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ART “4” “2”-DAY 23 December

DEATHS: 1615 SCHEDONI — 1912 DÉTAILLE

BIRTH: 1870 MARIN

^ Born on 23 December 1615: Bartolomeo Schedoni (or Schidone), Italian painter and draftsman born on 23 January 1578.
— Schedoni's untimely death (perhaps suicide owing to gambling debts) brought an abrupt end to the career of one of the most attractive painters of the seventeenth century and an eccentric exponent of the Emilian school. He was connected to the Farnese courts in Parma and Modena where he both assimilated and reworked a variety of different influences. Among them we can see both a direct line to Correggio, the finely detailed way of working used by the Carracci cousins, and all of the latest trends from Rome. Ranuccio Farnese sent Schedoni to Rome at the close of the sixteenth century, but he soon returned to Emilia and settled in Parma. It was there that he painted a small but fascinating group of masterpieces in a severe and noble style. At the same time his works were warmed by a light that softened fabrics and added delicacy to expressions. Although the dates and places were different, Schedoni's personal story ran along similar lines to Caravaggio's. His violence and trouble-making got him into endless scrapes with the law, while his passion for tennis was so great that he almost lost the use of his right hand.
— He was the son of Giulio Schedoni, a mask-maker, who served the Este court in Modena and the Farnese in Parma; in 1598 Schedoni and his father are recorded as residing in Parma, both serving the court. In 1595 Ranuccio I, Duke of Parma, sent Bartolomeo to Rome, to be trained in the studio of Federico Zuccaro. Schedoni fell ill shortly after, however, and returned to Parma. His earliest surviving works show no evidence of Roman influence. He is said to have been a student of Annibale Carracci in Bologna, but there are reasons to doubt this. First, this would have been prior to Annibale’s departure for Rome in 1595, a period when Schedoni was still apparently under his father’s care. Secondly, the early pictures indicate that initially his style was formed primarily by studying the work of Correggio in Parma. To a lesser degree he was influenced by the Parmesan culture of Parmigianino, Girolamo Mazzola Bedoli, and Michelangelo Anselmi. As a boy in Parma he was also known to have frequented the studio of the Fleming Giovanni Sons [1548–1611]. His painting was also enriched by his knowledge of the work of Nicolò dell’Abate in Modena, and Dosso Dossi and Scarsellino in Ferrara. Once these initial influences were assimilated, however, Schedoni’s stylistic development was guided primarily by the innovations of the Carracci.
— Schedoni fu nel 1595 a Roma nella bottega di Federico Zuccari, ma la sua cifra espressiva appare influenzata piuttosto dalla cultura bolognese rinnovata dai Carracci. Fra il 1602 e il 1606 lavora per la corte estense di Modena; nel 1607 partecipa con Ercole dell'Abate alla decorazione con tele riportate del soffitto della Sala del Consiglio nel Palazzo Comunale. La sua gamma cromatica, squillante di colori, si rannuvola via via, attraverso un piu' serrato confronto con Ludovico Carracci. In opere come l'Annunciazione di Formigine o la Madonna e Santi, eseguita per la parrocchiale di Fanano, ma subito pretesa per se' da Ranuccio Farnese (1608), il ricupero di Correggio, che resta una delle costanti del percorso di Schedoni, si attua attraverso l'intenso chiaroscuro di Ludovico. Dal 1608 diviene pittore di corte di Ranuccio Farnese a Parma; numerosi dipinti di committenza farnesiana si trovano ora nella Pinacoteca di Capodimonte a Napoli. La sua opera godette di una straordinaria fortuna, al punto da dar luogo a una serie enorme di derivazioni e di copie, che rendono oltremodo difficile la ricomposizione del suo catalogo.

— The Charity (1611, 1123x760pix, 107kb) _ This painting is also one of Schedoni's best-known works. The rather generic title is not really sufficient as the canvas appears to be describing a real episode.

