ART 4
2-DAY 12 March |
DEATHS:
1681 VAN MIERIS 1749 LISSANDRINO |
BIRTH:
1831 LEADER |
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Died on 12 March 1681: Frans
van Mieris the Elder, Dutch painter born on 16 April 1635.
Father of Jan van Mieris and Willem van Mieris. Studied under Gerrit Dou. Dutch painter, the most distinguished member of a family of artists who worked in Leiden. He was one of the best students of Gerrit Dou and followed his master in choice of subjects (mainly domestic genre scenes) and in his highly polished technique. The tradition was continued by his sons Jan and Willem, and by Willem's son Frans II. — Frans van Mieris the Elder was after Dou the principal representative of the Leiden school of 'fijnschilders'. Apparently by the time he was born his parents stopped keeping track of the number of children they produced; he is vaguely mentioned as one of the last of twenty-three. Mieris studied with Dou, and the latter acknowledged him as the 'crown prince of his students'. The characterization is still valid. Mieris fell heir to Dou's technique and compositions. Like his teacher, he was extremely popular with the wealthy collectors of his time. He received important commissions from Grand Duke Cosimo III de' Medici and Archduke Leopold Wilhelm. The latter invited him to work at his court in Vienna. He turned down the offer and, as far as we know, spent his life in his native town. A review of his oeuvre brings to mind the work of many of his contemporaries, although he always manages to keep his own personality, particularly his impeccable, highly polished finish which had a lasting effect on later painters with a passion for 'fine painting'. — Gerrit Dou called Frans van Mieris 'the Prince of my students'. Van Mieris was the son of a Leiden goldsmith and, like Dou himself, had been trained in the studio of a glass-painter before entering that of a painter. Van Mieris mastered Dou's highly finished technique and after his master's death was the leading exponent of the fijnschilder (fine painter) style. He spent his entire working life in Leiden, although (once again like Dou) he enjoyed a considerable international reputation: he received commissions from, among others, Duke Cosimo III de'Medici and Archduke Leopold Wilhelm, who unsuccessfully offered van Mieris the position of court painter in Vienna. This painting shows the traditional subject of a woman admiring herself in a mirror: in the work of Hieronymous Bosch, for example, it was a symbol of the sin of superbia (pride) but by the time it was painted by Gerard ter Borch and van Mieris it simply provided an opportunity for the painter to display his skill in rendering reflections and rich materials. Van Mieris highlights the shimmering satin dress and brightly colored feather within the dark interior, encouraging the viewer to admire his craftsmanship and virtuosity. Despite his success van Mieris was constantly in debt and contemporary documents appear to support the accounts of an early biographer, Arnold Houbraken, who described him as a habitual drunkard. He was, however, well respected in Leiden and established a dynasty of painters: his sons, Willem and Jan, and his grandson, Frans van Mieris the Younger, imitated his meticulous style and continued to work in his manner until the 1760s. LINKS Brothel Scene (1658, 43x33cm) _ Unlike a history painting, a genre picture does not generally refer to a written text. Its relation is to the popular, often crude and simplistic, metaphorical interpretation of the world. Genre picture, therefore, have a different structure from history painting, and that structure is one of their major characteristics. A history painting usually illustrates the decisive moment of the historical narrative to which it refers. For a genre painting, however, there never could be such a crucial moment: there was no story. A genre painting always presents a situation, which, through the introduction of key symbols, is reversed into a moral example. This is examplified by the Brothel Scene, which shows an interior with a rather coy lady pouring a smartly dressed young man a glass of wine. An elegant scene until one perceives, farther back in the room, two dogs copulating. This crude and explicit detail associates the picture with a popular expression of Italian origin: As is the lady, so is her dog. And another proverb, saying that beautiful woman and sweet wine are full of dangers, may also apply here. So what at first seems a harmless, attractive scene, is suddenly reversed when the viewer encounters an explicit symbol, often hidden in the background. Duet (1658, 32x25cm) _ The curtain drawn aside lets the viewer spy on the elegant, mildly titillating musical partnership. The Lacemaker (1680, 78v42cm) _ Frans van Mieris the Elder painted allegories, biblical, historical, literary subjects, and portraits. His principal contribution, however, is found in his genres scenes. — Duet (1658, 32x25cm) — Carousing Couple — Interior with figures playing Tric Trac (1680, 78x42cm) — A meal of Oysters (1661, 27x20cm) _ Oysters in the late 17th-century Dutch paintings were generally interpreted as erotic - vaginal - symbols. Here, however, they still had the religious symbolism of shell, with the meaning that had been given to it in a 3rd-century Christian book on animals called 'Physiologus.' Describing the behaviour of animals in 55 chapters, it then relates them to Christian doctrine. The shell is symbolically likened to Mary who gave birth to the 'pearl of great price,' Jesus. — Young woman in the morning (52x40cm) _ The same woman appears in the Brothel Scene — Pictura (an allegory of painting) (1661) _ This is a good exemple of the refined technique of van Mieris. Done on