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ART “4” “2”-DAY  14 February
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DEATH: 1780 DE SAINT~AUBIN
BIRTH: 1836 PRINSEP
SAINT VALENTINE'S DAY
^ Born on 14 February 1838 (1836?): Valentine Cameron Prinsep, British Pre-Raphaelite painter who died on 11 November 1904.
— Born in Calcutta, the son of an English colonial civil servant who was able to afford a house in Holland Park, one of the most fashionable areas of London, and to send his son to Haileybury, Valentine Prinsep was also fortunate to have as his teacher, George Frederick Watts (1817-1904), a historical and portrait painter, now regarded as one of the foremost of the Victorian artists. Watts, who seems to have been a permanent guest in the Prinseps' home — a meeting place for all the major artists, poets, and writers of the day — eventually suggested that Valentine should go to Paris to complete his art education under Gleyre, who was considered by English students to be the best art teacher in France.
      Prinsep returned to England and exhibited a hundred pictures at the Royal Academy from 1862 and 1904. A versatile artist and a very wealthy one after his marriage to the well-connected Florence Leyland, he painted historical subjects and portraits. He also tried to paint classical and biblical subjects, but the results were dull and no match for the more inspired flights of imagination to be seen in the works of the more famous trio of classical painters, Alma-Tadema [1836-1912], Leighton [1830-1896], and Poynter [1836-1919]. In 1876 Prinsep was commissioned by the Indian government to paint the durbar that was held to proclaim Queen Victoria the Empress of India. The result was a gigantic canvas, At the Golden Gate.
— He was the son of Sir Henry Thoby Prinsep [1793-1878], a wealthy merchant with the East India Company by 1827 and then acting secretary to the Government Territorial Department in India, and Sara Monckton Pattle Prinsep. The family returned to London in 1843. Val was encouraged to become a painter by George Frederick Watts (his mother’s house guest from 1850 to 1875) and began his training from Watts in 1856. In 1857 he worked with members of the Pre-Raphaelite circle on the Oxford Union murals, painting Sir Pelleas Leaving the Lady Ettarde. Dante Gabriel Rossetti and Edward Burne-Jones were predominant influences on the Pre-Raphaelite style of his early works, such as The Honey Queen (1859). Prinsep toured Italy with Burne-Jones in 1859, studied at Charles Gleyre’s atelier in Paris from 1859 to 1860 and was in Rome from 1860 to 1861. George Du Maurier, a fellow student under Gleyre, introduced him to the St John’s Wood Clique, of which he became an honorary member. His mature style was influenced by Frederick Leighton, for instance in At the Golden Gate (1882) and Ayesha (1887), and by John Everett Millais in such works as Cinderella (1899) and Goose Girl (1900). Both artists were close personal friends. Prinsep’s late style was also influenced by the Venetian subjects of Luke Fildes and Henry Woods [1846–1921]. In 1876 he was commissioned to paint The Imperial Durbar to commemorate Queen Victoria becoming Empress of India. He became Professor of Painting at the Royal Academy in 1900. He married Florence Leyland, the daughter of F. R. Leyland, and in 1864 commissioned a house from Philip Webb at 14 Holland Park Road, Kensington. The house was completed in 1866 in a red-brick, parsonage style typical of Webb, with Queen Anne Revival details. It was among the first of several grand houses commissioned by artists in that area, designed both to accommodate studio space and to display the artists’ social status. Although Prinsep’s work lacked originality, his personal charm, wealth and social standing gave him an important place in the Victorian art world.
Photo of Prinsep

