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ART “4” “2”-DAY  02 JUNE
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BAPTISM: 1565 RIBALTA
BIRTHS: 1621 VAN OSTADE — 1841 ZANDOMENEGHI
^ Baptized on 02 June 1565: Francisco Ribalta, Spanish Baroque era painter who died on 12 January 1628. [a dubious source says that he was born on 22 June 1565]
      He was probably trained at the Escorial and during most of the 1580s and 1590s he worked in Madrid. His earlier paintings are Mannerist in character, notably his first known work, the undistinguished The Nailing to the Cross (1582). By 1599 he was settled in Valencia and there his style became much more sombre and naturalistic. Ribalta had studied in Italy and he is known to have made a copy of Caravaggio's Martyrdom of St Peter, but his late tenebrist style may have been influenced more by Ribera than by direct knowledge of painting in Rome.
     In 1598 he moved to Valencia and established a large studio under the patronage of the archbishop, Juan de Ribera. His compositions of this period, notably the Retable of Santiago in the church of Algemesí (1603, 1610), are highly imitative and mediocre.
      In his last period, after 1612, he achieved both originality and grandeur. Paintings such as The Singer and Christ Embracing St. Bernard and the Portacoeli Retable are marked by their monumental and powerfully modeled forms, simplicity of composition, and realistic lighting. These late paintings anticipate the work of Diego Velázquez, Francisco de Zurbarán, and Ribalta's student José de Ribera later in the 17th century.
      In their turn, Ribalta's dramatically lit and powerfully austere mature works (Christ Embracing St Bernard) had considerable influence on Spanish painting, notably on Zurbarán. Francisco Ribalta's son Juan Ribalta y Pelayo [1596 or 1597 – Jul or Oct 1628] was also an able painter in the Caravaggesque manner.
— When Francisco was about 7, the Ribalta family left his native Solsona for Barcelona, and it must have been there that he saw paintings by Isaac Hermes. In 1581, after the death of his parents, Ribalta moved to Madrid to seek an apprenticeship. He was enormously receptive to the work of other artists; he studied the paintings in the royal collection, came in contact with the Spanish and Italian artists who were carrying out the decoration of El Escorial and developed his early style, which was strongly influenced by Italian Mannerism. There is documentary evidence for Ribalta’s activity in Madrid, including his earliest known work, the Crucifixion (1586), which was painted there and which shows his interest in Venetian coloring and use of crepuscule light. In Madrid, Ribalta married Inés Pelayo, by whom he had a son, Juan Ribalta y Pelayo [1596 or 1597 – Jul or Oct 1628], an able painter in the Caravaggesque manner; and two daughters, one of whom married Vicente Castelló, who disseminated Francisco Ribalta's style during the second third of the 17th century.
     Francisco Ribalta was the most distinguished artist working in Valencia in the early 17th century. His move towards naturalism at an early date was significant for the history of Spanish painting as well as being very influential. His documented mature works after about 1620 show a change of vision, and they are also of the highest quality. The religious paintings are depicted with more pronounced realism, and his deeply felt spiritual belief is expressed in a direct and very immediate way. In 1607 Ribalta supported other leading Valencian painters in a move to form the Colegio de Pintores to safeguard the interests of the profession.
      The expulsion of the Moriscos in 1609 and the death in 1611 of the Patriarch Archbishop Juan de Ribera, Ribalta’s most important patron, led to an economic crisis and spiritual void in Valencia that had an effect on his activity, since thereafter commissions came more rarely, and his work became more introspective. During 1616 and 1617 the idea of forming the Colegio de Pintores was revived, and Ribalta took an active role in the management and signed the petition to Philip III seeking support for the Colegio.
LINKS
Virgen de Portacoeli — Sueño de la Madre de San Eloy — San Francisco Confortado por un Angel — The Nailing to the Cross — Santo Isidro Labrador — Abrazo de San Francisco al Crucificado — Encuentro del Nazareno con su Madre — Presentación de María en el Templo
^ Born on 02 June 1621: Isaak (or Isack, Isaac, Isak) van Ostade, Dutch painter and draftsman who died on 15 October 1649.
— He was the younger brother and the most talented pupil of Adriaen van Ostade (bapt. 10 Dec 1610 – 27 Apr 1685), who also worked in Haarlem. He may have received additional instruction from a landscape painter, possibly Salomon van Ruysdael. As well as painting genre scenes in the manner of Adriaen, Isaack was an outstanding practitioner of the winter landscape and his early death cut short, after 11 years, a career of great promise, in the course of which he produced an extraordinary volume of work. Once he had attained artistic maturity, he began to exert an influence of his own on his elder brother. Like him, he was a prolific and accomplished draftsman.

