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ART “4” “2”-DAY
26 September
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Died on 26 September 1914: August
Macke, German expresssionist painter born on 03 June (January?)
1887. — August Macke was born in Meschede, Germany, and during his childhood he spent time in Basle where he came into contact with the work of Böcklin (1827 – 16 Jan 1901). He was taught by Corinth (21 Aug 1858 – 1925), and travelled widely throughout Europe. He married the beautiful Elisabeth Gerhardt in 1909. He met Franz Marc (08 Feb 1880 – 04 Mar 1916) in 1910 in Munich, and with him established the Blaue Reiter the following year. In 1912 they both journeyed to Paris, where they discovered Cubism and the work of Delaunay (12 Apr 1885 – 25 Oct 1941). In 1914 he visited North Africa with Paul Klee (18 Dec 1879 – 29 Jun 1940). Macke was killed in battle, at the age of 27, that same year in the stupid World War I. His early Impressionist style developed into a use of strong, sunlit color applied in painterly facets of light. His preferred subject matter remained urban scenes of shopping and leisure. His North African work had a more structured appearance, and in 1913 he experimented with pure abstraction and also produced many watercolors. Upon Macke's death, Franz Marc, who was later to also be killed in the same hellish war, wrote him this obituary: August Macke- "Young Macke"- is dead. Those who have followed the course of German art during these last, eventful years, those who sensed what the future held in store for the development of that art, also knew Macke. And those of us who worked with him- we, his friends, we knew what promise this man of genius secretly bore in him. His life described one of the boldest and most beautiful curves in the development of German art; and with his death that curve has been rudely broken. There is not one among us who can take it further. Each of us goes his own way; wherever our paths meet, we shall feel his absence. We painters know that without his harmonies whole octaves of color will disappear from German art, and the sounds of the colors remaining will become duller and sharper. He gave a brighter and purer sound to color than any of us; he gave it the clarity and brightness of his whole being. — LINKS — Selbstbildnis (1906) — Selbstporträt mit Hut (1909) — Three Girls in a Barque (1911) — Garden Gate (1914) — Hat Shop (1914) — Girls and Trees (1914) — Lady in the Green Coat (1913) — Lady in a Green Jacket — Tegernseer Bauernjunge (1910) — Der Sturm (1911) —Elisabeth Gerhardt Nähend (1909) — Frau des Künstlers mit Hut (1909) — Porträt mit Äpfeln: Frau des Künstlers (1909) — Bildnis Franz Marc (1910) — Der Mackesche Garten in Bonn (1911) — Farewell — Man Reading in the Park — Kinder mit Ziege (1913) — Zoologischer Garten I (1912) |
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Born on 26 September 1862: Arthur Bowen Davies,
US painter and illustrator who died on 24 October 1928. — He was first trained as an architectural draughtsman at the Academy of Design, Chicago (1878). After studying briefly at the Art Institute of Chicago, he went to New York, where he attended the Gotham School and the Art Students League (1886–1888). By 1887 he was working as an illustrator for Century magazine. A realist landscape painter in the 19th-century academic tradition, he was influenced by the painters of the Hudson River school and particularly by the luminist, dream-like landscapes of George Inness. — LINKS — Pacific Parnassus, Mount Tamalpais (1905, 67x102cm; 3/5 size; or see it 3/10 size) — Fall (16x24cm) — 36 prints at FAMSF |
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Died on 26 September 1917: Hilaire-Germain-Edgar
Degas (or de Gas), French painter born on 19 July 1834.
