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ART “4” “2”-DAY  09 JUNE
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DEATHS: 1963 “VILLON” — 1901 MORAN
BIRTHS: 1597 SAENREDAM — 1849 ANCHER
^ Born on 09 June 1597: Pieter Janszoon Saenredam (or Zaenredam), Dutch painter who died on 16 August 1665 (or was buried on 31 May 1665?). — [¿Se enredan con Saenredam?]
      — Painter of architectural subjects, particularly church interiors, active in Haarlem. Saenredam, the son of an engraver, was a hunchback and a recluse, but he was acquainted with the great architect Jacob van Campen, who may have played a part in determining his choice of subject. He was the first painter to concentrate on accurate depictions of real buildings rather than the fanciful inventions of the Mannerist tradition. His pictures were based on painstaking drawings and are scrupulously accurate and highly finished, but they never seem pedantic or niggling and are remarkable for their delicacy of color and airy grace. The Cathedral of St. Bavo (where he is buried) and the Grote Kerk in Haarlem were favorite subjects, but he also traveled to other Dutch towns to make drawings, and Utrecht is represented in several of his paintings. He also made a few views of Rome based on drawings in a sketchbook by Marten van Heemskerck that he owned. His work had great influence on Dutch painting.
— Pieter's father, Jan Pieterszoon Saenredam [1565-1607] is best known as a gifted engraver and draftsman in the circle of Hendrick Goltzius. Besides his artistic activities, he invested wisely in the Dutch East India Company and made sufficient profits to ensure that his only son, Pieter, need not ever depend on painting for his living. Pieter was nevertheless enormously successful as a painter; he is generally appreciated as the artist whose depictions of actual church interiors established a new genre in Dutch painting. While important precedents occur in the work of other artists (mainly Flemings, such as Hendrik van Steenwyck), no painter or draftsman before Saenredam had the interest, tenacity, or the art market to support a career largely devoted to this speciality.
     His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, coloring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam’s designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck [1566–1628].
LINKS
Interior of the Church of St Bavo in Haarlem (1636; 1600x933pix, 176kb)
Interior of the Church of St Odulphus at Assendelft, seen from the Choir to the West (1649)
The Old Town Hall of Amsterdam (1657)
^ Died on 08 June 1963: “Jacques Villon” (Gaston Duchamp), French Cubist painter, printmaker and illustrator, born on 31 July 1875, half-brother of Marcel Duchamp and Raymond Duchamp-Villon. — [Villon vit long? et large?]
— The oldest of three brothers who became major 20th-century artists, including Raymond Duchamp-Villon and Marcel Duchamp, he learnt engraving at the age of 16 from his maternal grandfather, Emile-Frédéric Nicolle (1830–94), a ship-broker who was also a much appreciated amateur artist. In January 1894, having completed his studies at the Lycée Corneille in Rouen, he was sent to study at the Faculty of Law of the University of Paris, but within a year he was devoting most of his time to art, already contributing lithographs to Parisian illustrated newspapers such as Assiette au beurre.
      At this time he chose his pseudonym: Jack (subsequently Jacques) in homage to Alphonse Daudet’s novel Jack (1876) and Villon in appreciation of the 15th-century French poet François Villon; soon afterwards this new surname was combined with the family name by Raymond. Marcel Duchamp and their sister Suzanne Duchamp [1889–1963], also a painter, retained the original name.
      Villon’s work as a humorous illustrator dominated the first ten years of his career, but from 1899 he also began to make serious prints, exhibiting some for the first time in 1901 at the Société Nationale des Beaux-Arts in Paris. By 1903 he had sufficient reputation in Paris to be an organizer of the first Salon d’Automne. He consciously began to expand his media in 1904, studying painting at the Académie Julian and working in a Neo-Impressionist manner. His printmaking style, formerly influencd by Toulouse-Lautrec, moved towards the fashionable elegance of Paul César Helleu.
