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ART “4” “2”-DAY 06 April

DEATHS: 1893 COLE — 1641 ZAMPIERI — 1528 DÜRER — 1660 CERQUOZZI — 1520 RAPHAEL — 1931 WYLLIE

BIRTHS: 1766 KOBELL — 1849 WATERHOUSE — 1595 MOLYN — 1483 RAPHAEL — 1826 MOREAU

^ Died on 06 April 1893: George Vicat Cole, English painter born on 17 April 1833. — {He must have favored Cole colors, especially coal black.}
— The eldest son of the landscape painter George Cole [1810–1883] and Eliza Vicat, he worked in his father’s studio in Portsmouth copying, in black and white, engravings after Turner, Constable and Cox. He accompanied George Cole on sketching tours, visiting the Moselle region in 1851. His work was first exhibited at the British Institution in 1852, and later that year his family moved to London. He married Mary Ann Chignell in 1856. In 1853 two of his works were accepted by the Royal Academy, where he continued to exhibit until 1892. He was a regular exhibitor at the Society of British Artists, of which he became a member in 1858. He was elected ARA in 1870 and RA in 1880.
— George Vicat Cole was born at Portsmouth, son of the landscape painter George Cole, and in his practice he followed his father's lead with marked success. He exhibited at the British Institution at the age of nineteen, and was first represented at the Royal Academy in 1853. His election as an associate of this institution took place in 1870, and he became an Academician ten years later. He died in London. The wide popularity of his work was due partly to the simple directness of his technical method, and partly to his habitual choice of attractive material. Most of his subjects were found in the counties of Surrey and Sussex, and along the banks of the Thames.
— Photo of Cole

— LINKS
— Autumn Morning — On Holmbury Hill — On the Arun (1869, 66x102cm)
— Deer in a Woodland Glade (1862, 91x122cm) — A Welsh Landscape (1859, 104x153cm)
— The Swan at Pangbourne (57x77cm)
— The Pool of London (1888, 1950x305cm)

^ Born on 06 April 1766: Wilhelm Alexander Wolfgang von Kobell, German painter who died on 15 July 1853.
— First taught by his father, Ferdinand [1740-1799], and his uncle Franz [1749-1822], both professional painters, Wilhelm attended the drawing academy in Mannheim, where he mainly learned the technical aspects of the métier. Artistically his father's teaching had greater impact, for he encouraged his son to copy Dutch seventeenth-century landscapes. The young Kobell's drawings, prints, and paintings indeed showed much indebtedness to artists such as Nicolaes Berchem [1620-1683] and Philips Wouwermans [1619-1668].
From 1789 Kobell collaborated on landscapes with his father, such as the Aschaffenburg cycle. He also traveled to Munich, where in 1790 the Elector Palatine Karl Theodor bought two of his landscapes and provided him with stipends to travel to England and Italy. Kobell used the money to finance his move to Munich in 1793, however, where he became court painter for Karl Theodor. The change of scenery influenced his art tremendously, and it was in Munich that Kobell developed full artistic independence, concentrating on the effects of natural light and the use of bright colors.
In 1797 he married Anna Maria Theresa von Krempelhuber. Besides landscapes and portraits of family members, he also painted military scenes. In 1806 Kobell received a commission from Maximilian I Joseph, king of Bavaria, to paint a cycle of seven paintings commemorating the Napoleonic Wars. Two years later Crown Prince Ludwig I commissioned another cycle of twelve works, on which Kobell worked for seven years. During this period he traveled to Vienna (1809) and Paris (1809-1810). From 1814 to 1826 he taught landscape painting at the Munich Academy, where he failed to have much impact. During the last part of his career, Kobell typically painted encounters between citizens and farmers in the countryside near Munich.
— LINKS
— Hunting Party at Lake Tegernsee (1824) — Riders at Lake Tegernsee (1825) — Riders at Lake Tegernsee II (1825) — Hunter and Lord at the River Isar with View of Munich (1823, 25x21cm)— 2 prints at FAMSF

