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DEATHS: 1807 HACKERT — 1927 WEGUELIN — 1905 TAIT
^ Died on 28 April 1807: Jacob Philipp Hackert, German painter born on 15 September 1737, specialized in Landscapes
— He was taught first by his father, portrait and animal painter Philipp Hackert [-1768], then from 1755 by Blaise Nicolas Le Sueur at the Berlin Akademie. There he encountered, and copied, the landscapes of Dutch artists and of Claude Lorrain. The latter influence shows in two works exhibited in 1761, views of the Lake of Venus in the Berlin Zoological Garden. These much admired paintings retain a rather rigid late Baroque style. Hackert’s main interest in these early works was to arrive at a special understanding of a place through alternate views, with reverse directions of observation. This systematic documentation bears witness to his interest in the study of nature.
— Hackert was active in Italy from 1768. He studied in Berlin under the French painter Le Sueur, who taught him in the classical Baroque style of Dutch landscape, but when he moved to Rome he became one of the "Roman Germans" to turn to Poussin and apply the Neoclassical principles to landscape painting. In 1786 he became court painter to Ferdinand IV of Naples. He was a sensitive upholder of the ideal landscape tradition of Claude, which he seasoned with touches of Romanticism. Much of his prolific output was devoted to views of famous sites, which were eagerly sought by foreign visitors to Italy. He came from a family of artists and often collaborated with his brother Johann Gottlieb Hackert [1744-1773]. Goethe met Hackert in 1787 and wrote his biography in 1811.
     After having been given a basic artistic education by his father and uncle, who were both painters, Jakob Philipp Hackert attended the drawing classes of Blaise Nicholas le Sueur [1716-1783], the director of the Berlin Academy, in 1758. With an early interest in landscape painting, Hackert began copying the works of Claude Lorrain (1600-1682) and Dutch seventeenth-century artists. He traveled in northern Germany where he received commissions for decorative cycles in Stralsund and Rügen, and in 1764 he visited Sweden. From 1765 until 1768 Hackert lived in Paris, where he met landscape and marine painter Joseph Vernet [1714-1789] and eventually invited his brother Johann Gottlieb Hackert [1744-1773], also a landscape painter, to join him. In Paris Jakob Philipp's popular paintings, gouaches, and drawings were already being reproduced in print form.
     In 1768 the Hackert brothers left for Rome, which would remain their main residence until 1786, although they made countless trips in search of different types of landscape. In 1770 they visited Naples, a city that, with its natural and cultural treasures, was an important destination for any traveler to Italy. In 1771 Jakob Philipp Hackert received an important commission from Catherine II of Russia to paint a series of canvases depicting Russia's sea victory over Turkey, and this truly established his reputation. In 1772 his brothers Carl Ludwig Hackert [1740-1796] and William Hackert [1748-1780] joined him in Rome and his brother Johann Gottlieb traveled to London in order to bring commissioned paintings to British clients; he became ill, however, and died in Bath. Jakob Philipp called another brother, Georg Hackert [1755-1805], to Rome in order for him to engrave his paintings. Hackert's work found many prominent buyers, and he turned down an offer to become court painter in Russia, but William settled in Russia in 1774, as a drawing master. In 1782 Jakob Philipp went to Naples again and was introduced to King Ferdinand IV, who commissioned several works. Four years later Hackert became his court painter. In 1787 he met several times with Johann Wolfgang von Goethe [1749-1832] during the latter's stay in Naples; Goethe recorded their meetings in his Italienische Reise (1817). Goethe admired his works, took painting lessons from him, and it was Goethe who eventually urged Hackert to write his autobiography, which Goethe adapted and published after Hackert's death.
      Political unrest caused the royal family to seek refuge in Palermo in 1798, and the arrival of French troops in Naples one year later forced Hackert to leave the city and his comfortable existence at court. After a year in Pisa, Hackert and his brother settled in Florence in 1800. Three years later Hackert bought a nearby estate in San Pietro di Careggi, where he worked and made careful studies of rocks, trees, and plants, which he regarded as the basis of his landscapes. Among a few other works Hackert wrote one short treatise on the use of varnish, Sull'uso della vernice nella pittura (1788), and one on landscape painting, Theoretisch-praktische Anleitung zum richtigen und geschmackvollen Landschafts-Zeichnen nach der Natur.
—     Balthazar Anton Dunker was a student of Jakob Philipp Hackert.

