attitude of the angel, with its long limbs and aristocratic gesture, is foreign to Rembrandt.
— Portrait of a Man (87x72cm) _ Ferdinand Bol entered Rembrandt's studio about 1636-1637 and left Rembrandt about 1642 when he began working independently in Amsterdam where he settled for the rest of his life. His early painted portraits are very similar to the commissioned ones Rembrandt made in the late thirties and early forties and in them he successfully incorporates aspects of the transparent chiaroscuro the older master develops during these years.
— David's Dying Charge to Solomon (1643).
^ Died on 24 (23?) June 1953: Albert Gleizes, French painter, printmaker, and writer, born on 08 December 1881. He grew up in Courbevoie, a suburb of Paris, and as a student at the Collège Chaptal became interested in theatre and painting. At 19, his father put him to work in the family interior design and fabric business, an experience that contributed to a lifelong respect for skilled workmanship. The first paintings he exhibited, at the Société Nationale des Beaux-Arts in Paris in 1902, were Impressionist in character, but the work accepted within two years at the Salon d’Automne showed a shift to social themes, a tendency that accelerated until 1908.
     Compulsory military service from 1903 to 1905 thrust him into the company of working-class people, arousing a permanent sense of solidarity with their aspirations and needs. The results were immediately apparent in the Association Ernest Renan, which he helped to establish in 1905, a kind of popular university with secular and socialist aims. He was also one of the founders of a community of intellectuals based near Paris, the Abbaye de Créteil, which functioned from November 1906 to February 1908. He remained interested during these years in social art, but his paintings became flatter and more sombre, more simplified and with an increased emphasis on structure.
     Through the circle of poets associated with the Abbaye de Créteil, Gleizes met Henri Le Fauconnier, whose portrait of Pierre-Jean Jouve (1909) made a decisive impression on him, confirming his exploration of volume. His friends soon included Jean Metzinger and Robert Delaunay, with whom he exhibited alongside Le Fauconnier and Fernand Léger at the Salon d’Automne in 1910; the critic Louis Vauxcelles wrote disparagingly of their ‘pallid’ cubes. The five artists, plus Marie Laurencin, encouraged by Guillaume Apollinaire, Roger Allard, Alexandre Mercereau and Jacques Nayral, determined to group themselves together at the Salon des Indépendants in 1911. Manipulating the rules and helping to elect Le Fauconnier chairman of the hanging committee, they showed together in a separate room, marking the emergence of Cubism. Gleizes’s portrait of Jacques Nayral (1911, 162x114cm), one of his first major Cubist works, dates from this period. — Gleizes' students included Dorrit Black, Evie Hone, Mainie Jellett, Tarsila.
— LINKS
— Le dépiquage des moissons (1912, 687x886pix, 25kb) — Le Village (1915; 1079x1416pix, 133kb)
— Toile pour la contemplation (1942; 1102x659pix, 29kb) — Lumière (1934; 2019x1395pix, 247kb)
— Peinture à sept éléments (1943)
^ Born on 24 June 1883: Jean Metzinger, French Cubist painter, critic, and poet, who died on 03 November 1956. He came from a military family, but, following the early death of his father, he pursued his own interests in mathematics, music and painting. By 1900 he was a student at the Académie des Beaux-Arts in Nantes, where he worked under the portrait painter Hippolyte Touront. After sending three pictures to the Salon des Indépendants in 1903, he moved to Paris with the proceeds from their sale. Thus, from the age of 20, Metzinger supported himself as a professional painter, a fact that may account for some of the shifts to which his art submitted in later years. He exhibited regularly in Paris from 1903, taking part in 1904 in a group show with Touront and Raoul Dufy at the gallery run by Berthe Weill and also participating in the Salon d’Automne in that year. By 1906 he had enough prestige to be elected to the hanging committee of the Salon des Indépendants. By the time he began dating his works around 1905 he was an ardent participant in the Neo-Impressionist revival led by Henri Edmond Cross. He also formed a close friendship at this time with Robert Delaunay, with whom he shared an exhibition at Berthe Weill early in 1907. The two of them were singled out by one critic in 1907 as divisionists who used large, mosaic-like ‘cubes’ to construct small but highly symbolic compositions. — Metzinger's students included Serge Charchoune, Jessica Dismorr, Lyubov’ Popova, Nadezhda Udal’tsova.
— LINKS
— Still Life (72x99; 846x1200pix, 89kb — ZOOM to 1411x2000pix; 260kb) _ could have been named La table du déjeuner au café.
— Cubist Composition, Still Life (1918)
— Landscape (1904, 380x462pix, 193kb) _ This early landscape by Metzinger shows his roots in Fauvism. Inscribed on the reverse of the canvas is the date 1904, indicating that it was painted soon after Metzinger's arrival in Paris, at the height of the Fauvist movement led by Matisse. Fauve painting is characterized by brilliant color and simplified forms, celebrating emotions inspired by nature, as opposed to the imitation of nature. Metzinger once described Fauvist painting as "taking our hint from Nature, to construct decoratively pleasing harmonies and symphonies expressive of our sentiment." In this landscape, the vibrant color patches are far from naturalistic, depicting instead the exuberance inspired in the artist by the scene. The short, broad brushstrokes add a rhythmic pattern to the canvas, energizing the negative spaces as well as the solid forms. The result transforms notions of time and space to show intensity, radiance, and joy in the experience of nature.
— Scène du port (1912, 54 x 46 cm) _ The greatest liberating pictorial style of the twentieth century was the Cubism developed by Picasso and Braque in the first years of the century. For some artists, it led to abstraction; for others, it was merely a style to be adapted to pre-existing approaches to picture making. For Metzinger, Cubism was a system by which multiple perspectives could be juxtaposed on a single plane; his almost monochromatic palette meant that the viewer is not distracted from the study of perspective. Metzinger was an early proponent of Cubism and wrote some of the first important theoretical essays on it. On Cubism, written in 1912 with his fellow Cubist Albert Gleizes, was the first theoretical work devoted to the new movement and played a major role in its recognition. Metzinger himself often experimented with Cubist techniques, but his work differs from other Cubists in that his paintings retain a recognizable scene, here a landscape, a fairly rare subject for the early Cubists, with a system of mathematically calculated proportions, planes, and angles superimposed on it, like a grid. In the works of Picasso and Braque, small rectangular planes first go above, then below, then simply fade into other planes; Metzinger reduced his recognizable subjects into a series of rationally calculated and plotted planes, each laid over the other,as they move back in depth.
— Au Vélodrome (1914, 130x97cm; 573x429pix; 118kb) _ Jean Metzinger, a sensitive and intelligent theoretician of Cubism [more], sought to communicate the principles of this movement through his paintings as well as his writings. Devices of Cubism and Futurism [more] appear in At the Cycle-Race Track, though they are superimposed on an image that is essentially naturalistic. Cubist elements include printed-paper collage, the incorporation of a granular surface, and the use of transparent planes to define space. The choice of a subject in motion, the suggestion of velocity, and the fusing of forms find parallels in Futurist painting. Though these devices are handled with some awkwardness and the influence of Impressionism [more] persists, particularly in the use of dots of color to represent the crowd in the background, this work represents Metzinger’s attempt to come to terms with a new pictorial language. Lucy Flint.
^
Died on a 24 June:

