Died on 29 January 1899: Alfred
Sisley, French painter born on 30 October 1839.
Sisley was born in Dunkirk to parents of Anglo-French descent. His father worked in the silk business and as an exporter of artificial flowers. From 1857 to 1861, Sisley lived in London and trained for a career in business. A growing interest in art, however, led him to return to Paris in 1862 and enter the studio of Charles Gleyre, where he met Monet, Renoir, and Frédéric Bazille with whom he painted in the Forest of Fontainebleau under the influence of Corot and Daubigny. Together they formed the vanguard of the impressionist movement.
Sisley exhibited at the Salons of 1866, 1868, and 1870, and at the impressionist exhibitions of 1874, 1876, 1877, and 1882. The Franco-Prussian War brought financial ruin to Sisley's father and left the artist with no means of support, although about 1872 Durand-Ruel began to handle his work. One-person exhibitions were organized by Durand-Ruel in Paris in 1883 and New York in 1889, but sales remained scarce. During the 1870s and early 1880s, Sisley lived and worked in various locations in Paris, the Seine valley, and England as well. In 1882 he moved to Moret-sur-Loing, then to Sablons in 1883, and finally back to Moret-sur-Loing in 1889. Plagued by ill health in his later years, Sisley died after a long battle with cancer.
Avenue of Chestnut Trees Meadow Snow at Louveciennes The Bark During the Flood at Port-Marly (1876) Louveciennes Tugboat Flood Seine at Bougival in Winter (1872) Church at Moret (1894)
Born on 29 January 1936: Patrick
Caulfield, British Pop
Born in London, he studied at the Chelsea School of Art between 1956 and 1960, and from 1960 to 1963 at the Royal College of Art, London. In 1963 he was included in the Young Contemporaries exhibition, London. From 1963 to 1971 he taught at the Chelsea School of Art. He worked briefly with wooden grids which he laid across his canvas, and then later destroyed; this method led to his first black-and-white paintings. He had his first one-man exhibition at the Robert Frazer Gallery, London. He exhibited at the Robert Elkon Gallery, New York, in 1966. In 1965 he was represented at the Biennale des Jeunes, Paris, in 1967 at the international Exhibition of Graphic Art, Ljubljana, Yugoslavia. In 1973 he illustrated the poems of Jules Laforgue for the Petersburg Press. In 1977 he exhibited at Santa Monica, California, in 1978 at the Tate Gallery and was given retrospective exhibitions at the Tate Gallery and the Walker Gallery, Liverpool, in 1981. His pictures combine levels of illustrative expression found in comics with a naive pictorial language, in which personal, social, political and artistic images meet. He has a predilection for referring to work by the Old Masters.
Freud's Smoke (1997, 61x51cm)
Died on 29 January 1632: Jan
Porcellis (or Parcellis, Persellis, Pourchelles), Flemish-born
painter and etcher specialized in Maritime
Scenes, born in 1584.
Porcellis was active in Holland. His parents moved to the northern Netherlands before he was one year old. His teacher was probably Hendrick Vroom. Porcellis worked in many places. He is first traceable in Rotterdam where he went bankrupt by 1615. He then moved to Antwerp. By 1622 he returned north and settled for a few years in Haarlem, then in Amsterdam, next in Voorburg near The Hague, and finally in Zoeterwoude in the environs of Leiden. The properties he amassed before his death in 1632 indicate that he had accumulated a considerable fortune during his last years. Porcellis was regarded as the greatest marine painter of his day and his works mark the transition from the busy and brightly coloured seascapes of the early 17th century, with their emphasis upon the representation of ships, to monochromatic paintings which are essentially studies of sea, sky, and atmospheric effects. His favorite theme was a modest fishing-boat making its way through a choppy sea near the shore. Rembrandt and Jan van de Capelle collected his works. His son Julius (1609-1645) was also a marine painter.
Shipwreck on a Beach (1631) _ Rather than large, historical portraits of great ships that trumpet the power of the new nation's navy (as painted later, for example, by the van de Veldes), Porcellis and his younger contemporaries painted cabinet-size pictures of anonymous boats under high skies in unidentifiable seas, rivers, and inland waters. Most of them were probably not commissioned but done for the open market. Porcellis's shore scenes are equally remarkable. He painted the Shipwreck on a Beach only a few months before his death. Few later landscapes match the naturalism of its sombre mood broken by burst of sunlight indicating that the storm has broken and the spaciousness created by the extensive stretch of beach and huge breakers, low horizon, and huge dunes running obliquely into the far distance.
Born on 29 January 1627: Jan
Siberechts (or Sibrechts), Flemish landscape painter who
died in 1703.
Siberechts settled in England in the early 1670s. His landscapes are somewhat Rubensian, but he is best known for his "portraits" of English country houses, done in a simple, rather archaic manner; two views of Longleat, Wiltshire (1675 and 1676), are still preserved in the house. He was the first professional exponent of the genre.