^ Died on 06 April 1641: Domenico Zampieri “il Domenichino”, Italian painter born on 21 October 1581.
— Domenichino was Annibale Carracci's favorite student and one of the most important upholders of the tradition of Bolognese classicism. After studying with Calvaert [1540 – 17 Mar 1619] and Ludovico Carracci [21 Apr 1555 – 13 Dec 1619] he went to Rome (1602) and joined the colony of artists working under Annibale Carracci at the Palazzo Farnese. His only undisputed work there is the Maiden with the Unicorn, a charming, gentle fresco over the entrance of the Gallery.
      By the second decade of the century he was established as Rome's leading painter and had a succession of major decorative commissions, among them scenes from the life of St. Cecilia in S. Luigi dei Francesi (1613-14). The dignified frieze-like composition of the figures reflects his study of the tapestries of Raphael [06 Apr 1483 – 06 Apr 1520] , and in turn influenced Poussin [15 Jun 1594 – 19 Nov 1665]. The frescos in the pendentives and apse of S. Andrea della Valle (1624-1628), his chief work of the 1620s. show a move away from this strict classicism towards an ampler Baroque style; but compared with his rival Lanfranco [26 Jan 1582 – 30 Nov 1647] (who at this time was overtaking him in popularity) Domenichino never abandoned the principles of clear, firm drawing for the sake of more painterly effects.
      In 1631 Domenichino moved to Naples, and in his ceiling frescos of the S. Gennaro chapel in the cathedral he made even greater concessions to the fashionable Baroque. He met with considerable hostility in Naples from jealous local artists and was forced to flee precipitately in 1634. He later returned, but died before completing his work in the cathedral.
      Domenichino was important in fields other than monumental fresco decoration, particularly as an exponent of ideal landscape, in which he formed the link between Annibale Carracci [03 Nov 1560 – 15 Jul 1609] and Claude Lorrain [1600 – 23 Nov 1682]. He was one of the finest draftsmen of his generation and also an excellent portraitist. In the 18th century his reputation was enormous - his Last Communion of St. Jerome (1614) was generally regarded as one of the greatest pictures ever painted — but he fell from grace in the 19th century along with other Bolognese painters under the scathing attacks of Ruskin.
— LINKS
— La comunione di san Girolamo (1614, 419x256cm) _ Il dipinto prende spunto da una lettera dell’inizio del Trecento, che si riteneva scritta dal successore del santo, Eusebio da Cremona. Intesa a glorificare la vita di Girolamo, la lettera narra i particolari leggendari della sua morte, che si riteneva avvenuta all’età di novantasei anni, nello stato di verginità e con il corpo consunto da numerose privazioni. In realtà nessuno di questi particolari corrisponde a verità, e l’inattendibilità della lettera fu dimostrata, tra gli altri, da Erasmo e Baronio. Il tema riscosse comunque una certa fama nel corso del Seicento. Eseguito per l’altare maggiore di San Girolamo della Carità, dove Filippo Neri [22 Jul 1515 – 27 May 1595] aveva fondato il suo oratorio, il dipinto prende a modello la tela dal medesimo soggetto eseguita da Agostino Carracci per la chiesa bolognese di San Girolamo alla Certosa, e fu cominciato nel 1612, dopo una lunga preparazione testimoniata da una grande quantità di disegni. Rispetto al dipinto di Agostino, Domenichino inverte la composizione e diminuisce il numero dei personaggi. Il centro simbolico della tela è l’ostia, a sottolineare, in linea con i dettami del Concilio di Trento (13 Dec 1545 – 04 Dec 1563), la reale presenza di Cristo nel sacramento della comunione.
— The Sacrifice of Isaac (147x140cm) _ The Carracci influenced numerous followers especially in Bologna. Domenichino was one of them, a prolific decorator.
— The Maiden and the Unicorn (1602) _ This is part of the decor commissioned for the Galleria Farnese under the artistic directorship of Annibale Carracci. The fresco above the southeast wall was identified at an early stage as the work of his student Domenichino, yet scholars still disagree as to the extent to which it was executed alone.
      Whatever aspects of this painting may be comparable with Annibale's own compositions, this work betrays a very different temperament indeed. The strict avoidance of dynamic spatial diagonals and the grouping of unicorn and maiden parallel to the picture plane correspond much more closely to Domenichino's "classicistic" orientation and his preference for the art of the Renaissance, including the paintings of Raphael. Psychologically, too, much speaks for this painting's entire execution by Domenichino. The unicorn is not merely an attribute of the virgin. In the tradition of this allegory of chastity, the unicorn seeks refuge in the lap of a virgin. Domenichino emphasizes the shyness of these two sensitive creatures who have moved out of the center of the picture towards the edge of the woods. Instead of the full-blooded sensuality of Annibale's figures in the Galleria Farnese, Domenichino conveys an expression of quiet and gentle introversion. —
— The Vision of Saint Jerome (before 1603) _ Saint Jerome [341 — 30 Sep 420], a Doctor of the Church, receives a vision of an angel; the incident seems not specific, but suggestive generally of inspiration
— Cardinale Girolamo Agucchi (1605, 141x111cm) _ Ignorato dalle fonti antiche, il ritratto del cardinale Girolamo Agucchi va collocato al primo periodo di residenza del pittore presso casa Agucchi, protrattosi dal 1604 al 1608 circa. Per il cardinale, e per suo fratello Giovan Battista, entrambi, in momenti diversi, maggiordomi presso gli Aldobrandini, il pittore eseguì vari quadri di paesaggio e di soggetto religioso, nonché gli affreschi per la chiesa romana di Sant’Onofrio tra il 1604 e il 1605. In questo dipinto, eseguito tra il giugno 1604, quando Girolamo fu creato cardinale, e il 27 aprile 1605, data della sua morte, Domenichino si cimenta nel genere del ritratto, rifacendosi alla tradizione raffaellesca.
— Rimprovero ad Adamo ed Eva (1624, 95x75cm) _ Donato dal celebre architetto André le Nôtre a Luigi XIV nel 1693, il dipinto fu una delle poche opere eseguite da Domenichino mentre era impegnato nella decorazione della chiesa romana di Sant’Andrea della Valle. Eseguita su rame con una forte attenzione ai contrasti cromatici, l’opera ricorda la produzione di Elsheimer, e, soprattutto di Paul Brill. Il tema raffigurato è ispirato a una particolare interpretazione medievale della storia biblica secondo cui Dio Padre incolpò Adamo di aver mangiato il frutto dell’Albero della Conoscenza, qui raffigurato da un fico e non da un melo. Adamo incolpò poi Eva, che, a sua volta, accusò il serpente. La figura di Dio Padre sorretto da cherubini è una citazione michelangiolesca dalla volta della Sistina, mentre gli animali in primo piano simboleggiano la coesistenza pacifica (il leone e l’agnello, da Isaia) e la lussuria (il cavallo, da Geremia).
— The Repose of Venus — Landscape with Tobias Laying Hold of the Fish (1618) — The Assumption of Mary Magdalene into Heaven (1620)

^ Born on 06 April 1849: John William “Nino” Waterhouse, English painter who died on 10 February 1917.
— Waterhouse was born in Rome to British parents. He lived there for the first 6 years of his life, absorbing the character of Italian culture until his family's return to England.
     Waterhouse, known to his family as 'Nino', was an avid scholar of ancient history during his youth, and unlike most members of the Royal Academy his only tutorage in art was from his father. His first submission of a drawing to the R.A. was rejected, prompting him to seek admission as a sculptor. When admitted as a probationer in the Sculpture School in July of 1870 he was fortunately sponsored by a painter, F.R. Pickersgill [1820-1900]. It was he who returned young Nino's attentions back to the art of painting.
      One of his earliest paintings to be purchased by a private collector was La Fileuse, a lovely painting done in 1874 whose qualities include a perfectly graceful approach to the styling of a woman's figure — particularly notable are her hands, and the addition of a Greco-Roman setting — a testament to Watherhouse's love of the city he was to return to over and over again throughout his lifetime.
     His first exhibit to the Royal academy, The sensitive Sleep and his Half-Brother Death, was a result of the recent deaths of his two younger brothers who were taken by tuberculosis. It is an unusual painting for this period, resting in a much sadder vein than most of his works.
     1882 brought us Diogenes, one of the works of Waterhouse closest resembling the work of the highly respected (by artists, not critics) Alma-Tadema [1836-1912].
     By this time Nino was exhibiting regularly and was making a fairly lucrative living from his art. Around 1885 he was finally elected as an Associate of the Royal Academy. In 1888 he exhibited a painting at the Academy which was to become his most famous masterpiece, The Lady of Shalott. Although most of the critics praised it only lightly, it was later bought by the Tate Gallery for far above the standard prices of the day.
      The Shrine came out in 1895, the same year that he was finally elected a Full Academician. His election stirred little excitement as it had been considered a certainty for years.
      Hylas and the Nymphs has been the most widely exhibited of all his works.
      A Mermaid (1901) was praised by the Art Journal: "The whistful-sad look of this fair mermaid, seated in her rock-bound home, combing the dull-red hair ere she studs it with pearls that lie in the iridescent shell, is potent in suggestion. It tells of human longings never to be satisfied... The chill of the sea lies over her heart; the endless murmur of waters is a poor substitute for the sound of human voices; never can this beautiful creature, troubled with emotion, experience on the one hand unawakened repose, on the other the joys of womanhood.".
      Similarly Echo and Narcissus, a huge canvas measuring 109x189cm, was called by the Art Journal "One of the best examples of imaginitave art which can be found in the Academy".
      Windflowers (1902) began a new theme of beauty and flowers which was to be practiced on and off for the next ten years in such works as Vanity and My Sweet Rose.
      The Hendersons were one of Waterhouse's main commissioners. The lady in the 1908 portrait, Mrs. A.P. Henderson, died young — only 4 years after the portrait was completed. "
      I am Half Sick of Shadows was Nino's 3rd painting on the subject of Tennyson's Lady of Shallot. This painting represents the line in the poem when the Lady, destined to be forever alone, expresses her loneliness: "I am half-sick of shadows, said the Lady of Shalott". "
      Miranda:The Tempest has always been considered one of the finest works painted in the last year of Nino's life. Miranda stands swaying against the storm while under the high cliffs the doomed ship plunges downwards — a scene filled with all the drama fit to portray such a subject.
      In a tribute which relates with what esteem this artist was held by his peers, the painting The Enchanted Garden was shown after his death at the Academy of 1917 — even though it remained an unfinished work.
      Although it has only been long after that Waterhouse's death that his work has resurfaced into the mainstream, he was, in his own lifetime, considered to be one of the greatest living artists. Often he is considered to be a Pre-Raphaelite artist, but in reality he never belonged to the Brotherhood and was always original; inspired by his own love of history and myth. His paintings are successful due not only to their perfection in the academic sense, but also because they reach to us- even goddesses have that 'girl next door' quality that we recognize and can relate with in our own world. He died after a long illness.