— [Il faisait des Degas, PAS des dégas, et pas des “gars
Dédé”.] — Born Hilaire Germain Edgar de Ga. Father was a prominent banker. His father and grandfather signed their names “De Gas”, as did the artist until ca. 1870. He studied at the Lycée Louis-le-Grand and briefly at law school but was most interested in becoming an artist; in 1853 he began to copy at the Louvre. He entered the École des Beaux-Arts in 1855 and from 1856 to 1859 lived in Italy, studying the old masters and working from the model. In Italy again in 1860, he started his first great painting, The Bellelli Family (1862; 849x1066pix). His early work was mainly portraiture and large classical compositions, and he contributed regularly to the Salon from 1865 to 1870. His first sculptures date from the mid-sixties. In 1872-1873, Degas visited New Orleans to see his brother, René, who was in the cotton trade there. It was during this time that Degas produced Cotton Office, New Orleans. In 1876, René became insolvent and it was Edgar who sacrificed his own personal fortune to assume the responsibility of his brothers debts. Degas was to feel this burden until 1883. Back in Paris in 1874, he helped organize the first impressionist exhibition and contributed to all but one of the subsequent group shows, although his many paintings of the ballet and opera, cafe scenes, horse races, and other aspects of metropolitan life are distinct in style and subject matter from the work of his impressionist colleagues. About 1892 Degas began to work primarily in pastels. Plagued by ill health and near blindness after about 1900, his style became increasingly broad, and by 1910 he had ceased working. — Edgar Degas was born into the family of bankers of aristocratic extraction. His mother died in 1847, so the boy's father, Auguste de Gas, and grandfather, Hilaire de Gas, were the most influential figures in his early life. Despite his own desire to paint he began to study law, but broke off his studies in 1853. He frequented Félix Joseph Barrias’s studio and spent his time copying Renaissance works. In 1854-1859 he made several trips to Italy, some of the time visiting relatives, studying the Old Masters; he painted historical pictures and realistic portraits of his relatives: Marguerite de Gas, the Artist's Sister. (1859), Achille de Gas in the Uniform of a Cadet. (1856-57), Hilaire de Gas, Grandfather of the Artist. (1857) — 87 year-old head of the family. By 1860 Degas had drawn over 700 copies of other works, mainly early Italian Renaissance and French classical art. The most important historical work of the period was Spartan Girls Challenging Boys. (1861). It was exhibited only in 1879 at the fifth Impressionist show, and he kept it in his studio throughout his life. It was with a historical painting The Suffering of the City of New Orleans. (1865) that Degas made his salon debut in 1865. The picture got little attention. It must have seemed anachronistic and artificial: a medieval landscape setting and naked women bodies were used to symbolize the sufferings of Confederate New Orleans, which was occupied by Union troops in 1862 in the course of the Civil War. The Suffering... turned out to be his last historical painting. In the troubled post-war years Degas undertook his longest journey. In 1872 with his younger brother René, he traveled to New York and New Orleans, where his uncle, his mother's brother, Michel Musson, ran a cotton business. Degas stayed in Louisiana for 5 months and returned to Paris in February 1873. In America he fulfilled a number of works. Courtyard of a House in New Orleans. (1872) shows part of the Musson’s home in Esplanade avenue and possibly the room that served Degas a studio during his stay. The most important work resulting from his visit to the US was Portraits in a New Orleans Cotton office. (1873). After his return from the US, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term “Impressionism” unacceptable — mainly, perhaps, because he did not share the Impressionists’ over-riding interest in landscape and color. He did not care to be tied down to one method of painting. Nonetheless, Degas was to participate in all the group exhibitions except that of 1882. Degas used the group and the exhibitions high-handedly to promote himself. His strategy seems to have been to show off his own diversity at the exhibitions, for he always entered works that were thematically and technically very varied. Since late 1860s Degas frequently painted jockeys and race horses: Race Horses. (1867), Carriage at the Races. (1869). From 1870 he