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Died on 27 June 1574: Giorgio
Vasari, Italian Mannerist
writer, painter, and architect, born on 30 July 1511. He studied under Michelangelo
Buonarroti. Vasari's students included il
Poppi and Jacopo
Vasari is best known for his Le vite de' più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a' tempi nostri (1550). Vasari was born in Arezzo. Trained in art as a child, he went to Florence, where he worked in the studio of Andrea del Sarto and won the patronage of the Medici family. Among Vasari's major surviving paintings are murals in the Palazzo Vecchio, Florence, and the Vatican in Rome. As an architect Vasari was a follower of his brilliant contemporary Michelangelo. Among the important buildings he designed are the Palazzo degli Uffizi in Florence, now a museum, and a number of palaces and churches in Pisa and Arezzo.
It is as a writer, however, that he is most famous. His Lives of the Artists (1550, revised 1568), one of the earliest works on art written by an artist of merit, is a primary source of information about the artists of the Italian Renaissance. The revised edition includes his autobiography in addition to the lives of Michelangelo and other major painters of the time. Vasari's book offers his personal evaluation of the works of these artists, as well as discussions on the state of the arts. His easy, natural writing style helped to make his book one of the most enduring of art histories. He died in Florence.
— Nato ad Arezzo, Giorgio Vasari fu una delle personalità più eclettiche e interessanti del XVI secolo. A nove anni apprese i primi rudimenti del disegno, a tredici, condotto a Firenze, fu allievo di Michelangelo, poi di Andrea del Sarto e di Baccio Bandinelli.
Nel 1531 seguì a Roma il cardinale Ippolito de' Medici. Tra il 1532 e il 1536 tornò di nuovo a Firenze e nel 1554 eseguì per incarico di Cosimo de' Medici alcune opere tra le quali le decorazioni pittoriche di Palazzo Vecchio e la progettazione della Fabbrica degli Uffizi. Negli stessi anni affrescò a Roma la cappella regia in Vaticano.
Nel 1540 cominciò a raccogliere notizie sulla vita e sulle opere degli artisti. Due anni più tardi prese ad ordinare questo materiale e a dargli forma letteraria in un'opera che intitolò Le vite de' più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a' tempi nostri, la cui prima edizione fu pubblicata nel 1550. Questo lavoro di scrittore e storico dell'arte lo portò alla fama. Morì in Firenze
The Prophet Elisha (1566, 40x29cm) _ The panel is a replica on a small scale after Vasari's 1566 painting for the Sacramento chapel in the church of San Pietro in Perugia. The subject is a scene from the life of the Prophet Elisha, who during famine saved his people by making wild herbs edible.
— The Holy Family with the Infant, St. John the Baptist (1540, 107x82cm; 387x288pix, 25kb) _ The intense, bright colors and exaggerations in scale of this asymmetrical composition demonstrate Giorgio Vasari's close affiliation with the Mannerist style of painting. The Virgin Mary and Saint Joseph are shown as caring parents of the Christ Child, who holds a goldfinch in his left hand. The bird is seen as a foreshadowing of the Crucifixion, as is the inscription on the banderole, Agnus Dei, or Lamb of God. St. John the Baptist is clad in the animal furs that foretell his preaching in the wilderness.
— The Annonciation (216x166cm; 768x613pix, 57kb)
Figure Composition (8x8cm) — Toeletta Venere
Born on 27 June 1913: Philip
Goldstein “Guston”, in Montreal, Canada,
Expressionist painter who died on 07 June 1980.
— He moved to Los Angeles with his family in 1919. He began to paint and draw in 1927 and attended the Otis Art Institute for three months (1930). At this stage he based his technique on a close study of the art of Giorgio de Chirico and painters of the Italian Renaissance such as Paolo Uccello, Andrea Mantegna and Piero della Francesca. He was attempting to integrate the modelled architectural space of Renaissance art with the contracted, reassembled space of Cubism, for example in paintings of sinister hooded figures reminiscent of the Ku Klux Klan such as Conspirators (1930).
