DEATH: 1857 CHARLES TURNER
Born on 01 August 1713: Richard
Wilson, Welsh Romantic
painter, active in Italy and England, specialized in Landscapes,
who died on 15 (11?) May 1782.
— He began his career as a portraitist who also painted landscapes but committed himself to the latter genre in the early 1750s while in Italy. He painted and drew Italian scenery and idealized classical landscapes not only in Italy but after his return to England, only later developing this manner to include British scenery too. He was also influenced by Dutch landscape painting, particularly the work of Aelbert Cuyp. Wilson was a founder-member of the Royal Academy and enjoyed considerable success until the early 1770s, but his last years were penurious and his reputation in decline. Through William Hodges [1744 – 06 Mar 1797], a former student who published a short essay on Richard Wilson in 1790, and through other ex-students (notably Joseph Farington and Thomas Jones), the status of Wilson’s work improved; gradually it began to influence the artists of J. M. W. Turner’s generation. — Wilson's students included also Robert Pollard, Thomas Jones [1743-1803], Jacob More, Francis Wheatley.
— Portrait of Wilson
Lake Albano and Castel Gandolfo (1754) The Mawddach Valley and Cader Idris (1774, 102x107cm) Solitude Francesco Zuccarelli (1751, 50x42cm) — A Lady, Possibly A Member Of The Foley Family (124x99cm) — George III and the Duke of York (1749, 102x127cm)
— Meleager and Atalanta (1770, 105x130cm) _ This picture shows the Calydonian boar hunt, an episode from a story told by the Latin poet, Ovid. Here, Richard Wilson, who visited Italy in the 1750s, highlights the moment at which Meleager plunges his spear into the boar. The composition is indebted to the Neapolitan painter Salvator Rosa [20 Jun 1615 – 15 Mar 1673], noted for his stormy landscapes, often featuring violent acts by robbers. Wilson never allowed his figures to dominate the landscape, and he was displeased when the owner of the picture had the main figure group repainted by another artist, John Hamilton Mortimer [1740 – 04 Feb 1779], to strengthen the human element.
Died on 01 August 1857: Charles Turner,
English engraver and draftsman, born on 31 July 1774. Not to be confused
with THE Joseph
Mallord William Turner [23 Apr 1775 – 19 Dec 1851]
— In 1789 Charles Turner was apprenticed to John Jones in London, where from 1795 he studied at the Royal Academy Schools. He began publishing his prints in 1796 and also worked in mezzotint, and occasionally in stipple and aquatint for a variety of publishers, mostly in London but also in Scotland and elsewhere. He was a skilful engraver who could adapt his style to reflect that of the painter; he was also hardworking, reliable and enterprising. The speed with which he worked meant that he was able to engrave many plates of topical interest. His first major success was Bonaparte Reviewing the Consular Guards after John James Masquerier [1778–1855], published in 1802 at a time when there were few images of Napoleon available. The painting itself was one that he helped Masquerier to paint, and was supposedly painted from life; in fact it was based on secondary images. His plate (1807) of The Shipwreck (1805; 980x1412pix, 66kb) was the first print after a painting by J. M. W. Turner. in 1828 Charles Turner was appointed Royal Engraver and elected ARA.
— Portrait of J.M.W. Turner (1852, 17x12cm; 938x666pix, 29kb)
— Wilhelm Friedrich, Prinz von Nassau-Oranien (1813; 1272x1060pix, 68kb)
— Branch of the Meuse at Liège (color aquatint 23x31cm; 830x1194pix, 72kb), after George Arnald [1763-1841] _ Near the church of Saint-Denis, the Pont du Torrent, shown here, was destroyed in 1826, after the filling of the branch of the Meuse which it bridged.
Born on 06 December 1495: Jan
van Scorel (or Schoreel, Scorelius), Dutch painter who died
on 06 December 1562. — [Among software users who like Scorel is there
someone who likes Corel?]