increasingly painted ballet subjects: Dance Class. (1871), Dancing Examination. (1874), The Star. (1877). Among other reasons they were easier to sell. Degas’ ballerinas have determined his popular image to his day. The rapid worsening of his eye condition caused him to avoid all society; he drew pastels, modeled statues in wax and extended his art collection. In 1909-1911, due to failing eyesight, he stopped work completely. After Degas’ death about 150 small sculptural works were found in his studio, and unsurprisingly his subjects tended to be race horses or dancers. — Hilaire Germain Edgar Degas was a French painter and sculptor whose innovative composition, skillful drawing, and perceptive analysis of movement made him one of the masters of modern art in the late 19th century. Degas is usually classed with the impressionists, and he exhibited with them in seven of the eight impressionist exhibitions. However, his training in classical drafting and his dislike of painting directly from nature produced a style that represented a related alternative to impressionism. Degas was born into a well-to-do banking family in Paris. He studied at the École des Beaux-Arts under a disciple of the famous French classicist J. A. D. Ingres, where Degas developed the great drawing ability that was to be a salient characteristic of his art. After 1865, under the influence of the budding impressionist movement, he gave up academic subjects to turn to contemporary themes. But, unlike the impressionists, he preferred to work in the studio and was uninterested in the study of natural light that fascinated them. He was attracted by theatrical subjects, and most of his works depict racecourses, theaters, cafés, music halls, or boudoirs. Degas was a keen observer of humanity — particularly of women, with whom his work is preoccupied — and in his portraits as well as in his studies of dancers, milliners, and laundresses, he cultivated a complete objectivity, attempting to catch his subjects in poses as natural and spontaneous as those recorded in action photographs. His study of Japanese prints led him to experiment with unusual visual angles and asymmetrical compositions. His subjects often appear cropped at the edges, as in Ballet Rehearsal (1876). In Mme. Paul Valpinçon with Chrysanthemums (1865; 848x1069pix, 216kb), the lady is pushed into a corner of the canvas by the large central arrangement of flowers; despite the title, the flowers in this painting include yellow and red sunflowers, gaillardia, marguerites, cornflowers and dahlias, with only a few chrysanthemums. The figure was added to what had been solely a still life, and the original date, 1858, is still discernible. In the 1880s, when his eyesight began to fail, Degas began increasingly to work in two new media that did not require intense visual acuity: sculpture and pastel. In his sculpture, as in his paintings, he attempted to catch the action of the moment, and his ballet dancers and female nudes are depicted in poses that make no attempt to conceal their subjects' physical exertions. His pastels are usually simple compositions containing only a few figures. He was obliged to depend on vibrant colors and meaningful gestures rather than on precise lines and careful detailing, but, in spite of such limitations, these works are eloquent and expressive and have a simple grandeur unsurpassed by any of his other works. Degas was not well known to the public, and his true artistic stature did not become evident until after his death. He died in Paris. — LINKS — L'impresario — Portrait d'un Homme — Self-Portrait (1863) — La famille Bellelli (1882) _ At the time of the painting, the Bellelli family was living in exile and soon headed toward divorce. Obviously this is not a happy family and Degas captures this inner dynamic through his positioning of the characters, lack of eye contact, and alliances between children and parents. — In a New Orleans Cotton Office (1873) — Café Concert Singer (1878) — Song of the Dog (1877) — Ballet Rehearsal on Stage (1874) — Dance Class (1874) — Dance Class (1871) — Orchestra Musicians (1871) — The Orchestra of the Opéra (1870) — Woman Ironing (1869) — Les Repasseuses (1885; 939x1000pix, 142kb) — René De Gas the artist's young brother (1855; 1063x880pix, 164kb) — Henri de Gas and his Niece Lucy, (1877) — Dancing Class (1876) — Rehearsal (1873) — The Rehearsal (1891) — Dance Lesson (1879) — Posing (1878) — Dancers (1890) — Rehearsing (1879) — Ballet Rehearsal (1874) — The Curtain (1880) — Ballet Rehearsal (1875) — Singers on Stage (1877) — Dancer on