ART “4”
“2”-DAY 05 October |
BIRTH:
1848 DÉTAILLE |
| ^
Died on 05 October 1524: Joachim
Patinir (or Patenier), Flemish painter born in 1485. — Patinir was a pioneer of landscape as an independent genre. Nothing is known of his early life, but in 1515 he became a member of the Antwerp Guild. In 1521 he met Dürer, who made a drawing of him and described him as a "good landscape painter". There are only a very few signed paintings, but a great many others have been attributed to him with varying degrees of probability. Patenier also painted landscape backgrounds for other artists and The Temptation of St Anthony was done in collaboration with his friend Quentin Massys (who after Patenier's death became guardian of his children). Although landscape never constitutes the subject of his pictures, Patenier was the first Netherlandish artist to let it dwarf his figures in religious and mythological scenes. His style combines naturalistic observation of detail with a marvellous sense of fantasy, forming a link between Bosch and Bruegel. — Patinir or Patenier was born probably in Dinant, near Namur. In 1515, he was elected master to the Antwerp Saint Lukas Guild. He is noted as one of the earliest painters to make landscape a main element of his compositions. The artist developed a so-called “world landscape”, a bird’s-eye view, with a seemingly endless horizon. This brought him international fame during his lifetime. Thus, three of his paintings were mentioned in 1523 in the records of the Palazzo Grimani in Venice, and Dürer also frequently mentioned him in his notes on his travels in the Netherlands. About twenty of his signed paintings cannot be regarded as pure landscapes. He mostly depicted religious scenes, with figures, but they were completely integrated into the landscape, which was an entirely new attitude. The painter created a depth of space by modulating the colors from warm green shades to cold grayish blue. This was an atmospheric perspective which Jan van Eyck had also used in his work almost a hundred years earlier. Patinir had a huge influence on succeeding generations as well as on his contemporaries. — LINKS — The Rest on the Flight to Egypt (1515, main detail 875x1168pix, 103kb — or ZOOM to full original 34x49cm size, 1411x2000pix, 248kb) — Triptych (867x1100pix, 126kb — ZOOM to 1300x1642pix, 242kb) _ The left panel is The Baptism of Christ, the center panel is Saint Jerome Meditating Before the Crucifix, the right panel is Saint Anthony Victorious over Temptation. — Temptation of Saint Anthony (155x173cm; 1080x1203pix, 120kb) _ This is one of the few paintings that bears the artist's signature. — Baptism of Christ (1515, 60x77cm) _ Patenier lived and worked in Antwerp. He was an influential forerunner of the modern landscape painting. The Baptism of Christ — one of his few surviving and signed paintings — is a landscape in which the figural subject has only secondary importance. — Landscape with Saint Jerome (1520) — Saint Jerome in the Desert — Crossing the Styx. |
| ^
Born on 05 October 1848: Jean
Baptiste Édouard Détaille, Parisian
Academic
painter who died on 23 December 1912. [did he pay much attention to detail?]
[Pas tous les tableaux de Détail étaient de détails.]
[Qui donc a dit: “Est doux art de taille d'Édouard Détaille.”?]