Van Scorel was the first Dutch painter of importance to study in Italy and responsible for introducing the Italian High Renaissance to the Netherlands. Scorel traveled all over Germany, and into Italy, went to Jerusalem on a pilgrimage, arrived back in Venice in 1521, made his fortune by being in Rome at the right moment to be practically the only artist patronized by the Dutch pope Hadrian VI, came back to Utrecht full of the influences of Giorgione, Palma Vecchio, Michelangelo, and Raphael, particularly the latter, and later went to France. He was was appointed by Pope Hadrian VI superintendent of the Vatican Collection. He returned to the Netherlands in 1524. His works include Pilgrims to Jerusalem, Saint Mary Magdalene and Holy Kinship.
Jan van Scorel was born in Schoorl (Scorel) near Alkmaar. It is not certain where he studied, some scholars think that he was apprenticed to Jacob Cornelisz van Oostsanen in Amsterdam, others to Jan Gossaert in Utrecht. He is also said to have studied under Mabuse. Passion for traveling put Scorel on an extended tour: he visited Dürer in Nuremberg, painted his first representative work in Obervellach in Austria (Sippenaltar, 1520), then traveled via Venice to Rome. There Pope Adrian VI, a native of Utrecht, appointed him painter to the Vatican and successor to Raphael as Keeper of the Belvedere. From Rome Scorel went on pilgrimage to the Holy Land.
After his return to the Netherlands he lived in turn in Haarlem, Ghent, at last, in 1524, he settled in Utrecht and developed a brilliant career as a painter and teacher. Highly gifted and educated (he was an architect, engineer, poet, musician, knew several languages), equally endowed with intellect and spontaneity, he created a wealth of altarpieces and portraits in which Italian art merged with native tradition that gives us the right to consider him the leading Netherlandish “Romanist”. (Netherlandish “Romanist” is a term used to denote a large group of leading Flemish artists of the first half of the 16th century, who integrated the classical imagery in their work. From this time on, painting mythological scenes and nudes as the main subject also became popular in the Netherlands.) Many of the artist’s works were destroyed during the Iconoclasm (1566). Jan van Scorel died in Utrecht.
— Humanist, musician, poet, amateur archaeologist, and clergyman, multi-talented Jan van Scorel was the first northern Netherlandish artist to absorb High Renaissance art in Italy and bring it home. He not only assimilated aspects of the figure styles of Michelangelo and Raphael but also created landscapes in the style of Giorgione.
Van Scorel received his initial professional training in 1512 under Amsterdam's first major painter. In 1517 he studied under Jan Gossaert in Utrecht and soon after worked under Albrecht Dürer in Germany. In Venice, Van Scorel discovered paintings with golden sunlight, bright colors, loose brushwork, and clearly organized landscapes with rolling hills and winding roads.
Upon the invitation of pilgrims Scorel met in Rome, he visited the Holy Land. Returning to Rome, in 1523 he became director of Vatican antiquities under the Dutch Pope, Hadrian VI. Van Scorel's return to Utrecht in 1524 has been called a turning point in northern Netherlandish painting. He painted some of the Netherlands' earliest group portraits, and his workshop swelled with commissions. In 1550 he was trusted with restoring Jan van Eyck's Ghent altarpiece. Many of van Scorel's religious works, including large altarpieces, were destroyed in outbreaks of iconoclasm.
— Van Scorel's students included Antonis Mor.
Joris van Egmond, Bishop of Utrecht, (1535) Landscape with Bathsheba (1545)
Portrait of a Man (1529) Mary Magdalen (1530, 67x76cm)
— The Baptism of Christ (1530; 805x1030pix, 133kb) _ Christ being baptized in the river Jordan by St John the Baptist. The Holy Ghost appears in the form of a radiant dove. For this painting Van Scorel drew on elements from works by Raphael and other Italian Renaissance artists.
