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ART “4” “2”-DAY  09 AUGUST
DEATHS: 1915 BRAMLEY — 1652 BOTH — 1943 SOUTINE — 1892 SCHINDLER
^ Died on 09 (10?) August 1915: Frank Bramley, English painter born on 06 May 1857.
—   He attended Lincoln School of Art from 1873 to 1878. He studied from 1879 to 1882 with Charles Verlat at the Koninklijke Academie voor Schone Kunsten in Antwerp, as did other future Newlyn school painters such as Fred Hall [1860–1948], Thomas Cooper Gotch and Norman Garstin. After a period in Venice (1882–1884) Bramley joined the artists’ colony in Newlyn, Cornwall, where he stayed until 1895. The Newlyn School (or British Impressionism) became known for its Cornish [NOT corny] genre scenes and plein-air approach, but Domino (1886) typifies Bramley’s initial interest in interiors with varied natural and artificial light effects, as well as his involvement with tonal harmonies and the surface qualities of the square brush. Bramley was a founder member of the NEAC but resigned in 1890 after a vicious review of his work by Sickert. He was elected a Royal Academician in 1911.

A Hopeless Dawn (1888, 123x168cm; 684x945pix, 83kb — ZOOM to 1824x2205pix, 1400kb) _ This was painted at Newlyn, Cornwall, and exhibited at the Royal Academy in London in 1888, with a passage fromThe Harbours of England. of John Ruskin. This dwelt on the effort and sorrow of the lives of fishermen and their families, yet offered consolation in the thought of Christ’s hand being ‘at the helm of every lonely boat, through starless night and hopeless dawn’. An open bible lies on the window seat beside the fisherman’s mother, who is comforting his young wife; both have given up hope of his return after waiting for a day and a night. _ A fisherman’s wife and mother have kept vigil all night, reading the Bible and waiting in vain for his return. Bramley contrasts the bleak early morning light with the flickering candle on the table, while on the window-ledge a candle has gone out, symbolising the fisherman’s death. Outside the window, the restless storm continues mercilessly; the cracked panes of glass suggests humanity’s fragility in contrast to the power and terrible indifference of the raging sea.
Primrose Day (1885, 50x35cm) _ The title of this picture refers to the annual commemoration on 19 April of the death of the great Conservative statesman Benjamin Disraeli [1804-1881] who was Prime Minister in 1868 and from 1874 to 1880. Primroses were said to be his favorite flower. The girl has been collecting primroses in her hat; others are arranged in a vase on the table, above which is a print of Disraeli. Bramley's picture is also an exercise in the color harmonies of yellow, white and brown. A leading Newlyn painter, he has used the square brush and horizontal strokes for which the Newlyn artists were famous.
A TruceSir Frederick Augustus Abel, Bt (120x99cm)
^ Died on 09 August 1652: Jan Dirkszoon Both, Dutch Baroque era painter born in 1618 or 1610. Brother of Andries Both. Both Boths studied under Abraham Bloemaert. Both's students included both Karel Dujardin and Michiel Sweerts.
— Both Jan Both and Nicolaes Berchem were the most celebrated of the Italianate landscape painters. Jan Both came from Utrecht, where he studied with Bloemaert before moving to Italy for a period of about four years, 1637-1641. Although he died young, his output was large, but none of the more than 300 paintings attributed to him can be convincingly dated to his stay in Italy. His landscapes are typically peopled by peasants driving cattle or travelers looking at Roman ruins in the light of the evening sun. Such contemporary scenes were an innovation, for Claude Lorraine and the earlier Dutch painters of the Italian countryside had populated it with biblical or mythological figures. They express the yearning of northerners for the light and idyllic life of the south, and proved immensely popular with collectors, not least in England, helping to shape ideas about Italy for two centuries. Jan's brother Andries (1612-41) lived with him in Rome 1639-41; they are said to have collaborated, but Andries is best known for paintings and drawings of lively peasant scenes that have little in common with Jan's idyllic tone. He was drowned in an accident in Venice.
LINKS
Italian Landscape with Draftsman (1650) — Ruins at the Sea (55x45cm; 1000x830pix, 142kb) _ There are several versions of this typical Italianate landscape by Both
^ Died on 09 August 1943: Chaim Soutine, French painter born in Belarus in 1894, in a Jewish family of Lithuanian origin. Soutine's highly individualistic style uses thick antipasto... er... make that impasto, agitated brushwork, convulsive compositional rhythms, and disturbing psychotic... ER ... psychological content, closely related to the mainstream of early 20th-century Expressionism.
   — Soutine, whom critics describe as a "painter's painter," is characterized by his energetic, lively brushwork and bold use of color that electrify his somewhat traditional choice of subject matter--portraits, landscapes, and still lifes. His work can be classified in three time periods--the 1920s, the 1930s, and the 1950s--when Soutine was being defined and redefined by his audience as an unschooled tragic genius, as a savior of traditional French painting, and as a progenitor of Abstract Expressionism and the avant-garde in the US.