LINKS
Farmhouse Interior (1642, 50x68cm) _ Isaack van Ostade, like his brother Adriaen, depicted peasant and low-life scenes. This untidy farmhouse interior is typical of Haarlem painting in the first half of the seventeenth century, with its low-key use of color. The painting would be taken as a warning against a dissolute life.
Interior of a Peasant House (1640, 45x40cm) _ In this almost monochrome, brownish-yellowish painting a collection of objects of the everyday life of the peasants can be seen. This peasant room is warm and large like a barn and contains a collection of everything necessary for feeding men and animals. Basket, barrel, trough, broken jug, pail, ladder, tools and fodder have been hoarded by the farmer with all the collecting instinct of a hamster. He and his family are grouped round the fireplace trying to get warm, and the man's stance, though awkward, seems to indicate that he is master of his rather poor house. The colors are all different shades of brown and yellow. The painting is signed lower right: Isak van Ostade 1640.
Pig-Killing (1642, 40x54cm) _ The occupants of the one room which constitutes the peasant's home are busy as ants about the slaughtered pig. Their faces are scarcely discernible and the children can only be recognized by their smaller size and the fact that they are playing at blowing up the bladder. The adult figures are busy at the pump-well. All their world is within the confines of this one room which the artist has painted in a variety of browns and yellows, with which he has created a rather mysterious atmosphere.
The Cut Pig (42x31cm) _ The occupants of the one room which constitutes the peasant's home are busy as ants about the slaughtered pig. Their faces are scarcely discernible and the children can only be recognized by their smaller size and the fact that they are playing at blowing up the bladder. The adult figures are busy at the pump-well. All their world is within the confines of this one room which the artist has painted in a variety of browns and yellows, with which he has created a rather mysterious atmosphere.
Winter Landscape (1643, 72x114cm) _ In his short life Isaack van Ostade painted a large number of pictures, some of genre subjects like his brother's Adriaen van Ostade, but the best are of landscape, especially winter landscapes. _ detail
A Winter Scene (1645, 49x40cm) _ Isack van Ostade was the short-lived younger brother of the painter of scenes from peasant life, Adriaen van Ostade. They were both born, lived and worked in Haarlem, and Isack was a pupil of his brother who was eleven years his senior. Isack joined the guild in 1643. His earliest paintings — the first dated picture is from 1639 — are peasant interiors dependent on Adriaen's, but towards the end of his brief career he became more interested in outdoor scenes and produced a series of beautiful and original landscapes, often set in winter. This deliberately picturesque view, its low viewpoint serving to outline the wooden bridge against the sky, is one of his finest paintings. It is rich in its treatment of the details of peasant life, whose harsh aspects (as seen, for example, in the figure of the man labouring under his load of faggots) are relieved by the pleasure taken by the child in the anticipation of skating on the frozen river.
^ Born on 02 June 1841: Federico (or Federigo) Zandomeneghi, Italian painter who died on 30 December 1917.
— His father Pietro and grandfather Luigi tried to interest him in the plastic arts, but from a very early age he showed a stronger inclination for painting. Zandomeneghi soon rebelled against their teachings, and by 1856 he was attending the Accademia di Belle Arti in Venice, studying under the painters Michelangelo Grigoletti [1801–1870] and Pompeo Molmenti [1819–1894]. As a Venetian he was born an Austrian subject, and, to escape conscription, he fled his city in 1859 and went to Pavia, where he enrolled at the university. In the following year he followed Garibaldi in the Expedition of the Thousand; afterwards, having been convicted of desertion and therefore unable to return to Venice, he went to Florence, where he remained from 1862 to 1866. This period was essential for his artistic development. In Tuscany he frequented the Florentine painters known as the Macchiaioli, with some of whom he took part in the Third Italian War of Independence (1866). Zandomeneghi formed a strong friendship with Telemaco Signorini and Diego Martelli, with whom he corresponded frequently for the rest of his life. In this period he painted the Palazzo Pretorio of Florence (1865), in which the building, represented in the historical–romantic tradition, is redeemed by a remarkable sense of air and light, elements derived from the Macchiaioli.
     Zandomeneghi moved to Paris in 1874 and identified increasingly with the Impressionists. During the late 1870s, he frequented the Café de la Nouvelle-Athènes, and became closely acquainted with Camille Pissarro, Alfred Sisley, and Edgar Degas. At Degas's insistence Zandomeneghi participated in the Impressionist exhibitions of 1879, 1880, 1881 and 1886. The critic F. C. de Syène wrote in 1879 in L’Artiste ‘Zandomeneghi has completed a bold group of paintings that have fresh, opulent, and even tonality… He is a modern who will become a forefather.’ Zandomeneghi chose almost exclusively to portray the petites bourgeoises of Paris either in the privacy of their homes, on the boulevards of Paris, or in refined social settings.
Photo of Zandomeneghi