— LINKS
— Ideale Landschaft im Abendlicht (1782; 774x1081pix, 70kb — ZOOM to 1162x1621pix, 148kb)
— Küstenlandschaft (1782; 769x1280pix, 88kb — ZOOM to 1538x2560pix, 294kb)
— Ansich von Pisa (600x896pix _ ZOOM to 1400x2091pix)
— Der Tiber bei Rom (1775; 600x872pix _ ZOOM to 1400x2035pix)
— Jagd auf dem Fusaro-See (1783; 600x1004pix _ ZOOM to 1400x2346pix)
— Blick auf Cava dei Tirreni (1792; 600x1000pix _ ZOOM to 1400x2333pix)
— Landschaft mit Ziegenherde (1806; 600x480pix _ ZOOM to 1400x1120pix)
— Ziege und Zicklein (600x480pix _ ZOOM to 1400x1120pix)
— Ziege und Schaf II (1806; 600x472pix _ ZOOM to 1400x1101pix)
— The Waterfalls at Terni (1779, 98x80cm; 1050x844pix, 189kb) _ Hackert's output shows how his landscapes, which initially suggest the Baroque, become increasingly "classical". However, unlike other contemporaries, who dismissed him in contempt as a "veduta painter" and probably also because he made no secret of his commercial success, Hackert remained faithful to topographic accuracy in his landscapes. This greatly appealed to his buyers who wanted to take their experience of Italy home with them. Nevertheless, The Waterfalls at Terni shows that Hackert could master the heroic landscape, too. The relative sizes of the rocks and trees and the depth of perspective are skillfully blurred so that the waterfall, however large it may be in reality, looks imposing. Paintings like this set a new focus in Neoclassical and Romantic painting in Germany: what we call "'heroic" and later "sentimental" landscape painting.
— The Excavations of Pompeii (1799) — View of the Gulf of Pozzuoli from Solfatara (119x167cm)
^ Died on 28 April 1927: John Reinhard Weguelin, British painter of genre, classical, biblical and historical subjects, born on 23 June 1849. — {Whenever there was the least opening into an art show, Weguelin could always wiggle in?}
— Born the son of a vicar of South Stoke, near Arundel in Sussex, who had presumably turned Roman Catholic, he was educated at Cardinal Newman’s Oratory School in Edgbaston. He began working as a Lloyds underwriter but then studied at the Slade under Poynter and Legros. He exhibited landscapes and biblical and classical subjects in the manner of Alma-Tadema. He illustrated several volumes of poems, translations and stories. Studied at the Slade School under Poynter and Legros. Exhibited from 1877 at the Royal Academy, Society of British Artists, Grosvenor Gallery, New Gallery and elsewhere. Titles at the RA including The Labour of the Danaids (1878), Herodias and her Daughter (1884) and The Piper and the Nymphs (1897). Painted exclusively in watercolor after 1893, and was elected to the Royal Society of Painters in Watercolor in 1897. Lived for a time at Hastings. In 1996, in Chepstow, south Wales, the BBC's Antiques Roadshow discovered a picture by Weguelin entitled Mermaids (1910).