— Born in Montreal but grew up in Los Angeles. Studied briefly at the Otis Art Institute in 1930, but otherwise self-taught as a painter. His early work was influenced by Renaissance masters such as Uccello, but combined their type of figure composition with a compressed treatment of space derived from Cubism and de Chirico. Worked 1934-42 almost exclusively as a mural painter on the WPA Federal Art Project and other public works projects in Los Angeles and New York. Turned to easel painting after moving to Iowa City in 1941 and had his first one-man exhibition at the State University of Iowa 1944. Awarded First Prize at the 1945 Pittsburgh International. Began to develop an abstract style in 1947, then settled in New York in 1950 and joined the circle of the Abstract Expressionists. Turned in the late 1960s to a form of figuration with schematic images of an enigmatic Surrealistic kind. Moved in 1967 to Woodstock, New York. Died at Woodstock.
— Ron Davis and Pat Steir were students of “Guston”.
Pit (526x849pix, 84kb — ZOOM to 1052x1698pix, 146kb)
City Limits (591x792pix, 64kb — ZOOM to 1182x1584pix, 112kb)
Green Rug (848x606pix, 75kb — ZOOM to 1272x909pix, 84kb)
Head (673x734pix, 52kb — ZOOM to 1346x1468pix, 98kb)
Paint, Smoke, Eat (612x816pix, 68kb — ZOOM to 1224x1632pix, 122kb)
Roma (1971; 800x1134pix, 46kb) _ compare Notsug's Amor di Ettone (2001; 800x1134pix, 48kb)
The Street (554x896pix, 52kb)
— The Return (1958, 178x199cm; 460x512pix, 30kb) _ Before the Second World War Guston painted figurative works with a specific social content. Then, in 1951, he made his first truly abstract paintings. By the middle of the decade, in paintings such as this one, Guston had begun to paint block-like forms in strong colors, grouped at the center of the image. He thought of the shapes in this painting as being equivalent to figures who had been away for some time and were now returning.
— Bad habits (1970, 185x198cm; 561x600pix, 112kb) _ After the delicate painterly abstraction that had characterized Guston's art since the early 1950s and made him a well-known member of Abstract Expressionism, the raw figurative paintings of 1970 came as a shock not altogether welcomed by art critics. Guston said later about the generally hostile reaction: “I was excommunicated for a while”
In retrospect, the affinities between the late figurative paintings and his previous work are as apparent as their novelty; the inflected, creamy paint surface of his abstract paintings remains undiminished and his images re-invoke themes from his figurative paintings of the 1930s and 1940s. The hooded figures that appear in Bad habits recall his paintings of the Ku Klux Klan of the early 1930s, as does the image of flagellation.
In a lecture in March 1978 Guston spoke of his relationship between his recent and earlier work in a way that is illuminating of Bad habits:
“As a young boy I was an activist in radical politics, and although I am no longer an activist, I keep track of everything. In 1967-1968 I became very disturbed by the war [Vietnam] and the demonstrations. They became my subject matter and I was flooded by a memory. When I was about 17 or 18, I had done a whole series of paintings about the Ku Klux Klan, which was very powerful in Los Angeles at that time … In the new series of 'hoods' my attempt was really not to illustrate, to do pictures of the KKK, as I had done earlier. The idea of evil fascinated me, and rather like Isaac Babel who had joined the Cossacks, lived with them and written stories about them, I almost tried to imagine that I was living with the Klan. What would it be like to be evil? To plan and plot. Then I started conceiving an imaginary city being overtaken by the Klan. I was like a movie director. I couldn't wait, I had hundreds of pictures in mind and when I left the studio I would make notes to myself, memos, 'Put them all around the table, eating, drinking beer'. Ideas and feelings kept coming so fast; I couldn't stop, I was sitting on the crest of a wave.”