— Studied at the School of Fine Arts in Vilno 1910-13, his fellow pupils including Kikoine and Kremegne. In 1913 moved to Paris and studied briefly in Cormon's studio at the Ecole des Beaux-Arts. Met Modigliani, Laurens, Pascin, Lipchitz and Zadkine. In 1919-22 worked mainly at Céret, where his work reached its most expressionistic extreme and where he executed a series of wildly distorted landscapes with convulsive rhythms. The purchase by Dr Albert C. Barnes of a number of his pictures in 1923 was his first big success after years of poverty. Afterwards divided his time between Paris and Lèves, the Riviera, the Pyrenees, the Beauce, Touraine and the Indre. First one-man exhibition at the Galerie Bing, Paris, 1927. Besides landscapes and portraits, his later work included still lifes of carcasses of beef or dead poultry, studies of valets, choir boys and communicants, and a few pictures inspired by works by Rembrandt and Courbet. Lived in Champigny-sur-Veude in Touraine 1941-1943, during the German Occupation; died in Paris after being rushed there for an operation.
LINKS
Self-Portrait
(1916; 862x478pix, 41kb)
Carcass of Beef (1926, 116x81cm; 800x547pix, 67kb — ZOOM to 2000x1368pix, 410kb)
Flayed Rabbit (1921) — Woman in Red (1923)
Le Patissier (1000x765pix, 328kb) — Le Petit Patissier (1922)
Winding Road (1939) — Two Children on a Road (1942) — Boy in Black (1924)
Céret Landscape (1920) — Street of Cagnes-sur-Mer (1924)
Large Poplars at Civery (or After the Storm) (1939)
^ Died on 09 August 1892: Emil Jakob Schindler, Austrian Impressionist painter specialized in Landscapes, born on 27 April 1842.
— Emil Jakob Schindler, who belonged to the same generation as Leibl, Monet and Renoir, was mainly responsible for a movement which in its more notable achievements also represented a very Austrian version of the international 'plein air' - outdoor -school. The confrontation with pictures of the 'School of Barbizon' at the First International Art Exhibition in Munich in 1869, persuaded Schindler and his fellow students Ditscheiner, Jettel, Ribarz and Russ to dedicate themselves to outdoor painting altogether. Several French painters had discovered the forest of Fontainebleau already in the 1830s. Théodore Rousseau settled in Barbizon, and others such as Constant Troyon, Charles-François Daubigny and Jean-François Millet soon followed. The Fontainebleau forest offered not only a wealth of delightful motifs but also the much-sought-after peace and rural surroundings.
      In sharp contrast to the purportedly 'important' themes of history painting, these artists turned to simple landscapes and scenes from the lives of simple folk. In 1852 Camille Corot had presented his first picture painted exclusively 'en plein air'. Whereas the French painters had restricted their use of color to the canon of tone-on-tone painting, Schindler's precise observations of nature had led him further and enabled him to portray dazzling sunlight in pure, bright and starkly contrasting colors, turning objects into abstract planes. Schindler's particular interest centered on emanations of light and weather, atmosphere and its constant changes, and his preoccupation often manifested itself in studies of plain or unpretentious objects. Especially favored were dawn and twilight, faint mist and leaden skies. Finally Schindler began painting series recording the changes that times-of-day, seasons, and weather conditions had on one and the same motif. What became more and more important both to him and the painters around him was the mood a landscape might evoke in the beholder. Among Schindler's pupils were Tina Blau, Olga Wiesinger Florian, Marie Egner, Marie Louise von Parmentier, Carl Moll, and also the self-taught Theodor von Hörmann, a fanatic adherent of realism who painted outdoors in all weathers, even at the risk of his own life.
— I looked for Schindler's list, but all I found is this one reproduction of Steamer Landing Stage near Kaisermühlen (1872; 400x577pix, 49kb) _ On finishing his studies under Albert Zimmermann, Emil Jakob Schindler was one of the first to devote himself completely to outdoor painting and to concentrate on contemporary motifs. Taking his cue from the 'paysages intimes' of the Barbizon artists, Schindler painted a series of Viennese suburban scenes, among them many views of a Danube steamer landing stage near the Prater park. In contrast to the French painters however, Schindler in this dazzlingly sunlit picture made no attempt at chromatic harmony but merged details into planes of color, and in radically simplifying their appearance went a considerable step further. The light too gains an unprecedented harshness and leads to daring contrasts, all of them at odds with the tonal precepts of the Academy. Beginning with his conception of nature, he goes on to champion the importance of unfiltered light and unbridled color and, with resolute brush strokes, transposes them into pure planes. As a result Schindler, who attained a high degree of subtlety in conveying the atmosphere of a landscape, became a leading personality. The powerful influence he exercised on a whole group of contemporary and younger artists ensured his position as the main exponent of 'Atmospheric Impressionism'.