LINKS
La Révolution (1896 Diploma Work, 160x110cm)
Home From Gleaning (122x161cm) — Il Barbagianni (78x54cm)
The Queen was in the Parlour, eating Bread and Honey (1860, 60x33cm; 370x700pix)
At the Golden Gate (1882, 137x96cm; 471x700pix)
Cinderella (1899; 516x700pix) — Ayesha (1887, 90x70cm; 512x393pix, 20kb)
^ Died on 14 February 1780: Gabriel Jacques de Saint~Aubin, French painter, draftsman, and etcher, born on 14 April 1724. — Son of royal embroiderer Gabriel-Germain de Saint~Aubin [1696-1756], brother of Charles-Germain de Saint-Aubin [17 Jan 1721 – 06 Mar 1786], Augustin de Saint~Aubin [03 Jan 1736 – 09 Nov 1807], and Sèvres porcelain designer Louis~Michel de Saint~Aubin.
— De Saint-Aubin studied under François Boucher [29 Sep 1703 – 30 May 1770]. De Saint-Aubin's drawings include figure studies, genre-like works, and landscapes. He also studied under the painters Etienne Jeaurat [09 Feb 1699 – 14 Dec 1789] and Hyacinthe Colin de Vermont, but failed three times to win the Prix de Rome. He broke with the Académie Royale, preferring to support and exhibit at the Académie de Saint Luc. Although he continued to paint such pictures as A Street Show in Paris (1760), he is best known as a draftsman and etcher.
      He was a passionate and unconventional observer of the sights of the Paris streets and of the social scene. He was a man who drew at all times and in all places. His contemporary Jean-Baptiste Greuze [1725-1805] spoke of his ‘priapism of draftsmanship’.
      In his many drawings he combined pencil, black and red chalk, bistre, ink and watercolor to create dazzling spontaneous effects. He drew incidents that struck him as he wandered the streets, or entertainments that he attended. He recorded them, noting dates and times, in sketchbooks or sometimes in the margins and blank pages of printed books that he was carrying (such as a volume of the poems of Jean-Michel Sedaine).
      These drawings of contemporary incidents include The Fire at the Foire Saint-Germain on the Night of 16–17 May 1762 and The Crowning of Voltaire at the Théâtre-Français in 1778 . He went regularly to the Salon of the Académie Royale and to art sales, covering the margins and flyleaves of his sale catalogues and Salon livrets with tiny sketches of works of art and the passing scene. One hundred of these illustrated catalogues were among his effects when he died, and of these about a third survive. These include the livrets for the Salons of 1761, 1769 and 1777, as well as the catalogues of the sales of Louis-Michel van Loo [1707-1771] in 1772 and Charles Natoire [1700-1777] in 1778, and that of Pierre-Jean Mariette in 1775. Together with his etchings and large watercolors of the Louvre’s Salon Carré at the time of the exhibitions of 1753, 1767, and 1769, they constitute a precious record of Paris art life in the 18th century.

LINKS
La Promenade (600x483pix _ ZOOM to 1400x1128pix, 466kb)
Theater Scene (Ernelinde, Princess of Norway) (1767, 21x28cm; full size)
Le Salon de 1765 (1765, 25x46cm)
A Parisian Fête (1768 _ ZOOM) — Cabinet of a Connoisseur (25cmx40cm).

Died on a 14 February:

1907 Adolf Seel, German artist born on 01 March 1829. — {There is no Seel seal of approval in the Internet, it seems: I find no online examples of his work.}

1888 Arthur Johann Severin Nikutowski, German artist born on 09 January 1830. — {Je ne trouve Nikutowski ni Kutowski dans l'Internet}

1868 Emilius-Ditlev Baerentzen, Danish artist born on 30 October 1799.

1799 Luis Paret y Alcázar, Madrid Spanish painter born on 11 February 1746. His father was a Frenchman of Catalan descent, and his mother was Spanish. He trained in Madrid, first with the French jeweller Augustin Duflos (fl 1722–1767) and then with the Trinitarian friar Bartolomé de San Antonio [1708–1782], uncle of the architect Ventura Rodríguez. Paret studied for four years at the Real Academia de Bellas Artes de S Fernando and with the patronage of the Infante Luis Antonio Bourbon, the brother of Charles III, went to Rome in 1763, where he completed his artistic training. On his return to Madrid in 1766, he won prizes at the Academia and probably visited France or studied contemporary French art under the guidance of Charles de La Traverse, who was a former student of François Boucher and who was in Madrid at that time.