— Lesbia (1878; 700x430pix, 76kb)
— Pressing Grapes (1880, 114x76cm; 51kb) _ This painting was discovered in a private home in Portland, Maine, in 1997 and auctioned the same year by Barridoff Galleries for $27'600. The artist was unknown at the time of auction but was later discovered to be Weguelin, better known for his famous painting Lesbia.
— The obsequies of an Egyptian cat (1886, 83x128cm; 662x1050pix, 100kb)
— A Young Girl with Flamingoes (21kb) — A Pastoral Scene (35kb) — The Bath (31kb)
— Bacchus and the Choir of Nymphs (33kb) — Bacchus Triumphant (24kb)
— The Labour of the Danaïdes (23kb) _ The fifty daughters of Danaüs, King of Argos, were commanded in obedience to a prophecy to murder their husbands on their wedding night; all but one obeyed, and were punished by having to draw water in sieves from a deep well, or by pouring it endlessly into a vessel from which it continually escaped.
^ Died on 28 April 1905: Arthur Fitzwilliam Tait, English US painter born on 05 August 1819, specialized in Animals.
— Tait was born near Liverpool, England and was the son of a maritime merchant. At the age of eight, when his father faced financial destitution, Tait was sent to live with relatives in the country outside of Lancaster. There he discovered a love for animals, nature, hunting and fishing that inspired him throughout his life.
     Tait first became curious about the US upon seeing the traveling exhibition of Indian portraits and artifacts by George Catlin, in Paris in the late 1840’s. He was so intrigued by Catlin’s interpretation of the US West that he left for the United States in 1850. Although he settled in New York City, Tait spent much of his time in the Adirondack Mountains painting landscapes, wildlife and sportsmen. His romantic and dramatic depictions of life in the Adirondacks were enormously popular throughout the pre-Civil War era. Although he never traveled farther west than the Adirondacks, Tait is considered one of the principal painters of the American frontier along with artists George Catlin, William Ranney and Karl Bodmer.
     During his career, Tait illustrated approximately thirty-six prints for the renowned Currier and Ives Lithographers. His specialty, however, was medium-sized, moderately priced animal paintings, which he produced in great numbers. Despite changing trends in the art world, Tait enjoyed a steady clientele until his death.

— LINKS
— Maternal Solicitude (1873, 50x61cm; 620x760pix, 36kb)
— The Prairie Hunter. "One rubbed out!" (1852, 36x53cm; 2/3 size, 223kb _ ZOOM to 4/3 size, 952kb)
— The Surprise (1879, 56x65cm) — Grouse Family (1855, 69x112cm)
— Early Morning in the Adirondacks (1883, 102x142cm) _ During the year 1882-1883, Tait and William Sonntag collaborated on five paintings including this one. Tait, an avid huntsman and established wildlife and sporting artist, was known for his depictions of stylistic deer near the water’s edge and ducks in flight against thin fog. Sonntag was a Hudson River School landscape painter who became famous for his images of idealized yet rugged Eastern American landscapes. In Early Morning in the Adirondacks, Tait painted his signature deer and ducks into Sonntag’s majestic mountain landscape. The joint efforts and specific talents of these two artists resulted in this meticulously rendered and powerful painting.
— Barnyard (December 1860, 41x66cm) _ Arthur Fitzwilliam Tait arrived in New York City from Liverpool in 1850. In the early 1840s in Manchester, England, he had worked for Agnew's Repository of the Arts where he was exposed to the art of Edwin Landseer and John Frederick Herring and was encouraged to try his own hand at the lithographer's art. Barnyard demonstrates his strong familiarity with English sporting paintings and prints. Tait's kinship with Herring is apparent in the similarity of this painting to Herring's account of his own painting (1861) less than a year later: "It represents a stable, a white horse ... white ducks, brown ducks and a black cat," and Herring continues, noting his "colorman's compliment" on his "management of white, at all times a difficult color to treat without appearing dirty." Like Herring, Tait was above all a colorist, and the white horse dominates his scene, its whiteness enshrouded by a dark background and circumscribed by a blue-green wall with shuttered window at the right. The white horse is solitary in his stature and nurturing role.
     After 1862, Tait's production of horse paintings declined as he turned increasingly to deer hunting and Adirondack sites for his sporting subjects. However, his pride in this genre is evidenced by his having exhibited a painting of the same size and date as Barnyard in the National Academy of Design show in the spring of 1861. His choice of Feeding Time (1860) over Barnyard for the exhibition may have been determined by its inclusion of a figure raking hay, which suggested greater academic proficiency. Tait's specificity in signing "Morrisania" on this oil marks a moment of joy in his life. He and his wife Marian had purchased a farm in Westchester County just a year before, which provided him with the opportunity to paint animals out-of-doors, thereby capturing the effects of light and color in a manner that was not available to the prestigious Mr. Herring.
— Good Hunting Ground (1801, 57x67cm).