1938 Pedro Figari, Uruguayan artist born on 20 June 1861.

1794 Gerrit Zegelaar, Dutch artist born on 16 July 1719.

1693 Isaac Willaerts, Utrecht Dutch painter born in 1620. — In 1637 he was a master, and, in 1666, the dean of the Utrecht Guild. His mediocre coastal scenes are derived from those of his father, Adam Willaerts [1577 – 04 Apr 1664] but are more loosely painted (e.g. Marine Scene with Rocky Coast and Ruin). He also followed his father in contributing marine backgrounds to Ormea’s still-lifes of fish. His paintings of southern ports resemble those of his brother Abraham Willaerts [1603 – 18 Oct 1669].

^
Born on a 24 June:

1866 Giovanni Bartolena, Italian artist who died in 1942.

1865 Robert Henry Cozad “Robert Henri”, US painter and teacher who died on 12 July 1929. He changed his name in 1883 after his father killed someone; in honor of his French ancestry, Henri adopted his own middle name as a surname, taking the French spelling but insisting all his life on its US pronounciation. After living with his family in Denver CO, and New York, he entered in 1886 the Pennsylvania Academy of Fine Arts, Philadelphia, where he studied with Thomas Anshutz and Thomas Hovenden. In 1888 he attended the Académie Julian in Paris, where he received criticism from the French painters William-Adolphe Bouguereau and Tony Robert-Fleury. He returned to Philadelphia in 1891 and painted in an Impressionist manner, for example Girl Seated by the Sea (1893). — Henri's students included Manuel Encarnación Amador, George Wesley Bellows [1882-1925], Patrick Henry Bruce, Stuart Davis, William James Glackens, Adolph Gottlieb, Edward Hopper, Rockwell Kent [21 Jun 1882 – 13 Mar 1971], Yasuo Kuniyoshi, Man Ray, Walter Pach, Morgan Russell, Niles Maurice Spencer.