Born on a 14 February:


1891 Celso Lagar, Spanish artist who died in 1966. — {Ce n'est pas Lagar du Nord,. ni Lagar de l'Est, ni Lagar de Lyon. C'est Lagar d'Espagne! Mais gare à qui dirait que c'est le sot Celso.}

1873 Albert Guillaume, French artist who died in 1942.

1861 Peder Vilhelm Ilsted, Danish artist who died in 1933.

1860 Léon Marie Gaussson, Lagny-sur-Marne French painter, sculptor, designer, and government official, who died on 27 October 1944. He was trained first as a sculptor and engraver, not taking up painting until 1883. While working at the shop of the wood-engraver Eugène Froment [1844–1900] he met Emile-Gustave Péduzzi (Cavallo-Péduzzi) [1851–1917] and Maximilien Luce. By 1886 all three were experimenting with the stippled brushwork and divided color they had seen in the works of Seurat, Paul Signac, Camille Pissarro, and Lucien Pissarro. That year Gausson made his début at the Salon as a sculptor, with the plaster medallion Profile of a Young Girl. He first showed his paintings at the Salon des Artistes Indépendants in 1887 and exhibited there annually thereafter.

^ 1854 Rudolf Ernst, Austrian artist specialized in Orientalism who died in 1932. — Ernst traveled to Morocco and Constantinople and was inspired by the objects and people he encountered. He is known for his colorful and highly detailed paintings of decorated interiors, ornaments, tiles and fabric. — LINKSStanding Guard (61x49cm _ ZOOM to 2000x1610pix, 867kb) _ auctioned at Sotheby's on 23 Jun 1981 — The Reader (32x49cm _ ZOOM to 1657x2583pix, 1243kb) — The Pasha's Favorite Tiger (55x37cm) — The Tiger Hunt (1896, 71x90cm) — In The Alhambra (1888, 61x49cm) — An Arab Sage (1886) — A Moorish InteriorAn Afternoon Show (82x61cm) — Awaiting the Tiger (100x72cm) — By the EntranceElegant Arab Ladies on a Terrace at SunsetEvening Prayer (81x74cm) — Favorite of the Farm (79x64cm) — Harem Guard (55x45cm) — Le Marchand de Fleurs (55x45cm) — Les Captives (37x46cm) — Odalisque Avec Puttis (74x185cm) — Salome and the TigersSmoking The Hookah (60x41cm) — The TerraceDer Weise (1886) — After Prayer (93x73cm) — Gnaoua in a North African Interior (60x50cm) — The Beggar (45x37cm) — The Hammam (49x61cm) — The Harem BathThe Money Changer (74x57cm) — The MusicianThe Palace Guard Oil on panel 25.75 x 20.98 inches / 65.4 x 53.3 cm) — The Rug Merchant (61x49cm) — The Staircase Under The Trees (61x35cm) — The Manicure (64x82cm; 569x726pix, 162kb) — Queen of Sheba detail (571x600pix, 98kb) leaning on a tiger.

1850 Eugène Henri Cauchois, French artist who died on 11 October 1911.

1846 Julian Scott, US artist who died on 04 July 1901.

1814 Joseph Urbain Mélin, French artist who died on 28 November 1886.

1790 Pierre Duval Le Camus (or Duval-Lecamus), French painter who died on 29 July 1854. A student of Jacques-Louis David, he pursued an uninterruptedly smooth career, which was almost banal in its lack of deviation in inspiration or style. He showed regularly in the Salon between 1819 and 1853, immediately gaining attention with his first exhibited painting, the Game of Piquet between Two Invalids (1819). Far from being an innocent genre scene, it alludes to the plight of the veterans of Napoléon’s armies during the Restoration. It is one of the few paintings by Duval Le Camus in which a political meaning is suggested. His interiors generally depict a familiar and anonymous reality in the tradition of Martin Drolling, although he was less skilful than Drolling in the rendering of objects and effects. Duval Le Camus was a guileless and unaffected narrator. Throughout his career he painted genre scenes in the Dutch style, showing a genuine talent as a popular storyteller (e.g. Gossiping Porter and Little Chimney Sweep). Unlike Louis-Léopold Boilly he did not seek to amuse but to be sincere. Duval Le Camus depicted the games and minor dramas of childhood several times with the simplicity of Chardin (e.g. The Reprimand).