Died on a 09 August:

1919 Robert Thegerström, Swedish artist born on 06 January 1857. — [I can find neither Thegerström nor the Gerström on the internet.]

1546 (or 06 Feb 1549) Martin Schaffner, German painter and medallist born in 1478. He produced some of the outstanding altarpieces of the Renaissance in Swabia. His birthdate is suggested by a self-portrait medal of 1522 on which he describes himself as aged 44. He was obviously trained in Jörg Stocker’s workshop in Ulm: his name first appears on the reverse side of the winged altar made by Stocker in 1496 for St Martin at Ennetach, where he signed The Carrying of the Cross. Yet Schaffner’s contribution here would have been confined to subsidiary details; Stocker, a rather conservative and spiritless artist, could have imparted only basic painting skills to the young painter. An altar wing with paintings on both sides (1500), perhaps also painted by Schaffner in Stocker’s studio, seems old-fashioned, though not totally devoid of the charm of his later figures. Schaffner was a taxpaying householder in Ulm in 1499, suggesting that he had meanwhile become an independent master, free to develop along his own lines.

1458 Pietro di Francesco degli Orioli, Italian artist born in 1458.

^
Born on a 09 August:


1919 Emilio Vedova, Italian painter and printmaker who died in 1995. He was the son of an artisan and was essentially self-taught as an artist. In his early drawings, inspired by Venetian churches, for example San Moisè (1938), the artist investigated the dynamics of space, concentrating his attention on bands of lines and coagulated structures; in his studies based on the work of Old Masters, for example Moses Making Water Spring from the Rock (after Tintoretto) (1942), the figures are intended to be energy nuclei in their own right or in virtual expansion. It is above all in his encounter with the dense color of Georges Rouault and Maurice de Vlaminck, however, that he expanded the neo-Baroque quality of his works into new imaginary realms.
     Vedova participated in the activities of the Corrente group in 1942 and signed the manifesto Oltre Guernica in May 1946 and that of the Fronte nuovo delle arti in October 1946; he was also a member of Fronte's successor, the Gruppo degli otto pittori italiani. These groups adopted an anti-19th-century style of painting that rejected aesthetic indulgence and demanded the spectator's participation. Inspired by the moral and aesthetic position expressed in Picasso's Guernica, Vedova attempted to remain faithful to the sense of disinterested moral involvement that he regarded as the basis of each work of art. He reproposed the geometric strictness of Cubism in modern terms and tempered its tonal harshness with a sense of emotional involvement. The painting style developed by Vedova required the will to experiment and a great expenditure of physical energy. It is, therefore, no coincidence that his early studies give the impression of feverishness or convulsion.
     From 1948 Vedova began producing series that are either dynamic themselves or structured to exploit the dynamic qualities of light, including the Cycles of Nature (e.g. Cycle of Nature No. 3, Palmaria), Cycles of Protest (e.g. Cycle of Protest 1958 No. 1) and Clashes of Circumstances (e.g. Clash of Circumstances '59 – 1). In 1959 he created large polyptychs, sometimes asymmetrical and L-shaped, consisting of a number of works on the same theme, for example the series Clashes of Circumstances. In 1961 he designed the setting and costumes for Luigi Nono's Intolleranza '60, staged at the Teatro La Fenice in Venice: it was a triumphant display of the possibilities of light, an example of the ‘theatre of harsh realities' involving the spectators.
