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ART “4” “2”-DAY  09 January
^ Died on 09 January 1821: Pierre-Alexandre Wille, Parisian artist born on 19 July 1748.
— He was the son of engraver Jean-Georges Wille [05 Nov 1715 – 15 Apr 1808]. Between 1761 and 1763 Pierre-Alexandre was trained by Jean-Baptiste Greuze, who was a friend of his father, and later by Joseph-Marie Vien. Approved (agréé) by the Académie Royale in 1774, he devoted himself to painting sentimental genre scenes, such as the Last Moments of a Beloved Wife (1784), in Greuze’s manner. He also did paintings for his father to engrave, including French Patriotism (1781) and The Double Reward of Merit (1785). Having played an active role in the French Revolution, he is barely documented thereafter. A drawing of Danton Led to the Scaffold was attributed to him by Maison.

Profile of a Man (1769 drawing 37x28cm; 3/4 size)
Head of a Young Girl (1775 drawing, 33x23cm; half-size _ ZOOM to full size)
Marie Antoinette and her Two Children (drawing, 14x11cm; full size)
Genre Scene: Four Figures (rough sketch, 14x14cm; 2/3 size)
Le patriotisme français ou le départ (1785, 162x129; 571x455pix, 164kb gif) _ Le buste sculpté désigné par le père de famille représente Louis XVI.
^ Born on 09 (08?) January 1590: Simon Vouet, Parisian Baroque painter and draftsman who died on 30 June 1649 and was buried on 01 July 1649. — {A quel saint se vouait ce Vouet?}
— Vouet was a leading Baroque painter and an arbiter of taste for almost 20 years. The son of an artist, he settled in Italy in 1613, living chiefly in Rome, with periods in Genoa, Venice and Naples. His style shows an individual talent and a profound study of Italian painters, especially Veronese. Vouet soon enjoyed high favor, including the patronage of Pope Urban VIII. In 1627 he was invited back to France, where he became First Painter, a position challenged only once, in 1640-1642, when he was brought into an artificial rivalry with Poussin. Vouet taught or collaborated with almost all the painters of the next generation in France, notably Le Brun, Le Sueur and Mignard. His portraits of the court of Louis XIII and most of his large-scale decorative schemes for Parisian houses and country chateaux have been destroyed.
— Although at the time regarded as one of the leading French painters of the first half of the 17th century, Vouet is now known more for his influence on French painting than for his actual oeuvre. He made his reputation in Italy, where he executed numerous portraits for aristocratic patrons and was commissioned for religious subjects. Although the early Italian works show the influence of Caravaggio, his work was subsequently modified by the Baroque style of such painters as Lanfranco and the influence of the Venetian use of light and color. When he was summoned back to France by Louis XIII in 1627 he thus brought with him an Italian idiom hitherto unknown in France that revitalized French painting. His style became highly popular among Parisian aristocrats who saw in Vouet a painter capable of decorating their hôtels and châteaux in a manner that would rival the palazzi of their Italian counterparts. He quickly established a large workshop through which passed many of the leading French painters of the mid-17th century. There followed numerous commissions for allegorical works, religious subjects and decorative paintings for royal residences and the burgeoning hôtels and châteaux in and around Paris. The schemes introduced a new type of illusionistic decoration with steep perspective that influenced a generation of decorative painters. Few of his canvases are signed and dated and many of his decorative schemes have been destroyed; precise attribution is made more difficult because of his prolific output and his extensive use of his workshop to fulfil his numerous commissions. Although much of his oeuvre has been lost, it is known from the work of such distinguished engravers as Claude Mellan and Michel Dorigny, who reproduced and circulated his work.
— Vouet's assistants included Pierre Boucle, Charles Le Brun, Pierre Patel, François Perrier, Charles Poërson.
— Vouet's students included Jacques-Samuel Bernard, Thomas Blanchet, Nicolas Chaperon, Michel Corneille, Charles-Alphonse Du Fresnoy, Claude François, André Le Nôtre, Louis Lerambert II [1620-1670], Eustache Le Sueur, Nicolas-Pierre Loir, Pierre Mignard I, Rémy Vuibert, Abraham Willaerts, Valentin de Boulogne, Claude Mellan.
Angel with Superscription from the Cross (1625, 104x79cm; 1917x1463pix, 275kb)
Angel Holding Vessel and Towel for washing hands of Pilate (1625, 103x77cm; 1722x1471pix, 190kb) _ These angels carry symbols of the Passion. This one holds the pitcher, basin, and cloth used by Pontius Pilate to wash his hands of responsibility for Christ's crucifixion. The first one carries the tablet inscribed in Hebrew, Greek, and Latin:

which was placed on the cross, above Christ's head. The paintings probably belonged to a series of seven angels carrying the seven symbols of Christ's Passion, most likely painted for a church or other ecclesiastical building. From 1612 to 1627 Vouet worked in Rome, mainly on religious commissions, many of them still to be seen in churches there. After he returned to Paris, his idealized Italianate style came to dominate French painting.
The Holy Family with the Infant John the Baptist (1626, 75cm diameter)
Saint Sebastian's Wounds Treated by Pious Women (1621; 600x408pix _ ZOOM to 1400x952pix)
Cupid and Psyche (1627; 600x920pix _ ZOOM to 1400x2147pix)
A Young Woman (1627; 600x408pix _ ZOOM to 1400x952pix)
The Last Supper (1620) _ The theatrical scene is an anticipation of the great compositions of Vouet in Paris. — Crucifixion (1622, 375x225cm) _ The painting was executed in Rome and transferred to Genoa where Vouet spent a year in the service of Paolo Orsini and the Doria family. His stay in Genoa, and above all the contact with Orazio Gentileschi who was also there, resulted in a change in the style of Vouet: he abandoned Caravaggism and turned towards a pure Baroque style.
Saint Jerome and the Angel (1625, 145 x180cm) _ Simon Vouet was the most versatile of all the French painters in Rome in the 1620s. His earliest pictures are the closest to those of Caravaggio, but his art lacked almost all Caravaggio's sense of drama. Instead, he concentrated on flashy and facile effects, which were, of course, to stand him in good stead at the court of Louis XIII, where he was to become the first French painter to be able to understand and interpret the Italian Baroque. He was good at lighting effects and sharp contrasts of color. An example of this is the Saint Jerome and the Angel. This painting is devoid of the drama which marks Caravaggio's Saint Matthew and the Angel, Vouet relied much more on his technique of strong lighting and bold brushwork, and was never interested in penetrating the essence of his subject-matter.
^ Died on 09 January 1898: Henry Stacy Marks, London painter born on 13 September 1829.
— He studied under J. M. Leigh [1808–1860] from 1847 and in January 1851 enrolled at the Royal Academy Schools. In 1852 Marks and P. H. Calderon spent five months studying in Paris under François-Edouard Picot and at the Ecole des Beaux-Arts. The next year he made his début at the Royal Academy Summer Exhibition, where he exhibited annually until 1897. He was elected ARA in 1871 and RA in 1878. Marks was a key member of the Saint Johns's Wood Clique and a notorious practical joker. — Henry Stacy Marks originally was trained to work in the family business – Marks & Co, Coachmakers, in Langham Place, London. However, he showed little aptitude for commercial work, and was allowed to study art. He went with Philip Calderon to Paris and worked for Picot there, after which he became a student at the Royal Academy Schools. His early career was mixed, selling a few paintings, doing portraits, book-plates, any wood drawing that came his way, a term as a drawing professor, and another as a glass painter at the firm that became Clayton & Bell. His reputation was established with the picture The Franciscan Sculptor and his Model (1860) which sold for £300, and commissions for paintings and frescoes followed. Saint Francis Preaching to the Birds won Marks his ARA in 1871, and Science is Measurement was his diploma work for his RA in 1878. Many of his early pictures were on Shakespearian themes, but it is for his later pictures of birds that he is best known, many of them arising from work he did at London Zoo for the exhibition Birds in Bond Street (1889) by the Fine Art Society. Other subjects included elderly gentlemen oddly reminiscent of paintings by Hubert von Herkomer, and good genre character studies such as An Odd Volume (1894), showing a book collector absorbed reading in a bookshop, and The Amateur, which depicts a man who, having roughly carved the figure of a parrot in wood, is looking rather too pleased with himself. Marks's pictures were typically light-hearted rather than weighty, and as Gleeson White correctly predicted in 1909, 'it would not be astonishing if [his pictures] retained the respect of future collectors long after many far more ambitious contemporary works ceased to charm'. Marks was inclined towards the Pre-Raphaelite school, being attracted by the naturalism and painstaking painting style. He was a friend of John Ruskin, who often went with him to London Zoo, and another close friend was G. D. Leslie RA.
Photo of Marks

Science is MeasurementA Select Committee (339x258pix, 26kb) _ eight parrots.
Bardolph (43x53cm; 310x266pix, 21kb) _ The bar-addicted character Bardolph in plays of Shakespeare is a crony of Falstaff.P