Stage (1878) — Ballet Dancers in the Wings — The Star (1876) — Concert (1877) — Cirque Fernando (1879) — Four Dancers (1902) — Dancers in Pink (1880) — The Dance Examination — Millinery Shop (1882) — Woman with a Hat — Race Horses (1885) — Chevaux a Longchamp — Racehorses in Front of the Grandstand (1867) — Aux Courses en Province (1872) — Morning Bath — Bathing — Woman Bathing — Woman Getting out of the Bath (1877) — Girl Drying Herself (1885) — After the Bath (1883) — Another After the Bath (1883) — Combing Hair (1879) — Women Relaxing — Madame Camus — Roman Beggar Woman — Women in a Cafe (1877) — Michel Levy (1873) — Cup of Chocolate (1905) — Young Spartans (1860) — David & Goliath (1864) — Intérieur (1869, 81x114cm) — Place de la Concorde (1875; 987x1496pix, 211kb) — In a Café (The Absinthe Drinker) — At the Beach (1876) — 539 images at Webshots |
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Born on 26 September 1791: Jean
Louis André Théodore Géricault, French Romantic painter
who died on 26 January 1824. — Painter who exerted a seminal influence on the development of Romantic art in France. Géricault was a fashionable dandy and an avid horseman whose dramatic paintings reflect his colorful, energetic, and somewhat morbid personality. — Théodore Géricault’s daring personality coupled with his tragically short life fit the mold for the Romantic artists of his era. After only three years of studio classes, most of his artistic training came from going to the Louvre and eventually to Rome, where he found inspiration in the master works of Rubens and Michelangelo. Géricault was intrigued by big cats and often used them in compositions to suggest the untamable power of nature, a recurrent theme in French romanticism. His dramatic and controversial paintings profoundly influenced nineteenth-century art. Géricault died in 1824, at the age of 32, after a prolonged illness caused by a riding accident. Because Géricault died at such a young age, his works are quite rare. Most of his work is in the Louvre and there are only the twenty-one Géricault images in US Museums, including Two Lions, After Peter Paul Rubens, circa 1820’s, at the National Museum of Wildlife Art. — Jean Louis André Théodore Géricault was a French painter, perhaps the most influential artist of his time, and a seminal figure of the 19th-century romantic movement in art. Géricault, born into a wealthy Rouen family, studied with the French painters Carle Vernet and Pierre Guérin and also traveled to Italy to study from 1816 to 1817. He was greatly influenced by the work of Michelangelo and other Italian Renaissance painters, as well as that of the Flemish master Peter Paul Rubens. Early in his career, Géricault's paintings began to exhibit qualities that set him apart from such neoclassical French painters as Jacques-Louis David. Géricault soon became the acknowledged leader of the French romantics. His Charging Chasseur (1812) and Wounded Cuirassier (1814) display violent action, bold design, and dramatic color, and evoke powerful emotion. These characteristics appeared in heightened form in his immense and overpowering canvas Raft of the Medusa (1819), showing the dying survivors of a contemporary shipwreck. The painting's disturbing combination of idealized figures and realistically depicted agony, as well as its gigantic size and graphic detail, aroused a storm of controversy between neoclassical and romantic artists. Its depiction of a politically volatile scandal (the wreck was due to government mismanagement) also caused controversy. In 1820 Géricault traveled to England, where he painted his Race for the Derby at Epsom. At the time of his death, Géricault was engaged in painting a series of portraits of mental patients that demonstrate the preoccupation of the romantic artists with derangement and neurosis. Among his other works are a number of bronze statuettes, a superb series of lithographs, and hundreds of drawings and color sketches. — Théodore Géricault grew up in the turbulent years of the French Revolution and Napoleon's reign. He studied with several fashionable artists, but the strongest impact on his work, aside from Goya, came from the influence of Baron Jean-Antoin Gros (1771-1835) — a painter who had studied with David and who was a fundamental link between David and the new generation of French painters of the early nineteenth century. From Gros's canvases, especially those which make Napoleon the centre of an emotional, almost mystical, glorification; Géricault drew much inspiration both for Romantic interpretation and for