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ART “4” “2”-DAY  23 October
DEATH: 1698 EHRENSTRAHL
BIRTH: 1852 FORAIN
^ Born on 23 October 1852: Jean~Louis Forain, French Impressionist draftsman-satirist, painter, etcher, lithographer, and illustrator, who died on 11 July 1931.
— Born in Rheims, son of a house-painter. Studied for a year with J. de la Chevreuse and briefly under Gérôme at the École des Beaux-Arts. Copied drawings and etchings in the Louvre and the Bibliothèque Nationale; also studied modeling for a year under Carpeaux. First began to paint in the studio of André Gill in 1870. Became a friend and disciple of Degas and contributed to four of the last Impressionist exhibitions 1879-1886. From 1887 to 1890 became a prolific and famous contributor of satirical drawings of Parisian life and later political satire to Le Courrier Français, Le Figaro and other papers, accompanying the drawings by his own biting captions; also published two papers of his own, Fifre 1889 and (with Caran d'Ache) the anti-Dreyfus Psst...! 1898-1899. First one-man exhibition at the Galerie Boussod-Valadon, Paris, 1890. After about 1900 he painted a number of law-court scenes influenced by Daumier, but in darker tones. Died at Le Chesnay, near Versailles.
— About 1860 he moved with his family to Paris, where he was taught by Jacquesson de la Chevreuse [1839–1903], Jean Baptiste Carpeaux and André Gill. He participated in the Franco-Prussian War (1870–1871) and was a friend of the poets Paul Verlaine and Arthur Rimbaud; the latter is the presumed subject of a portrait (1874) that may have influenced Manet’s late portrait of Mallarmé (1876). Forain first met Manet through his friendship with Degas in the early 1870s at the salon of Nina de Callias. He continued to associate with Manet, meeting the group of young Impressionists at the Café Guerbois and the Café de la Nouvelle Athènes. In 1878 Forain painted a small gouache, Café Scene, which probably influenced Manet’s Bar at the Folies-Bergère (1882)
LINKS
The Patron and the Artist (1921, 58x48cm; half-size)
Danseuse Rattachant son Chausson (27x23cm; 3/4 size)
Montmartre (51x62cm; recommended 2/5 size; or see it 4/5 size)
Dans les Coulisses (1878; 1044x784pix)
The Tightrope Walker (1880) — The Fisherman (1884) — Music Hall (1895)
Le Tribunal (1903, 60x73cm) — Avocat et accusé (1908, 65x81cm)
31 images at Webshots
28 prints at FAMSF
— [Quoi? Pas de portraits de romanichels?]