— He studied under Jean-Louis-Ernest
Meissonier. — As a child, Détaille was surrounded by military figures from his grandfather, who had worked as a sutler responsible for organising Napoleon's transports, to a great aunt, who had married Admiral Villenueuve. Nonetheless, his only ambition was to be an artist and he let it be known that he wished to study with Cabanel. Through various circumstances, however, he ended up in the great Meissonier's studio. It was in 1867 that the young artist first exhibited a picture, showing a view of Meissonier's studio. In the following year, he showed his first military piece. While it was based solely on imagination, The Drummer's Halt represented a scene from the French Revolution. This was to be the beginning of a glorious career painting many military scenes from French history. The Franco-Prussian War had a profound effect on the artist, particularly as it forced him to see war in person. On the outbreak of war, he enlisted in the 8th Mobile Batallion and by November 1870 was attached to General Ducrot's staff seeing action in the fighting around Paris. On the Marne, he saw regiments under fire, groups of skirmishers dispatched to the front and senseless retreats. These experiences of war enabled him to produce many striking portrayals of the actions. Indeed, in 1872, he was forced to withdraw two paintings of the war from an exhibition so as not to offend Germany. Over the next few years, Détaille exhibited some of his finest paintings of the conflict, such as Salut aux Blessés (1877), La Défense de Champigny (1879), and Le Soir de Rezonville. With de Neuville, he produced two large panoramas of the battles at Champigny and Rezonville. Now a celebrity, he traveled extensively through Europe between 1879 and 1884, taking time only to visit Tunisia with a French expeditionary force where he was witness to some fighting. In Britain, he painted a review of British troops by the Prince of Wales and a scene showing Scots Guards in Hyde Park. It was at this time that Détaille was developing a deep interest in the French army and he produced all the drawings and plates for Jules Richard's Types et Uniformes de l'Armée Française, 390 images in all. With all his work, Détaille painted in a slow and methodical way so as to produce his subjects naturally, realistically, and, most important of all, truthfully. By the 1890s, Détaille was turning more and more to the campaigns of Napoléon. He produced many striking battle scenes, including dashing cavalry charges. He used many original items of uniform and weapons to give authenticity to his pictures, and many of these artifacts were used in the creation of the Musée de l'Armée in Paris, which Détaille helped found. — Woodburytype photo of Détaille by Ferdinand Mulnier (12x9cm, full size) — LINKS — Le Rêve (1323x1805pix, 324kb) — Le Rêve (1888, 300x390cm) — A French Cavalry Officer Guarding Captured Bavarian Soldiers (1875, 43x54cm) — La Charge (94x64cm) — Mounted First-Empire Dragoons in Front of a Country House (1897, 67x47cm) — Artilleur à Cheval (1870, 150x105cm) — Cossacks Attacked by the Royal Guard (1870, 100x81cm) — Le Dragon d'Espagne (1870, 150x105cm) — A Napoleonic Officer (66x35cm) — La Défense de Champigny (1879, 122x215cm) _ In this battle picture, shown in the Salon of 1879, Détaille depicts an incident that he had observed on 02 December 1870, during the Franco-Prussian War. General Faron's soldiers are shown fortifying their new position at the town of Champigny-sur-Marne, near Paris, and breaking openings in the wall for cannons. General Faron is at the left, talking to an old gardener. The artist painted a replica of the picture in 1879 and returned to the subject for a huge panorama of the battle (now destroyed) that he painted with de Neuville in 1882. — Un Uhlan (etching 32x24cm; full size) — Un Soldat à Cheval (etching 23x17cm; full size — ZOOM) |
| ^
Died on 05 October 1836: Orest