styles. Géricault, like Gros, Goya, and other artists, was interested in painting contemporary, topical events, not only as a depiction of that particular event, but also as an exploration of the passionate emotions and truths that underlay it. Often Géricault's searches yielded dark and previously unknown images. Fascinated by violence and horror, he made a series of bloodcurdling paintings of the decapitated heads of criminals. These he studied not in the scientific manner of a Leonardo da Vinci eager to learn the secrets of the human form, but for the awful nature of suffering and violent death, something he himself courted by riding dangerous horses and by a failed attempt at suicide. That Géricault found the irrational compelling is confirmed by another disturbing series, this time of mad men and women. Whereas Goya had portrayed the hallucinations to which a madman might be prone, Géricault intensively studied the faces of those who were actually insane. The fact that these disturbed and frightening creatures were now considered, like the severed heads, worth subjects for painting demonstrates a fundamental shift in the concept of what art was supposed to depict. It is impossible to conceive of David, the great Neo-classicist, painting such gruesome and, in the traditional view, such uninspiring and degrading subjects. Among the most remarkable paintings of Géricault's short and tempestuous life, these images explore various forms of madness. Beautifully painted, some of them reminiscent of the insightful portraits by the mature Rembrandt, the likenesses are both terrifying and pathetic. These are memorable likenesses - painted with a sober, tempered palette and a spontaneous, free, heavily loaded brush. These works have never been surpassed for their incisive exploration of the madness that Géricault thought of not as a sort of extraneous invasion of the soul but as something intrinsic to the human mind. Géricault's famous Raft of the Medusa revealed his abilities to plan out and complete a vast and ambitious history painting. The story of the raft was a topical subject and thus something that would have been disdained by many earlier painters. A notorious event, involving political corruption and scandal, since the incompetent captain owed his job to his allegiance to the French monarchy, it was the sort of horrific subject that interested Géricault and his contemporaries. Moreover, the ordeal of the victims involved a titanic struggle against the forces of nature, brilliantly shown in the painting by the immense, stormy sea, and the powerless occupants of the raft. The unequal struggle of man against nature was a theme that fascinated many of the best painters of the first half of the nineteenth century. Géricault's early death, caused by a fall from a horse at age 32, ended a brilliant and original career. — LINKS — Equestrian Portrait of Charles V (1815; 46x38cm; full size 812kb — or see it half-size 217kb) — Le Radeau de la Méduse (1819, 491x716cm) _ détail — Study for The Raft of the Medusa — Fou (1823) — Madwoman child murderer (1822) — Madwoman (1823) — Woman with gambling mania (1822) — Derby at Epsom (1820) — Têtes coupées — An Officer of the Imperial Horse Guards Charging — Officer of the Imperial Guard — Officer of the Imperial Guard — An Italian Mountain Peasant (1817) — A Horse frightened by Lightning (1814, 49x60cm). This painting is probably an early work, and one of a number of paintings of horses made by the artist at the time. Many of these were studies for the painting exhibited by Géricault at the Salon of 1812, the Cavalry Officer which shows the influence of Rubens and Gros. While some of the studies are subdued in character, the distant storm and its effect on the horse add a note of drama into this painting. — Two Lions, After Peter Paul Rubens (1825) Géricault took the subject of this painting from Rubens’ cycle, Le Mariage d’Henri IV et Marie de Médici, a group of 27 monumental canvasses Rubens executed for the royal couple between 1627 and 1630. In Rubens’ picture, the lions are ridden by two cupid-like putti and harnessed to the triumphal chariot of the city of Lyons, while above them the royal couple are depicted as Juno and Jupiter, seated in the clouds. Géricault depicts the two male lions in a turbulent landscape. While Rubens had used these lions to pull a wedding carriage for royalty, Géricault liberated them and placed them in an imaginary landscape that glorifies their power and wildness. Géricault was a great admirer of Rubens and undoubtedly made studies for this painting when he saw the entire Rubens cycle on exhibit between 1802 and 1815. In this picture however, we see the French romanticist’s infatuation with wild creatures, particularly big cats, animals that symbolized the movement’s rebellion against society’s preoccupation with reason, civilization and classicism. Géricault extracted the lions from the festive marriage scene, liberated them from their harness and riders, and extolled them in a wild and moody landscape. |