^ Died on 23 October 1698: David Klöcker “Ehrenstrahl”, in Hamburg, German Baroque painter, active in Sweden, born on 23 September 1629. Some incorrectly give 27 Apr 1628 as the date of his birth. Also incorrect is 27 October 1698 as the date of his death (it may have been his burial).
Ehrenstrahl stamp— ‘Ehrenstrahl’ was an honorific title received on his ennoblement in Sweden in 1674; his eventual appointment as court steward there in 1690 reflects his status as a founding father of Swedish painting. He initially studied in the Netherlands (1648–1650), but his early works, stylistically undecided, reflect contemporary German painting. Such a work is his equestrian portrait of Field Marshal Carl Gustaf Wrangel (1652), in whose service he went to Sweden in 1651. In 1654 he went to study in Italy. In Rome he learnt from Pietro da Cortona’s allegories and his mastery of compositional devices, movement, color, light and shade. From there he went to Paris, where he became acquainted with the work and career of Charles Le Brun. When Klöcker returned to Sweden in 1661, the influence of Hedvig Eleanora, the Queen Mother, secured him a position as a court painter.
[Swedish stamp from a detail of Ehrenstrahl's 1695 The Great Deeds of Swedish Kings >>>]
— Like many of his North-German colleagues, the Hamburg-born David Klöker sought his way to Holland to study painting. His teacher was Jurian Jacobsz, an animal painter from Amsterdam. In 1652, Klöker came to Sweden in the company of Field Marshal Carl Gustav Wrangel. In Stockholm, Klöker entered the service of the Queen Dowager Hedvid Eleonora, who sent him to Italy in 1654 to learn the skills of a court painter. Klöker spent some time in Rome, Venice, Paris and London and adopted the form and ideology of international Baroque classicism. In 1661, he returned to Sweden to take up the post of court painter. Sweden was at its most powerful at that time. The young King Charles XI took the power into his own hands from the nobility. The autocrat of a great power, he needed someone to provide a worthy setting for him and to create his public image - an artist who had mastered the means of Baroque rhetoric and visual propaganda. David Klöker was just the man for this task. King Charles XI valued the talent and energies of his court painter so much that he raised him to the nobility in 1674 as David Klöcker Ehrenstrahl. Ehrenstrahl was the head of a large studio where he and his numerous assistants produced a remarkable amount of monumental paintings and parade portraits to meet the ever-increasing demand. Ehrenstrahl's court Baroque seems a little clumsy by international standards, but it obviously met the hopes and aspirations of the parvenu great power on the outskirts of Europe. Ehrenstrahl used to distinguish the paintings in which his own work predominated from the studio output by signing the latter "Ehrenstrahl fec." instead of just "Ehrenstrahl". His own works at their best are highly picturesque and surprisingly expressive. Ehrenstrahl's splendid animal paintings are another story completely - the court painter showed exceptional enthusiasm when he returned to the fountainhead of his early student years in Holland.
— Michael Dahl was a student of Ehrenstrahl.

The Great Deeds of Swedish Kings (1695; 869x625pix, 69kb — ZOOM to 1738x1250pix, 142kb) _ a ceiling painting at Drottningholm Castle.
Fox (566x817pix, 29kb)

Count Johan Jacob Hastfehr (89x72cm; 694x577pix, 35kb) _ This portrait has been left in the sketch stage. The face is fairly accurately completed, but the arms and the breastplate are outlined in vigorous strokes using shades of brown. In the 1680s and 1690s, Ehrenstrahl painted a series of portraits of the generals of King Charles XI, and it is said that the King weeded out some of the paintings before they were ready. This portrait may have been one of them.
      Jacob Johan Hastfehr was born in Tallinn, Estonia. His family belonged to the German nobility in the Baltic States. He went to Stockholm in 1667 to be a junior officer in the King's entourage. He was captain of the Life-Guards when, in 1674, he married Sigrid Gyllenstierna, widow of the Privy Councillor, Klas Fleming. Through her family background, Sigrid belonged to the intimate circles of Charles XI and she arranged for her fiancé to gain the special attention of the King. Hastfehr distinguished himself in the Danish war and truly won the King's confidence when, as commander of the Stockholm garrison, he secured the King's rear during the unstable parliamentary sessions of the Estates in 1680.
      Charles XI had built an autocracy in Sweden and Finland and saved the national economy by the repossession of the lands and fiefs of the nobility. In the Baltic countries, Estonia and Livonia, the ownership of land and political power were still in the hands of the German nobility. Charles XI decided to extend his reforms to the Baltic region as well and needed a loyal, determined man who knew the local conditions to carry out his will there. In 1687, he nominated Jacob Johan Hastfehr governor general of Livonia and soon after that as count and a field marshal as well.
      Hastfehr began to implement the King's policies with full vigor. According to historical accounts reflecting the views of the Livonian nobility, Hastfehr was a gruff braggart and a ruthless, two-faced careerist, who would stop at nothing to achieve his own despicable aims. It is said that he accepted bribes left, right, and center, but when bought he didn't stay bought and did whatever he wanted anyway. Later historical accounts relate that he was a man of action, but in a different way; Hastfehr tried to reach an amicable agreement with the Livonian nobility and pursued hard-line policies only after it became evident that the nobility would not agree to any concessions concerning their lands and powers. Once he had broken the nobility's resistance, Hastfehr opposed all retaliation against them.