Died on 27 June 1927: Thomas
Jacques Somerscales, British painter born on 30 October
Nació en Kingston Upon Hull, un puerto ubicado en el Mar del Norte, a una y otra orilla del estatuario del Humber. Fue el tercer hijo de una familia de siete hermanos. Su padre fue un hábil marino formado en la Academia Naval de Hull. Se educó en el Christ Church School hasta los trece años, siguió estudios de pedagogía en el Tenham College de Gloucesterschire, no tuvo una formación sistemática en las academias o escuelas de Bellas Artes, su actividad artística se desarrolló como una afición, motivado por una familia de larga tradición en el ejercicio de las artes pictóricas.
1862 Se incorpora a la Armada Británica, siendo destinado a la estación naval del Pacífico, allí enseñó a los guardia marinas: matemáticas, geografía y dibujo, además de maniobras de arboladura y velamen.
1864 Llega a Valparaíso, Chile, por primera vez, el 18 Dec, viaje que repite a comienzos de la primavera de 1867; dos años más tarde, afectado de fiebre palúdica.
1869 Llega a Valparaíso el día 07 septiembre, afectado de fiebre pelúdica. Los médicos le recomiendan no regresar a zonas tropicales, por precaución decide quedarse en Chile, abandonando la filas de la Armada real. En Valparaíso hace clases en el Artizan English School y posteriormente en el colegio inglés Mackay, daba lecciones de inglés, aritmética, geografía, dibujo y caligrafía. Vive en el edificio del colegio en el cerro Concepción. Se integra al círculo de Bellas Artes de la ciudad, establece una gran amistad con Manuel Antonio Caro.
1872 Gana medalla de plata en el Salón de pintura nacional chileno realizado con motivo de la gran exposición de Artes e Industrias en el Mercado Central de Santiago. Pablo Délano, ex guardiamarina del Cochrane le encargó la copia del cuadro La captura de la Esmeralda en el Callao, que se encontraba en el edificio de la Bolsa de Comercio.
1874 Contrae matrimonio con Jane Trumble Harper, tuvo 6 hijos.
1892 Se embarca de regreso a Inglaterra para entregarle una mejor formación a sus hijos y conocer a su familia. En Inglaterra hizo clases en el colegio de Manchester al noreste de Liverpool.
1893 Se presenta en la exposición de la Real Academia donde obtiene tercera medalla.
1898 Vuelve a participar en la exposición de la Real Academia envía Frente a Valparaíso, es adquirido por los administradores del legado de Chamtvey con destino a la Tate Gallery, esta es una de las obras más conocidas y reproducidas en el mundo. Su obra fue admirada por el público y la crítica en reiteradas ocasiones.
1911 La cámara de Diputados de Chile le encarga la ejecución de un cuadro para la sala de sesiones en relación a la primera Escuadra Nacional. Permanece hasta hoy bajo la testera de la sala de plenarios de la Cámara.
— Cattle watering in a River Landscape (1887, 50x75cm)
Off Valparaiso (1899, 96x180cm) _ Somerscales was as a naval teacher at sea, but he gave this up after suffering from malaria. He found a job in Chile as a schoolmaster, and began to paint as an amateur, specializing in South American landscapes and sea pictures. When he was in his fifties he returned to Britain to live in Hull, where he painted most of his best pictures as souvenirs of Chile. In Off Valparaiso and other such paintings he emphasized the jade green and blue of the Pacific Ocean. This full rigged iron ship was used for bringing minerals from Chile. It is shaking out top gallants and royal sails, while hoisting a goose-winged flying jib. The whaler is a pilot boat, with standing oarsmen, being greeted but refused.
Combate Naval de Iquique (84x145cm) _ detail 1 _ detail 2
Born on 27 June 1923: Paul F. Conrad
Cedar Rapids Iowa, cartoonist (Pulitzer 1964, 1971, 1984)
— Four More Years Foundering Fathers Camp Grenada I Am Not Information Age Kick Nixon Liars' Club Nixon Rent-A-Bomber Inaugural Portrait New Mount Rushmore Reagan Plays War Nixon's Revenge: How Sweet It Is -