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BIRTHS: 1534 BOL — 1866 KANDINSKY

^ Born on 16 December 1534: Hans Bol, Flemish draftsman, illuminator, painter who was buried on 20 November 1593.
— He received his training as a painter from two of his uncles, Jacob Bol I and Jan Bol (fl 1505). After two years in Heidelberg, he was made a master in the Guild of Saint Luke in his native Mechelen. After the annexation of the city by the Spanish troops in 1572, Bol settled in Antwerp, where he became a master in 1574. A decade later he left Antwerp, arriving in Amsterdam after traveling to Bergen-op-Zoom, Dordrecht, and Delft. His 20 November 1593 burial in Amsterdam is disputed by some because of a supposedly signed Adoration of the Shepherds dated 1595.
— Renowned for his miniatures, Hans Bol learned his trade from two uncles, who were also painters. At age fourteen he was apprenticed to a painter of waterschilderen, large-scale scenes painted on canvas using opaque watercolor or tempera. Waterschilderen, a specialty of artists in Mechelen, were used as wall decorations instead of expensive tapestries. According to Karel Van Mander, Bol's large watercolors were so widely copied that he turned instead to making miniatures in bodycolor on parchment, which he promoted as independent cabinet paintings. His miniatures earned him a good income and an international clientele. Despite the war with Spain and periods of religious unrest that caused frequent upheavals in his life, Bol remained one of the Netherlands' most prolific and successful landscapists. He painted some oil paintings, illuminated a breviary for a French duke, and made many drawings that were the basis for engravings. His students included Joris Hoefnagel. Bol's works combined artifice and naturalism in formats ranging from extensive panoramas to intimate views of the Flemish countryside, usually including small figures enacting a biblical or mythological scene, an allegory, or a genre scene.
— Bol’s most important students included his stepson Frans Boels, Roelandt Savery, Jacob Savery, and Joris Hoefnagel.
— LINKS
— Landscape with the Story of Venus and Adonis (1589, 21x26cm) _ Hans Bol painted this unusual miniature in two parts: the central landscape, painted on parchment mounted on wood, and the framing design, painted directly on wood. Both parts tell the story of the beautiful youth Adonis from Ovid’s Metamorphoses. In the main panel, Venus and Adonis embrace before he leaves on the hunt shown in the distance, in which he is killed by a boar. Clockwise from left, the frame’s ovals show subsidiary incidents: Adonis’s mother Myrrha commits incest with her father; turned into the myrrh tree as punishment, Myrrha bears their son, Adonis; Venus is struck with love for Adonis; blood springing from the dead Adonis turns into the anemone flower. In the frame, Bol combined the cartouches and trophies of a three-dimensional picture frame with illusionistic borders reminiscent of manuscript illumination. His materials, opaque color and gold paint on parchment, also follow the tradition of manuscript illumination.
— Moses with the Daughter of Jethro at the Well (600x956pix, 216kb _ ZOOM to 1400x2230pix, 494kb)
— Abigail Before David (1587, 600x941pix, 216kb _ ZOOM to 1400x2195pix, 493kb)
— Abraham and the Three Angels (600x938pix, 212kb _ ZOOM to 1400x2230pix, 479kb)
— Village Kermess Before the Church and the Castle - (600x951pix, 225kb _ ZOOM to 1400x2219pix, 517kb)
— Spring in the Castle Garden (600x930pix, 206kb _ ZOOM to 1400x2171pix, 471kb) _ with an unmistakable large ground-to-air missile flying up at the left center; it is not clear at what it is aiming, for it seems headed towards an opaque dark cloud. It may have been just a test shot. The invention was apparently abandoned and completely forgotten, as unnecessary, considering that there would be no enemies attacking from the air for more than three centuries.
— Jacob's Dream of the Ladder to Heaven (600x965pix, 219kb _ ZOOM to 1400x2253pix, 499kb)
— View of a Village with Many People (600x834pix, 241kb _ ZOOM to 1400x1946pix, 557kb)