Count Johan Gabriel Stenbock [1629-1705] (147x120cm; 702x571pix, 41kb) _ In the portrait, Count Stenbock is sitting on a red velvet cushion, relaxed and self-confident, leaning against an exuberant, gold-plated console table that might be from Burchard Precht's workshop. The count is wearing a yellowish robe, the free-flowing pleats of which are painted with the firm strokes of a master. In the background, there is red drapery under which, behind a column, a strip of parkland is visible.
      John Gabriel Stenbock was born into one of the oldest and most respected families in Sweden. He began his career at court by charming Queen Christina. When the young count returned from a long tour abroad, he was appointed treasurer to the Queen Dowager. Stenbock showed strong economic sense in his work and became a privy councillor in 1668. In 1692, he resigned from the regency as he opposed its open-handed economic policy. When King Charles XI came of age, he asked Stenbock to join the council again. For the rest of his life, Stenbock remained one of the most influential men at court and in the government. A common interest in economic issues brought Stenbock close to the King. Stenbock warmly supported the economic reforms introduced by Charles XI, the most important of which was the repossession of alienated crown lands from the nobility. However, Stenbock did not neglect his own interests for the benefit of the crown. Through his privileged position, he was able to save much of his own large lands. In fact, he took advantage of the plight of his fellows and redeemed dozens of confiscated estates at very low prices. By the time of his death, he was one of the richest men in the kingdom.
      Stenbock avoided the traps set by his many lady admirers and remained single. He was a hot-tempered and outspoken man, the Queen Dowager nick-named him "grobian". Stenbock had a shrewd and inquisitive mind. He liked to give the impression of being more learned than in fact he was. His habit of dropping cultured details into conversations caught the attention of many diplomats, who mentioned it in their reports. Stenbock's interest in science may have had an influence on his being appointed Chancellor of the Turku Academy.

Karl XII: den nykrönte monarken (1697; 611x400pix, 196kb) _ David Klöcker Ehrenstrahl är mest känd för att ha skildrat Carl Gustaf Wrangel samt Karl XI och hans familj. Han inledde dock sin karriär som skrivare vid kansliet i Osbabrück men blev efter det 30-åriga kriget elev hos porträtt- och djurmålaren Jurian Jacobz. Det visade sig att den unge David Klöcker hade god potential och fick därför anställning hos Carl Gustaf Wrangel i Pommern. År 1653 reste David Klöcker ut i Europa för att bl.a. ta lärdom av den italienska barockkonsten vilket bidrog till att han år 1658 blev det svenska hovets officielle konstnär. Han adlades förövrigt 1674.
      Ehrenstrahls första porträtt av Karl XII följer i många avseenden dåtidens ideal. Men intressant är ändå att många av dessa är mer överensstämmande med originalet än Kraffts och Sparres mer "verklighetstrogna" och råa verk. Proportionerna i kungens ansikte är ofta mer riktiga hos Ehrenstrahls versioner; nässpetsen och munnen sitter inte onaturligt nära varandra, vilket dessa gör hos t.ex. Sparres skildringar. Slutsatsen vi kan dra är alltså att Ehrenstrahl verkligen var mån om realism dock en idealiserad sådan...
      Ehrenstrahls många målningar är även väldigt viktiga i det avseende att de visar oss hur kungens yttre utvecklades; från spädbarn till vuxen man. På de tidigaste porträtten finner man att kungens böjda näsa tar lite för stor plats i dennes smala ansikte, men på de senare är dragen mer proportionella.

Conrad von Falkenberg [1591-1654] (933x759pix, 123kb) _ Tidigare bl a kapten vid Södermanlands regemente och kommissarie i Holland, begärde avsked p g a sjuklighet.
Mauritz Posse [1632-1702] (1674, 947x772pix) _ Tidigare landshövding i Kronobergs län, friherre.
Hans Georg Mörner [1623-1685] (1680; 934x747pix) _ Bl a överste, generalmajor, landshövding i Jönköpings län, guvernör över Kalmar och Kronobergs län, guvernör över Jönköpings län.
Hans Wachtmeister [1641-1714] (1683; 930x759pix) _ Guvernör över Kalmar och Blekinge län. Orsaken till ändringen av länsdelningen var att man tänkte förlägga den svenska örlogsflottan till Kalmar där bl a ett örlogsvarv anlades 1681.Wachtmeister var även generalamiral över svenska flottan samt generalguvernör. Till sin hjälp hade han Erik Nilsson Ehrensköld 1681-1683 (1634-1684) med titeln ståthållare.