— LINKS
— Circë offering the Cup to Ulysses (1891, 149x92cm; xpix, kb _ ZOOM to xpix, kb)
— Circë Invidiosa (1892, 179x85cm; xpix, kb _ ZOOM to xpix, kb)
— Echo and Narcissus (1903, 109x189cm; xpix, kb _ ZOOM to xpix, kb)
— Tristan and Isolde with the Potion (109x81cm; xpix, kb _ ZOOM to xpix, kb)
— The Danaïdes (1904, 154x111cm; xpix, kb _ ZOOM to xpix, kb)
— Destiny (1900, 68x55cm; xpix, kb _ ZOOM to xpix, kb)
— Fair Rosamund (1917, 96x72cm; xpix, kb _ ZOOM to xpix, kb)
— Penelope and the Suitors (1912, 131x191cm; xpix, kb _ ZOOM to xpix, kb)
— Dante and Beatrice (xpix, kb _ ZOOM to xpix, kb)
— Maidens picking Flowers by a Stream [Study] (1911; xpix, kb _ ZOOM to xpix, kb)
— Saint Eulalia (1885, 186x118cm; xpix, kb _ ZOOM to xpix, kb)
— The Annunciation (1914, 99x135cm) — Phyllis Waterlo (102x168cm)
— Hylas and the Nymphs (1896, 98x163cm) — La belle dame sans merci (1893, 112x81cm)
— The Lady of Shalott (1888, 153x200cm) — The Lady of Shalott (1894, 119x69cm)
— Saint Cecilia (1895) — “I am Half-sick of Shadows,” said the Lady of Shalott (1915, 100x74cm)
— Diogenes (1882, 208x135cm) — Listening to My Sweet Pipings (1911, 58x102cm)
— La Fileuse (1874) — Cleopatra (1888) — Ulysses and the Sirens (1891)

^ Died on 06 April 1528: Albrecht Dürer, artist and mathematician, born on 21 May 1471.
            [click on image for complete self-portrait >]
            Albrecht Dürer died in Nürnberg, Germany, where he was born the son of a prosperous goldsmith Albrecht Dürer the Elder [1427-1502], and Barbara Holper. His early training was in drawing, woodcutting and printing, which were to remain his main and favorite media throughout his artistic career. 1486 through 1489 he apprenticed in the workshop of Michael Wolgemut [1435-1519], Nuremberg's leading artist. Wolgemut was also a successful entrepreneur, handling a broad range of artistic work, such as painting altarpieces and portraits, designing stained glass and producing woodcut prints. He had one of the largest artist’s workshops in Germany. Dürer also studied under Matthias Grünewald [1470-1528].
            He traveled much. In 1490 he left his native city for four year, probably initially visiting Cologne and possibly the Netherlands. He traveled to Italy twice in 1494-95 and 1505-07, visited Venice and Bologna, perhaps Florence and Rome. His fame was broadcast through his engravings, and artists in Italy were soon drawing on them for ideas. In Venice he knew and admired above all the aged Giovanni Bellini. In 1495 he established his own workshop in Nuremberg.
            His best known works are his 18 engravings of the Apocalypse cycle, the most interesting of which is The Four Horsemen of the Apocalypse (1498). One of his patrons was Frederick the Wise, Elector of Saxony from 1496, whose portrait he painted in 1496. He commissioned Dürer to paint several altarpieces: The Seven Sorrows of the Virgin (1497), The Jabach Altarpiece (1504), The Martyrdom of the Ten Thousand (1508) and The Adoration by the Magi (1504), which is considered to be one of the Dürer's masterpieces. Dürer's other patrons for religious works were wealthy Nuremberg citizens, who commissioned the following pieces: Lot Fleeing with His Daughters from Sodom (1498), The Paumgartner Altarpiece (1504), Lamentation for Christ (1503), The Adoration of the Holy Trinity (1511), The Virgin and Child Before an Archway.
      Dürer was also known for his portraits, which were frequently commissioned from him. Among his best are Portrait of Dürer's Father at 70 (1497), Portrait of Oswolt Krel (1499), Portrait of Bernard von Reesen (1521), Portrait of Hieronymus Holzschuher (1526). He also painted several self-portraits, which give us the greatest insight into his character and beliefs: Self-Portrait at 13 (1484), Self-Portrait at 22 (1493), Self-Portrait at 26 (1498) and Self-Portrait at 28 (1500).
            Throughout his life Dürer produced a lot of watercolor landscapes and nature studies, the best are Saint John's Church (1489), House by a Pond (1496), Willow Mill (1496-1498), A Young Hare (1502), The Large Turf (1503).
            Dürer's greatest achievement in printmaking were the three engravings of 1513-1514, regarded as his masterpieces Knight, Death and the Devil (1513), St. Jerome in His Study (1514) and Melancolia I (1514). After completing these engravings Dürer worked for the Emperor Maximilian , who commissioned him to design a huge print The Triumphal Arch, to celebrate the Emperor's achievements. This monumental project, composed of 192 woodblocks and 330 cm (11') high, is still the largest woodcut print ever made. In 1515 Emperor Maximilian granted him a pension of 100 florins, although it was stopped after his death in 1519. Dürer had to travel to the Netherlands in 1520-1521 to the court of the Emperor Charles V to have the pension confirmed. During his journey he met many famous Netherlands painters such as Quentin Massys, Joos van Cleve, Lucys van Leyden and others. In Antwerp he met Erasmus, the humanist scholar, and sketched his portrait.
            Dürer became an early and enthusiastic follower of Martin Luther. His new faith can be sensed in the growing austerity of style and subject in his religious works after 1520. The climax of this trend is represented by The Four Holy Men (1526).
            Albrecht Dürer is akin to Leonardo [15 Apr 1452 – 02 May 1519] in his restless intellectual curiosity. He wrote and published theoretical works: Manual of Measurement (1525); Various Instructions for the Fortification of Towns, Castles and other Localities (1527). His Four Books on Human Proportion were published in October 1528.
    Durer's students included Hans Baldung Grien [1484 – Sep 1545], Hans Süss von Kulmbach [1476-1522], Georg Pencz [1500-1550], Hans Leonhard Schäufelein [1480-1540] and Jan van Scorel [01 Aug 1495 – 06 Dec 1562].