Schedoni gave his characters an amazing degree of consistency and peremptoriness. The blind boy staring out at us with empty eyes is one of the strongest images ever produced in the seventeenth century.

As always, Schedoni also drew on Correggio's legacy for touches of moving lyricism, such as the little boy on the right. But the real magic of the painting lies yet again in the highly personal way that Schedoni used light, both penetrating and delicate at the same time. His light brings out the colored fabrics while casting long shadows over parts of the faces.
— The Deposition (1613, 821x1030pix, 115kb)
— The Two Marys at the Tomb (1613, 770x1095pix 98kb) _ These two memorable masterpieces, The Two Marys and The Deposition, give us cause to regret the brevity of Bartolomeo Schedoni's tormented artistic life. They show that he really would have been able to point Baroque painting in an original and intense direction. The way he blocked out gestures, used violent light and dazzling whites, combined with perfect clarity of detail to produce an almost metaphysical effect.
— Mary Teaches Reading to the Child Jesus (34x45cm; 366x497pix, 57kb) _ Con affettuosa inclinazione narrativa l'immagine mostra la Vergine intenta ad insegnare a leggere al Bambino. Un'atmosfera di domestica serenità si diffonde nel paesaggio rapidamente abbozzato, dove il cagnolino dorme acciambellato accanto al cestino da lavoro abbandonato.
detail

     La dolcezza dell'ispirazione e' propria di Bartolomeo Schedoni, del quale si puo' richiamare a confronto la bella Annnciazione di Formigine analogamente ripensata in chiave di accostante naturalezza. E' evidente come allo Schedoni, al quale si deve l'avvio del moderno corso della pittura modenese, la dimensione affabile del racconto e la scioltezza della conduzione esibite dei modelli carraceschi furono determinanti per liberarsi dagli schemi ormai intellettualizzati e cifrati del tardo manierismo vigente ancora a Modena.
      Se nel dipinto alcuni dettagli rivelano un garbo non comune, talune incertezze dell'esecuzione potrebbero metterne in dubbio l'autografia. Ma i "difetti" del garbatissimo quadretto in realta' sono imputabili alla tecnica molto rapida; il supporto ligneo e' stranamente usato anche in altri casi da Schedoni per fermare una prima idea in vista di dipinti piu' impegnativi e si accompagna a una fattura di getto, quasi corsiva, ma di accattivante immediatezza.
     _ Schedoni painted also a The Holy Family with the Virgin teaching the Child to Read (1615, 34x28cm; 420x320pix, 35kb) where Jesus is much younger, still a baby certainly less than 2 years old. In it the close-knit composition, the golden light, and the natural gestures of the figures create a powerful sense of human intimacy and show the influence of Correggio
— Deposition (1613; 588x750pix, 53kb)