Died on a 28 April:
1915 Salvador Viniegra y Lasso, Spanish artist born on 23 November 1862. — [That's Viniegra NOT Viagra and NOT Vinegar]

^ 1883 Jules-Adolphe Goupil, French portrait and genre painter born on 07 May 1839. His first art teacher was his father, the painter Frédéric Auguste Antoine Goupil. Then he was a student of Ary Scheffer [10 Feb 1795 – 15 Jun 1858] at the École des Beaux-Arts in Paris. — {Rusé comme un renard?}— LINKS — Lady Seated (800x563pix, 154kb) — L'Artiste dans l'Atelier (73x49cm; 1525x1000pix, 404kb) _ Not a self-portrait: this artist is a lady. — Elégante au chapeau (24x20cm; 450x360pix, 17kb)

1825 Gerrit Jan van Leeuwen, Dutch artist born on 29 June 1756.

1754 Giovanni Battista Piazzetta, Venitian painter and drafstman born on 13 February (12 December?) 1682, son of Giacomo Piazzeta. Most of G. B. Piazzetta's works are of religious subjects, yet he also painted genre scenes and occasional portraits; especially famous are his portrait heads in black-and-white chalk. His somber art, dependent on chiaroscuro and on a limited, almost monochromatic palette, is intense in feeling and deeply realistic, in contrast to the virtuoso performances and brilliant high-keyed palette of his Venetian contemporaries. Domenico Maggiotto was an assitant of Piazzetta, whose students included Giovanni Battista Casanova, Georges Desmarées, Franz Anton Kraus, Giuseppe Nogari, Johann Heinrich Tischbein I, Paul Troger.

1606 Heinrich Goedig (or Götting, Godiger, Göddeck), German artist. — {Go dig for Goedig on the internet, let me know if you find anything.}


Born on a 28 April:

^ 1929 Avigdor Arikha, Romanian-born Israeli French artist. — {Rival d'Avigveille?}— The drawings he made in deportation in Nazi labor camps at the ages of 13 and 14 saved his life by attracting attention to his precocious talent. In 1944 he emigrated to Israel, living in a kibbutz near Jerusalem and studying art at the Bezalel School in Jerusalem; after being severely wounded in 1948 in the Israeli War of Independence, he continued his studies in Paris (which he made his home in 1954) at the Ecole des Beaux-Arts (1949–1951). He first made his name as an illustrator, for example of an edition of Rainer Maria Rilke's The Way of Love and Death of Cornet Christopher Rilke (1953). From 1957 to 1965 he produced abstract paintings, such as Noir basse (1959), which had something in common with Art Informel but were characterized by his particular sensitivity of touch and sumptuousness of color. During this period he also designed stained-glass windows, including a series of 30 windows for the Bnei Israel Synagogue in Woonsocket, Rhode Island.
     Arikha stopped painting in 1965, feeling that it was impossible to continue in the same vein, and he restricted himself until 1973 first to drawing and then to etching in black and white; notable examples include a sustained series of portraits of the Irish playwright Samuel Beckett, one of his closest friends, such as Samuel Beckett with Cigar (brush and sumi ink on gessoed paper, 1970; Paris, Pompidou). He resumed painting in 1973, this time working exclusively from life, painting quickly in oil on canvas on an intimate scale well-suited to his generally domestic subjects. He often painted his wife, as in Going out (1981; Jerusalem, Israel Mus.), the view from his flat in Paris, as in the Square in June (1983; Washington, DC, Hirshhorn), still-lifes, interiors and landscapes. His rare commissioned portraits include H.M. Queen Elizabeth, the Queen Mother (1983; Edinburgh, N.P.G.).
     Wary of his own virtuosity and always receptive to the shocks of emotion and chance, Arikha practised a kind of dynamic realism motivated in part by the work of Edgar Degas and Alberto Giacometti, who were among the artists whose work he studied in depth; as a scholar he was also known for his publications on Nicolas Poussin and Jean-Auguste-Dominique Ingres, among others. Arikha's paintings from life after 1973, calm and endowed with a feeling of plenitude arising from his mastery of color and amplitude of gesture, also have a muted drama because of the vibration of the marks, tonal contrasts and spatial ambiguities, which together assure the modernity of his work within a long tradition. — LINKS — Etching Tools (1986) — Going Out (1981, 81x65cm)

