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ART “4” “2”-DAY  08 November
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DEATHS: 1817 APPIANI — 1830 SHCHEDRIN — 1905 RICHARDS — BURIAL: 1675 VAN EVERDINGEN
1793: ON L'OUVRE LE LOUVRE
^ Died on 08 November 1817: Andrea Appiani, Milan Italian painter and designer born on 31 May 1754.
— He had been intended to follow his father’s career in medicine but instead entered the private academy of the painter Carlo Maria Giudici [1723–1804]. He received instruction in drawing, copying mainly from sculpture and prints. He studied Raphael through the engravings of Marcantonio Raimondi, as well as the work of Giulio, Anton Raphael Mengs and, again from prints, the compositions in Trajan’s Column. He then joined the class of the fresco painter Antonio de’ Giorgi [1720–1793], which was held at the Ambrosiana picture gallery in Milan, where he was able to study Raphael’s art directly from the cartoon of the School of Athens and the work of Leonardo’s followers, particularly Bernardino Luini. He also frequented the studio of Martin Knoller, where he deepened his knowledge of painting in oils; and he studied anatomy at the Ospedale Maggiore in Milan under the sculptor Gaetano Monti [1750–1847]. His interest in aesthetic issues was stimulated by the classical poet Giuseppe Parini, whom he drew in two fine pencil portraits. In 1776 he entered the Accademia di Belle Arti di Brera to follow the painting courses of Giuliano Traballesi, from whom he received a mastery of the fresco technique and the encouragement to make copies after Domenichino and Correggio.
— Giovanni Carnevali was a student of Appiani.
LINKS
The Apotheosis of Napoleon (273x480cm) _ The greatest work by Appiani, master of Lombardian Neoclassicism, was the decoration of the Milan royal palace in 1808, devoted to the greatness of the Empire. This cartoon is a preparation for the monumental fresco which decorated the vault of the Throne room. The required note of flattery is couched in allegorical abstractions, a language revived by the imitation of antiquity according to Winckelmann. Four Victories hold up the throne where the Emperor sits in majesty, amid the diverse attributes of immortality. Escaping the bombing of 1943 which destroyed its setting, the fresco is now housed in the Villa Carlotta at Tremezzo.
^ Died on 08 November 1830: Sil'vestr Feodosievich Shchedrin, Russian Romantic Italianate landscape painter born on 13 February 1791. Son of sculptor Feodosiy Shchdrin [1751-1825], nephew of landscape painter Semion Fedorovich Shchedrin [1745 – 01 September 1804]
— Sil'vestr Shchedrin, the son of the sculptor Feodosii Shchedrin, was born in St. Petersburg and died in Sorrento, Italy. He studied at the Academy of Arts in St. Petersburg from 1800 to 1811. From 1818 he lived in Italy as a travelling scholar of the Academy of Arts. His early works, such as View of the Tuchkov Bridge and the Vasil'evskii Island from the Petrovskii Island in St. Petersburg, are good examples of academic classicism. When he arrived in Italy, his style changed, as he was influenced by the different light effects and nature he came to study. In his journal where he recorded observations from his travels, he condemned painters who "deal with compositions or paint from drawings." Since the middle of the 1820s, for the first time in Russian painting, he started to make oil studies from nature (en plein air) instead of sketches to be converted into finished compositions in the studio. His more mature landscapes are characterized by rich nuances of light and atmosphere and an impressive artistic unity. In Shchedrin's later works, for instance in the Moonlit Night in Naples, it is possible to notice the growing tendency towards Romantic emotionalism and more complex light effects. Despite his early death, Shchedrin was one of the foremost Russian romantic lanscape painters, and played a decisive role in bringing Russian landscape into the mainstream of European art.
— Sylvester Shchedrin was born in St. Petersburg into the family of a famous sculptor Feodosiy Shchedrin (1751-1825). His uncle, Semion Shchedrin, a landscape painter, was considered to be the founder of the Russian landscape genre. In 1800, Sylvester Shchedrin entered the Academy of Arts in St. Petersburg, in which he specialized in landscape. He graduated with honors and a gold medal, which gave him the right for studies abroad. But he had to wait with his postgraduate studies because of the wars with Napoleon (Napoleon's invasion of Russia started in 1812). Sylvester left for Italy only in 1818.
      In Italy, he studied the works of great masters of the past, worked much himself. The biggest achievement of that period is New Rome. The Castle of the Holy Angel (1823). It was a great success and was imitated much. Sylvester himself was commissioned for 8-10 copies of the picture, though he never copied it, but drew different variants changing time, angle of view, details. His pension came to an end in 1823, but he decided to stay in Italy as a freelance painter. His works of the time were already so popular that he had many commissions to support himself. He lived in Rome and Naples, working much out-of-doors, drawing nature, bays and cliffs, views of small towns and fishermen villages. View of Sorrento (1826), A Terrace on a Seashore. A Small Town of Capuccini near Sorrento (1827), A Porch Twined with Vines (1828), Terrace on the Seashore (1828) are the examples of his work. He liked to draw terraces in vines with a view of the sea. In 1825-1828, he drew a lot of “terraces”, which were a great success. For him they embodied the idea of harmony between the lives of people, and nature. At the end of the 1820s, Sylvester Shchedrin started to draw nighttime landscapes full of an uneasy, anxious mood. His sickening might be the reason.