^ Born on 23 December 1870: John Marin, US painter and printmaker who died on 02 (01?) October 1953.
— He attended Stevens Institute in Hoboken NJ, and worked briefly as an architect before studying at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1899 to 1901 under Thomas Pollock Anshutz and Hugh Breckenridge [1870–1937]. His education was supplemented by five years of travel in Europe where he was exposed to avant-garde trends. While abroad, he made etchings of notable and picturesque sites, for example Campanile, San Pietro, Venice (1907), which were the first works he sold.
— John Marin was born in Rutherford, New Jersey. His father was a public accountant; his mother died only nine days after his birth. He was taken to his maternal grandparents with whom he lived in Weehawken, NJ, directly across the Hudson River from New York. His grandparents, along with their son and two daughters, were the only real parents Marin was to know. His father seems to have ignored him.
      As a child of seven or eight Marin began to sketch, and when he was a teenager he had completed his earliest watercolors, using a technique of transparent washes, rather than delineating form. Thus, his work resembled American Impressionism, though he was never labeled an Impressionist. Marin's education in the schools of New Jersey was interspersed with summers of hunting, fishing and sketching. He made careful sketches of the landscape in the Catskills, as had an earlier school of artists. He also worked around White Lake in New York, and made sketching trips as far afield as Wisconsin and Minnesota.
      His careerlong dedication to intimate qualities in nature has its source in these earlier works. In much later paintings, can be identified these elements and Marin's concern with the phenomena of weather, the fortuitous and poetic aspects of an ever-changing nature. Throughout the nineteenth century US artists who were most self-reliant in terms of training tended to produce the strongest and most enduring work. John Marin brings this national characteristic into the twentieth century. Formal training was almost incidental to his development as an artist
      In 1893, Marin established himself as a practicing architect, a career he pursued for the next eleven years, until, at the age of twenty-eight, he decided to become a professional artist. He studied briefly at both the Pennsylvania Academy of the Fine Arts in Philadelphia and the Art Students League in New York. By the time he was thirty-five, Marin had developed a small, intimate type of watercolor sketching done from nature, Impressionistic in general atmospheric effects and comparable with the aesthetic of late Impressionism.
      Following the practice of most US artists at that time, Marin sailed for Paris with the intention of continuing his education and making himself known as an artist. He drifted about Europe for the next five years, developing his strength as an artist slowly but steadily. Later he described that period as a time when he “. . . played some billiards, incidentally knocked out some batches of etchings.” Marin admired James McNeill Whistler, who, at the end of the 19th century personally symbolized to US art students the international-cosmopolitan aspirations of the day. (Whistler died in 1903, but his influence was an important factor in the development of Marin's painting and etching skills.)
      An important event in Marin's life while in Paris was his meeting with American photographer Alfred Stieglitz. This meeting led to his association with The Photo Secession Gallery at 291 Fifth Avenue, known as “291,” where Marin was granted his first important exhibition in the U.S. in February 1910. This unique artist-dealer relationship lasted until Stieglitz's death in 1946. By placing all financial affairs in the hands of his friend, Marin enjoyed absolute freedom to pursue his work. In the next several years Marin painted some of the most important works of his career, inspired by New York City. His subjects were the architectural monuments of the city and the basic structural forces seemingly pent up within them. However, by 1914 he had moved in a new direction, away from the city and toward nature, the inspiration of his youth. This was also the year he "discovered Maine." Almost without exception throughout the rest of his life, Marin made numerous paintings of the state of Maine on annual summer visits Though he made a few nonobjective watercolors, Marin could never accept the basic concept of abstraction; but in the 1920s, his style embraced some Cubist elements. His work in this period was classical, involving a sweep and thrust which brings in the total force of the land, sea, and sky, giving it a firmly structured spatial order..Marin had reached the full capacity of the medium of watercolor. He had proved beyond any doubt that it need not be a second rate means of expression.
      Throughout most of his career, Marin worked in both oil and watercolor, fully emerging in the 1930s as a marine painter. He intended to create ". . . paint wave a breaking on paint shore." He had no patience with any kind of art that had its origin in the mind without reference to the outside world. Marin's recognition as an eminent American artist was evident in New York and beyond. In 1947 he was honored by a second traveling retrospective outside the confines of the Stieglitz galleries, as well as three publications devoted exclusively to his work. In 1948, Look Magazine announced that Marin had been the choice of artists and musuem directors as the pre-eminent artist now working in the United States; and in 1949, Marin was given a retrospective exhibition of oils, watercolors and etchings at the de Young Museum in San Francisco. John Marin died on 02 October 1953, one month and twenty-one days short of his eighty-third birthday.
— LINKS
— Landscape, Mountains (1918, 42x49cm) ._ Following several years in Europe, Marin returned to this country in 1911 to paint his modernist vision of the architectural monuments of New York, the woodlands of New England and eventually the rugged coast of Maine where he spent the rest of his life. Landscape, Mountains, depicted in pale washes of yellow, green, and blue activated by open, negative spaces, reflects the artist's respect for the essential forces of nature that shape and form the world.
— Cathedral (600x736pix, 181kb _ ZOOM to 1400x1717pix, 421kb)
— 26 etchings at FAMSF

