search 7500+ artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 19 Sep
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” SEP 20 ||| ALTERNATE SITES
ART 21 Sep >>>
ART “4” “2”-DAY 20 September
DEATH: 1932 SLEVOGT
BIRTHS: 1855 BRUSH — 1819 CHASSÉRIAU
^ Born on 20 September 1855: George de Forest Brush, US painter who died on 24 April 1941.
— He began his formal training at the National Academy of Design in New York and in 1873 entered the atelier of Jean-Léon Gérôme in Paris, studying there and at the Ecole des Beaux-Arts for almost six years. Soon after his return to the USA in 1880, he was elected to the Society of American Artists. Thereafter he spent much time on both sides of the Atlantic, beginning in the US West and including lengthy stays in Paris, Florence, New York, and Dublin NH, where he purchased a farm in 1901.
— Although some may think of US painting about 1900 as dominated by Impressionism, this was actually one of the most diverse periods in the history of US art. Realists like Winslow Homer and Thomas Eakins, visionaries like Albert Pinkham Ryder, and a wide variety of still-life and landscape painters all reached the height of their powers at the same time as John Singer Sargent, Mary Cassatt, and the members of The Ten. As US painters matured, so too did US sculptors and architects: Augustus Saint Gaudens, Stanford White, and Louis Sullivan appeared in the same generation, as did Walt Whitman, William Dean Howells, and Henry Adams, giving fresh impetus to US letters. It was thus with reason that, in the decades between the nation's Centennial and 1900, the cultural leaders of the age thought of themselves as participating in an artistic revitalization, as belonging to a US Renaissance.
      Within this creative ferment there were some painters who inclined towards a more literal emulation of Italian Renaissance art, as that art was filtered through the academic teaching and example of their mentors at the École des Beaux-Arts in Paris. Among the many young Americans who deliberately sought such instruction was George deForest Brush, the son of a successful Connecticut businessman. Brush first encountered the systematic artistic professionalism of the French Academy through his teacher at the National Academy of Design, Lemuel Wilmarth. In 1874, Brush went to Paris and placed himself under the tutelage of Jean-Léon Gérôme (1824~1904), one of France's most illustrious art teachers, who demanded the close study of the human form and instilled a spirit of romance in his students through his preference for exotic subjects drawn both from the classical past and from the contemporary Near East. After completing his studies and returning to the United States in 1880, Brush began to paint his own exotic romances as he saw them embodied in the anatomical perfection and noble ideals of the Amerindian.
      By the late 1880s, Brush began to move away from the Amerindian subjects that had first won him fame towards elegantly composed and painted images of mothers and children, based on the madonnas of the High Renaissance. His wife Mittie and his blond haired brood of one son and six daughters served as his models. In 1898 Brush embarked on the first of a long series of visits to Florence.
      One of the products of these stays was Thea (1910, 41x30cm), a portrait of his youngest daughter, born in Florence in 1903. Thea, later Mrs. Thomas Handasyd Cabot, is depicted as a girl of about seven or eight, carefully posed in a fanciful costume completely dominated by a large red hat. Her long, blond tresses fall like watered silk across the front of her green velvet dress, whose lace collar and embroidered sleeves complement the hat's feathery plumes in their delicacy. The painting's oval format and ornately-carved frame suggest the artist's Renaissance preoccupations.
      From the time of his first Italian visit, Brush had made a study of Renaissance painting techniques, grinding his own pigments and applying them to carefully prepared gesso grounds to recreate the luxuriant colors of sixteenth and seventeenth century Italian painting. As much as it is a portrait of a disarming young lady, Thea is also an essay in those colors, one whose principal intent is to evoke its Old Master prototypes.
— Although George Brush was best known for his sensitive portraits of mothers and children, his paintings of Amerindians helped launch his highly successful career. After studying for six years at the École des Beaux-Arts, Paris and with the famed academic painter Jean-Léon Gérôme, Brush traveled extensively in the West between 1881 and 1885.
      Brush’s first paintings of Amerindians were factual and highly accurate, but by the time he completed The Sculptor and the King (1888, 51x91cm) they had become romantic idealizations. Here he combined Mayan architectural motifs, such as a wall relief, with objects from other Amerindian cultures in other times. The classic composition, subtle tonalities, and meticulous brushwork of The Sculptor and the King won him the coveted Julius Hallgarten Prize in 1888.
LINKS
Nancy, the Artist's Daughter [Mrs. Robert Pearmain] (1915)
The Little Cavalier (1904, 25x19cm; 380x290pix, 12kb)
^ Died on 20 September 1932: Max Slevogt, German Impressionist painter, printmaker, and illustrator, born on 08 October 1868.
— His father, adjutant and friend of the future Prince Regent, Luitpold [1821–1912], died when Slevogt was just two years old. His mother moved to Würzburg, where he spent his schooldays. Even in his childhood and adolescence, family connections brought Slevogt to Pfalz, to an aunt in Landau and to the Finkler family in Neukastel. Initially he had planned to become a musician, but he began to study painting at the Akademie der Bildenden Künste in Munich in 1885. His fellow students included Gabriel von Hackl [1843–1926], Karl Raupp [1837–1918], Ludwig Herterich [1856–1932], and Wilhelm von Diez [1839–1907]. In 1889 he spent a term at the Académie Julian in Paris. At that time Impressionism impressed him very little. Following a trip to Italy in 1890 with the painter Robert Breyer [1866–1941] who had befriended him at the Akademie, he began to work independently as a painter in Munich. In 1893 he participated in the first exhibition of the newly founded Munich Secession, exhibiting Wrestling School (1893); the judges wanted to refuse this painting as immoral since its entwined and naked men caused offence. In the following years his paintings often appeared harsh and non-academic to conservative Munich circles. At this time Slevogt also made contributions to the journals Jugend and Simplizissimus, which were significant in the development of his graphic work. In 1898 he married his childhood friend Antonie (‘Nini’) Finkler. In the same year he went to Neukastel and on an autumn trip to an exhibition in Amsterdam of Rembrandt’s work with the art historian Karl Voll [1867–1917]. Voll instructed him in the history of art and published the first monograph on him in 1912.
LINKS
Self-Portrait (drypoint 20x15cm) — Self-Portrait seated and drawing (1911drypoint, 17x12cm)
Self-Portrait (Head) (drypoint 24x18cm) — 62 prints at FAMSF
^ Born on 20 September 1819: Théodore Chassériau, Parisian painter and printmaker who died on 08 October 1856.
— Born in Haiti at El Limón, near Samaná (now in the Dominican Republic), Chassériau moved in 1822 with his family to Paris, where he received a bourgeois upbringing under the supervision of an older brother. A precociously gifted draftsman, he entered Ingres’s studio at the age of 11 and remained there until Ingres left to head the Académie de France in Rome in 1834. He made his Salon début in 1836 with several portraits and religious subjects, including Cain Accursed, for which he received a third-class medal. Among his many submissions in subsequent years were Susanna Bathing (1839), a Marine Venus (1838) and the Toilet of Esther (1841); these three paintings of nude female figures combine an idealization derived from Ingres with a sensuality characteristic of Chassériau.
— He was the most gifted student of Ingres, whose studio in Rome in entered when he was 11, but in the 1840s he conceived an admiration for Delacroix and attempted, with considerable success, to combine Ingres's Classical linear grace with Delacroix's Romantic color. His chief work was the decoration of the Cour des Comptes in the Palais d'Orsay, Paris, with allegorical scenes of Peace and War (1844-48), but these were almost completely destroyed by fire. There are other examples of his decorative work, however, in various churches in Paris. Chassériau was also an outstanding portraitist and painted nudes and North African scenes (he made a visit there in 1846).
LINKS
The Two Sisters (1843) — Peace The Tepidarium (1853, 171x258cm) _ detail
Un bain au sérail (1849, 50x32cm; 452x291pix, 76kb)