^ Born on 16 December 1866 (04 December Julian):Vasiliy Vasil'yevich Kandinsky, Russian Expressionist painter, printmaker, stage designer, decorative artist, and theorist, who died on 13 December 1944 in Neuilly-sur-Seine.
— article about Kandinsky: Towards Abstraction
— A central figure in the development of 20th-century art and specifically in the transition from representational to abstract art, Kandinsky worked in a wide variety of media and was an important teacher and theoretician. He worked mainly outside Russia, but his Russian heritage continued to be an important factor in his development.
— Kandinsky was one of the first creators of pure abstraction in modern painting. After successful avant-garde exhibitions, he founded the influential Munich group “Der Blaue Reiter” (1911-1914) and began completely abstract painting. His forms evolved from fluid and organic to geometric and, finally, to pictographic (e.g., Tempered Élan, 1944 – thumbnail >).
— Kandinsky, himself an accomplished musician, once said “Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.”' The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch.

— Born in Moscow , Kandinsky spent his early childhood in Odessa. His parents played the piano and the zither and Kandinsky himself learned the piano and cello at an early age. The influence of music in his paintings cannot be overstated, down to the names of his paintings "Improvisations", "Impressions", and "Compositions." In 1886, he enrolled at the University of Moscow, chose to study law and economics, and after passing his examinations, lectured at the Moscow Faculty of Law. He enjoyed success not only as a teacher but also wrote extensively on spirituality, a subject that remained of great interest and ultimately exerted substantial influence in his work.
      In 1895 Kandinsky attended a French Impressionist exhibition where he saw Monet's Haystacks at Giverny. He stated, “ ...it was from the catalog I learned this was a haystack. I was upset I had not recognized it. I also thought the painter had no right to paint in such an imprecise fashion. Dimly I was aware too that the object did not appear in the picture...” Soon thereafter, at the age of thirty, Kandinsky left Moscow and went to Munich to study life-drawing, sketching and anatomy, regarded then as basic for an artistic education. Anton Azbe was one of his teachers.
      Ironically, Kandinsky's work moved in a direction that was of much greater abstraction than that which was pioneered by the Impressionists. It was not long before his talent surpassed the constraints of art school and he began exploring his own ideas of painting – “ ...I applied streaks and blobs of colors onto the canvas with a palette knife and I made them sing with all the intensity I could...”
     In Munich Kandinsky founded the artists' group Phalanx, which closely followed the arts and crafts tradition of Jugendstil. Gabriele Münter [19 Feb 1877 – 19 May 1962] enrolled in the Phlanxschule in 1902, and took evening classes in still-life painting taught by Kandinsky, the director. In the summers of 1902 and 1903 she attended his courses in landscape painting. During this period they became engaged, but they never formally married. In 1904, Kandinsky and Münter began a four year trip to Venice, Tunisa, Holland, France, and Russia absorbing the styles of the Impressionists and the Futurists like Van Gogh, Gaugin, and Monet. They visited Sèvres in 1906–1907. In 1908, they settled again in Munich. Together with other local artists they developed an independent Expressionist style where forms and perspective are reduced, and thick areas of colors are spread broadly. Kandinsky's art became more and more abstract, though he continued to incorporate representational elements, often from Russian folklore - towns with belltowers, hills, horses and riders. Eventually he took the radical step to give up all representational form, painting instead from "inner necessity". Münter did not follow this journey to abstract, absolute art. Instead she developed her own style.
     In 1911, Kandinsky, with Münter and others, broke from the conservative artists' association in Munich and formed Der Blaue Reiter. In two brief years this group brought together the great creative artists of the time - Matisse, Picasso, Delauney, Klee. Lead by Kandinsky, Der Blaue Reiter ushered in a new area, absorbing influences from music, theater and science and giving importance to Abstract Painting, Realism, Primitive Art, and childrens' drawings. Munich became a significant center in the art world. In 1914, when war broke out, Kandinsky returned to Russia while Gabriele Münter remained in Munich. In 1916, she was very hurt to learn that Kandinsky had married in Russia.
      Now considered to be the founder of abstract art, Kandinsky had his work exhibited throughout Europe from 1903 onwards, and often caused controversy among the public, the art critics, and his contemporaries. An active participant in several of the most influential and controversial art movements of the 20th century, among them the Blue Rider which he founded along with Franz Marc and the Bauhaus which also attracted Klee, Lyonel Feininger [1871-1956], Geiniger, and Schonberg, Kandinsky continued to further express and define his form of art, both on canvas and in his theoretical writings.
      His reputation became firmly established in the United States through numerous exhbitions and his work was introduced to Solomon Guggenheim, who became one of his most enthusiastic supporters. In 1933, Kandinsky left Germany and settled in the classy Paris suburb of Neuilly-sur-Seine. The paintings from these later years were again the subject of controversy. Though Kandinsky was out of favor with many of the patriarchs of Paris's artistic community, younger artists admired him. His studio was visited regularly by Miro, Arp, Magnelli and Sophie Tauber. Kandinsky continued painting until June 1944. His unrelenting quest for new forms which carried him to the very extremes of geometric abstraction have provided us with an unparalleled collection of abstract art.
— The students of Kandinsky included Mordecai Ardon, Herbert Bayer, Max Bill, Vilhelm Bjerke-Petersen, T. Lux Feininger Gorky, Arshile Gorky, Klyment Red’ko, Arieh Sharon, Fritz Winter.
— By Münter: Kandinsky Painting a Landscape (1903; 292x492pix, 48kb) _ Portrait of Kandinsky (1906 color woodcut; 432x316pix, 50kb) _ a different Portrait of Kandinsky (299x200pix, 12kb)