^ 1928 Yves Klein, French Conceptual artist who died on 06 June 1962. — [Klein was not gross?] — Klein was born in Nice. From 1942 to 1946, he studied at the Ecole Nationale de la Marine Marchande and the Ecole Nationale des Langues Orientales and began practicing judo. At this time, he became friends with Arman Fernandez and Claude Pascal and started to paint. Klein composed his first Symphonie monoton in 1947. During the years 1948 to 1952, he traveled to Italy, Great Britain, Spain, and Japan.
     Yves Klein’s first passion in life was judo. In 1952 he moved to Tokyo and studied at the Kodokan Judo Institute, where he earned a black belt. When he returned to Paris in 1955 and discovered to his dismay that the Fédération Française de Judo did not extol him as a star, he shifted his attentions and pursued a secondary interest—a career in the arts. During the ensuing eight years Klein assembled a multifarious and critically complex body of work ranging from monochrome canvases and wall reliefs to paintings made with fire. He is renowned for his almost exclusive use of a strikingly resonant, powdery cobalt pigment, which he patented under the name “International Klein Blue,” claiming that it represented the physical manifestation of cosmic energy that, otherwise invisible, floats freely in the air. In addition to monochrome paintings, Klein applied this pigment to sponges, which he attached to canvases as relief elements or positioned on wire stands to create biomorphic or anthropomorphic sculptures.
     In 1955, Klein settled permanently in Paris, where he was given a solo exhibition at the Club des Solitaires. His monochrome paintings were shown at the Galerie Colette Allendy, Paris, in 1956. The artist entered his blue period in 1957; this year a double exhibition of his work was held at the Galerie Iris Clert and the Galerie Colette Allendy, both in Paris. In 1958, he began using nude models as “living paintbrushes.”
     Klein’s activities also included using nude female models drenched in paint as “brushes”; releasing thousands of blue balloons into the sky; and exhibiting an empty, white-walled room and then selling portions of the interior air, which he called “zones” of “immaterial pictorial sensibility.” His intentions remain perplexing 30 years after his sudden death. Whether Klein truly believed in the mystical capacity of the artist to capture cosmic particles in paint and to create aesthetic experiences out of thin air and then apportion them at whim is difficult to determine. The argument has also been made that he was essentially a parodist who mocked the metaphysical inclinations of many Modern painters, while making a travesty of the art market.
     Also in 1958, he undertook a project for the decoration of the entrance hall of the new opera house in Gelsenkirchen, Germany. The first manifesto of the group Nouveaux Réalistes was written in 1960 by Pierre Restany and signed by Arman, Klein, Daniel Spoerri, Jean Tinguely, and others. In 1961, Klein was given a retrospective at the Museum Haus Lange, Krefeld, Germany, and his first solo exhibition in the United States at the Leo Castelli Gallery, New York. He and architect Claude Parent collaborated that year on the design for fountains of water and fire, Les Fontaines de Varsovie, for the Palais de Chaillot, Paris. In 1962, Klein executed a plaster cast of Arman and took part in the exhibition Antagonismes 2: L’Objet at the Musée des Arts Décoratifs, Paris. Shortly before his death he appeared in the film Mondo Cane (1962).
— Text of Klein's Chelsea Hotel Manifesto.
— LINKS
— Untitled blue monochrome (1959, 92x72cm) _ Klein rejected the idea of representation or personal expression in painting, and became obsessed with immaterial values, beyond the visible or tactile. He began making monochrome paintings in 1947 as a way of attaining total freedom. A decade later, he developed his trademark, patented color, International Klein Blue (IKB). He made a series of paintings using IKB, as well as sculptures made from objects such as sponges dipped in the color.
— Untitled Anthropometry (1960) _ A monumental work. Women’s naked bodies in blue and gold float and soar through an intense blue space. Around these bodies Yves Klein has sprayed more paint, outlining each figure with a kind of aura. He has also sprayed round leaves and branches to leave silvery-blue silhouettes. Klein was famous for his vivid and distinctive blue which he called IKB (International Klein Blue). He achieved this by evaporating the binding element in his paint so that only the concentrated blue pigment was left. The repeated use of this blue in his work enabled him to express a sense of mysticism, or 'the infinite expansion of the universe', as he called it. The painting also seems to contain an elemental sense of air, earth, fire and water. Yves Klein was a fanatical reader of the works of the French philosopher Gaston Bachelard who was interested in a psychological analysis of space and fire, which he wrote about in his books Dreams and Air and Water. Klein’s method of creating this work was very unorthodox. He staged a 'happening' in Paris at which naked women rolled in the gold and blue paint leaving imprints of their bodies on the canvas. The world 'Anthropometry' included in the title refers to the study and measurement of human forms. Once the canvas was vertical, the figures seemed to fly like angels through a celestial space, painted on a great altarpiece. Although the imagery is secular, the blue and gold palette evokes Italian religious paintings of the thirteenth and fourteenth centuries where a blue-robed Virgin appears against a gold background. It is quite possible that Klein intended to convey a religious spirituality in this work. He was a devout catholic and was always writing prayers to his patron saint, Saint Rita of lost causes. Klein died at the early age of thirty-four as a result of a hereditary heart condition.
— Grande anthropophagie bleue, Hommage à Tennessee Williams (488x700pix, 220kb)