Dürer's first Saint Jerome engraving.
      On 08 August 1492 was published St. Jerome's Letters at Bâle, Germany. The book itself was not as significant as its title page which was a woodcut by a rising 21-year-old artist. Within a few years men would say Germany had only two artists: Holbien and Dürer. Few would achieve Albrecht Dürer's equal with engravings.
      This early St. Jerome was homey, set in a very European building. The lines were simple and yet the cloth of Jerome's robe is full of folds and encases all but the great scholar's face. The face seems somewhat anxious, not particularly scholarly or spiritual. Books stand on a shelf behind Jerome and there is some illusion of depth as the young artist works with the new Renaissance techniques of perspective and shadow. The lion at Jerome's feet, however, is almost a caricature. The whole is strong but static.
      In 1512 Dürer did a picture of St. Jerome Seated Near a Pollard Willow. By then his mastery was complete. Using the techniques of dry point, he placed Jerome out of doors beneath a tree. Jerome looks every inch the prophet. His muscular arms are bare. He sits amidst rocky crags. The lion rests its head upon great padded feet. Jerome's hands are couched for prayer. Half-tones abound. The mastery of the earlier work is transcended. This Saint Jerome is considered one of the greatest works ever done, full of proportion and inner life. Dürer did another Jerome in 1514. This Saint Jerome in His Study is in an elongated room and shows perspective at its best.
      Dürer's work was no idle pleasure. It was not even merely an effort to support himself. It was instead an offering to God of the work of one's hands and a venture in Christian education. Few people could then read. Pictures were used in religious works to instruct the illiterate. Dürer did some of the best. Imbued with the Renaissance zest for knowledge and mastery of self and world and with a Reformation hunger for a new relationship with God, Dürer drew a simply incredible range of subject material into his largely religious work and did it all well--allegories, animals, bible stories, buildings, fantasy, figure studies, plants, portraits, self-portraits, utensils.
      As soon as Martin Luther took his famous stand at Wittenberg, Dürer became his admirer. When Luther was kidnapped, Dürer exclaimed in his diary, "O God, if Luther is dead, who will henceforth explain to us the gospel?" His art reflected his understanding of faith. In his Malencolia the dreadful apparition of a comet (representing God's wrath) is buried in a rainbow (representing his mercy). In the end Dürer never left the Catholic church. He would not abandon the faith of his deeply pious parents. The artist died too young to see the outcome of the Reformation. Yet his work is just another example of the vital role of the Christian faith in the arts in the history of the Western world.
— Portrait of Dürer (engraving 31x21cm; full size 1306x944pix, 309kb) by Edelinck [1640-1707]
— a different, anonymous Portrait of Dürer (engraving; full size 1254x886pix, 346kb)
— LINKS
— St. Jerome in His Study (1514) _ This Saint Jerome is in an elongated room and shows perspective at its best.
— St. Jerome in the Wilderness (1494)
— St. Jerome Penitent in the Landscape (1496)
— St. Jerome Seated Near a Pollard Willow (1512) _ Using the techniques of dry point, Dürer places Jerome out of doors beneath a tree. Jerome looks every inch the prophet. His muscular arms are bare. He sits amidst rocky crags. The lion rests its head upon great padded feet. Jerome's hands are couched for prayer. Half-tones abound. This Saint Jerome is considered one of the greatest works ever done, full of proportion and inner life.
— St. Jerome [with a headache?] (1521)

^ Born on 06 April 1595: Pieter de Molyn, Dutch painter who died on 22 March 1661.
— Dutch landscape painter, active mainly in Haarlem. With Jan van Goyen and Salomon van Ruysdael [1602-1670], also active in Haarlem, he ranks as one of the pioneers of naturalistic landscape painting in Holland. It is not known if these three painters worked together, if they arrived at similar solutions independently, or if one of them began experiments with monochromatic pictures of dunes and cottages and the others followed his lead. Molyn's later career was less distinguished, and he seems then to have worked more as a draughtsman then a painter. He also etched. — His students included Gerard Terborch [1617-1681].
— LINKS
— Dunes (1626, 26x36cm) _ Pieter Molyn was born of Flemish parents in London. Neither the date of his emigration to Holland nor the name of his teacher are known. There is no documentary evidence for the assertion found in the early literature that he studied with Frans Hals [1582-1666], however, he did provide landscapes for a few of Hals's portraits. In 1616 he joined the guild at Haarlem, where he spent most of his life. His earliest works show the influence of Mannerists, such as Bloemaert [1564-1651] and Savery [1576-1639], but much more important for him was the impact of Esaias van de Velde's art. Van de Velde [1587-1630] was active in Haarlem when Molyn joined the guild there. Not much later, Molyn probably met Jan van Goyen [1596-1656], who was sent to Haarlem about in 1617 to study with van de Velde. Molyn's innovations are first seen in his modest Dunes, which abandons the device of breaking up a landscape into many layers. Scattered details seen from a low point of view have been subordinated to large areas of light and shadow, and the scene has been unified by prominent diagonals which lead the eye over the dunes past the small figures into the distance.
— Landscape with Conversing Peasants (90x98cm) _ Peasants returning from the fields have stopped for a moment by an old man sitting by the side of the road. The juxtaposition of young and old, which is a frequent motif in Dutch art, is in this case quite fortuitous. In fact the picture records a brief instant and is so generalized that it lacks all narrative quality. The painter expresses neither scorn, pity nor tenderness for his figures; his attitude is completely objective. Nevertheless the people portrayed are in one respect different from the tillers of the land usually seen in Dutch peasant genre : they are drawn on a larger scale. Here the landscape is less important than the figures and there is more attempt at characterization.