^ Died on 23 December 1912: Jean-Baptiste-Édouard Détaille, Parisian Academic painter born on 05 October 1848. — {Did he pay much attention to detail?}{Pas tous les tableaux de Détail étaient de détails.}{Qui donc a dit: “Est doux art de taille d'Édouard Détaille.”?} — He studied under Jean-Louis-Ernest Meissonier.
— He was born into a prosperous family from Picardy with a military background, his grandfather having served as an arms supplier to Napoleon. Détaille’s early interest in art was encouraged by his father, an amateur artist and friend of collectors and painters, including the battle-painter Horace Vernet. At 17 he approached Ernest Meissonier for an introduction to Alexandre Cabanel, but Meissonier preferred to take on Détaille as a student himself and was an enormously important influence on his artistic development. From Meissonier he learnt finesse of execution and an appreciation for precise observation. He was soon encouraged to set up on his own and at the Salon of 1869 won approval for his canvas A Rest During the Manoeuvre, Camp Saint-Maur . In the spring of 1870 he and three other young artists, E. P. Berne-Bellecour [1838–1910], L. Leloir [1843–1884] and J. G. Vibert [1840–1902], undertook a sketching trip to Algeria. At the outbreak of the Franco-Prussian War (1870), Détaille obtained a staff position with General Appert, which enabled him to observe the hostilities first hand; this experience provided the mainstay of his subsequent artistic output.
— As a child, Détaille was surrounded by military figures from his grandfather, who had worked as a sutler responsible for organising Napoléon's transports, to a great aunt, who had married Admiral Villeneuve. Nonetheless, his only ambition was to be an artist and he let it be known that he wished to study with Cabanel. Through various circumstances, however, he ended up in the great Meissonier's studio. It was in 1867 that the young artist first exhibited a picture, showing a view of Meissonier's studio. In the following year, he showed his first military piece. While it was based solely on imagination, The Drummer's Halt represented a scene from the French Revolution. This was to be the beginning of a glorious career painting many military scenes from French history.
      The Franco-Prussian War had a profound effect on the artist, particularly as it forced him to see war in person. On the outbreak of war, he enlisted in the 8th Mobile Batallion and by November 1870 was attached to General Ducrot's staff seeing action in the fighting around Paris. On the Marne, he saw regiments under fire, groups of skirmishers dispatched to the front and senseless retreats. These experiences of war enabled him to produce many striking portrayals of the actions. Indeed, in 1872, he was forced to withdraw two paintings of the war from an exhibition so as not to offend Germany. Over the next few years, Détaille exhibited some of his finest paintings of the conflict, such as Salut aux Blessés (1877), La Défense de Champigny (1879), and Le Soir de Rezonville. With de Neuville, he produced two large panoramas of the battles at Champigny and Rezonville.
      Now a celebrity, he traveled extensively through Europe between 1879 and 1884, taking time only to visit Tunisia with a French expeditionary force where he was witness to some fighting. In Britain, he painted a review of British troops by the Prince of Wales and a scene showing Scots Guards in Hyde Park. It was at this time that Détaille was developing a deep interest in the French army and he produced all the drawings and plates for Jules Richard's Types et Uniformes de l'Armée Française, 390 images in all. With all his work, Détaille painted in a slow and methodical way so as to produce his subjects naturally, realistically, and, most important of all, truthfully.
      By the 1890s, Détaille was turning more and more to the campaigns of Napoléon. He produced many striking battle scenes, including dashing cavalry charges. He used many original items of uniform and weapons to give authenticity to his pictures, and many of these artifacts were used in the creation of the Musée de l'Armée in Paris, which Détaille helped found.
— Woodburytype photo of Détaille by Ferdinand Mulnier (12x9cm, full size)
— LINKS
— Le Rêve (1888, 300x390cm; 748x1000pix, 468kb _ ZOOM to 1523x2036pix, 1410kb)
— A French Cavalry Officer Guarding Captured Bavarian Soldiers (1875, 43x54cm; 553x732pix, 344kb)
— La Charge (94x64cm; 1533x1000pix, 211kb)
— Mounted First-Empire Dragoons in Front of a Country House (1897, 67x47cm)
— Artilleur à Cheval (1870, 150x105cm) — Cossacks Attacked by the Royal Guard (1870, 100x81cm)
— Le Dragon d'Espagne (1870, 150x105cm) — A Napoleonic Officer (66x35cm)
— La Défense de Champigny (1879, 122x215cm; 283x500pix; 60kb) _ In this battle picture, shown in the Salon of 1879, Détaille depicts an incident that he had observed on 02 December 1870, during the Franco-Prussian War. General Faron's soldiers are shown fortifying their new position at the town of Champigny-sur-Marne, near Paris, and breaking openings in the wall for cannons. General Faron is at the left, talking to an old gardener. The artist painted a replica of the picture in 1879 and returned to the subject for a huge panorama of the battle (now destroyed) that he painted with de Neuville in 1882.
— Un Uhlan (etching 32x24cm; full size) — Un Soldat à Cheval (etching 23x17cm; full size)
— Sortie de la Garnison de Huningue (26 août 1815) (1892 etching, 32x26cm; 4/5 size) by Eugène-André Champollion after Détaille. _ Even after Napoléon's Hundred Days were over and he had abdicated for the second time, the commander of Huningue, in Haute Alsace, General Joseph Barbanègre [22 Aug 1772 – 07 Nov 1830], was the last one to remain loyal to the Empire and resisted against the Austrian and Swiss troops, until most of his surviving soldiers were wounded and he had to capitulate on 26 August 1815 after a siege and bombardment by the 20'000 soldiers of Archduke Johann. This was the end of the Napoleonic wars.