Crossing a Creek (1669, 94x116cm) _ In Flemish genre painting the representation of country life remained somewhat conventional. The exceptionally vigorous naturalism with which Jan Siberechts rendered landscapes and peasants makes one think of Courbet.
The Market Garden (1664, 158x241cm) _ A farmyard in front of a well-appointed farmhouse, which rises up centrally in the background, with to the right a well and a small barn, and to the left in the distance a vegetable garden and a rural hamlet around a church, all set the scene for the busy occupations of the countryfolk in the foreground. Three women are preparing their vegetable harvest for market, assisted in the right background by a waggoner and watched on the left by a friendly-looking dog and a maid with a milking pail on her head and a pot with a handle in her hand. Behind her a peasant woman is letting cattle out of the barn whilst a lad is driving towards the herd a couple of sheep that have strayed into this attractive tableau, producing a light-hearted anecdote that links the various planes. The motif of the poster announcing the sale of the farm introduces a hint of uncertainty and of impending doom.
Even so, the general impression of Siberechts' composition is that of an undisturbable natural order and rural calm. In doing so he touches a sensitive chord with the modern city-dweller. Country life already exercised a particular attraction on the painter's contemporaries, leading to the building of many country houses away from the cities. The dignity with which the country-folk are depicted is typical of Siberechts. There is no longer any hint of "boorish" behaviour - a proverbial term for the low appreciation in which a civilised bourgeoisie held country people and which expressed its dislike in many a vituperative tableau. Siberechts' noble peasants are often compared with those of France's Le Nain brothers Antoine Le Nain [1600-1648], Louis Le Nain [1603-1648], Mathieu Le Nain le Chevalier [1607- 20 Apr 1677].
Possibly Siberechts drew inspiration for his noble portrayal from Brussels painter Michael Sweerts. For the motifs, such as the milkmaid carrying her heavy pail on her head, the reader is referred to her counterpart in Rubens' late landscapes. When it comes to the sculptural stateliness of Siberecht's figures, we should not forget that his father was a sculptor. This painting, the theme of which departs from his more usual "Landscapes with Fords", came into being in his Antwerp period, before the artist entered the service of the English aristocracy. An analogous work, the Farmyard, dated from 1662, is also conserved in the Brussels museum.
Landscape with Rainbow, Henley-on-Thames (1690, 82x103cm) _ Even in its later period, Flemish landscape painting retains the main distinguishing characteristics that emerged as early· as the 16th century in the works of such atrists as Pieter Brueghel and Momper. This painting shows a sweeping view from a slightly elevated position, sloping down over the cattle pastures in the foreground towards a river plied by a cargo boat on the left and with a village on its banks to the right. Towards the background, the terrain slopes upwards again, with fields under changing sunlight and clouds, and a double rainbow in the sky. On the left, the view broadens out into the background towards the hills on the horizon. A Dutch landscape painting, for example by Ruisdael, could hardly be described in this manner. Unlike Flemish landscape paintings. their Dutch counterparts rarely include so many different and contrasting elements. Here, we have proximity and distance, hill and plain, animals, people, boats and houses. While Flemish landscapes frequently have a universal theme, Dutch landscapes tend to concentrate on a single aspect. This painting is typical of the later work of Sibcrechts, who emigrated to England in1672. Whereas his Flemish landscapes generally portray a small detail, his later work is topographically more precise; on the right we can recognize the village of Henley-on-Thames.
The Wager (1665, 120x160cm) _ The dynamic, cosmic vision in the tradition of Rubens is absent from Jan Siberechts' The Wager. The artist was seduced by Dutch landscape art with its lightness of touch, and clear, impressionistic atmosphere. Siberechts' paintings have, however, a certain solidity of form and evenness of execution.
on 29 January 1888: Edward Lear,
England, landscape painter, writer of nonsense verse, born on 12 May
Here is an example of his limericks:
Lear was an English landscape painter who is more widely known as the writer of an original kind of nonsense verse and as the popularizer of the limerick. His true genius is apparent in his nonsense poems, which portray a world of fantastic creatures in nonsense words and show a Tennysonian feeling for word color, variety of rhythm, and often a deep underlying sense of melancholy. Their quality is matched, especially in the limericks, by that of his engaging pen-and-ink drawings [here is one which I colored >].
ILLUSTRATED WRITINGS BY LEAR ONLINE: A Book of Nonsense Laughable Lyrics: A Fourth Book of Nonsense Poems, Songs, Botany, Music, Etc. More Nonsense, Pictures, Rhymes, Botany, Etc. Queery Leary Nonsense: A Lear Nonsense Book. not illustrated: A Book of Nonsense
ARTWORK BY LEAR ONLINE:— LINKS
The Pyramids Road, Ghizeh Civita Castellana Masada