Died on a 23 October:


^ 1917 Eugène-Samuel Grasset, Swiss-born French illustrator, decorative artist, and printmaker, born on 25 May 1841. Before arriving in Paris in the autumn of 1871, Grasset had been apprenticed to an architect, attended the Polytechnic in Zürich and traveled to Egypt. In Paris he found employment as a fabric designer and graphic ornamentalist, which culminated in his first important project, the illustrations for Histoire des quatre fils Aymon (1883). Grasset worked in collaboration with Charles Gillot, the inventor of photo-relief printing and an influential collector of Oriental and decorative arts, in the production of this major work of Art Nouveau book design and of color photomechanical illustration. Grasset used a combination of medieval and Near Eastern decorative motifs to frame and embellish his illustrations, but most importantly he integrated text and imagery in an innovative manner which has had a lasting influence on book illustration. — Some of Grasset's students were Paul Follot, Augusto Giacometti, Pierre Roy, Eliseu Visconti, Paul Berthon.

1890 Charles (or Karel) Michel Maria Verlat, Antwerp Belgian painter and teacher, born on 24 November 1824. He studied at the Antwerp Academy. Joseph Lies was one of his teachers. Verlat was admitted to Ary Scheffer’s atelier at the École des Beaux-Arts in Paris in 1850. He discovered Delacroix in the museums and studios of Paris, but he remained Flemish at heart, particularly admiring the colors of Rubens’s Medici cycle in the Louvre. With his contemporary, Eugène Verboeckhoven, he became the heir to the Flemish tradition of genre painting in which animals were the main protagonists, capturing the subtle color and texture of fur with great exactitude (e.g. Pig and Donkey). He remained in Paris until 1868, and from 1869 to 1874 he taught at the Weimar Kunstschule. — The students of Verlat included Floris Arntzenius, Frank Bramley, Norman Garstin, Max Liebermann, Charles Mertens, Walter Frederick Osborne.

1879 Pierre Justin Ouvrié, French artist born on 19 January or May 1806.— [A son oeuvre on connait un Ouvrié, malheureusement je n'en trouve aucun échantillon sur l'Internet]

1873 George-Henry Laporte, German painter born in 1799. — Arab Mare and Foal with Attendant by a Ruined Temple (1835, 49x67cm) — [Quand des rivaux arrivaient chez lui, on leur montrait Laporte?]

1690 Antoni (or Anthonie) Waterlo (or Waterloo), Dutch painter, draftsman, and etcher, born on 06 May 1609. — [When did he come to his Waterloo, that I can find no examples of his work on the Internet?] — He was the son of a Flemish cloth-shearer who had fled to Amsterdam for religious reasons. In 1640 Antoni married Cathalyna van der Dorp in Amsterdam, and between 1641 and 1651 they had six children. Although he is recorded as a ‘painter’ in the baptismal registers of his children, his work predominantly consists of landscape drawings and etchings. His earliest known dated work is a sheet depicting a View of the Blaauwbrug in Amsterdam (1649).

1657 Rafel Govertszoon Camphuysen, Dutch artist born in 1598. — Related? to Govert Dirckszoon Camphuysen [1623 – 04 Jul 1672 bur.]?