Died on a 20 September:

1962 Robert Colquhoun, in London, Scottish painter and printmaker, born in Kilmarnock on 20 December 1914. He is associated with Robert MacBryde, with whom he worked and whom he met at the Glasgow School of Art in 1932. After a traveling scholarship to France and Italy (1937–1939), he and MacBryde were introduced by Peter Watson to the Neo-Romantic circle in London. During World War II Colquhoun joined the Civil Defence Corps but continued to paint. After his early works, for example Tomato Plants (1942), he concentrated on the theme of the isolated figure, for example Woman with Leaping Cat (1946). These existential images were favorably received and compared with those of contemporaries such as Francis Bacon. Colquhoun’s influences included Pablo Picasso, Jankel Adler and Percy Wyndham Lewis, although his art and lifestyle can be understood best in the context of Scottish nationalism. Always in debt, he had his decline delayed briefly by a retrospective exhibition at the Whitechapel Art Gallery in London in 1958. — Woman in Green (1950, 101x51cm)
Vase of Flowers
1724 David von Krafft, Swedish artist born in 1655. — Relative? of Johann Peter Krafft [15 Sep 1780 – 28 Oct 1856]?

^
Born on a 20 September:


1807 Friedrich August Matthias Gauermann, Austrian painter who died on 07 July 1862. He was the son of the painter and copper engraver Jakob Gauermann [1773–1843] and the brother of the painter Carl Gauermann [1804–1829]. Friedrich was taught painting by his father, who emphasized especially the direct observation of nature. Friedrich Gauermann subsequently studied at the Vienna Akademie [1824–1827] in the landscape class of Josef Mössmer [1780–1845]. In Vienna Gauermann was especially attracted to the work of such 17th-century Dutch landscape painters as Philips Wouwerman, Jacob van Ruisdael, Allaert van Everdingen, Paulus Potter and Nicolaes Berchem, and he made copies of their paintings. He continued to admire such artists throughout his life, and in his own landscape painting he remained close to their form of realism. Gauermann also made study tours to see art collections in Munich and Dresden in 1827 and 1829.

1779 Johannes-Ludvig Camradt, Danish miniaturist and painter on porcelain, who died on 04 December 1849. — Vase of Flowers >>>.

<<< ART 19 Sep
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” SEP 20 ||| ALTERNATE SITES
ART 21 Sep >>>
TO THE TOP
updated Saturday 20-Sep-2003 3:44
PLEASE CLICK HERE TO WRITE TO ART “4” SEPTEMBER
http://www.jcanu.hpg.ig.com.br/art/art4sep/art0920.html
http://members.xoom.virgilio.it/all42day/art/art4sep/art0920.html
http://www.safran-arts.com/42day/art/art4sep/art0920.html

safe site
site safe for children safe site