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ART “4” “2”-DAY  03 September
DEATHS: 1667 CANO — 1933 SOULACROIX
BIRTHS: 1748 VAN DONGEN — 1734 WRIGHT — 1914 BERMÚDEZ
^ Born on 03 September 1748: Dionys van Dongen, Dutch painter born in Dordrecht, he was first a flower painter in Breda, and later became the student for two years of the flower painter J. Xavery in The Hague. In 1771 he moved to Rotterdam where he studied the works of Cuyp, Potter and Wijnants. His studio became a popular meeting place and his work achieved a certain reputation. An affliction of the eyes is said to have prevented him painting in old age. He died in Rotterdam on 21 May 1819. The few works now recorded include landscapes, animal subjects and seascapes, and reflect his admiration for seventeenth-century Dutch painting.
Cattle (1797, 40x37cm)
^ Died on 03 September 1667: Alonso Cano, Granada sculptor, painter, draftsman, and (rarely) architect, born on 19 March 1601.
— He was an artist of rare versatility in 17th-century Spain. While he is also known for his drawings, only about 60 of these are definitely attributable to him, despite the many extant sketches with the name ‘Cano’ added by later hands. Unlike most of his Spanish contemporaries, such as Zurbarán or Velázquez, whose artistic styles did not outlive them, Cano’s artistic legacy is measured in part by the number of artists who were trained in his workshop and went on to become important masters in their own right: the painters Pedro Atanasio Bocanegra, Juan de Sevilla [1643–1695] and, more distantly, José Risueño, and the sculptors Pedro de Mena and José de Mora, who began by following Cano’s models and then continued to produce polychrome sculpture in a distinctive style typical of Granada. Sebastián de Herrera and Juan Niño de Guevara were also students of Cano.
— Cano was sometimes called “the Spanish Michelangelo” because of the diversity of his talents. He was born and died in Granada, Spain, and worked there and in Seville and Madrid. His movements were partly dictated by his tempestuous character, for more than once he fled or was expelled from the city he was working in (once for the suspected murder of his wife). In spite of his violent temperament, his work tends to be serene and often sweet.
      He studied painting in Seville under Pacheco (Velázquez was his fellow-student) and sculpture with Montáñez, and stayed in the city from 1614 to 1638, when he moved to Madrid to become painter to the Count-Duke Olivares and was employed by Philip IV to restore pictures in the royal collection. Thus he became acquainted with the work of the 16th-century Venetian masters, whose influence is apparent in his later paintings; they are much softer in technique than his earlier pictures, which are strongly lit in the manner of Zurbarán.
      From 1652 he worked mainly in Granada, where he designed the façade of the cathedral (1667), one of the boldest and most original works of Spanish Baroque architecture. He was ordained a priest in 1658, as this was necessary for him to further his career at Granada Cathedral. The cathedral has several of Cano's works in painting and sculpture, including a polychrome wooden statue of the Immaculate Conception (1655) that is sometimes considered his masterpiece.
LINKS
The Vision of Saint John (1635; 108kb) — St. John the Evangelist with the Poisoned Cup (89kb) — St. Bernard & the Virgin (114kb) — St. James the Major (58kb) — The Dead Christ Supported by an Angel (1652; 58kb)
The Dead Christ Supported by an Angel (1649, 178x121cm) —The Miracle at the Well (1647, 216x149cm) — Eve (1666) — Immaculate Conception (1648) — Saint John the Evangelist on Patmos (1648, 218x153cm)
Descent into Limbo (1640) _ From 1640 on, Cano's technique became increasingly pictorial, that is to say, increasingly Baroque, acquiring some of the subtleties he had previously ignored. Perhaps his most important painting is the Descent into Limbo, a strange, rather illustrative composition, anecdotal in the movement imparted to the figures, but including one of the rare, and one of the most beautiful female nudes in Spanish art.
Mary (1648, 49x43cm) _ Probably a fragment of a larger painting. There are two somewhat similar representations of Mary by Cano, both are darker than this intimate picture painted with devotion.
Noli me Tangere (1640, 142x110cm) _ Cano was a painter, sculptor and architect and worked for varying periods in nearly every large town in Spain — Madrid, Seville, Valencia and Toledo. His oeuvre is very rich, though more restricted in range than that of Velázquez or Murillo, for he painted almost exclusively religious subjects, keeping strictly to the accepted ecclesiastical tradition. Cano never went to Italy but was strongly influenced by the Italian masterpieces in the Spanish royal collection. The composition of Noli me Tangere owes much to the inspiration of Correggio's 1525 painting of the same subject, which was in Madrid at that time, and the coloring shows the influence of Venetian masters, especially Titian. —
Other paintings of Noli me Tangere, by:
TitianGiotto di Bondone _ another by Giotto di BondoneFra AngelicoAgnolo BronzinoMaurice DenisGiovanni Battista FrancoHans Holbein Jr.Andrea MantegnaAnton Raphael MengsNicolas PoussinTilman RiemenschneiderGiovanni Francesco RusticiPontormo (after Michelangelo)
^ Born on 03 September 1734: Joseph Wright of Derby, English Romantic painter who died on 29 August 1787.
— Wright of Derby was a pioneer in the artistic treatment of industrial subjects. He was also the best European painter of artificial light of his day.
      Wright was trained as a portrait painter by Thomas Hudson in the 1750s. Wright's home was Derby, one of the great centers of the birth of the Industrial Revolution, and his depictions of scenes lit by moonlight or candlelight combine the realism of the new machinery with the romanticism involved in its application to industry and science. His pictures of technological subjects, partly inspired by the Dutch followers of Caravaggio, date from 1763 to 1773; the most famous are The Air Pump (1768) and The Orrery (1764). Wright was also noted for his portraits of English Midlands industrialists and intellectuals.
LINKS
The Dead Soldier (1789, 102x127cm) _ detail
Shakespeare's The Tempest Act VI Scene 1