Kiprensky, Russian painter born on 24 March 1782. — Kiprensky was one of Russia's leading painters of the first half of the XIX century, and achieved international recognition. He was an illegitimate son of the landowner Alexey Dyakonov and one of his serfs. Born in the village Koporye, near St. Petersburg, on a farm owned by his father, he was released from serfdom, but was raised in the family of Adam Shvalber [1742-1807], a serf who was emancipated in 1800 and whom Orest portrayed in 1804 as The Artist's Father. Orest's real father helped him to be admitted to the Academy of Arts in St. Petersburg in 1788. There Orest was trained to become a historical painter, which was considered to be the highest achievement for an artist. He graduated from the Academy in 1803, but stayed there for three more years to win a scholarship to go abroad to study art. Prince Dimity Donskoy after the Kulikov Battle (1805) was the picture which won him the scholarship. In 1804 he had exhibited the Portrait of A. K. Shvalber (1804), which later a group of members of the Naples Academy of Arts, thought was from one of the great masters of the past — Rubens, Rembrandt, or Van Dyke — until Kiprensky got letters from the members of the St.Petersburg Academy of Arts confirming his authorship. During the following years Kiprensky created many portraits, among the best are The Princess A. V. Scherbatova (1808), The Prince P. P. Scherbatov (1808), A. A. Chelischev (1809), Count V. A. Perovsky (1809), Countess Ye. P. Rostopchina (1809), Denis Davydov (1809). During Napoleon's invasion of 1812, Kiprensky painted several portraits of people who fought against the French. Peter Olenin [1792-1868] was finished just before 18-year-old Peter with his 19-year-old brother Nicholas went to fight the Battle of Borodino, where Nicholas was killed and Peter severely wounded. In the post-war period Kiprensky painted portraits such as those of Darya K. Khvostova (1814; 135kb), V. S. Khvostov (1814), A. I. Molchanova with Daughter (1814), Count S. S. Uvarov (1816), The Poet V. A. Zhukovsky (1815). At last in 1816, Orest Kiprensky managed go to Europe to study the art of old masters. He spent seven years in Italy and created historical pictures there: Tomb of Anacreon (1821), several genre pictures Young Gardener (1817), Girl Wearing the Poppy Wreath, also known as Portrait of Mariucci (1819) , Gypsy Girl with a Twig of Myrtle (1819) and others. And of course he kept painting portraits in various techniques, among the best are The Princess S. S. Scherbatova (1819), The Prince A. M. Golitzin (c.1819), Ekaterina C. Avdulina (1823; 800x635pix, 64kb — ZOOM to 1600x1270pix, 188kb). In Italy he met a little girl “Mariucci” Anna Maria Falcucci, to whom he became attached. He “bought” her from her dissolute mother and made her his ward. On leaving Italy, he placed her in a Catholic convent. After his return from Italy Kiprensky continued to paint portraits, his favorite genre. The most notable were Count D. N. Sheremetyev (1824), O. A. Ryumina (1826), Prince N. P. Trubetzkoy (1826), A. F. Shishmarev (1827), Retired Major-General Karl Albrecht (1827; 127kb), Self-portrait (1828), Sibyl of Delphi (Portrait of N. S. Semenova.) (1828), A. A. Olenina (1828), Petr Vassilievich Basin, The Poet Alexander Pushkin (1827; 900x713pix, 189kb) In 1828, Kiprensky went back to Italy a letter, from his friend in Italy S. Galberg, informed him that he lost track of Mariucci. Kiprensky found Mariucci, who had been transferred to another convent. In Italy he went on working. He painted The Sibyl of Tibur (1830), a big canvas in the historical genre, but the painting was not successful. There were several remarkable genre pictures: Naples Boys (1829), Naples Girl with a Bowl of Fruits (1831), Readers of the Newspaper in Naples (1831) and portraits: F. A. Golitzin (1833) and The Sculptor Bertel Thorvaldsen (1833). In July 1836, Kiprensky was able at last to take Mariucci from the convent and marry her. He died from pneumonia three months later. His daughter Constance was born after his death. — LINKS — Self-Portrait with Brushes (1804) — Self-Portrait in a Pink Necktie (1809) — Grand Duke Dmitry Donskoy after the Kulikov Battle (1805) _ detail 1 _ detail 2 _ Grand Duke Dmitry Donskoy [1350-1389] was the ruler of Moscow after 1359. He united the armed forces of the Russians to rebel against the Tatars' rule. On 17 August 1380, 100'000 Russians gave battle on the Kulikovo field to a Tatar army almost as big. Dmitry Donskoy fought as an ordinairy soldier to encourage his soldiers and was severely wounded. The battle was won, but the losses were immense. The picture shows Donskoy when he was found by his people, who thought he had been killed. — Girl Wearing a Poppy Wreath (1819) — Madonna with the Child (1807) _ icon from the cathedral in Kazan. |