     In the same year Vedova began his series of Multiples, paintings with a new type of structure, constructed on different levels and interlocking planes and offering a wide variety of visual possibilities. Here he strove to identify painting, theatrical space and spectator: the dynamic space is unpredictable, aggressive and stimulating, and the spectator experiences the figurative process in an onslaught of alarming signals, appeals and symbols. This investigation, which relies ever more heavily on a discourse between the spectator and the artist's ‘presence' in the work, evolved in the reliefs initiated in 1963 (e.g. Berlin 1939, 1964) and the massive Space-multiple-light (53×24×16 m, 1965), in which sophisticated projectors and electronic instruments created unusual effects with moving, superimposed and continuous light. This complex structure was followed by other cycles of works with the same or similar titles, including Lacerations (1975–1978; e.g. Lacerations Cycle 77/78 – 2 – Binary 4, 1978), the monochrome series De America (1976; e.g. De America '76 – 1) and the polyptychs Co-presences (1977–83; e.g. Cycle '81 – Co-presences – 6 –, 1981) and Registrations (1977–1983; e.g. Registration '81 – 5, 1981).
     His series of Multiples were groups of works created using the most diverse techniques, placed in spatial relationships on platforms (Binaries) of wood and steel, sometimes enhanced by monotone electronic sounds, as in Venezia Revenice (1978).
     Among his most important creations during the 1980s were the light effects for Luigi Nono's Prometheus, which represented the sum of Vedova's experiences, and his Disks (1985), pictorial complexes in round or oval form, presented from several viewpoints (vertical, suspended, slanting, touching etc), which display an original reappropriation of space and can produce a sense of vertigo.
     In his later creations Vedova continued to pursue his investigations into physical space independently of any prejudged attitudes towards balance, logic and behavior; awareness of man's destiny and of his tendency to break rules also shows itself in his contributions to various discussions and international debates. By making use of the latest technological materials and discoveries, Vedova appears to be attempting a ‘total art' dreamt of by the Futurists in 1913, with the difference that his spectacular, centralized creations are not a hymn to modern times, but rather a confirmation of the feelings of alarm and distress that pervade contemporary society. Criticism of this Abstract Expressionist work has emphasized the emotional aspect, but it is always sustained by strict formal considerations.
— Emilio Vedova was born in Venice. He is essentially self-taught as an artist. About 1942 he joined the Milanese artists’ association Corrente, which also included Renato Birolli, Renato Guttuso, Ennio Morlotti, and Umberto Vittorini. Vedova participated in the Resistance movement from 1943–1945. In 1946 he collaborated with Morlotti on the manifesto Oltre Guernica in Milan and was a founding member of the Fronte Nuovo delle Arti in Venice. He describes his paintings of this period, 1946–1950, as Geometrie nere.
     Vedova’s first solo show in the United States was held at the Catherine Viviano Gallery in New York in 1951. In the same year he was awarded the prize for young painters at the first São Paulo Bienal. In 1952 he participated in the Gruppo degli Otto, organized by Lionello Venturi. Vedova was represented at the first Documenta exhibition in Kassel in 1955 and won a Guggenheim International Award in 1956. He made his first lithographs in 1958, the year he went to Poland on the occasion of his retrospective at the Muzeum Narodowe in Poznan and the “Zacheta” in Warsaw. In 1959 he created large L-shaped canvases, called Scontri di situazioni, which were exhibited in an environment created by Carlo Scarpa for the exhibition Vitalità nell’arte, which opened at Palazzo Grassi, Venice, and traveled to the Stedelijk Museum, Amsterdam. This led to the first Plurimi in 1961–1963: freestanding, hinged, and painted sculpture/paintings made of wood and metal.