Experiment with the Air~Pump (1768)
The Alchemist in Search of the Philosophers' Stone (1771)
Earthstopper at the Bank of Derwent (1773, 97x121cm) — Indian Widow (1785)
A Philosopher Lecturing with a Mechanical Planetary (1766, 147x203cm) _ Like other artists, Joseph Wright went to Italy, but he was more interested in its natural effects than its art. It is apt that he should be known as Wright of Derby, for it was there that he was to find pioneers of science and industry who provided him with subject-matter and with patrons. His is a provincial milieu, with serious rather than sophisticated interests, more doggedly bourgeois than the capital, and still optimistic about the benefits of progress. As Hogarth has been the initiator of 'la peinture morale', so Wright was the initiator, and the finest exponent, of the century's final contribution to genre: the industrial picture.
Miravan Opening the Grave of his Forefathers (1772, 127x102cm) _ Antiquity was the great theme in British painting in the last decades of the 18th century. Its influence can be traced in two areas particularly - in literature, which often comes close to the macabre, and in the excavations of antique sites, which were followed with intense interest at the time. Joseph Wright's Miravan Opening the Grave of his Forefathers illustrates an example from literature. One story is that Miravan found on the grave of his forefathers the inscription: "In this grave lies a greater treasure than Croesus possessed." But the central character finds only bones and another inscription: "Here dwells rest! Criminal, you seek gold among the dead? Go, greedy one, you will never find rest!" The subject has a double meaning. It not only illustrates the legend itself, but was also probably intended as a criticism of the growing desecration of antique sites.
Landscape with Rainbow (1795, 81x107cm) _ This late work of the artist, depicting a landscape near Chesterfield, shows reminiscences of his journey to Italy.
^ Died on 03 September 1933: Frédéric Soulacroix, Italian Academic painter born on 01 October 1858. — [Did he paint Pietàs? Crucifixions?]
— The son of the well known French painter and sculptor Joseph-Frédéric-Charles Soulacroix [Montpellier 06 Jul 1825 – Firenze 1899] and of Giacinta Diofebo, Frédéric lived until spring 1863 in Rome and later in Boulogne-sur-Mer (where his father Charles was painting the frescoes of the local cathedral), in Paris and, since 1870, in Italy in Firenze. In 1873, at 15, Frédéric enters the Accademia di Belle Arti of Firenze and in Octobre 1876 is admitted to the Scuola di Pittura. On 06 June 1890, he marries, in Firenze, Julie Fernande Blanc. They live in Piazza Donatello, 21, in a charming house with rear garden they acquire. Firenze sees the birth of four boys: Olivier, George, Gabriel and a girl, Amélie Florence. In 1924 he is madeOfficier d’Académie by the French Authorities. In 1933 he dies in Cesena. Amélie was married in 1924 to prince Urbano Chiaramonti, nephew of Pope Pius the VII. Soulacroix is buried in the Chiaramonti tomb.
     Soulacroix was an artist who enjoyed an enormous success. His paintings were mainly for private customers coming from the US, England, Germany (Munich especially), South America, Canada. He made a portrait of the Queen Margherita wife of King Umberto I of Italy and those of the King of Siam and his brother Prince Sanbasaska.
     In recent sales and in pictures of his works appearing from time to time on the “web” (e.g. all the pictures shown above), Frédéric is very often confused with his father Charles. Frédéric’s signature is however unmistakable: his works are always signed F.Soulacroix - generally in red - whilst Charles always signed C. or Ch.or Charles Soulacroix.
LINKS
Confidences (76x58cm) — La demande en mariage (91x74cm) — Le modèle (55x25cm; 2330x1000pix, 661kb) — Le perroquet favori (72x47cm; 16553x996pix, 449kb) — Les trois connaisseuses (90x69cm) — Le visiteur de l'après~midi (89x69cm) — Le baiser du chevalier (98x66cm) — Le collier de perles (84x66cm) — Le thé à trois (99x76cm) — La Sortie (55x25cm) — Le Printemps (55x83cm) — The Embrace (86x49cm; 404x236pix, 9kb)
^ Born on 03 September 1914: Cundo Bermúdez, Cuban painter, ceramicist, and printmaker.
— Born in La Habana, he studied there at the Academia de San Alejandro (early 1930s) and in 1938 at the Academia de San Carlos in Mexico City, where he became familiar with the work of the muralists. He had his first one-man exhibition at the Lyceum in Havana in 1942. In his own words: "When I was young I wanted to be a writer; although I studied at San Alejandro, I never intended to take art seriously. The thirties was a decade of labor strikes and university closings; the economic situation was terrible by the time I went to Mexico in 1938. I was never awarded a scholarship in Cuba; I have never had material ambitions, and have been very independent. When the news come of Batista's coup d'etat in 1952, I was vacationing in Europe. I returned home, and dedicated myself full time to painting. It has been like that ever since. I have fun at what I do; the pleasure I get from painting is vital for me. I enjoy art like Mozart enjoyed his music. Some people are concerned over philosophic postulates, over universal chaos, over the atomic bomb; for me, painting is a celebration of form and color, and nothing more. I left Cuba absolutely disillusioned, perhaps because I had believed totally in the revolution. Between 1962 and 1967, the government obliterated me; I was neither harassed nor persecuted, simply ignored. Exile has affected the individual, not the artist; when I arrived in Puerto Rico, I felt as if I had reached a region of Cuba I had not known previously. In a way, I still feel uprooted, for I do not feel at home anywhere."
