Baptized as an infant on 04 August 1611:
Jan van der Hoecke, Antwerp painter
and draftsman who died in 1651. He was active also in Italy and Austria.
— He may have received his first training with his father, the Antwerp painter Caspar van den Hoecke (fl 1595–1648), who also taught his half-brother Robert van den Hoecke [1622–1668]; he then became a student of Rubens. Together with his father, Jan contributed to the decorations for The Joyous Entry of Ferdinand into Antwerp in 1635: the monumental figures of the King of Hungary and the Cardinal-Infante on the Arch of Ferdinand were by Jan. The draftsman-like precision of the details is characteristic of his manner of working, while he hardly bothered to paint in the inner forms once they had been established. Other early works from this Antwerp period include the oil sketch of The Triumph of David.
The Triumph of David (1635, 58x80cm) _ This painting, which had been assigned to Rubens and to Erasmus Quellinus the Younger, has recently been reattributed to Jan van den Hoecke, who worked in Rome and then served the Hapsburg court, first in Vienna and later in Brussels. This attribution, which remains contested, may be confirmed with further research regarding Rubens's Antwerp studio. In this painting, David is welcomed at the city gates of Jerusalem by young women who celebrate his victory over Goliath with music and dance, and throw roses at his feet. This oil sketch is one of a series of Old Testament subjects of similar dimensions by this artist that includes Moses, Aaron, and Miriam Celebrate the Crossing of the Red Sea and David Playing the Harp to Cure Saul's Melancholy. The Triumph of Saul has also been associated with this series; however, the figures are painted on a smaller scale.
Hercules between Vice and Virtue (154x194cm)
Triumphal Entrance of Cardinal Prince Ferdinand of Spain into Antwerp (1635, 405x328cm)
Died on 04 August 1821: Richard Cosway,
English miniaturist, draftsman, dealer, and collector, born on 05 November
1742. He studied under Thomas
— Richard Cosway and his wife, Maria Louisa Caterina Cecilia Hadfield Cosway [1759 – 05 Jan 1838], were successful artists who established a fashionable salon in their London home in the 1780s and 1790s. Richard Cosway is best known for his ‘stained’ drawings. Probably the son of a schoolmaster, he showed a precocious talent for drawing and studied at Shipley’s Drawing School in the Strand, where he won several prizes. He attended the Richmond House academy, set up by Charles Lennox, 3rd Duke of Richmond, where he met Giovanni Battista Cipriani. He first exhibited at the Society of Artists in 1760, showing there again between 1767 and 1779. He also showed at the Free Society of Artists between 1761 and 1766. In 1769 he entered the Royal Academy Schools, becoming an ARA in 1770, when he began to exhibit at the Academy, and RA the following year. In 1781 Cosway married the Anglo-Florentine artist Maria Cosway, née Hadfield, and they moved in 1784 to Schomberg House, Pall Mall, which became a center for fashionable London society. In 1786 he made a brief visit to Paris and in 1791 he moved to a larger house in Stratford Place, London.
— Portrait of Cosway (20 Mar 1786 etching by Marino Bova, 27x18cm)
— Self-portrait (1775, oval, 5x4.2cm)
— Portrait of a Gentleman, his Wife and Sister, in the Character of Fortitude introducing Hope as the Companion to Distress (`The Witts Family Group') (1775, 118x104cm; 512x447pix, 28kb) _ Although principally a portrait miniaturist, Richard Cosway also produced some larger-scale works in oil. This allegorical portrait was painted following the death of a young London linen draper, Broome Witts, in 1769. Witts is shown here in the role of Fortitude, introducing his sister Sarah in the guise of Hope (left) to his wife Elizabeth, depicted as Distress. This memorial image was presumably commissioned by one or both of these ladies.