1790 Louise Joséphine Sarazin de Belmont, French artist who died on 09 December 1870.

^ 1713 Jan ten Compe (or Kompe), Amsterdam painter, draftsman, and dealer, who died on 11 November 1761. — {He was NOT the son of nine Compe, nor the father of eleven Compe} — In 1736 he became a citizen of Amsterdam, where he spent most of his life, apart from 1740 to 1755, when he lived mostly in The Hague. He was a student of the decorative wallpaper and landscape painter Dirk Dalens III [1688–1753]. Ten Compe produced mostly views of country houses and townscapes, including Haarlem, The Hague, Amsterdam, Oudekerk aan de Amstel, Delft, Leiden, Rotterdam, Utrecht and Kleef. One of the best topographical artists of his generation, he worked in a detailed, controlled and elegant manner, influenced by such 17th-century townscape painters as Jan van der Heyden and the Berckheyde brothers, several of whose paintings he copied. Like the Berckheydes, he painted mostly topographically accurate views, as in The Amsterdam Stadhuis with the Nieuwe Kerk (1744), with its impressive town hall building dominating the scene. For some of the views, preparatory drawings survive, some of which had watercolor washes added by Jacobus Buijs [1724–1801]. Ten Compe’s drawings were engraved by Pierre Charles Nicolas Dufour [1725–1818] and Robert Muijs [1742–1825]. Ten Compe worked for the collectors Frans van de Velde, Gerrit Braamcamp and Jan van Rijneveld. His works were very popular, one painting sometimes fetching as much as 2000 florins. He had one student, Gerrit Toorenburgh [1732–1785], who himself became a town- and landscape painter.

^ 1575 Giovanni-Andrea Donducci “il Mastelletta”, Bolognese artist who died on 25 April 1655. — {Un “c” de moins et “el” de plus, il aurait été “Donduciel” et on aurait dû lui donner le prénom “Théodore”.} — He was trained by the Carracci, most notably Ludovico (Malvasia), but he also responded to the more expressive art of Pietro Faccini and Annibale Castelli. The spontaneity and freedom of his Mystic Marriage of Saint Catherine emphasizes his closeness to these painters, while his Assumption of the Virgin is closer to Ludovico Carracci’s style, though with overtones of a Mannerist elegance that is characteristic of Mastelletta. Annibale Carracci died in 1609, and after 1610 Mastelletta went to Rome, where he probably turned to the group of artists around Adam Elsheimer, Carlo Saraceni, and Agostino Tassi, all of whom painted landscapes enlivened by small, vivid figures. Mastelletta’s Crossing of the Red Sea, Moses Parting the Waters, Fête Champêtre and Soldiers on the March are the stylistically mature product of this relationship, yet they also reveal his responsiveness to Emilian Mannerist painters, among them Parmigianino, Jacopo Zanguidi, Giovanni Bertoia and, in particular, Nicolò dell’Abate. In the same period Mastelletta painted 12 scenes from the Lives of Saints, probably to adorn a Franciscan church. These feature larger figures but still retain the Mannerist insubstantiality apparent in his preceding works.

Three Saints, birds, Chaucer, and Saint Valentine's Day

Click on icon below for full image of SAINT VALENTINE, by a XVIth-century Tyrolean
click for full image
Click on detail below for complete picture ST. VALENTINE'S DAY — THE OLD STORY IN ALL LANDS by Winslow Homer
 [1836~1910]
click for complete picture

“KISS” MASTERPIECES:
Klimt ::: The Kiss (1908) _ detail — Alma~Tadema ::: A Kiss (1891) — Cassatt ::: Maternal Kiss (1897) — Cassatt ::: A Kiss for Baby Anne (1897)
— Gérard ::: Amor and Psyche (Psyche Receiving the First Kiss of Love)
— Klimt ::: Beethoven Frieze: This kiss for the whole world — Briullov ::: Italian Woman Blowing a Kiss (1826)
— Brancusi ::: The Kiss (1908) — Hayez ::: The Kiss (1859)
— Munch ::: The Kiss (1921) — Munch ::: The Kiss (1892) — Munch ::: The Kiss (1897)
— Picasso ::: The Kiss (1969) — Gloag ::: The Kiss of the Enchantress — Stuck ::: The Kiss of the Sphinx (1895)
— Nicolo da Bologna ::: The Marriage; the Kiss of the Bride (initial P); the Bride Abandoned (initial D) (1355)
— Fragonard ::: The Stolen Kiss (1788) _ detail — Doisneau ::: Kiss by the Hotel de Ville (1950 photo)

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