^ Died on 06 April 1660: Michelangelo Cerquozzi “delle Battaglie”, Roman painter born on 02 February 1602.
— He spent his entire life in Rome, but had considerable contact with Dutch and Flemish painters living there, which profoundly affected his artistic development. Cerquozzi's friendship with the Dutchman Pieter van Laer [1593-1642] led to his becoming the leading Italian exponent of bambocciate (small pictures low-life and peasant scenes). He also painted battles (for which he had a predilection), small religious and mythological works, and still-lifes. He was born of Roman parents and baptized (on 18 February 1602?) in the parish of San Lorenzo in Lucina. A member of the Accademia di San Luca since 1634, Cerquozzi attended meetings of the society as late as 1652. His friends included Domenico Viola, Pietro da Cortona, and Giacinto Brandi. More significant were his associations with foreign residents in Rome. Cerquozzi had special affection for the Spanish, owing to the patronage he received from the major-domo of the Spanish Embassy as a youth, and would often don Spanish attire as a sign of his sentiment. His Spanish connections may partly account for the many commissions he later received from patrons identified with Rome’s pro-Spanish political faction. Cerquozzi enjoyed equally good rapport with northern European residents of Rome. He is documented as having quartered with artists from beyond the Alps, including Paulus Bor and Cornelis Bloemaert, for the bulk of his career. His contacts with Dutch and Flemish painters living in his native city profoundly affected his artistic development.

— LINKS
— Dance in the Trattoria (1850; 600x813pix, 153kb _ ZOOM to 1400x1898pix, 358kb)
— View in the Roman Forum (1657, 130x105cm; 960x777pix, 436kb _ ZOOM to 2250x1820pix, 2577kb) collaboration with Viviano Codazzio.
— Rural Scene (1646, 130x97cm; 1047x750pix, 131kb) _ Collaboration with Giovanni Angelo “Angeluccio”, [1622-1647], another bambocciante, who painted the landscape; Cerquozzi painted the figures. The majority of Angeluccio's collaborations were with Cerquozzi.
— Figures in a Tree-lined Avenue (1646, 130x97cm; 1032k750pix, 144kb) _ Another collaboration with landscapist Angeluccio.

^ Born on 06 April 1483
Died on 06 April 1520: Raffaello Sanzio “Raphael”, great painter.
      Raffaelo Sanzio dies in Rome, on his 37th birthday. He was born on in Urbino, and received his first instruction in the techniques of painting from his father, Giovanni Santi [1435 – 01 Aug 1494], a minor artist. In Urbino, young Raffaelo was introduced to the works of such artists as Paolo Uccello [1397 – 10 Dec 1475], Luca Signorelli [1441 – 16 Oct 1523], Melozzo da Forlí and Francesco di Giorgio, as well as the Flemish artists Hieronymus Bosch [1450-1516] and Joos van Gent.
     At age 17, Raphael became for four years an apprentice of Pietro Perugino [1445-1523], in Perugia. He gradually modified Perugino's style under the influence of Leonardo [15 Apr 1452 – 02 May 1519] and Michelangelo [06 Mar 1475 – 18 Feb 1564].
     The conception, structure and style of his early, famous Sposalizio (Marriage of the Virgin) of 1504 correspond closely to those of the work of the same name by Perugino, and it is assumed that Raphael was here executing a repeat commission passed on to him by his teacher. But while the faces of the figures, such as that of the girl on the left, could have been painted by Perugino [1446-1523], Raphael can elsewhere be seen to introduce elements which reveal his interest in the achievements of the new age. The domed building in the semicircular upper half of the picture may be derived from Bramante's contemporary ideal of architecture, as expressed in his round tempietto at S. Pietro in Montorio in Rome. The scene is one of tranquility. Mary graciously receives the ring from Joseph, who is depicted barefoot in accordance with the custom of oath-taking ceremonies at that time. In contrast to the calm figures of the main group, one young man in the foreground is shown in motion; angered at his failure to win Mary, he is breaking a dead stick over his knee. Joseph's stick, on the other hand, has blossomed afresh in accordance with apocryphal legend, indicating that he has chosen for Mary.
     In 1509, Raphael began work on a papal commission to decorate a suite of rooms. From the very start broke away from the passionate love of detail so characteristic of Florentine painting, and thus away from the style of Ghirlandaio, Botticelli [1445 – 17 May 1510] and Piero della Francesca [1415-1492]. He developed instead an expansive style of composition which presented itself as a homogeneous and easily intelligible whole. In large, arched frescoes Raphael brought to life the subjects he had been instructed to paint: the theological Disputa (Disputation Concerning the Holy Sacrament) and its pendant, The School of Athens, portraying the secular sciences of philosophy. Aristotle and Plato are seen in conversation at the centre of the picture. just as one might imagine a scholarly discourse taking place in Ancient Greece, they are walking - in true Peripatetic manner - through a lofty lyceum. The gesture which Plato is making with his upward-pointing finger is symbolic in meaning: he is pointing to the source of higher inspiration, the realm of ideas. Aristotle, on the other hand, is gesturing downwards, towards the starting-point of all the natural sciences. Like Michelangelo in the Sistine Ceiling, Raphael also incorporates a number of his contemporaries into his fresco. This Plato is probably a portrait of Leonardo, while Archimedes, bending down to draw on a slate tablet with a pair of dividers, may be recognized as Bramante. The figure immediately behind and slightly above is that of Federico Gonzaga. In addition to these and many others whose identities are now lost to us, Raphael also included himself: together with Sodoma, he looks out towards the viewer from beside the pillar at the extreme right-hand edge of the picture.
      The Triumph of Galatea (1512) is perhaps the supreme evocation of the glorious spirit of antiquity. Much of the beauty of Galatea's face lies in its hint of shyness and innocence, as if she were utterly unaware of her physical charms; the expression of devotion on her face is not unlike that of Leonardo's angel in the Baptism of Christ by Verrocchio [1435 – 07 Oct 1488]. The composition is clearly constructed upon the interplay of diagonals. The arrows strung in the bows of the putti establish directional lines which are taken up in the lower half of the picture. Thus the diagonal issuing from the arrow top left, for example, is continued in the dolphins' reins, while the arrow top right is restated in the body of the twisting sea nymph. Raphael positions the head of the beautiful Galatea subtly but clearly at the exact centre of the composition.
     The influence of Michelangelo's Sistine ceiling is clear when comparing the Sibyls and Prophets painted by Raphael in the Capella Chigi in S. Maria della Pace (1512) with those by Michelangelo in the Sistine Chapel.
     After becoming architect of St. Peter's in 1514, Raphael left the remaining frescos in the Papal apartments more and more to his assistants, including his important student Giulio Romano, although he provided the design for the Burning of the Borgo.
     Other works of Raphael during his time in Rome include a series of famous portraits, such as those of Baldassare Castiglione, and of Pope Leo X with Cardinals Giulio de'Medici and Luigi de'Rossi, and a tapestry cycle depicting scenes from the lives of the Apostles.
     One of the most frequently discussed and best-loved paintings of the Renaissance is Raphael's so-called Sistine Madonna. Some see a portrait of Pope Julius II in the figure of St. Sixtus on the left. The painting was intended to go above an altar, facing a crucifix.