Karl Brulloff. Portrait of the Artist Sylvester Shchedrin. Detail
LINKS
New Rome. The Castle of the Holy Angel (1823) — View of Sorrento (1826) — Grotto in Florence (1826)
A Terrace on a Seashore. A Small Town of Capuccini near Sorrento (1827)
A Porch Twined with Vines (1828) — Terrace on the Seashore (1828) — Coastal Scene
^ Died on 08 November 1905: William Trost Richards, US painter born on 14 November 1833.
— In 1846–1847 he attended the Central High School in Philadelphia PA, but left before graduating in order to help support his family. He worked full-time as a designer and illustrator of ornamental metalwork from 1850 to 1853 and then part-time until 1858. During this period he studied draughtsmanship and painting with Paul Weber (1823–1916) and probably had some lessons at the Pennsylvania Academy of the Fine Arts, Philadelphia, where he exhibited in 1852. The following year he was elected full Academician there. In 1855–1856 he toured Europe with William Stanley Haseltine and Alexander Lawrie [1828–1917], studying for several months in Düsseldorf. Finding contemporary European landscape painting less inspiring than that of the US, he returned to Philadelphia.
Photo of Richards.
LINKS
"The Sheepfold," Easton's Point, Newport (1890, 51x102cm) — Rocky Sea Coast (1887, 30x60cm)
Salt Marsh by the Sea (1877, 56x91cm) — Indian Summer (1875, 61x51cm)
Moonlight on Mount Lafayette, New Hampshire (1873, 22x36cm) — Rocky Cove (1876)
Tennysons Farm, Farmington, Isle of WightBeach with Sun Drawing Water (1872)
Lake Squam from Red Hill (1874, 23x35cm) — Breakers at Beaver
Paradise, Newport (1877, 69x94cm) — Truth to Nature (1860)
Beach with Sun Drawing Water (1872)
Sundown at Centre Harbor, New Hampshire (1874; 527x800pix, 89kb)
Long Pond, Foot of Red Hill (1874; 823x1200pix, 199kb)
Fort Dumpling, Jamestown
^ Buried on 08 November 1675: Allart (or Allaert, Allert) van Everdingen, Dutch landscape and marine painter, draftsman, etcher, and dealer, who was baptized as a newborn on 18 June 1621. — [He was alert to any opportunity to be all art] — Brother of Caesar van Everdingen [1616 — 13 Oct 1678 buried]. _ Allaert van Everdingen was an artist whose views of foreign lands had a great impact on the repertoire of Dutch landscapist. He introduced and popularized the Dutch vogue for rocky mountainous Scandinavian landscapes and dramatic waterfalls.
— Everdingen worked with Savery in Utrecht and Molyn in Haarlem. In the 1640s he visited Scandinavia, where he developed a taste for subjects inspired by the scenery there — above all mountain torrents — and helped to popularize such themes in the Netherlands, where he was the first to depict Scandinavian motifs in his paintings and drawings. Jacob van Ruisdael, in his pictures of majestic waterfalls, was one of the artists influenced by him. Allaert was also a fine etcher. His elder brother Caesar [1617-1678], who painted portraits and historical pictures, was attracted by the south not the north. Although he never went to Italy, he captured the spirit of Italian art better than many of his countrymen who crossed the Alps: witness his beautiful Four Muses with Pegasus (1650), part of the decoration of the royal villa — the Huis ten Bosch — at The Hague.
— Allart van Everdingen was a student of Roelandt Savery in Utrecht and Pieter de Molyn in Haarlem; both painters influenced his work. In 1644 Allart traveled to Norway and Sweden, a trip that was to have profound consequences on his art; his annotated sketches document visits to the south-east Norwegian coast and to Bohusland and the Göteborg area in western Sweden. He returned to the Netherlands by 21 Feb 1645, when he married Janneke Cornelisdr Brouwers in Haarlem. He became a member of the Reformed Church in Haarlem on 13 Oct 1645, joined the Haarlem Guild of Saint Luke in 1646 and, along with his brother Caesar, enlisted in the Haarlem Civic Guard of Saint George in 1648. From 1646 to 1651 four of Allart’s children, a son and three daughters, were baptized in Haarlem; four additional children were born later in Amsterdam. In 1652 he moved to Amsterdam and on 10 April 1657 became a citizen. A visit he made about 1660 to the Ardennes in the southern Netherlands is documented by his painting View of Montjardin Castle and by his drawings and etchings of Spa and its surroundings. The artist probably forwent a return trip to Sweden in order to execute the commissions he received from the Trip family in the 1660s to paint the four overdoors decorating the Trippenhuis in Amsterdam, as well as the large Cannon Foundry of Julitabroeck, Södermanland . In 1661 van Everdingen joined Jacob van Ruisdael and Willem Kalf to judge the authenticity of a seascape by Jan Porcellis; Meindert Hobbema served as a witness to the proceedings. The sale of his widow’s estate on 16 April 1709 suggests that the artist, like many of his colleagues, had a second profession as an art dealer; the sale catalogue lists works by Raphael, Giorgione, Annibale Carracci, Titian, Veronese, Holbein, Savery, Porcellis, Hals, and Rembrandt.
— Everdingen's only known students are Ludolf Backhuysen and Gerard van Edema.
LINKS
Hendrick Trip's Cannon Foundry at Julita Bruk, Södermanland, Sweden (1660)
Waterscape with Rainbow (54x63cm)
End of Village (76x66cm; 780x692, 109kb) _ The wooden houses and the stream are Scandinavian reminiscences of the artist.
Forest Scene with Water-Mill (1650, 73x62cm; 962x796pix, 133kb)
Landscape with waterfront and houses in background (etching, 14x20cm)
60 more etchings at Fine Arts Museums of San Francisco.