— Bermúdez nació en La Habana en un tiempo trastornido por el estallido de la Primera Guerra Mundial. En 1926, Bermúdez ingresa en el Instituto de La Habana, y en 1930 matriculó en la Academia de San Alejandro, donde estudió pintura durante dos años. En 1934, ingresa en la Universidad de La Habana con el propósito de estudiar Derecho Diplomático y Ciencias Sociales. Se gradúa en 1941. Trabajaba, estudiaba, y pintaba.
      En 1937 trabajó en la revista Selecta, fundada por López Serrano, propietario de librería La Moderna Poesía. El arte cubano vive un auge extraordinario en las décadas de los años 20, 30 y 40. A partir de 1927, se desarrolla en Cuba un interés especial por el arte moderno. Ese mismo año se funda en La Habana la revista Avance. Posteriormente aparecerían Verbum, Nadie Parecía y Espuela de Plata. En 1944 nace la revista de arte y literatura Orígenes, de la mano de importantes intelectuales cubanos, entre ellos el poeta y ensayista José Lezama Lima.
      En 1936 Eduardo Abela funda el Estudio Libre para Pintores y Escultores, con la colaboración de los pintores Mariano Rodríguez y René Portocarrero y del escultor Alfredo Lozano, amigo de Bermúdez. Finalmente, la Dirección de Cultura del Ministerio de Educación funda el Instituto Nacional de Artes Plásticas en 1940.
      Cundo Bermúdez no es ajeno a este torbellino que viven las artes cubanas. Más bien forma parte del fenómeno. Dos importantes generaciones de artistas plásticos cubanos cruzan sus obras, la del 27 y la del 40, a la que corresponde la labor de Cundo, con su formidable talento para el uso de la luz y del color. Junto a otros pintores y a manera de protesta por la ausencia de galerías de arte, Bermúdez expone sus obras en los árboles del Parque Albear en 1937. Allí estuvieron sus cuadros Bailarina, Callejas de mi escuela, Cloroformo, Retrato de Rafael Llerandi y Salida del taller. Fue el único del grupo que alcanzó relieve internacional posteriormente.
      En 1938 se organiza la "Exposición nacional de pintura y escultura". Bermúdez tiene una destacada participación. Luego, viaja a México y estudia en la Academia de San Carlos. No pudo ocultar su admiración por las obras de figuras como Rivera, Orozco, y Siqueiros, especialmente las realizadas por ellos antes de que expusieran sus compromisos políticos a través del arte. Se hizo amigo de Rufino Tamayo. En 1941, participa en la "Exposición de Arte Cubano Contemporáneo", del Lyceum de La Habana, donde vende su primer cuadro: Dos niños.
      En 1943, se inaugura "Una Exposición de Pintura y Escultura Moderna Cubanas", organizada por José Gómez Sicre en La Habana. Asiste el mexicano David Alfaro Siqueiros y dice lo siguiente: "Cundo Bermúdez representa audacia en las artes plásticas. El sabe cómo construir de una manera sincronizada. Con tonos y primeros planos situados en profundidad pictórica, en contraposición, él construye y organiza, a veces de manera casi milagrosa. Yo creo que este artista ha tenido gran importancia en la gama cromática de la pintura moderna cubana".
      En 1944 se inaugura la Exposición de Pintura Cubana en el Museo de Arte Moderno de Nueva York (MOMA). El director del museo, Alfred H. Barr, dice que la obra de Bermúdez es "humorísticamente arcaica, pero vigorosa y original con sus armonías de color metálico". Esta exhibición es el principio de la carrera artística internacional de Cundo Bermúdez. En la actualidad dos de sus cuadros, El balcón y La barbería, son parte de la colección permanente del museo.
      A partir de la segunda mitad de la década de los años 40, Bermúdez expone en varios países de América y Europa. El 06 marzo de 1952 viajó por primera vez a Europa; para dos meses de vacaciones. El 10 marzo 1952 se produce en Cuba el golpe de estado de Fulgencio Batista, y Cundo extiende sus vacaciones a nueve meses, durante los cuales viaja por España, Francia, Bélgica, Holanda, e Italia. Junto a un grupo de artistas, se niega a participar en la II Bienal Hispanoamericana, organizada por el gobierno español de Francisco Franco y financiada por el de Batista. Posteriormente, conspira contra Batista al lado de destacadas figuras como Sergio González (El Curita)
      Con la llegada al poder de Fidel Castro en 1959, Cundo participa en gestiones para la liberación de prisioneros políticos. Expone en Chile y Perú. En Chile se reunió con Carreño, que vivía en ese país suramericano, y con el poeta Pablo Neruda, a quien conocía de antes. En medio de dificultades, regresa a Cuba, donde, al igual que otros artistas, es sometido a un aislamiento irracional. Periodistas e intelectuales que visitan la isla preguntan por él. Se les responde: "Cundo es un anciano de salud muy delicada que vive en una finca alejada de La Habana". En realidad, Cundo tenía poco más de 40 años y estaba en plenitud de facultades. Se le niegan materiales para trabajar. No se le invita a exposiciones nacionales. Pinta casi en el clandestinaje. A finales de la década de los 60 logra abandonar Cuba rumbo a Estados Unidos. Poco después se establece en Puerto Rico. En 1996 se establece en Miami.
Hombre Sentado (1941; 281x216pix, 31kb gif)
Muchacha en Bata Rosada (1942; 238x216pix, 30kb gif)
Sexteto Habanero (1953, 119x288pix, 23kb gif)
Virgen de la Caridad del Cobre (1968;291x216pix, 34kb gif)
Retrato de Gloria Martínez (1976; 281x216pix, 35kb gif)
La Macorina (1978; 296x216pix, 33kb gif)
Retrato de Ligia (1984; 258x216pix, 36kb gif)
Club de Señoritas (1995; 209x288pix, 42kb gif)
Punto de Luz (2000; 259x216pix, 35kb gif)
^
Died on a 03 September:


1937 François-Joseph Guiguet, French artist born on 09 January 1860.

1796 Heinrich Hirt, German artist born on 12 September 1727.

^
Born on a 03 September:


1899 (3 Nov?) David Joseph Bles, Dutch painter and printmaker born on 19 September (19 November?) 1821. He received his first training at the drawing academy in The Hague. He then worked in the studio of Cornelis Kruseman from 1838 to 1841, at the same time as Alexander Hugo Bakker Korff. Bles studied under Joseph Robert-Fleury in Paris in the following two years. Back in The Hague in 1843, he quickly attracted attention with his submissions to exhibitions. He specialized in the playful depiction of the well-to-do middle classes in domestic settings, often with a coquettish young woman as the main character.

1802 Carl Georg Adolph Hasenpflug, German artist who died on 13 April 1858.

1773 Jakob Gauermann, German artist who died on 27 March 1843.

1651 Jan Pauwel Gillemans II, Flemish artist who died before 09 October 1704.

1623 Pieter Wouwerman, Dutch painter who died on 09 May 1682. He was the son of Pauwels Joostens Wouverman of Alkmaar [–28 Sep 1642] and brother of Philips Wouwerman [bapt. 24 May 1619 – 19 May 1668] and of Johannes Wouverman [1629-1666]. Pieter Wouverman made copies of works by Bamboccio (several of which he burned on the eve of his death) and by Teniers.

1521 Pomponio Allegri, Italian artist who died after 1593. — Relative? of Antonio Allegri “Correggio” [1489~1534]?

updated Saturday 25-Oct-2003 12:26 UT
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