— A Lady (Harriet Mellon?) as a Sibyl (1805, 76x62cm; 512x421pix, 25kb) _ Cosway's speciality was full-length miniature portraits in pencil, the faces finished in delicate watercolor. Here he tackles a portrait in a rather more ambitious format, presenting the young sitter as the muse of dancing or, perhaps, of lyric poetry, with attendant putti. The idea of depicting modern personalities in this classical disguise had been recommended by Sir Joshua Reynolds as an appropriate means of conferring intellectual dignity on pictures of pretty young ladies. This is an unfinished sketch, but as in Cosway's miniatures the face has been accorded detailed attention.
— Unknown Lady of the Sotheby or Isted Families (6.3x5cm)
— Infancy (24x26cm) print made by Francesco Bartolozzi after Cosway.
Born on 04 August 1853: John
Twachtman, US painter and printmaker who died on 18
(08?) August 1902.
— He began as a painter of window-shades but developed one of the most personal and poetic visions in US landscape painting, portraying nature on canvases that were, in the words of Childe Hassam, ‘strong, and at the same time delicate even to evasiveness’. His first artistic training was under Frank Duveneck, with whom he studied first in Cincinnati and then in Munich (1875–1877). His absorption of the Munich style, characterized by bravura brushwork and dextrous manipulation of pigment, with the lights painted as directly as possible into warm, dark grounds derived from Frans Hals and Courbet, is reflected in such paintings as Venice Landscape (1878) and Landscape (1882).
— Ernest Lawson was a student of Twachtman.
The White Bridge, (1900) Beneath the Snow. Gloucester Harbor (1900)
Canal, Venice (1878) The Grand Canal (1878) Springtime (1884)
Wild Flowers (1892) In the Sunlight (1893, 76x63cm; 600x503pix, 73kb) Arques~la~Bataille
Mother and Child Gloucester Harbor (1900) On the Terrace (1897)
Died on 04 August 1890: Émile
Lévy, Parisian academic
painter, illustrator, and pastellist, born on 29 August 1826. He studied
under François-Edward Picot and Abel
— He was a pupil of Alexandre Abel de Pujol and François-Édouard Picot at the École des Beaux-Arts in Paris and made his début at the Salon of 1848. In 1854 he won the Prix de Rome with Abraham Washing the Feet of the Angels. In 1855 he sent Noah Cursing Canaan from Rome for exhibition at the Exposition Universelle in Paris, and the work was bought by the French government.
He specialized in classical and biblical subjects painted with the soft coloring, linear precision, prettiness and graceful poses of the Neo-classical style. He became particularly famous for his antique pastoral love scenes, such as The Bowl: Idyll, which were much appreciated by such contemporary critics as Jules Claretie [1840–1913]. However, he also depicted moments of violence and drama such as The Death of Orpheus (1866) and The Judgement of Midas (1870). His Jewish background led him to choose subjects from the Old Testament in such works as Ruth and Naomi (1859) and to describe Jewish rituals in such others as The Feast of Tabernacles as Celebrated by a Jewish Family in the Middle Ages. He made a few attempts to treat modern subjects in the manner of Carolus-Duran, depicting fashionable and worldly ladies in low-cut dresses using brilliant and contrasting colors, as in the interior scene The Love Letter.
— Photo of Lévy.
— The Love Letter (1872, 121x160cm) — Death of Orpheus (1866, 189x118cm)
— The Dizzy Spell (1866, 110x58cm) — Le Vertige, Idylle (1867, 135x75cm)
— Young Mother Feeding Her Baby (1881, 119x70cm) Mort d'Orphée
— Morning Glories (1000x694pix, 70kb) _ This is a beautifully designed genre painting that utilizes a window opening as an interior graphic frame. Washed in cool northern light, the artist's keenly observed detail results in various palpable surfaces: stone, terra cotta, fabric, wood and foliage.
Born on 04 August 1877: Dame Laura Johnson
Knight Orovida, English painter and designer
who died on 07 July 1970.