— Presentation of Jesus in the Temple (1527, 114x85cm; 850x610pix, 173kb)
— A Venetian Man (1520, 45x34cm) — The Schoolboy (1531) — Young Girl detail: head
Born on 01 August 1854: Walter Launt Palmer,
US painter who died on 16 April 1932.
— Palmer was born in Albany NY, son of the sculptor Erastus Dow Palmer. In his youth he was acquainted with the leading artists of the day such as Frederick E. Church, John Kensett, and John McEntee, all of whom frequented the Palmer home. At age 24, he began his formal study of art with Frederick E. Church, the great Hudson Valley painter. In the early and mid-1870's Palmer traveled and studied extensively in Italy and France. He studied with Carolus-Duran in Paris. He studied the work of the Impressionists as well as that of the expatriate US artists in Europe. He was a friend of John Singer Sargent, with whom he went on at least one sketching trip. He also spent time with John Henry Twatchman, William Merrit Chase, Frank Druveneck, and Robert Blum.
Upon Palmer's return to the US in the late 1870's, he and Church rented a studio in New York City. They keep it from 1878 until 1881. Palmer first received major attention for his winter scenes in 1887 when he received the Second Halgarten Prize of the National Academy for his painting January. This award is for outstanding young (under 35) artists with potential. The artist's use of blue shadow in the snow is considered one of the first uses of this technique. He also received the gold medal from the Philadelphia Art club in 1894 and another gold medal from the Boston Art Club in 1895. More awards came from more prestigious Art Associations and his reputation continued to grow. His winter scenes became very popular but his scenes of Venice and interiors were also beautiful and desirable.
At the turn of the century Palmer was being compared to Claude Monet and John Henry Twatchman. In 1915, Palmer, now 61 years old, spent the summer in Gloucester Massachusetts, as he would do again in many later summers. His studio was rather quaint and situated on Rocky Neck in Gloucester Harbor. It was described by the Boston Globe in 1923 as one "which hangs down over the rocks and boasts an array of sky blue shutters .. in this studio by the sea." He actually found the summer studio a boost to his art sales as many visitors who came to see, actually bought. He complained that visitors interrupted him but it was good for business. Prices at that time were about $200 each without frames for good sized pictures. One person bought three for a reduced price of $500. He kept meticulous records of all his paintings and sales. He became active in the local art colony and the local art associations, basking in his celebrity status.
People would remark that it was strange to see him sitting on his Gloucester Bay dock in the summertime while painting a snow scene. All the while the picturesque harbor's beauty was right in front of him. But he responded that he felt that it was no more inconsistent than many of his fellow artists painting summer scenes in the dead of winter. Walter L. Palmer died in his hometown Albany NY.
After his death his work fell out of favor and many museums deaccessioned his paintings in the years following W.W.II. Indeed, by the early 1960's, representational art was out and often the frames were worth more than the paintings. People liked clean walls with no paintings -- a sort of a delayed reaction to the covered wall style of the Victorian period. In the last 20 years the trend has again reversed and the works of US Impressionist and realistic artists of the early 20th century have been rediscovered. Walter Launt Palmer is now recognized as an excellent artist.
— Normansvale (56x76cm) — Sunshine After Snowstorm (81x62cm)
— The sole survivor (paged 646 and 647 from Harper's Weekly, 05 Aug 1876, wood engraving 29x51cm)
— Fleeing from persecution (pages 614 and 615, from Harper's Weekly, 04 Aug 1877, wood engraving, 27x50cm)
— Library at Arbor Hill (Olcott Interior) (1878) _ Palmer painted this interior of the home today known as the Ten Broeck Mansion. Seated within is the house's owner, Thomas Worth Olcott [1795-1880], a prominent Albany banker. The furnishings are an eclectic mix of personal possessions, oriental rugs, a Shaker chair, a Japanese screen and a marble bust of Mary Olcott sculpted by Erastus Dow Palmer. Inclusion of the elderly Mr. Olcott reading a morning newspaper gives an idea of his social and economic status; he had both the means to pursue and acquire his possessions and the leisure time to enjoy them.