^
— LINKS
— Autumn in Bavaria (1908, 33x45cm) — Painting with Green Center — Cemetery & Vicarage in Kochel (1909) — Gabriele Münter (1905; 632x650pix, 137kb) — Picture with a Black Arch (1912, 186x193cm) — Colorful Ensemble (1938) — Murnau with Church I (1910, 65x50cm) — Improvisation 7 (1910, 131x97cm) — Composition IV (1911, 159x250) — Composition V (1911, (190x275cm) — Composition VI (1913, 195x300cm) — Composition VII _ Composition VII (1913, 200x300cm) — Fragment 2 for Composition VII (1913, 88x100cm) — Composition VIII (1923, 140x201cm) — Composition IX (1936, 114x195cm) — Composition X (1939, 130x195cm) — In the Blue — Black Spot I (1912, 100x130cm) — Ravine Improvisation (1914, 110x110cm) — On White II (1923, 105x98cm) — Small Pleasures — Black and Violet (1923) — Contrasting Sounds (1924, 70x50cm) — Yellow, Red, Blue (1925, 127x200cm)
— Improvisation 31 (Sea Battle) _ Improvisation 31 (Sea Battle) (1913; 145x120cm) Neither Marc nor Macke were abstract painters. It was Kandinsky who found that the “interior necessity”, which alone could inspire true art, was forcing him to leave behind the representational image. He was a Russian who had first trained as a lawyer. He was a brilliant and persuasive man. Then, when already in his thirties, he decided to go to Munich in 1897 to study art. By the time Der Blaue Reiter was established, he was already “abstracting” from the image, using it as a creative springboard for his pioneering art. Seeing a painting of his own, lying on its side on the easel one evening, he had been struck by its beauty, a beauty beyond what he saw when he set it upright. It was the liberated color, the formal independence, that so entranced him.
      Kandinsky, a determined and sensitive man, was a good prophet to receive this vision. He preached it by word and by example, and even those who were suspicious of this new freedom were frequently convinced by his paintings. Improvisation 31 has a less generalized title, Sea Battle, and by taking this hint we can indeed see how he has used the image of two tall ships shooting cannonballs at each other, and abstracted these specifics down into the glorious commotion of the picture. Though it does not show a sea battle, it makes us experience one, with its confusion, courage, excitement, and furious motion.
      Kandinsky says all this mainly with the color, which bounces and balloons over the center of the picture, roughly curtailed at the upper corners, and ominously smudged at the bottom right. There are also smears, whether of paint or of blood. The action is held tightly within two strong ascending diagonals, creating a central triangle that rises ever higher. This rising accent gives a heroic feel to the violence.
      These free, wild raptures are not the only form abstraction can take, and in his later, sadder years, Kandinsky became much more severely constrained, all trace of his original inspiration lost in magnificent patternings. Accent in Pink (1926, 101x81cm) exists solely as an object in its own right: the “pink” and the “accent” are purely visual. The only meaning to be found lies in what the experience of the pictures provides, and that demands prolonged contemplation. What some find hard about abstract art is the very demanding, time-consuming labor that is implicitly required. Yet if we do not look long and with an open heart, we shall see nothing but superior wallpaper. [but if we look long enough we will see that it is not superior to wallpaper].