Died on a 08 November:

1926 Joseph Noël Sylvestre, French artist born on 24 June 1847.

^ 1880 Bartholomeus-Johannes van Hove, The Hague Dutch artist born on 28 October 1790. He was trained by his father, who was a gilder and frame maker, by Joannes Henricus Albertus Antonius Breckenheijmer [1772–1856], a painter of stage scenery, and at the Koninklijke Academie van Beeldende Kunsten in The Hague. He succeeded Breckenheijmer as resident painter at the Hague theatre, the Koninklijke Schouwburg, where he became renowned for his beautiful sets, some of which have been preserved. He also produced easel paintings, chiefly townscapes. One of his best works is The Garden at Gedempte Burgwal 34 in The Hague (1828). This carefully constructed view displays skills learnt in the theater. Later in his career, in tune with general stylistic developments in Dutch art, detailed execution and subtle use of color gave way to a looser touch and a greyer palette. The Gothic Gate (1841) and View on the Zieken in The Hague illustrate this shift. As well as his townscapes, mainly featuring complex and majestic churches, van Hove also painted church interiors (Church Interior, 1844). He was a popular and capable teacher. The best-known of his students were Jan Hendrik Weissenbruch and Johannes Bosboom. Some other of his students were Charles Leickert, Wijnand Nuyen, Salomon Leonardus Verveer. — Relative? of Hubertus van Hove [03 May 1814 – 14 November 1865]?14 November 1865)?

1865 Moritz Karl Friedrich Müller (or Feuermüller), German artist born on 06 May 1807.

1621 Gerolamo dal Ponte Bassano, Italian artist born on 08 (03?) June 1566. Son of Jacopo Bassano [1510 – 13 Feb 1592]. Brother of Francesco Bassano II [07 Jan 1549 – 03 Jul 1592] and of Leandro Bassano [10 Jun 1557 – 15 Apr 1622]. Gerolamo was trained in the family workshop. In 1580 and 1581 he signed receipts for payment for the altarpiece of The Virgin with SS Apollonia and Agatha, but the skilful drawing and painting technique indicate that it was made by his father. Gerolamo studied medicine at Padua University until at least 1592, although he never finished the course.