La Conversazione (1895, 55x46cm) — Donna in Rosso (1873, 46x25cm; 2077x1000pix, 285kb) — Fillette (46x29cm) — Young Girl Reading (39x46cm) — Reading by the Window (54x46cm; 932x804pix, 198kb) — Portrait of a Young Beauty (45x38cm; 1000x783pix, 227kb)
— Donna in Nero su Fondo Rosso (524x441pix, 55kb) _ Il ritratto è semplice per composizione ed uso di campiture omogenee di colore, ma intenso per sguardo ed espressione della protagonista.
— Melle Jeanne (1901 drawing 33x20cm; 604x377pix, 60kb)
Riflessione (428x511pix, 57kb) _ Questa è una opera significativa dell'artista veneziano. Emigrato a Parigi ed entrato in contatto con i pittori impressionisti francesi, alle cui mostre partecipa, Zadomeneghi ritrae l'universo femminile nei suoi propri ambienti quotidiani. La giovane signora nel salotto di casa adornato di sculture, con libri e giornali che la accompagnano in questo momento di riflessione, non può non richiamare alla mente la suggestione di una certa parte del mondo borghese, colto e appassionato d'arte.
La Toilette (651x343pix, 70kb) _ Le movenze femminili colte in momenti di intimità e in gesti quotidiani sono tra i soggetti preferiti del veneziano Zandomeneghi, che trascorse la maggior parte della sua vita a Parigi a contatto dei pittori impressionisti, vicino in particolare ad Edgard Degas e precursore di Henri Toulouse-Lautrec.
— a very different, fully clothed La Toilette (1894 63x53cm; 480x399pix, 21kb)
— Place Blanche le matin (1911, 74x92cm; 960x1226pix, 95kb) _ The present painting is one of the artist’s finest works demonstrating a uniquely personal style which evolved from a harmonious and concrete vision of reality. La Place Blanche is a superb portrayal of ‘la vie moderne’, a study of a broad range of urban types going about their business, the fashionable young lady carrying a colourful bunch of flowers, the well-dressed gentleman in a top hat preoccupied with his newspaper, the flower sellers plying their trade and in the background a young delivery girl carrying a large hat box. In the middle distance, underneath the shade of the trees there is a glimpse of a horse and carriage and in complete contrast in the right foreground one of the first automobiles is just about to drive into the scene. The setting is La Place Blanche in Montmartre, the home of the famous Moulin Rouge, which is situated just to the right of this scene. It is so called because it was a used as a thoroughfare by the quarrymen of Montmartre and the dust from their heavy loads of plaster coated the buildings and pathways with a thick layer of white. Zandomeneghi’s studio was just around the corner in the rue Caulaincourt at the junction of the rue Tourlaque in an area popular with his fellow impressionists. Renoir and Toulouse Lautrec had studios nearby and, like Zandomeneghi they were inspired by the variety of people from all walks of life that inhabited the district. This area was famous for its nightlife, the Moulin de la Galette, located at the other end of the rue Lepic which bordered the square, was where Renoir painted Bal au Moulin de la Galette (1876, 131x176cm; 790x1073pix). The present scene is reminiscent of Renoir’s famous painting, it is peopled by men and women from similar walks of life and conveys the same relaxed, happy atmosphere in the shade of the trees in the center of the square. Movement is central to Renoir’s painting, and the characters in Zandomeneghi’s painting are equally animated, captured in one brief moment as they make their way through the streets of Montmartre.
^
Died on a 02 June:


1944 Achille Langé, French artist born on 29 April 1861. — [Quand il était bébé, il était toujours bien Langé] [Il y avait un peintre du nom de Langé / Qui ne redoutait presqu'aucun danger / Hormis d'être, par un requin, mangé, / Cet appétissant Achille Langé.]

1917 Hilda Fearon, British painter born on 14 September 1878. — The Tea Party (1916, 55x66cm) — [Who held a fear on Hilda Fearon, so that they didn't show more of her work on the Internet?]

1903 Ferencz Eisenhut, Hungarian Austrian artist who was born on 26 January 1857. — [Did he usually wear a helmet?]

1843 Johann-Heinrich-August Friedrich, German artist born on 01 July 1789.

1839 (03 Jun ?) Wijnand Jan Josephus Nuyen, Dutch painter and printmaker specialized in Landscapes, born on 04 March 1813. — [Trouve-t-on quoi que ce soit d'ennuyant en Nuyen?] — The son of a baker, he was apprenticed at the age of 12 to Andreas Schelfhout in The Hague, and from 1825 to 1829 he went to the Hague Tekenacademie, under the direction of Bartholomeus J. van Hove. With remarkable rapidity Nuyen grew into a highly productive painter of landscapes, marines and townscapes; his favorite themes were the Normandy and northern French coasts. In 1829 he was awarded a medal by the Felix Meritis society in Amsterdam for a watercolor of a forest landscape. After completing his training he made several trips to Belgium, France and Germany, sometimes in the company of A. Waldorp [1803–1866]. In 1836 he was admitted to the Koninklijke Akademie in Amsterdam, and one year before his death he married Schelfhout’s daughter. — Nuyen's students included Charles Rochussen and Charles Leickert. — LINKSShips in a French harbor at low tide (1836) — Shipwreck on a Rocky Coast (1837)

^
Baptized on a 02 June:


1658 (baptized) Nicolas Dorigny, French printmaker who died on 01 December 1746. He was trained by his father Michel Dorigny [1616 – 20 Feb 1665] but abandoned painting for engraving early in his career. In 1687 he went to Rome, summoned by his brother Louis Dorigny [14 Jun 1654 – 29 Nov 1742], producing there a series of reproductions of antique statues, published by Rossi in 1704. From Rome he went to London, where he worked for the British royal family. Between 1711 and 1719 he engraved Raphael’s cartoons of the Acts of the Apostles, for which he was knighted by George I in 1720. He returned to France suffering from eye trouble and was received (reçu) as a member of the Académie Royale in 1725. He exhibited at the Salons of 1739 and 1743. He made more than 140 prints, combining etching and engraving in an expansive, vigorous style close to that of Gérard Audran. Besides portraits, his works are mostly reproductive prints after the Italian masters, particularly Raphael, Carlo Maratti, Domenichino, Guercino and Giovanni Lanfranco.
Paulus et Barnabas Lystrae (52x76cm engraving of painting by Raphael) illustrating and quoting Act. 14:07~13:
Et quidam vir in Lystris infirmus pedibus sedebat, claudus ex utero matris suae, qui numquam ambulaverat hic audivit Paulum loquentem. Qui intuitus eum, et videns quia haberet fidem ut salvus fieret, dixit magna voce, surge super pedes tuos rectus et exilivit et ambulabat.
Turbae autem cum vidissent quod fecerat Paulus, levaverunt vocem suam Lycaonice dicentes dii similes facti hominibus descenderunt ad nos. Et vocabant Barnaban Iovem Paulum vero Mercurium, quoniam ipse erat dux verbi. Sacerdos quoque Iovis
qui erat ante civitatem tauros et coronas ante januas afferens, cum populis volebat sacrificare. Quod cum audierunt apostoli Barnabas et Paulus conscissis tunicis suis exilierunt in turbas.

Compare this anonymous engraving.

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