Died on a 23 December:

1932 Giuseppe Signorini, Italian artist born in 1857.

1840 Jean-Pierre-Henri Elouis, French artist born on 20 January 1755.\

Born on a 23 December:

^ 1891 (23 Nov Julian) Aleksandr Mikhaylovich Rodchenko, in Saint-Petersburg, Russian painter, sculptor, designer, and photographer, who died on 04 (03?) December 1956; son of Mikhail Mikhailovich Rodchenko [1852-1907], a prop man in the theater, and Olga Evdokimovna Paltusova [–1865], a washerwoman. In 1905 the family moved to Kazan, where Aleksandr was a dental technician apprentice for two years (1908-1910). From September 1910 to receiving his certificate of completion on 07 June 1914, he studied in the department of figurative arts in the Kazan School of Fine Arts (Kazanskaya Khudozhestvennaya Shkola). He gave drawing lessons. He wrotes poems and tried to have them published in 1912, without much success. At the Kazan School of Fine Arts, he met in 1914 fellow student Varvara Fedorovna Stepanova [1894 – 20 May 1958], his future wife.
     In October 1915, Rodchenko moved to Moscow and enrolled in the Graphic Section of the Stroganov School of Applied Art (Stroganovskoe Khudozhestvenno-Promyshlennoe Uchilishche). In the spring of 1916 he was drafted into military service where he became operations manager of a hospital train. He was discharged from the military in December 1917, after the democratic “February” (Julian) 1917 Revolution (started 07 Mar 1917 Gregorian) and the Bolshevik “October” Revolution (of 07 Nov 1917 Gregorian).
     On 29 January 1918 is formed “Izo”, Otdel IZObrazitel'nykh iskusstv, the Section of Visual Arts of “Narkompros”, NARodnyi KOMissariat PROSveshcheniia, the People's Commissariat of Enlightenment, established, within less than a week of the 07 November 1917 coup, by the Bolshevik government to administer education and culture, with Anatoly Lunacharsky as commissar. Rodchenko is appointed to the Moscow section, headed by Tatlin, and which includes Malevich and Kandinsky, among others. Rodchenko will assist Olga Rozanova, head of the Art and Production Subsection (Khudozhestvenno-promyshlennyi podotdel) of Izo, in visiting workshops and studios and raising money to revive craft production. He will be named head of the Museum Bureau (Muzeinoe biuro) of Izo, and of its Moscow centerpiece, the Museum of Painterly Culture (Muzei zhivopisnoi kul'tury), and will be assisted in these positions by Stepanova. Over the next three years, the Museum Bureau would acquire {by Bolshevik means?} 1926 works of modern and contemporary art by 415 artists and would organize thirty provincial museums, to which it would distribute 1211 works.
     In the second half of 1918, Rodchenko made his first abstract sculptures, a series of spatial constructions which he called "white sculptures." He continued this in 1919, making them so that they could be folded flat for storage. Also in 1919, he make linocuts, and his first collages using printed materials, and he started a series of architectural drawings. With Aleksandr Drevin, Lyubov Popova, Stepanova, Aleksandr Vesnin, and Nadezhda Udal'tsova, Rodchenko formed Asskranov (Assotsiatsiia krainikh novatorov, Association of Radical Innovators), in opposition to the Suprematism of Kasimir Malevich. To contradict Malevich's White on White (Beloe na belom) paintings, Rodchenko exhibited his Black on Black (Chernoe na chernom) series, at the 10th State Exhibition: Non-Objective Creation and Suprematism (10aya gosudarstvennaia vystavka: Bespredmetnoe tvorchestvo i Suprematizm), which opened on 27 April 1919.