^ Vassily Kandisky
      Le surréalisme est orphelin. Depuis longtemps considéré, à côté de Mondrian, comme l' “inventeur” de la peinture abstraite dans le courant des années 1910 et comme l’un de ses principaux théoriciens, Kandinsky a vu, après la Seconde Guerre mondiale, sa position remise en cause par l’apparition de nouvelles formes d’art abstrait, et le renouveau même de la peinture figurative. Mais, depuis le début des années 1970, l’ensemble de son œuvre a commencé à faire l’objet d’un nouvel examen : elle ne cesse aujourd’hui de redéployer toute sa richesse et sa complexité pour retrouver la place centrale qu’elle mérite d’occuper dans l’histoire de l’art européen de la première moitié du siècle.
      Kandinsky, né à Moscou, fit des études de droit, puis renonça à une carrière universitaire pour entrer à l'Académie des beaux-arts de Munich, où il étudia de 1896 à 1900. Il exécuta ses premiers tableaux dans un style naturaliste puis, à la suite d'un voyage à Paris au cours duquel il fut marqué par les œuvres des fauves et des impressionnistes (la série des Meules de Claude Monet fut notamment pour lui une révélation), sa peinture devint très fortement colorée et moins organisée (Tableau à l'archer, 1909).
      À partir de 1909, il réalisa des peintures qui allaient plus tard être considérées comme les premières œuvres entièrement abstraites de l'art moderne!; elles ne faisaient en effet référence à aucune réalité tangible et tiraient leur inspiration et leurs titres de la musique (Improvisation II, Marche funèbre, 1909). Il décrivit d'ailleurs le processus qui le mena à l'abstraction dans un ouvrage autobiographique, " Regards " en arrière, qui fut publié en 1913.
      En 1911, Kandinsky forma, avec des expressionnistes allemands le groupe Der Blaue Reiter dont le titre associe le bleu, couleur préférée de Kandinsky, aux chevaux que Marc Franz privilégiait tout particulièrement dans ses propres œuvres. Pendant cette période, Kandinsky produisit aussi bien des œuvres abstraites que des œuvres figuratives, toutes étant caractérisées par des couleurs brillantes et des motifs complexes. En 1912, il publia à Munich Du spirituel dans l'art, ouvrage qu'il avait commencé à rédiger dès 1910. Ce premier traité théorique sur l'abstraction lui permit de répandre ses idées en Europe et lui conféra une importance historique de tout premier ordre. L'influence exercée par Kandinsky sur l'évolution artistique du XXe siècle s'accrut par son activité d'enseignant (à Moscou puis au Bauhaus de Weimar, ensuite à Dessau. Point, ligne, plan, publié en 1926, expose les principaux fondements de son enseignement. Après la Première Guerre mondiale, les abstractions de Kandinsky tendirent à une géométrisation progressive, à mesure qu'il abandonnait son précédent style fluide en faveur de signes clairement marqués. Ainsi sa Composition VIII n° 260 (1923) est-elle uniquement faite de droites, de cercles, d'arcs et d'autres formes géométriques simples. Dans des œuvres beaucoup plus tardives, comme Cercle et Carré (1943), il affine ce style de façon élégante et complexe, parvenant à des représentations esthétiquement très équilibrées.
      Kandinsky fut l'un des artistes les plus influents de sa génération; l’explorateur de l’abstraction pure. Il peut être considéré comme l'artiste ayant tracé la voie de l'expressionnisme abstrait. Kandinsky est mort à Neuilly-sur-Seine, où il s'était installé dès 1933.