copper, the tiny picture follows more or less the formula Cesare Ripa gives in his Iconologia for representing the art of painting: 'A beautiful woman ... with a golden chain around her neck, on which hangs a face mask ... [with] brushes in one hand, and in the other a palette, dressed in a lustrous garment ...' Among the attributes Ripa prescribes for the allegorical representation of Pictura that Mieris thankfully omits are the inscription 'Imitatio' written on the woman's forehead and a bound cloth over her mouth. We have seen that a few years later Vermeer also turned to Ripa's Iconologia for his Art of Painting and Allegory of Faith and that he did not follow the iconographer's instructions to the letter either. — Woman before the mirror (1670, 43x32cm) _ detail _ This painting shows the traditional subject of a woman admiring herself in a mirror: in the work of Hieronymous Bosch, for example, it was a symbol of the sin of superbia (pride) but by the time it was painted by Gerard ter Borch and van Mieris it simply provided an opportunity for the painter to display his skill in rendering reflections and rich materials. Van Mieris highlights the shimmering satin dress and brightly colored feather within the dark interior, encouraging the viewer to admire his craftsmanship and virtuosity. — The Doctors' visit (1667, 44x31cm) — The Death of Lucretia (1679, 38x17cm) |
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Born on 12 Mar 1831: Benjamin
“Williams Leader”, English painter who died
on 22 March 1923. {Was there any Follower?} — His father Edward Leader Williams was a civil engineer who knew and admired John Constable. Leader’s early artistic training was as a draftsman at the Government Schools of Design in Worcester. In 1854 he entered the Royal Academy Schools, London, and subsequently took up a career as a landscape painter. His early landscapes show the influence of the Pre-Raphaelite Brotherhood. Leader began to exhibit work at the Royal Academy in 1857, whereupon he transposed his names in order to distinguish himself from the Williams family of painters who also exhibited there. He continued to exhibit at the Royal Academy until 1922 and also at the British Institution and the Birmingham Society of Artists. LINKS Low Tide on the South Coast (1911, 76x122cm) The Sandpit, Burrow's Cross (1898, 61x102cm) — A Woodland Pool (1915, 61x91cm) — The Incoming Tide, Porth Newquay (1912, 46x76cm) — Morning on the Sussex Coast (1911, 61x93cm; 660x1000pix, 198kb) — Across The Heath (1909, 123x184cm) — Where Peaceful Waters Glide (1898, 112x183cm) — Returning Home (1897, 53x81cm) — Sunshine After Rain (1882, 82x123cm) — On The Llugwy, North Wales (1879, 41x61cm) — The Last Gleam, Wargrave on Thames (1879, 61x91cm) — A Welsh Sheep Farm (1878, 41x 61cm) — The Wengen Alps, Morning In Switzerland (61x91cm) — The Valley of the Lleder, North Wales (1871, 41x61cm) — Derwentwater (1868, 67x105cm) — On the Thames (41x61cm) Tintern Abbey (523x780pix, 104kb) _ This abbey, in Monmouthshire, England, was founded in 1131 by Walter de Clare for Cistercian monks, who came from the Abbey of Aumone, in the Diocese of Chartres, itself founded only ten years before. Walter's son Gilbert, first earl of Pembroke, and probably also his grandson Richard Strongbow, conqueror of Ireland under Henry II, were buried at Tintern, the magnificent church of which dates from the end of the thirteenth century. The abbey received rich benefactions not only from the family of its founder but from other noble houses. The accounts submitted by the last abbot, Richard Wych, in 1535, place the net income at under 200 pounds a year; and the abbey, containing at that time thirteen monks, was suppressed under the Act of 1536 which dissolved the smaller monasteries. The ruins of Tintern, which stands on the right bank of the river Wye, backed by a semicircle of wooded hills, ranks with Fountains Abbey in Yorkshire as the most beautiful in England. The church, measuring 245 feet in length, with transepts of 110 feet, is almost perfect, though roofless, the architecture being of the transitional style from Early English to Decorated. The window-tracery is especially fine. Hardly anything remains of the domestic buildings of the abbey, the stone having been used for cottages and farm buildings in the neighborhood. _ in Leader's painting, Tintern Abbey is a relatively minor part of a landscape of the Wye valley. In contrast, the ruins are the whole subject of Tintern Abbey (1794; 683x517pix, 93kb), watercolor by Joseph Mallord William Turner [23 Apr 1775 – 19 Dec 1851]. _ another Tintern Abbey picture (636x874pix, 204kb) color lithograph in P.I. De Loutherbourg, The Romantic and Picturesque Scenery of England and Wales (London: T. Bensley, 1805) _ a poem by Wordsworth: LINES composed a few miles above Tintern Abbey, on revisiting the banks of the Wye during a tour. July 13, 1798 . He wrote: “No poem of mine was composed under circumstances more pleasant for me to remember than this. I began it upon leaving Tintern, after crossing the Wye, and concluded it just as I was entering Bristol in the evening, after a ramble of four or five days, with my Sister. Not a line of it was altered, and not any part of it written down till I reached Bristol. It was published almost immediately after in the little volume of which so much has been said in these Notes.” --(The Lyrical Ballads, as first published at Bristol by Cottle.) _ a sonnet Written in Tintern Abbey by Gardner _ Tintern Abbey today, history, description, and 10 photos. |
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Died on 12 March 1749: Alessandro
Magnasco Lissandrino, Genovese Rococo
painter and draftsman, active mostly in Milan, born on 04 February 1667. |