     With Stepanova, Rodchenko moved into Vasily Kandinsky's apartment at 8 Dolgii Lane (now Burdenko Street) on 15 September 1919.
—     Rodchenko was a central exponent of Russian Constructivism, owing much to the pre-Revolutionary work of Malevich and Tatlin, and he was closely involved in the cultural debates and experiments that followed the Revolution of 1917. In 1921 he denounced, on ideological grounds, easel painting and fine art, and he became an exponent of Productivism in many fields, including poster design, furniture, photography, and film. He resumed painting in his later years. His work was characterized by the systematic way in which from 1916 he sought to reject the conventional roles of self-expression, personal handling of the medium and tasteful or aesthetic predilections. His early nihilism and condemnation of the concept of art make it problematic even to refer to Rodchenko as an artist: in this respect his development was comparable to that of Dada, although it also had roots in the anarchic activities of Russian Futurist groups. — Berthold Lubetkin was a student of Rodchenko. — LINKS — Red and Yellow (1920; 460x313pix, 23kb)

^ 1867 Shlomo Zalman Dov “Boris Schatz”, Lithuanian sculptor and painter, active in Palestine, who died on 23 (22?) March 1932. Born into a poor, orthodox Jewish family, he attended rabbinical school in Vilna (now Vilnius; 1882–1887). During this period he studied art at the local academy and, affected by the anti-Semitism of the period, developed left-wing political interests and the connections to an emancipated Jewish art form. His personal history generated three distinct artistic periods: the early activities in Paris (until 1895), the Bulgarian period (until 1903) and the later Jewish period in Palestine. His first known oil painting, the Dying Will (1886), was typical of late 19th-century romanticism. In 1888 he moved to Warsaw, working intensely on sculptures, reliefs, and lithographs. His concept of art for a Jewish national agenda and propaganda was published that year as an article ‘Craftsmanship’ in the Hebrew newspaper Hazfira, forming the basis for his later works. After his marriage (1889) he went to Paris, working in odd-jobs, studying under the sculptor Mark Antokol’sky and later at the Atelier Cormon. Developing a theme on the life of Moses he sculpted Moses on Mount Nebo (1890) and Jochebed, Mother of Moses (1892; both lost). — Yehezkel Streichman was a student of Schatz.

1858 Andrea Tavernier, Italian artist who died on 15 November 1932. [Il aurait dû s'appeler Trattore]

1727 Pieter Jan van Liender, Utrecht Dutch draftsman who died on 26 November 1779, brother of Paulus van Liender [25 Sep 1731 – 26 May 1797].

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