She was born Laura Johnson, in Long Eaton, Derbyshire, and later moved with her mother and two sisters to Nottingham. She attended Nottingham School of Art in 1880 where she met her future husband Harold Knight. They arrived in Newlyn in 1907 attracted by the more energetic climate of the Newlyn colony when compared to Staithes, a little fishing village on the Yorkshire coast where she had previously worked. The Knights stayed in West Cornwall until 1918, living first in Newlyn but later joining the growing colony at Lamorna. She is best known for her coastal scenes and later her circus paintings.
— She studied at Nottingham College of Art from 1889. In 1894 the deaths of her mother and grandmother left her dependent on her own earnings, and she taught art from a studio in the Castle Rooms, Nottingham. From 1903 she exhibited regularly at the Royal Academy, London, and in the same year married the painter Harold Knight [1874–1961]; they lived in an artists' community in Staithes, north Yorkshire, until 1907, also spending time in another community in Laren, Netherlands. They then moved to Newlyn, Cornwall, attracted by the presence of a number of prominent artists. The couple exhibited together at the Leicester Galleries, London, in 1912.
Although Knight painted various subjects, her reputation was founded on paintings of the ballet and the circus, which became predominant after she moved to London. Technically of a high standard, her narrative realist works were painted in bright colours and have limited depth of expression (e.g. Ballet, 1936). She painted backstage during the Diaghilev ballet's seasons in London and took lessons at Tillers Dancing Academy in St Martin's Lane in order to draw there; she also travelled with the Mills and Carmos Circus. In the 1930s she started painting horses and gypsies at the races, as in Gypsy (1939). An accomplished portrait painter, she painted wartime commissions and was the official artist at the Nuremberg War-crime Trials. She also did etchings (e.g. Some Holiday, aquatint, 1925) and executed designs for stained-glass windows.
— She studied at Nottingham College of Art from 1889. In 1894 the deaths of her mother and grandmother left her dependent on her own earnings, and she taught art from a studio in the Castle Rooms, Nottingham. From 1903 she exhibited regularly at the Royal Academy, London, and in the same year married the painter Harold Knight [1874–1961]; they lived in an artists’ community in Staithes, north Yorkshire, until 1907, also spending time in another community in Laren, Netherlands. They then moved to Newlyn, Cornwall, attracted by the presence of a number of prominent artists. The couple exhibited together at the Leicester Galleries, London, in 1912. Although Knight painted various subjects, her reputation was founded on paintings of the ballet and the circus, which became predominant after she moved to London. Technically of a high standard, her narrative realist works were painted in bright colors and have limited depth of expression (e.g. Ballet, 1936). She painted backstage during the Diaghilev ballet’s seasons in London and took lessons at Tillers Dancing Academy in St. Martin’s Lane in order to draw there; she also traveled with the Mills and Carmos Circus. In the 1930s she started painting horses and gypsies at the races, as in Gypsy (1939). An accomplished portrait painter, she painted wartime commissions and was the official artist at the Nuremberg War-crime Trials. She also did etchings (e.g. Some Holiday, aquatint, 1925) and made designs for stained-glass windows.
The Cruel Sea (76x64cm; 868X715pix, 38kb) _ This view shows the cliff and sea by Senner Cove, near Lands End, Cornwall. During the 1920s Knight kept a studio locally which she visited from London in the summer months. Earlier, from 1908 until about 1918, she had been a member of the art colony at Newlyn, near Penzance. She wrote: I had a passionate love of the sea... Cornwall in beauty so fancified is an easy part of the country for an artist to live in. During the late 1910s and early 1920s Knight painted a series of similar clifftop views. Unlike The Cruel Sea, however, they usually include sitting or reclining female models. Whether populated of unpopulated these pictures effectively evoke the impression of light reflecting off the moving ocean and adjacent rockfaces. The artist's fresh, striking colors and thrilling, unconventional canted viewpoints give a distinctly modern feel to an essentially traditional subject.