Born on a 23 October:


^ 1920 Lygia Clark, Brazilian painter, sculptor, and performance artist, who died on 26 April 1988. She first studied painting with Roberto Burle Marx in Rio de Janeiro and in 1950 moved to Paris, where she completed her studies with Fernand Léger and Arpad Szènes [1900–]. Under the influence of Soviet Constructivism, the Bauhaus and Neo-plasticism, she abandoned her early figurative style for geometric abstraction, joining the Frente group on her return to Rio de Janeiro in 1954. Between 1954 and 1958 she produced two series of radical experiments in concrete art, Modulated Surfaces and Counter-reliefs. These were followed between 1959 and 1961 by Animals, metal sculptures which the spectator was free to rearrange. Her move to Europe in 1968, marked by a retrospective at the Venice Biennale, where she also showed her installation The House is the Body, confirmed her growing reputation in Europe. Before returning to Rio de Janeiro she taught a course at the Sorbonne, Paris, from 1970 to 1975, entitled Imagery of the Body. In her work she substituted flat surface with unrestricted space so as to invite the physical participation of the spectator, thereby encouraging the spontaneous rediscovery of the body and the transformation of behavior in art.

1910 Richard Mortensen, Copenhagen painter and stage designer who died on 12 January 1993. He studied at the art academy in Copenhagen from 1931 to 1932. In 1932 he visited Berlin with the painter Ejler Bille and saw paintings by Vasily Kandinsky, after which he began to make abstract pictures with pure, geometrical forms. He was also attracted by Surrealism and in his paintings of 1933–1934 sometimes incorporated fragments of reality, such as an eye and a pair of lips, in otherwise abstract compositions, which gave them a fantastic and erotic character. In 1934 he made some paintings that were purely Surrealist (influenced by Salvador Dalí and Yves Tanguy) as well as drawings of an automatist nature; his works were already exceptionally striking in color.

1898 Werner Scholz, German artist who died in 1982.

1769 James Ward, English Romantic painter and engraver, specialized in animals. He died on 17 (23?) November 1859. He was the most important animal painter of his generation. Many of his dynamic compositions depict horses, dogs or wild animals in agitated emotional states, the sense of movement being reinforced by vigorous brushwork and strong colors. With their sweeping landscapes and dramatic skies, his canvases epitomize Romanticism. Not content to excel merely as an animal painter, Ward also produced portraits, landscapes and genre and history paintings of varying quality. A prolific artist, he was a frequent exhibitor at the British Institution and at the Royal Academy, London. — William Say was a student of Ward. — LINKSMiranda and CalibanSheep

1677 Giuseppe Antonio Petrini (or Pietrini), Swiss painter who died in 1758. Now considered one of the most gifted and original artists of the Baroque from the Ticino, he was almost totally unknown before the exhibition of his work held at Lugano in 1960. However, neither a precise chronology of his life nor a comprehensive catalogue of his paintings has yet been established. He studied with Bartolomeo Guidobono after 1700. His early works also suggest other Lombard, Venetian and Roman influences. His late works imply a knowledge of mystic Spanish painting, especially in the austere settings he favored. He painted works in Como, Bergamo and perhaps Milan, but most of his pictures are located in Lugano and the surrounding area. He is also listed in at least three documents between 1711 and 1753 as fabbriciere of the church of Madonna d’Onegro, Carona, suggesting he had some architectural training.

23 Oct 2001:
The art of Andy Warhol, who once said "being good in business is the most fascinating kind of art," may soon grace dishes, bedding, wallpaper and other items under a licensing agreement announced on 23 October 2001. The foundation dedicated to Warhol, who died in 1987, agreed to license images created by the prolific artist for reproduction on retail goods ranging from clothing to jewelry, and from wallpaper to greeting cards. Ubiquitous Warhol images of Marilyn Monroe [or 50 Monroes] and Campbell Soup cans could be joined on retailers' shelves by reproductions of lesser-known works such as "Fairy on a Horse," featuring a curly-haired fairy armed with arrows and a bouquet atop a horse; the artist's own brand of camouflage pattern; arrays of multicolored lips, signs bearing the message, "This Side Up," or Beethoven, or Lenin, or flowers, or a butterfly, or electric chairs, or even (ugh!) spam.
      The deal was signed with the Beanstalk Group, a large licensing company that promotes Coke, Harley-Davidson and other companies who want to extend their logos. Proceeds from the licensing pact would be used by The Andy Warhol Foundation for its cause to provide funding for the arts, the licensing company said.

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