Born on a 08 November:

^ 1876 Jean Puy, French Fauvist painter and printmaker who died on 07 March 1960. At 19 he undertook training in architecture at the Ecole des Beaux-Arts in Lyon, but he soon decided to become a painter. He studied for two years (1895–1896) under Tony Tollet (1857–>1935), a student of Alexandre Cabanel, whose essentially academic realist style gave him a sound foundation in draftsmanship. The museum and art life of Lyon likewise enriched his early years. He moved to Paris in late 1897 or early 1898 to study at the Académie Julian under the history painter Jean-Paul Laurens. Puy was dissatisfied, however, with the studio conditions, with the lack of freedom offered to students and with Laurens’s reliance on bitumen and a dark palette. After a summer in Brittany he decided instead to study with Eugène Carrière, in whose studio he found more openness and discussion among the students. There he met Henri Matisse, André Derain, and Pierre Laprade. — Paysage (1903) — Mme. Puy, femme de l'artiste (1909) — Été (1906)

1725 Martin Knoller, Austrian painter who died on 24 July 1804. He was first taught by his father, Franz Knoller [–1773], and the Innsbruck painter Ignaz Pögl, then he studied at the Vienna Akademie (1751–1753) under Paul Troger and Michael Angelo Unterberger. Their influence shows in his first commission (1754), a fresco of The Glory of Saint Stephen for Anras parish church in eastern Tyrol. In 1755 Knoller went to Rome and Naples to further his training. There he came into contact with Graf Karl Joseph von Firmian who, as Imperial Governor of Lombardy, entrusted Knoller with decorating the Palazzo Firmian-Vigoni (since destroyed) in Milan. Between 1760 and 1765 Knoller was again in Rome, where the works of Pompeo Batoni, Anton Raphael Mengs and Anton von Maron had a decisive impact on him. These classicizing influences show in his Martyrdom of Saint Catherine (1763) and Martyrdom of Saint Sebastian (1765) and the altarpiece Saint Charles Borromeo among Plague Victims (1769). — Knoller's students included Andrea Appiani, Josef Bergler, Josef Schöpf, Franz Seraph Zwinck.

^ 1793 On l'ouvre le Louvre en tant que musée.
Louvre opens as a museum
.
     After more than two centuries as a royal palace, the Louvre is opened as a public museum in Paris by the French revolutionary government. Today, the Louvre's collection is one of the richest in the world, with artwork and artifacts representative of 11'000 years of human civilization and culture.
      The Louvre palace was begun by King Francis I in 1546 on the site of a 12th-century fortress built by King Philip II. Francis was a great art collector, and the Louvre was to serve as his royal residence. The work, which was supervised by the architect Pierre Lescot, continued after Francis' death and into the reigns of kings Henry II and Charles IX. Almost every subsequent French monarch extended the Louvre and its grounds, and major additions were made by Louis XIII and Louis XIV in the 17th century. Both of these kings also greatly expanded the crown's art holdings, and Louis XIV acquired the art collection of Charles I of England after his execution in the English Civil War. In 1682, Louis XIV moved his court to Versailles, and the Louvre ceased to be the main royal residence.
      In the spirit of the Enlightenment, many in France began calling for the public display of the royal collections. Denis Diderot, the French writer and philosopher, was among the first to propose a national art museum for the public. Although King Louis XV temporarily displayed a selection of paintings at the Luxembourg Palace in 1750, it was not until the outbreak of the French Revolution in 1789 that real progress was made in establishing a permanent museum. On 08 November 1793, the revolutionary government opened the Musée Central des Arts in the Grande Galerie of the Louvre. Apart from the collections of the king and those of the Academy, it included the property stolen from the Church and from émigrés.
     After 1794, very many works of art came to the Louvre plundered by the victorious revolutionary armies, with a view to establishing a major European museum here. Masterpieces stolen from Italy arrived in Paris with great ceremony in July 1798. The sheer number of these necessitated a reorganisation of the museum, which was redecorated and inaugurated in 1800. Renamed the "musée Napoléon" in 1803, it continued to grow under the management of Vivant Denon [portrait by Prudhon], via orders, purchases and war captures. The collection was serious depleted as a result of works which were returned to the allies in 1815.
      However the Louvre's current Egyptian antiquities collections and other departments owe much to Napoléon's conquests. Two new wings were added in the 19th century, and the multi-building Louvre complex was completed in 1857, during the reign of Napoléon III.
      In the 1980s and 1990s, the Grand Louvre, as the museum is officially known, underwent major remodeling. Modern museum amenities were added and thousands of square meters of new exhibition space were opened. The Chinese American architect I.M. Pei built a steel-and-glass pyramid in the center of the Napoléon courtyard. Traditionalists called it an outrage. In 1993, on the 200th anniversary of the museum, a rebuilt wing formerly occupied by the French ministry of finance was opened to the public. It was the first time that the entire Louvre was devoted to museum purposes.
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