— Spring (1920, 152x183cm; 624x768pix, 37kb) _ Laura Knight conceived the idea of a large scale picture representing spring while living in North Yorkshire about 1900 when she was in her early twenties. However the painting was not begun until 1915, by which time she and her husband Harold Knight had set up a studio in Cornwall. The artist wrote, ‘This picture was painted during the World’s War No. 1. At that time it was against the law to paint out of doors anywhere near the Cornish Coast. And to get the material I needed... I had to lie on my stomach under a gorse or any other convenient bush, in dread of being taken off to prison.’
— The Gypsy (1939, 61x41cm; 768x489pix, 23kb) _ this gypsy is a man.
Men Working in a China Clay Pit (1912)
Died on 04 August 1795: Francisco
Bayeu y Subías, Spanish painter and tapestry designer
baptized as an infant on 09 March 1734, brother-in-law of Goya.
Francisco Bayeu was one of the most successful Spanish artists, along with
Mariano Salvador Maella, at the court of Charles III (King of Spain 1759–1788),
where the presence and influence of foreign artists, such as Giambattista
Tiepolo and Anton Raphael Mengs, were still very strong, although this situation
was slowly changing. Like his younger brothers, Fray Manuel Bayeu y Subías
[08 Jan 1740 – 1809] and Ramón Bayeu y Subías [23 May 1746
– 02 Mar 1793] (who was at one time his assistant), he was trained
in the studio of Juan Andrés Merklein [–1797], a painter from Bohemia
living in Saragossa, and then with José Martínez Luzán [1710–1785], a little-known
Aragonese painter who had been in Italy.
— In 1758 Francisco Bayeu y Subías he won first prize in painting and a scholarship to study at the Real Academia de Bellas Artes de San Fernando, Madrid, with his picture The Tyranny of Geryon (1758). There he studied under António González Velázquez. In 1759 he returned to Saragossa and married Sebastiana Merklein, the daughter of his former teacher. In 1763 Bayeu went back to Madrid where he was invited by Mengs to work under his direction in the Palacio Real, mainly as a painter of frescoes. There he began work on one of his most important early royal commissions, Olympus: The Fall of the Giants (1764), a ceiling fresco in one of the public chambers of the Prince of the Asturias. The quality of the highly finished sketch for this, with its delicate impasto and loose brushwork, indicates Bayeu’s early talent. In 1765 he was made a member of and taught at the Real Academia de Bellas Artes de San Fernando. In 1767 he was appointed Pintor de Cámara, and he began painting the fresco depicting the Apotheosis of Hercules in the Palacio Real (1769). Among other commissions for ceiling decorations in the palace was Apollo Rewarding the Arts (fresco, 1769). His style as a fresco painter was formed in the Italian painterly tradition of Corrado Giaquinto, passed on through Bayeu’s teacher González Velázquez and combined with the cooler Neo-classical style represented in Madrid by Mengs.
— The students of Francisco Bayeu included Francisco de Goya, Juan Antonio Ribera y Fernández, Fernando Selma.
Olympus: The Fall of the Giants (1764)
Saint James being visited by the Virgin with a Statue of the Madonna of the Pillar _ Signed on the reverse 'Franciscus Bayeu fecit Caesaraugustae Anno MDCCLX' _ Legend credited Saint James with bringing Christianity to Spain. When passing through Zaragoza he was visited by the Virgin, who gave him with a statuette of herself on a jasper column. An enormous basilica has grown on the site, one of the most venerated shrines in Spain. The subject is therefore popular in Zaragoza. Sketches made by Antonio Gonzales Velasquez in 1753 for frescoes in the dome seem to have influenced Bayeu's design. This was a perhaps a private version of these works. It also shows the influence of Giaquinto on Bayeu.
— La Reddition de Grenade (1492, ovale 98x111cm; 1000x1142pix, 69kb) _ Esquisse pour le décor du plafond de la troisième antichambre de la reine-mère Isabelle Farnèse, aujourd'hui salle à manger d'apparat, au Palais Royal de Madrid. L'épisode représenté est particulièrement important pour l'histoire de l'Espagne puisqu'il clôt la grande entreprise de reconquête contre les Maures, commencée au début du millénaire.