Died on a 16 December:

1947 (01 Dec?) Gino Rossi, Italian artist born on 06 June 1884. Rossi had little official training, but moved in artistic circles in Venice. Unlike many of his Italian contemporaries, who were attracted to Central European art, Rossi looked towards France, in particular to Gauguin and other artists associated with Pont-Aven, and as early as 1907 he made his first journey to Paris and to Brittany. He interpreted the language of the Symbolists in a highly original way, ignoring almost completely the mystical aspects of their subject-matter but retaining certain of their stylistic traits, notably the use of emphatic outline and areas of flat color. In basing his approach on the savage and barbaric enhancement of graphic and chromatic components Rossi arrived independently at a style that had strong affinities with Fauvism, which had shared sources of inspiration. In this his concerns were similar to those of Modigliani, whom he knew.

1937 Glyn Warren Philpot, British painter of portraits and subject pictures, born on 05 October 1884. — [It is not true that he consumed large quantities of coffee and that his most common command to Philip, his assistant, was: “Phil, fill Philpot pot.”] — He was trained in London and Paris and quickly established himself as a successful society portraitist in the years before the First World War; elected A.R.A., 1915 and full R.A., 1923. In 1931-1932, Philpot made the courageous step of embracing modernist influences in his art, producing a body of work marked by a new simplicity of form and technique. — The pot is empty as far as Philpot artwork on the internet is concerned, but here is the portrait Glyn Philpot (1920, 100x75cm) by Sir Oswald Birley.

1907 Fritz Beinke, German artist born on 23 April 1842. — {When he was learning drawing and asked whether he should use pencil or ink, was he told: “Let it be ink, Beinke.”?}

1902 (18? 02? Dec) Bengt Nordenberg, Swedish artist born on 22 April 1822. Following a poor childhood he was educated as an artisan painter. In 1843 he enrolled at the art academy in Stockholm but had to break off his studies prematurely for lack of money. From an early age, Nordenberg had made up his mind to create a national painting depicting the lives of Swedish country people. His encounter with Adolph Tidemand’s pictures of Norwegian rural life, made in Düsseldorf, inspired him to make his way to Düsseldorf in 1851. There he became a student of Ferdinand Theodor Hildebrandt [1804–1874]. He also assisted Tidemand and traveled with him to Norway and Sweden in 1852. In 1856 Nordenberg went to Paris, where he was apprenticed to Thomas Couture, and then on to Rome; because of Nordenberg’s nationalistic disposition these journeys had little influence on his art. He settled in Düsseldorf but made a number of journeys to Sweden during the 1860s.

^ 1872 (14 Dec?) John Frederick Kensett, US Hudson River School painter and engraver, specialized in landscapes, born on 23 (22?) March 1816 into a family of skilled engravers. He learnt engraving first from his father, Thomas Kensett [1786–1829], and then from his uncle Alfred Daggett [1799–1872]. From this training he acquired the consummate skill that made him an exceptional draftsman. The engraver’s attention to tonal modulation of the grey scale also contributed to Kensett’s extraordinary exploration of color values and saturation in his paintings— LINKS — Sunrise among the Rocks of Paradise, Newport (1859, 46x76cm)