1847 Joseph Noël Sylvestre, French artist who died on 08 November 1926.

^
Happened on a 24 June:

Click for full Picasso self-portrait^ 1901Picasso's first exhibit:
      The works of Spanish artist Pablo Picasso Ruiz [25 Oct 1881 – 08 Apr 1973] could fill an entire museum and offer histories of a variety of art movements. For most of his creative career, Picasso seemed more interested in creating form than in imitating it, but his first exhibition in Paris on 24 June 1901, offered moody, representational paintings by a young artist with obvious talent. Once described as a millionaire with a castle and a Communist party card, Picasso refused to slow down until his death near Mougins, France..
    [< click on image for full self-portrait and more].
      The first major exhibition of Pablo Picasso's artwork opens at a gallery on Paris' rue Lafitte, a street known for its prestigious art galleries. The precocious 19-year-old Spaniard was at the time a relative unknown outside Barcelona, but he had already produced hundreds of paintings. The 75 works displayed at Picasso's first Paris exhibition offered moody, representational paintings by a young artist with obvious talent.
      Pablo Picasso, widely acknowledged as the dominant figure in 20th-century art, was born in Málaga, Spain, in 1881. His father was a professor of drawing and bred Picasso for a career in academic art. He had his first exhibit at age 13 and later quit art school so he could experiment full-time with modern art styles. He went to Paris for the first time in 1900, and in 1901 he returned with 100 of his paintings, aiming to win an exhibition. He was introduced to Ambroise Vollard, a dealer who had sponsored Paul Cézanne, and Vollard immediately agreed to a show at his gallery after seeing the paintings. From street scenes to landscapes, prostitutes to society ladies, Picasso's subjects were diverse, and the young artist received a favorable review from the few Paris art critics who saw the show. He stayed in Paris for the rest of the year and later returned to Paris to settle permanently. The work of Picasso, which comprises more than 50'000 paintings, drawings, engravings, sculptures, and ceramics produced over 80 years, is described in a series of overlapping periods. His first notable period--the "blue period"--began shortly after his first Paris exhibit. In works such as The Old Guitarist (1903), Picasso painted in blue tones to evoke the melancholy world of the poor. The blue period was followed by the "rose period," in which he often depicted circus scenes, and then by Picasso's early work in sculpture. In 1907, Picasso painted the groundbreaking work Les Demoiselles d'Avignon, which, with its fragmented and distorted representation of the human form, broke from previous European art. Les Demoiselles d'Avignon demonstrated the influence on Picasso of both African mask art and Paul Cézanne and is seen as a forerunner of the Cubist movement founded by Picasso and the French painter Georges Braque in 1909.
      In Cubism, which is divided in two phases, analytical and synthetic, Picasso and Braque established the modern principle that artwork need not represent reality to have artistic value. Major Cubist works by Picasso included his costumes and sets for Sergey Diaghilev's Ballets Russes (1917) and The Three Musicians (1921). Picasso and Braque's Cubist experiments also resulted in the invention of several new artistic techniques, including collage.
      After Cubism, Picasso explored classical and Mediterranean themes, and images of violence and anguish increasingly appeared in his work. In 1937, this trend culminated in the masterpiece Guernica, a monumental work that evoked the horror and suffering endured by the Basque town of Guernica when it was destroyed by German war planes during the Spanish Civil War. Picasso remained in Paris during the Nazi occupation but was fervently opposed to fascism and after the war joined the French Communist Party.
      Picasso's work after World War II is less studied than his earlier creations, but he continued to work feverishly and enjoyed commercial and critical success. He produced fantastical works, experimented with ceramics, and painted variations on the works of other masters in the history of art. Known for his intense gaze and domineering personality, he had a series of intense and overlapping love affairs in his lifetime. He continued to produce art with undiminished force until his death.
— LINKS
— Tragedy — Portrait of Stravinsky — Crucifixion — Nude Boy — Boy With Dog — Guernica — Saint Antoine et Pierrot — Le Coq de la Libération — Absinthe Drinker — Déjeuner Sur l'Herbe — Mort de Marat — Jeunes Filles au Bord de la Seine — Primera Comunión — Paulo en Pierrot — Crucifixion — Boy Leading a Horse — Mort de Casagemas — Enterrement de Casagemas — Cat Seizing a Bird — Les Demoiselles d'Avignon — Femme au Corbeau — Femme à la Fleur — Helmut — Le Tub (The Blue Room) — Maya with Doll — Flute de Pan — Chapeau à Plume — Sabartes et sa Bière — Saltimbanques — 1889 Self~Portrait — 1907 Self~Portrait — 1896 Self~Portrait — 1940 Self~Portrait — 1899 Self~Portrait — Self and Monster — Composition with Skull — Ulysse et les Sirènes — Femmes Courant sur la Plage — Femme dans un Fauteuil — Yo, Picasso

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