Died on a 09 January:

^ 1908 Wilhelm Busch, German painter, early cartoonist, and poet, born on 15 April 1832. — {He did not mind people beating around the bush, as long as they didn't beat up the Busch.} — A grocer’s son and the first of seven children, he enrolled at the Polytechnische Schule in Hannover to be trained (1847–1851) as an engineer but became interested in art after he saw the work of Dutch painters Frans Hals and Paul Rubens, and he decided to become an artist. In 1851 he transferred to the Akademie in Düsseldorf where he remained for a year, attending elementary classes in life drawing with Carl Ferdinand Sohn and studying proportion and anatomy with Heinrich Anton Mücke [1806-1891]. In May 1852 he moved to the less severely doctrinaire Academy in Antwerp, but the obsessive concern for precision of his tutor, the genre painter Joseph-Laurent Dyckmans [1811-1888], did not appeal to him. As he conceded in 1886 in his autobiography, Was mich betrifft, he was assailed by doubts about his talent as a painter, not because of the demands of an academic training but because of the apparently unsurpassable example of Frans Hals and other Old Masters whose works he had studied in the Koninklijk Museum in Antwerp. During this period Busch produced several studies of heads in oils on cardboard that were freer in execution than his work in Düsseldorf, for example Portrait of a Young Man (1852), as well as drawings of views of Antwerp. In May 1853, after an attack of typhoid, he returned home to Wiedensahl, where he lived for the next 18 months, collecting legends and fairy tales of the Weser region and making drawings of gravestones and antiques in the area for a scholar in Berlin. He also painted oil studies of peasants in Bückeburg and portraits of members of his family, for example Domestic Studies: Otto Busch Reading (1854). Busch is also regarded as one of the founders of the modern comic medium. He started drawing caricatures for the Fliegende Blätter in 1859. In 1865 he started the comic which made him famous: Max und Moritz. These first 'pictorial stories' were a great inspiration forRudolph Dirks [1877-1968] to start in 1897 Katzenjammer Kids, which, 107 years later, is the oldest comic strip still in syndication, now drawn by Hy Eisman. Selbstbildnis (1873; 790x560pix, 17kb) — Selbstbildnis (1894 drawing; 500x437pix, 54kb) — 6 illustrated poetry comic stories

^ 1851 Michel-Martin Drolling, Parisian painter born on 07 March 1786, son and student of Martin Drolling [bap. 19 Sep 1752 – 16 Apr 1817]. They both were portrait painters. But whereas the father expanded his range by concentrating on bourgeois domestic interiors, the son produced a number of history paintings on mythological and religious subjects. Another of Martin Drolling’s three children by his second wife, Louise-Elisabeth (née Belot), was painter Louise-Adéone Drolling [29 May 1797 – <1831], otherwise known as Mme Joubert. Michel-Martin Drolling also studied in David’s studio, in 1806. He obtained the Prix de Rome in 1810 with La Colère d'Achille. After his stay in Rome he exhibited La Mort d'Abel in the Salon of 1817. He decorated two ceilings in the Musée Charles X in the Louvre and obtained two commissions from the Musée d’Histoire at Versailles: Les États-Généraux de Tours (1836) and La Convention d'Alexandrie (1837). His genre scenes show that while his style was generally colder, he inherited his father’s love of Dutch art and use of thinly applied, porcelain-like paint, contrasting effects of light and meticulous detail. His figures were either half-length with a landscape background in the English manner (Portrait de Manuel, 1819) or full-length and set in countryside, with the charming naivety of Pierre Duval Le Camus. The students of Michel-Martin Drolling included Theodor Aman, Jacques-Aimé-Paul Baudry, Bertall, Jules Breton, Paul-Alfred de Curzon, Pierre Victor Galland, Jean-Jacques Henner, Charles Nègre, John Charles Robinson, William Strutt [03 Jul 1825 – 03 Jan 1915].

1844 Jean-Antoine Constantin, French painter born in Marseille on 21 (20?) January 1756. He was apprenticed to the faience manufacturer Joseph Gaspard Robert (fl 1759–1793) when young. In 1771 Constantin went to the Marseille Academy and in 1777 he left for Rome. In 1786 he was made head of the École Municipale de Dessin in Aix-en-Provence, which he directed until its closure in 1795. When a new school was formed in Aix in 1806, Louis-Mathurin Clérian [1768–1851], one of his students, was made Director, and Constantin obtained a subordinate position in 1813. He enjoyed a certain reputation during the Restoration in 1815 thanks to the patronage of comte Auguste de Forbin, a former student who had become Director of the Musées Royaux. In 1817 Constantin exhibited at the Salon for the first time, receiving a gold medal, and three of his drawings were bought for the Musée Royal (further drawings were bought in 1824 and 1826). He exhibited at the Salon again in 1822, 1827, and 1831. Granet, François-Marius Granet was another student of Constantin.