—       Raffaello Sanzio (or Santi), known as Raphael, or Raphael of Urbino, was born in Urbino on Good Friday 06 April 1483, the son of Magia di Battista di Nicola Ciarla and Giovanni Santi di Pietro. His father was a painter and poet at the court of Frederico da Montefeltre, one of the most famous princes and art patrons of Early Renaissance Italy. Raphael's father was not an outstanding painter, though he was a man of good sense. Raphael started helping out in Santi's studio at a very early age. It is believed that Raphael learnt the fundamentals of art in his father's studio. But it is still unclear where Raphael received his training after this early period in his father's workshop, as Giovanni Santi died in 1494. According to his first biographer Vasari Raphael was apprenticed to Perugino, although there are no sources, which confirm that he worked with Perugino before 1500. Among Raphael's early works, we know about Baronci Altarpiece, which was commissioned in 1501. It was badly damaged in an earthquake in 1789 and only some of its sections survived and now are kept in different collections. All Raphael's surviving works from 1502 to 1504 show Perugino's influence, the most notable are Crucifixion (1503), Coronation of the Virgin (1504), Marriage of the Virgin (1504), St. George (1504), St. Michael (1504), The Three Graces (1504), Allegory (The Knight's Dream) (1504), Madonna and Child (1503), Madonna Connestabile (1504).
      In 1504, Raphael moved to Florence, where he remained until 1508. These years were very important for his development. He studied works of Leonardo da Vinci and Michelangelo there, by which he was greatly influenced. Yet he proved, that his ability to adapt from others what was necessary to his own vision and to reject what was incompatible with it was faultless. In Florence he started his series of Madonnas, whose charm has captured popular imagination ever since: Madonna del Granduca (1505), Madonna of the Meadow (1506), Madonna with the Goldfinch (1506), La Belle Jardinière (1508). He created several portraits, which also had Leonardo's impact Portrait of Agnolo Doni (1506), Portrait of Maddalena Doni (1506), Portrait of a Lady with a Unicorn (1506), Portrait of a Pregnant Woman (1506). Other notable pictures from his Florence period are St. George and the Dragon (1506), Entombment (1507), St. Catherine (1508), Madonna with the Baldachino (1508).
      Within four years Raphael had achieved success in Florence and his fame had spread abroad. By the autumn of 1508, he was in Rome and was entrusted by Pope Julius II with the decoration of the Stanze, the new papal apartment in the Vatican Palace, an enormous commission for the 26-year-old artist. It was nevertheless a triumph. The first room Stanza della Segnatura was completed by 1511. This room was probably Julius II's private library and it was decorated in the traditional way of decorating libraries, which went back to the Middle Ages. Each of the four walls was allocated one faculty from the spectrum then available: Theology, Philosophy, Poetry and Jurisprudence (as Justice) and presented as female figures. They all appear in four large tondi on the ceiling. Along the walls are allocated to them the appropriate images of men and women from history who had won fame in each of these fields. The School of Athens (1509) as the depiction of philosophy and Disputa (Disputation over the Sacrament) (1510-1511) as the depiction of theology are a culmination of High Renaissance principles. They stand for the intellectual reconciliation of Christianity and classical antiquity. Both frescos are miracles of harmony, of movement within strict symmetry, of the union of the real and the ideal.
      The second room was Stanza di Eliodora, named after the main fresco The Expulsion of Heliodorus (1512), on which Raphael worked from 1511 till 1514. The general theme of the room is that of God's intervention in human destiny. The third room Stanza dell'Incendio was probably finished by his assistants after his sketches in 1514-1517. Other important commissions in this period include The Triumph of Galatea (1511) for Villa della Farnesina, frescoes for the church of Saint'Agostino, frescoes for the Sala di Costantino and the decoration of Loggie of Vatican Palace.
      Under the new Pope Leo X Raphael held an important position in the papal court. Besides combining positions of painter, architect (he was Chief Architect of St. Peter's cathedral) and archeologist, he initiated the first comprehensive survey of the antiquities of Rome. Although Raphael's main task during this period was to decorate Stanza, he still found time for a subject, which preoccupied him for a long time: Madonna and Christ Child. He created Madonna Alba (1513), Madonna della Tenda (1514), Madonna della Sedia (1514), Madonna di Foligno (1512) and the most famous of all Sistine Madonna (1514). The most notable portraits of this period were Portrait of a Cardinal (1511), Portrait of Tommaso Inghirami (1511), Portrait of Pope Julius II (1512), Portrait of Baldassare Castiglione (1516), La Donna Velata (1516), Portrait of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi (1519). He created 10 cartoons for the tapestries, ordered by Leo X for the Sistine Chapel, 7 of which have survived and now in Victoria and Albert Museum in London. The tapestries themselves were woven by Pieter van Aelst and are now in the Vatican Museums.
      The Transfiguration (1520), was the last work Raphael painted. It was commissioned by Cardinal Giulio de' Medici. Raphael died unexpectedly on Good Friday 06 April 1520. The Transfiguration was complete. Vasari wrote: "He was laid out in the room where he last worked, and at his head hung his painting of the transfigured Christ, which he completed for Cardinal de' Medici. The contrast between the picture, which was so full of life, and the dead body filled everyone who saw it with bitter pain."
     Raphael's students included Giulio Romano [1499 – 01 Nov 1546], Giovan Francesco Penni [1488-1528] and Garofalo [1481-1559].