1896 Gérard Schneider, Swiss French artist who died in 1986. — [Disait-il: “J'n'ai d'air que juste assez”?]

^ 1895 Ottone Rosai, Italian painter who died on 13 May 1957. — [Il manquait d'er pour être Roserai] — While an apprentice in his father’s carpentry shop, he studied at the Istituto di Arti Decorativi and the Accademia di Belle Arti in Florence. After seeing the Lacerba group exhibition in 1913 he adopted a Futurist idiom, and his friendship with the Futurists, especially Ardengo Soffici, extended throughout World War I. His experiences as a volunteer influenced his political outlook in the 1920s. In 1919 he was involved in the foundation of the first Florentine Fascio di Combattimento, a militant Fascist group. In the early 1920s his introduction to Cézanne by Soffici and his study of quattrocento Florentine painting led Rosai to abandon his fragmented imagery, seen for example in The Concert (1924). The human figure became central, demystified, seen in its simplest form and displaying its innermost conflicts. The plight of the omini, local workers, men in cafés, itinerant players and so on was emphasized by the use of subtle tones and a rigorous compositional structure. These characteristics partly account for his association with the Novecento Italiano with which he exhibited in 1929. After his father’s suicide (1922), Rosai took over the carpentry business and entered a period of great hardship and misery, during which he painted very little. Between 1926 and 1929 he was involved with the Strapaese group of militant Fascists, publishing drawings and writings in Il selvaggio, a political and artistic review. Rosai received exposure outside Florence when he exhibited at the Milione Gallery, Milan (1930). Despite economic difficulties he dedicated himself to painting from the early 1930s, participating in several group exhibitions including the Venice Biennale (1932–1938) and the Rome Quadriennale (1935). He retained his pictorial attachment to his native city, and his work of the 1930s and 1940s was looser and more expressionistic. However, by the last years of his life his painting had become increasingly schematized and almost aggressively stark. — LINKS — Uomo

^ 1879 Edgard Tytgat, painter, printmaker, and writer, who sprouted in Brussels, and died there on 10 Jan 1957. — [Try saying his name. I bet you said Tytcat, or perhaps Tydgat.] — He learned to draw in his father’s lithography studio. In 1900 Tytgat entered the Académie Royale des Beaux-Arts in Brussels and studied under Constant Montald. His first paintings were influenced by Symbolism and in particular the work of Pierre Puvis de Chavannes, whom he admired. He met Rik Wouters in 1907, and the two became friends. World War I drove him into exile, and he lived as a refugee in England until 1920. There, he not only painted but also made prints, including woodcuts and linocuts with the help of his wife, Maria. She was also his model for the numerous canvases painted in London, for example The Pose (1918). His early work was full of sensitivity, using bright tones that accentuated delicate greys in an impressionistic manner. Towards 1925 Tytgat became aware of Expressionism. His plasticity grew stronger, and his colors darker, and his desire for simplification came to dominate the forms (e.g. Violinist, 1929). Tytgat was a member of the Art Contemporain group in Antwerp, and of Groupe des IX, Le Centaure and Sélection in Brussels. He played an active role in Belgian Expressionism. At the end of his career, Tytgat abandoned the subjects of his youth—merry-go-rounds, childhood, window views, couples—and turned towards more fantastic subjects, drawing inspiration from mythology, history and pure imagination in such works as Iphigenia Embarking for the Sacrificial Island (1950). His literary output was also quite abundant and he also wrote and illustrated accounts of his childhood memories. Only a selection of his writings has been published.

1697 Maximilian Joseph Schinagl, German artist who died on 22 March 1762. — {There was an artist named Schinagl / Who at the deli would always finagle / how to get an extra free bagel, / That devious Maximilian Schinagl.}

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