     Vedova was awarded the Grand Prize for Painting at the 1960 Venice Biennale, the year in which he created moving light sets and costumes for Luigi Nono’s opera Intolleranza ’60. From 1963 to 1965, Vedova worked in Berlin, at the Deutsche Akademischer Austausch Dienst, and created his best known Plurimi, the Absurdes Berliner Tagebuch, seven of which were presented at Documenta III, Kassel. From 1965 to 1969 (and in 1988), he succeeded Oskar Kokoschka as Director of the Internationale Sommerakademie in Salzburg. In 1965 and 1983 he traveled in the United States, where he lectured extensively. For the Italian Pavilion at Expo ’67, Montreal, he created a light-collage using glass plates to project mobile images across a large asymmetric space. Vedova taught at the Accademia di Belle Arti, Venice, from 1975 to 1986. Since the late 1970s, he has experimented with a variety of new techniques and formats such as the Plurimi-Binari (mobile works on steel rails), monotypes, double-sided circular panels (Dischi), and large-scale glass engraving. In 1995 he began a new series of multifaceted and manipulable painted objects called Disco-Plurimo.
LINKSImmagine del tempo (Sbarramento) (1951, 130x170cm; 440x573pix, 135kb) _ Emilio Vedova’s work has antecedents in the long tradition of dynamic expression that has existed in Italian art since Tintoretto. Like the Futurists, Vedova sees his work as a response to contemporary social upheavals. Though he shares the emotional pitch of the Futurists, his political position is antithetical to theirs. While they romantically celebrated the aggressive energies of societal conflict, Vedova in his feverish, violent canvases conveys in abstract terms his horror and moral protestation in the face of man’s assault on his own kind. Vedova expressed a political consciousness in his work for the first time during the late 1930s, when his works were inspired by the Spanish Civil War. His continuing commitment to social issues gave rise to series such as Cycle of Protest and Image of Time, initiated during the first years of the 1950s. Although the generating impulse of this turbulent painting is political, its formal preoccupations parallel those of the American Abstract Expressionists Jackson Pollock and, above all, Franz Kline. The drama of the angular, graphic slashes of black on white is heightened with accents of orange-red. Occupying a shallow space, pictorial elements are locked together in formal combat and emotional turmoil. — Nel Tempo (1999, 84x59cm)

1851 Jules Scalbert, French painter. — Hommage à Louis Pasteur (130x165cm) — Les Baigneuses (72x100cm)

1806 Eugène Pierre François Giraud, French artist who died in 1881.

1606 Theodoor (or Theodor) van Thulden, Flemish (Dutch?) painter, engraver and designer of tapestries, who died in 1669. — Van Thulden was a pupil and collaborator of Rubens. Although like most contemporary painters of historical and religious themes he was strongly influenced by Rubens, he did succeed in working out a personal idiom. His appealingly sweet style won him numerous commissions both inside and outside of Flanders, and he worked in The Hague and Paris, as well as Antwerp, where he was mainly based. — LINKS Harmony and Marriage (1652, 194x135cm; 1130x782pix, 123kb) — Le Christ ressuscité apparaissant à la Vierge, sa mère (1642, 573x360cm) _ Dans la partie supérieure du tableau, un concert d'anges célèbre la joie de Marie, Regina coeli. — 59 etchings at FAMSF

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