1866 Claude Anthelme Honoré Trimolet, French artist born on 16 May 1798.

^ 1800 Guy Head, English painter born on 04 June 1762 (or in 1753?). — {Was he a Head ahead of his times or just a Head of his times?} — Having entered the Royal Academy Schools, London, in 1778, he exhibited at the Free Society of Artists (1779), the Society of Artists (1780) and annually at the Royal Academy from 1779. In 1781 he exhibited Landscape with the Story of Europa (untraced), but a sketchbook (London, V&A) is all that survives to indicate his interest in landscape. That year he travelled to Europe, becoming a member of the Florence Accademia (1787) and of the Kassel Akademie (1788). By 1790 he had settled in Rome, where he was elected a member of the Accademia di S Luca in 1792. He presented a Neo-classical painting of Iris as his diploma piece, the design for which he derived from Guido Reni’s Fortuna (c. 1623; both Rome, Accad. N. S Luca). A larger version of this work was exhibited at the Royal Academy in 1800 with its pendant, Echo Flying from Narcissus (Detroit, MI, Inst. A.). The allegorical subject-matter, idealized figure and crisp treatment of the drapery are derived from the contemporary Roman Neo-classical style. While in Italy he made a distinguished collection of ancient Greek vases. In 1799 he travelled through Sicily and then returned to England, where he painted several commissions for Augustus Frederick, Duke of Sussex, and William Frederick, 2nd Duke of Gloucester. He painted several portraits, the most forceful of which is Lord Nelson at the Battle of the Nile (1798; London, N.P.G.). After Head’s death an auction of his work was held in April 1801, which included many of his paintings along with his collection of vases. In 1803 his widow, Jane Lewthwaite, a painter in watercolours of classical landscapes, returned from Rome with a further 50 of his works; these were sold in 1805 in Wigton and in London. — LINKS — Echo Flying from Narcissus (1798, 200x150cm; 661x495pix, 64kb) _ Head illustrates a story from Greek mythology, showing us the full-figured Echo floating weightlessly against a meticulously painted ideal landscape. She is leaving this beautiful world, soon to become only a voice. Echo was a nymph who entertained the goddess Hera, the wife of Zeus, with long stories so that Zeus could pursue other nymphs. Hera punished Echo by making her body disappear and condemning her voice only to repeat words spoken by others. — Nelson Receiving the French Colors at the Battle of the Nile (1798; 700x483pix, 23kb)

1693 Jacques Rousseau, French painter born on 04 June 1630. He was a celebrated exponent of trompe l’oeil and a painter of architecture and landscape of the same generation as Jean-François Millet and Etienne Allegrain. Rousseau was a student of the Dutch Italianate painter Herman van Swanevelt, who worked in Paris during the mid-1640s and again between 1649 and 1655, introducing extensive landscape cycles as a form of interior decoration in France. In 1654–1655 Rousseau was in Rome, where he could have seen the ideal landscapes of Nicolas Poussin and Claude Lorrain. However, it was probably Gaspard Dughet’s lavish schemes of landscape decoration for the Roman aristocracy that served as Rousseau’s model in his subsequent work for the French royal family.

1698 Simone Pignoni (or Pignone), Florentine painter and draftsman born on 17 April 1611 (or in 1614?). He is best known for his many pictures of voluptuous female nudes, which developed the morbidly sensual style of Francesco Furini. His Self-portrait (1650), in which he depicts himself building up a rounded female form from a skeleton, conveys his fascination with the subject. He had an early education in Latin, followed by an apprenticeship in the workshop of the bookbinder Zanobi Pignoni, a close relative. Domenico Passignano, who frequented the workshop, suggested that Pignoni be apprenticed to Fabrizio Boschi [1570–1642], one of his own former students. Pignoni began to study under Boschi, but shortly moved to the workshop of Passignano and then spent a further period of study under Furini.

Born on a 16 December:

1910 Egill Jacobsen, Danish painter. He studied at the Kongelige Danske Kunstakademi in Copenhagen from 1932 to 1933. Early influences upon him included the Danish painters Harald Giersing, Jens Søndergaard and Edvard Weie. However, he quickly discovered an individual, highly painterly form of expression using intense colours. After his début at the Kunstnernes Efterårsudstilling (Artists’ autumn exhibition) in Copenhagen in 1932, he went to Paris, where the work of Pablo Picasso and Henri Matisse had a great impact on him. At the same time he sought inspiration in the folk art of Africa and in this he found a subject that ran through all his work: the mask. He was enchanted by its simple, archetypal form and in 1936 he exhibited mask pictures for the first time. The figurative and the colouristic aspects of his work culminated in Orange Object (1940), which revealed the mask picture as simultaneously grotesque and Constructivist in character.

1832 Jules Worms, French artist who died on 25 November 1924. — {He did not invent the Diet of Worms}

1751 Franz Schüz (or Schütz), German artist who died on 14 May 1781.

1668 Constantyn Netscher, Dutch artist who died on 27 May 1723. — son of Caspar Netscher [1639 — 15 Jan 1684]

1597 Pieter Deneyn (or de Neyn), Dutch artist who died on 16 March 1639. — [There's no denying that I found no Deneyn on the internet]

“Black is like the silence of the body after death, the close of life.”
— Wassily Kandinsky [16 Dec 1866 – 13 December 1944] in 1911

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