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Died on 26 (24?) September 1952:
René Seyssaud, French painter born
on 16 (15?) June 1867. — [Est-il vrai qu'un de ses chefs-d'oeuvre est
une nature morte avec un saucisson et une demi-douzaine de seaux, et qu'on
ne trouve pas plus de ses oeuvres dans l'internet parce que ceux qui en
décident, quand ils se sont saisis de lui, ont susurré: “Ici
cessons. Seyssaud, c'est sot ... son saucisson... ses six seaux... c'est
si sot!”?] — Student of Grivolas in Avignon, Seyssaud very quicky developed his own style; wild and brutal but at the same time showing great restraint and strength; large and bold brush strokes of pure colors straight from the tubes. Sponsored by two Parisian Art Dealers, Vollard and Bernheim (large exhibition in 1901 soon after the Van Gogh's major retrospective) he was assured financial stability and retired in 1902 at Saint Chamas becoming another Provençal recluse artist. Precursor with Valtat of the Fauvist movement he is sometimes referred to, by certain Art Critics, as the "Black Fauve". — Son père était avocat à Marseille et sa mère, Joséphine Sarlatétait originaire de Sault ( Vaucluse ). Soutenu par son père, il abandonna ses études à 13 ans pour entrer à l'École des Beaux-Arts de Marseille, déjà il n'avait qu'une ambition: dessiner. Il fréquente le milieu du félibrige ( Mistral ) avec, notamment, Jean Gasquet. René Seyssaud perd son père à 18 ans et c'est le tournant de sa vie de peintre. Pour ne pas être à la charge de sa mère, il va habiter à Avignon chez son grand-père en 1885. Il entre à l'école des Beaux-Arts d'Avignon.. En 1895, il rencontre François Honnorat, courtier en huiles à Marseille qui deviendra pour un grand nombre d'années son "financier", ce qui permit à René Seyssaud de vivre en toute sécurité financière et de se faire connaître. Tuberculeux, il se soigne et peint au bord de la mer (au Lavandou, à La Ciotat, à Bandol ou à Cassis ). Il se marie en janvier 1899 avec une fille de dix-sept ans sa cadette et qui deviendra une compagne admirative et dévouée. En 1904, il s'établiera de manière définitive au bord de l'étang de Berre, il séjournera dans cette maison pendant cinquante ans et ne s'échappera qu'en de trés rares occasions. Proche du Fauvisme qu'il annonce dès sa première exposition en 1897. Il montre ses toiles à Paris, mais vit en Provence. Il se consacra à l'évocation de la vie rustique Méridionale. — Paysage de Provence (1900, 50x73cm; 778x1140pix, 105kb) — Paysage (330x486pix, 25kb) — Labourage (325x484pix, 24kb) |
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Born on 26 September 1803: Thomas Sidney
Cooper, English painter, specialized in farm
mammals, who died on 07 February 1902. — He was encouraged in his ambition to become an artist by Sir Thomas Lawrence and the animal painter Abraham Cooper [1787–1868], no relation. He entered the Royal Academy Schools, London, in 1823. He subsequently taught art in Brussels where he met Eugene Verboeckhoven, whose work had a profound influence on him. Through Verboeckhoven he came to appreciate the work of such 17th-century Dutch painters as Aelbert Cuyp and Paulus Potter. In 1831 he returned to London, exhibiting at the Royal Society of British Artists. He exhibited 48 pictures at the British Institution between 1833 and 1863. The majority of his work was, however, exhibited at the Royal Academy; from 1833 to 1902 he exhibited 266 works there without a break, and he remains the longest continuous exhibitor in the Academy’s history. — Photo of Cooper — LINKS — In The Highlands (1890, 66x56cm) — Cattle and Sheep in a Landscape (1880, 61x91cm) — Cattle and Sheep Resting in an Extensive Landscape (1877, 92x147cm) — Dairy Cows Resting (1875, 76x109cm) — A Wooded Ford (1866, 102x138cm) — The Chill of Winter (1862, 50x71cm) — Sheep in Winter (1860, 25x38cm) — Rams and a Bull in a Highland Landscape (1855, 95x136cm) — In the Canterbury Meadows (1842, 43x53cm) — Near Canterbury: a Boy on a Donkey driving Cattle along a Road, the Cathedral beyond (1833, 30x40cm) |
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