Born on a 09 January:

^ 1944 Ian Hornak, US representational still-life painter who would die on 09 December 2002, known for elaborate, extremely detailed paintings of flowers, food and tableware that recall the 17th-century Dutch vanitas tradition. His pictures have a sharply focused hyper-real look that verges on Surrealism and Photorealism. His frames, often bearing painted imagery or decoration, add layers of meaning to his postmodernism. — Uncritically admiring and not very informative biography. — LINKS
paintings of 1951-1958 painted with flat colors somewhat like posters. They are untitled. The subjects seem to be: A baby angel stops Abraham from sacrificing Isaac (1958, _ Leda, the swan, and two admiring toddlers _ Woman looking at a shower of gold coins, with two baby angels _ Medieval landscape with two swans, clothed woman, piper _ Rural landscape with swan, two geese, and duck. _ Rocky medieval landscape with river. _ Landscape with Oriental fishermen. (1957, 30x60cm)
normal landscapes _ Untitled [sunset over tropical island] (30x60cm) _ In The Light Of August: Overlooking Oyster Pond, Montauk (2001, 106x154cm) _ The Quarry (1983, 127x183cm) — Untitled (Scottish Landscape)(1984, 56x75cm) _ Golden sunrise, the boy in winter (March 1972, 75x102cm) _ Dido Abandoned (1979, 178x244cm) _ Blind Orion (1977, 173x244cm) _ Volcano Variation II (August 1971, 91x132cm) _ Vertical Sunset Variation I (2001, 56x71cm) _ June Night With Fireflies (2001, 56x71cm)
“multiple exposure” landscapes (two or more nice images ruined by being superimposed on the same canvas): Georgica pond at sunset (Feb 1973, 122x183cm) — Bullrushes in Winter (June 1972, 76x102cm) _ Rising and Setting Sun (Jan 1973, 91x137cm) _ Hanna's Mirror (1978, 152x304cm) _ Transparent Barricades Variation V: Winter Light (1995, 51x61cm) _ Song of Zephyrus _ Martin Heades Window (1980, 91x122cm) _ Angel Concert, Variation II (1978, 91x122cm) _ Tiepolo's Window (1974, 117x163 cm) — The Banyan Tree #VI (1981, 91x122cm) — Friedrich's Window:The Night Variation; (112x168cm) _ Raphael's Stairway _ Scottish Landscape: Variation II: Wester Ross (1983, 107x152cm) _ Blind Orion: Variation II: Sunrise and Moonrise (1980, 112x168cm)
— 4 colored figuratives : Marcia Sewing Variation IV (1984, 76x102cm) _ Marcia Sewing Variation III (1978, 127x183cm) — Pegasus (1991, 180x226cm) — Scarlet Macaw (1992)
Flower Still Lifes: Sunflowers with Scarlet Macaw (1991, 152x183cm) _ Peacock (1991, 122x147cm) _ Parrot Tulips with Macaw (1987, 152x183cm) _ In the Conservatory (1991) _ Untitled (White Foxgloves?) (1979, 30x60cm) _ Untitled (central big white flower, three red rosebuds, painted frame with butterflies) (2002, 61x61cm) _ Untitled (Blue, white, yellow flowers, parrot) _ bottom third of image was missing when I last looked — Hummingbirds and Orange Lilies (1992; 567x370pix, 28kb) was used for Readers Digest's back cover in July 1994.

1860 François-Joseph Guiguet, French artist who died on 03 September 1937.

1830 Arthur Johann Severin Nikutowski, German artist who died on 14 February 1888. — {Je ne troune Nikutowski ni Kutowski dans l'Internet}

^ 1789 Louis Dupré, French artist who died on 12 October 1837. — Relative? of Jules Dupré [05 Apr 1811 – 06 Oct 1889]? — L'Acropole à Athène (1819; 600x1166pix, 171kb _ ZOOM not recommended to a fuzzy 1400x2721pix, 374kb)

1671 Jean-Baptiste Vanmour, Flemish artist who died on 22 January 1737.

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