— LINKS
— Head of a Woman (1520)

^ Born on 06 April 1826: Gustave Moreau, French Symbolist painter who died on 18 April 1898. — (A ne pas confondre avec Moreau-Vaches ni même avec Adrien Moreau.)
— His students included Henri Matisse [31 Dec 1869 – 03 Nov 1954], Georges Rouault [27 May 1871 – Feb 1948], Albert Marquet [27 Mar 1875 – 13 Jun 1947], Henri Manguin [23 Mar 1874 – 25 Sep 1949], Louis Valtat [1869-1952], Pierre Bonnaud [1865-1930], and Charles Hoffbauer [28 Jun 1875 – 1957].
— Moreau became one of the leading Symbolist artists. He was a student of Chassériau and was influenced by his master's exotic Romanticism, but Moreau went far beyond him in his feeling for the bizarre and developed a style that is highly distinctive in subject and technique. His preference was for mystically intense images evoking long-dead civilizations and mythologies, treated with an extraordinary sensuousness, his paint encrusted and jewel-like. Although he had some success at the Salon, he had no need to court this as he had private means, and much of his life was spent in seclusion. In 1892 he became a professor at the Ecole des Beaux-Arts and proved an inspired teacher, bringing out his students' individual talents rather than trying to impose ideas on them. His students included Marquet and Matisse, but his favorite was Rouault, who
became the first curator of the Moreau Museum in Paris (the artist's house), which Moreau left to the nation on his death.
— Moreau's figures are ambiguous; it is hardly possible to distinguish at the first glance which of two lovers is the man, which the woman; all his characters are linked by subtle bonds of relationship... lovers look as though they were related, brothers as though they were lovers, men have the faces of virgins, virgins the faces of youths; the symbols of Good and Evil are entwined and equivocally confused.
— Without doubt one of the greatest Symbolist artists. Entered the studio of François Picot [17 Oct 1786 – 15 Mar 1868] at the Paris Beaux-Arts in 1846. A friend of Théodore Chassériau [1819-1856], whom he frequented from 1850 until the latter's death in 1856. From 1857 to 1859 he traveled in Italy. Won considerable reputation at the 1864 Salon with his Oedipus and the Sphinx. His unfavorable critical reception in 1869 meant that he returned to the Salon only in 1876 with his Salome Dancing Before Herod, which was admired by many critics, notably Huysmans. In 1884 succeeded Elie Delauney [1828-1891] as a teacher at the Beaux-Arts. Matisse, Marquet, Camoin [23 Sep 1879 – 20 May 1965], and Rouault were among his students and their works show his influence.
The heir of Romanticism and an admirer of the Italian masters of the Quattrocento, Gustave Moreau is the embodiment of Symbolism. He defined his art as a "passionate silence" and transcribed in it obsessions and oneiric themes which made him one of the great masters of sexual Symbolism. He seized upon the personage of Salome and made her one of the main themes of his work, if not indeed the most important. In his many variations on this theme, he portrayed Woman as both a seductress and an innocent.
— LINKS
— Orphée — Jupiter and Semele (1895, 212x118cm) — Oedipus the Wayfarer (1888, 125x95cm) — The Pierides (1889, 95x150cm) — Bathsheba (1886, 59x41cm) — The Triumph of Alexander the Great (1885, 155x155cm) — The Unicorns (1885, 115x90cm) — The Chimeras - detail (1884, 236x204 cm) — Night (1880, 26x21cm) — Phaethon (1878, 99x65cm) — Young Moses (1878, 185x135cm) — Saint Sebastian and the Angel (1876, 67.8x38.7cm) — Salomé Dancing before Herod (1876, 144x103cm) — The Apparition (1876, 105x72cm) — Leda (1875 - (1880, 34x21cm) — Messalina (1874, 242x137cm) — Saint Margaret (1873, 41x21cm) — Hesiod and the Muse (1870, 33x20cm) — Saint Sebastian (1875, 115x90cm) — Prometheus (1868, 205x122cm) — St. George and the Dragon (1890,141x97cm) — The Muses Leaving Their Father Apollo to go and Enlighten the World (1868, 292x152cm) — Andromeda (1869, 55x43cm) — Diomedes Devoured by his Horses (1866, 19x17cm) — a different Diomedes Devoured by his Horses (1865, 138x84cm) — Jason (1865, 204x121cm) — The Young Man and Death (1865, 213x126cm) — Thracian Girl carrying the Head of Orpheus on his Lyre (1865, 154x100cm) — Oedipus and the Sphinx (1864, 206x105cm) — Hesiod and the Muses (1860, 236x155cm) — Apollo and the Nine Muses (1856, 103x83 cm) — Death Offers Crowns to the Winner of the Tournament (1860, 92x142cm) — The Daughters of Thespius (1853, 258x255cm) _ detail — The Song of Songs (1853, 300x319 cm) — The Scottish Horseman (1854, 145x145cm) — The Suitors (1852, 385x343cm) _ detail — Salomé (1876) — a different Salome (1876) — one more Salome (1890) — Hesiod and the Muse (1891, 59x35cm)
— Helen on the ramparts of Troy _ "She stands out against a sinister horizon, drenched in blood, and clad in a dress encrusted with gems like a shrine. Her eyes are wide-open in a cataleptic stare. At her feet lie piles of corpses. She is like an evil goddess who poisons all that approach her." (J.-K. Huysmans)
— 109 images at Webshots

^ Died on 06 April 1931: William Lionel Wyllie, English painter and engraver born on 06 July 1851.
— He was the son of Katherine (née Benham) Wyllie and a prosperous, minor genre painter, William Morrison Wyllie (fl 1852–1890). He spent most of his childhood summers in France, where his parents owned houses on the coast, first at Boulogne and later at Wimereux. He began plein-air drawing and painting at an early age, encouraged by both his father and his stepbrother Lionel Smythe (1839–1918). After studying at Heatherley’s Art School in London, about 1863, he entered the Royal Academy Schools in 1866 and two years later exhibited his first picture, Dover Castle and Town, at the summer exhibition. Though his precocious talent was again rewarded in 1869, when he won the Turner Gold Medal for Landscape with his Dawn after a Storm (engraved for the Illustrated London News, Jan 1870), the 1870s were to bring some disappointment: the Academy refused two of his pictures for exhibition in 1875, and his angry reaction was to declare the end of his artistic career and the beginning of one at sea.
      Though the promise was short lived it did fulfil a lifelong ambition to sail. Several cruises in British and European waters provided the inspiration and material for his continuing career as a marine painter. His Toil, Glitter, Grime and Wealth (1883), a view in oils of the Thames at Greenwich, was his first major work to receive general critical acclaim. Like so many of Wyllie’s works in oil, the painting seems to be laboriously handled and lacking in both the subtlety of subject and delicacy of treatment characteristic of his more accomplished watercolors; however it was clearly well attuned to the more jingoistic currents of Victorian taste. So too, albeit at another level, were his first naval subjects, two large representations of the bombardment of Alexandria, also painted in 1883. He was elected ARA in 1889, no doubt further assisted by the success of his exhibition of 69 watercolors at the Fine Art Society in the previous year.

— Sunshine on the Solent (etching, 16x22cm; 768x1002pix, 88kb)
— Fishing Boats Off Ryde (1927 etching; 462x1024pix, 51kb)
— Yacht Racing, Squally Weather, Cowes (etching, 15x37cm; 443x1024pix, 37kb)
— The Providence of Rochester (etching, 29.5 x 51.5cm; 587x1024pix, 96kb) _ The artist depicts himself (from the back) in the small boat in the foreground.
— A Fleet of Barges Beating to Windward (etching, 24x37cm; 649x1024pix, 75kb)
— Homeward Bound (photogravure with hand coloring, (73x50cm; 768x532pix, 54kb) _ Two pictures bound together by a rope frame: at the top, a sailing ship in rough sea; at the bottom, tug-of-war between men pulling back, and women (with one young child) pulling forward.
— An Industrial Waterfront / Battleships and Other Vessels Offshore (two etchings in one image, each 8x33cm)
— Masters of the Sea (329x600pix, 25kb) — First Journey of Victory (hand-colored engraving, 41x56cm; 435x378pix, 12kb)
— Pass at Glencoe (etching, 24x35cm; 729x1024pix, 117kb)
— London and Tower Bridges (etching; 308x699pix) apparently viewed from the air.
— The Opening of Tower Bridge, 1894 (341x600pix, 14kb) _ On Saturday 30 July 1894 the sun is hot enough to raise a golden haze, but the breeze brisk enough to keep colors clear. Wyllie sees all that a historical painter's heart could desire: the many ships closely packed and varying in size and rigs, a temporary avenue of brilliant colors, with flags and bunting. The HMS Landrail dominates the river procession which is led by the admiralty yacht Irene passing under the uplifted bascules of the new 244-meter Tower Bridge, almost a wonder of the world, whose construction began in 1886. It is the gateway to the port of the capital city of the British Empire and the most industrially successful nation on Earth. It is at the time one of the most complex pieces of engineering ever. Designed by Sir Horace Jones and Sir John Wolfe Barry, it is a bascule bridge, built of steel and clad in brick. Partly because the 28 December 1879 Tay Bridge Disaster was fresh in everyone's minds when construction on the Tower Bridge began in 1886, this new bridge has been made twice as strong as needed. Designed and made by Sir William Armstrong's company to be fail-safe, all the steam driven hydraulic mechanical systems are duplicated. When the Prince of Wales (the future Edward VII) turns the silver cup which makes the bascules rise for the first time, the whistles of the steamers and the guns firing salutes from the nearby Tower of London are not as loud as the cheer of the crowd watching from great tiers erected on the river banks, roof tops, and steamships, barges, and sailing boats.
      London Bridge was the first, and for a long time the only crossing over the Thames. As London grew, more bridges were added, but these were all to the west of London Bridge, since the area east of London Bridge had become a busy port. In the 19th century, the east end of London became so densely populated that the crossing by pedestrians and vehicles was being delayed by hours. In 1876, the Corporation of London, responsible for that part of the Thames, formed the "Special Bridge or Subway Committee", and opened the design of a new bridge to public competition. The biggest problem was how to build a bridge downstream from London Bridge without disrupting river traffic. Over 50 designs were proposed. In October 1884, Horace Jones, the City Architect, in collaboration with John Wolfe Barry, offered the chosen design, twice as strong as needed, partly in order to guard against a repetition of the 28 December 1879 Tay Bridge Disaster.
     Construction began in 1886 and it took 5 major contractors and the labor of 432 construction workers to complete it. Two massive piers had to be sunk into the river bed to support the construction, over 11'000 tons of steel provided the framework for the towers and walkways. This was then clad in Cornish granite and Portland stone, both to protect the underlying steelwork and to make the bridge harmonize with the Tower of London and the rest of its surroundings. Tower Bridge was the largest and most sophisticated bascule bridge ever built. Designed and made by Sir William Armstrong's company to be fail-safe, all the hydraulic mechanical systems were duplicated. Steam powered the enormous pumping engines. The energy created was then stored in six massive accumulators so that, as soon as power was required to lift the bridge, it was readily available. The accumulators fed the driving engines, which drove the bascules up and down. The bascules took about a minute to rise to their maximum 86 degrees. The bascules are still operated by hydraulic power, but since 1976 they have been driven by oil and electricity rather than steam. Tower Bridge copes well, more than 100 years later, with heavy modern traffic, little imagined by its designers.
— Photo of Tower Bridge

Died on a 06 April:

1825 Willem van Leen, Dutch artist born on 19 February 1753.

1777 Jan Evert Morel, Dutch artist born on 08 February 1777.

1667 Jean Tassel, French artist born on 20 March 1608. — {There once was a painter named Tassel / Who lived high up in a castle. / Some say the art was facile / Of that French artist named Tassel.}{Well... it didn't get onto the internet, did it?} — He was trained by his father Richard Tassel [1582 – 1660]. By 1634 Jean Tassel was recorded in Rome, where he came into contact with his fellow Frenchmen Claude Lorrain, Nicolas Poussin, and Sébastien Bourdon. Like the last he was influenced by the Bamboccianti, and he painted a number of low-life genre scenes at this period; these include Singers in a Tavern and Travelers Attacked. He had returned to Langres by 1647, the date of his marriage, and continued to paint genre pictures after this, such as The Sawyers and The Marauders. Other influences from Rome include Caravaggio, strong in a picture such as the Fortune-teller (sold Paris, Drouot, 01 April 1987, lot 20) The Presentation of the Infant Jesus and Tobias and the Angel. However, the most lasting influence was that of the Romano-Bolognese school, seen in later pictures such as the Annunciation (1653), the Virgin and Child and the Adoration by the Magi and the Stoning of Saint Stephen.

1624 Jean-Baptiste Saive de Namur, Flemish artist born in 1540.

Born on a 06 April:

1851 Raffaele Ragione, Italian artist who died in November 1925.

1824 Lucas Schaeffels, Belgian artist who died on 17 Sep 1885.

1822 Jan David Col, Belgian artist who died in 1900. — {Si su madre se apellidaba Flor, él era Col y Flor}

1819 Georg Bergmann, German artist who died on 14 October 1870.

1589 Jan Tilens (or Johannes, Tilen or Thielens), Flemish artist who died on 25 July 1630.

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