— André Fougeron was a student of “Jacques Villon”.
LINKS
Girl in a hat and veil (1925, color aquatint, 40x28cm) (after Henri Matisse, but, in my opinion, not much like Femme au Chapeau, 1905)
L'Envolée (color lithograph 27x46cm) — Coursier (lithograph printed in colors, 29x45cm)
Les Yeux Futiles (1956, etching and color aquatint, 15x14cm)
Les Lampes (1951) — Duo Galant (1905) — Abstraction (1927)
Two Women on a Terrace by the Sea (1922, color aquatint, etching, and roulette, 48x61cm)
Autre temps: 1830 (1904, color aquatint and drypoint, 44x35cm) — Jacques (1924)
^ Born on 09 June 1849: Michael-Peter Ancher, Danish painter who died on 19 September 1927. — [Was Michael-Peter Ancher my kelp-eater rancher's equal?]
— He studied at the Kongelige Akademi for de Skønne Kunster, Copenhagen (1871–1875), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. Ancher first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament.
      In Will he Manage to Weather the Point? (1880) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher’s skill at grouping large numbers of figures with heroic monumentality compensates for his lackluster color sense. A change in his use of color is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883), a subject he repeated three times.
— Michael Ancher was 25 years old in July 1874 when he went to Skagen, which is the northernmost part of Denmark. He was from the southmost part of the country. He could not get into the National Art Academy, because he was not born in the right place or time. At the time he came to Skagen, the village was already known for the properties of its light. But it was Michael Ancher that invited most of the other artist to come on holiday in the village. In Skagen he invited artist like Oscar Bjørck, Viggo Johansen, P.S. Krøyer, Christian Krohg. It was no doubt because his work for the most time was about the fishermen and their family that he got to be an artist.
      He worked much with the poor people in Skagen, almost every painting he made, was a story from these people's daily lives. Ancher did not paint “happy pictures”, but he had a understanding for the color in Skagen, and in almost every painting he used this light to give his pictures that feeling of the land. In the painting Lunch in the Garden, there is a party, but the people are not happy, they are just there, but on the trees in the background Ancher used the light and shadow in an elegant way. No other painter has used his talent on the fishermen and their lives like Ancher did. In 1880 he married Anna Kirstine Brøndum, who thus became Anna Ancher [18 August 1859 – 15 Apr 1935], who is considered to be more important as a painter than he is. Their daughter Helga Ancher [1881–1964] also became a painter.
Fishermen Returning Home (1899) — Two FishermenFour Fishermen
Girl with Sunflowers (1893) — Lunch in the Garden (1905) — Young Girl Knitting (1880)
A. Ancher and M. Krøyer (2 ladies in long dresses walking away, one of them is the artist's wife)
Sea Promenade (1896)
^ Died on 08 June 1901: Edward Moran, US painter born on 19 August 1829. — [That's Moran, NOT Moron.]
— Edward Moran, the oldest of the artistic Moran brothers, was acknowledged as the impetus behind the family's entry into the art world. "He taught the rest of us Morans all we know about art," stated his famous younger brother Thomas Moran [12 Feb 1837 – 26 Aug 1926]. The other brothers were Peter Moran [1841-1914], who specialized in painting animals in landscapes, and John Moran [1831-1902], a landscape photographer. Two of Edward's children, Percy Moran and Leon Moran, were artists also.
      During a long and successful career, Edward Moran became a member of the Philadelphia Academy of the Fine Arts and an Associate of the National Academy of Design. After working at a variety of trades, he turned to painting in the early 1850s. The first twenty-seven years of his artistic career were spent in Philadelphia, where he studied painting under the marine painter James Hamilton and under the landscapist Paul Weber. In 1861, Moran-traveled to London for additional instruction at the Royal Academy, and in 1871 he relocated to the New York area, where he remained for the rest of his life. Seascapes were Morans forte. By the 1880s, the artist was considered such an expert on the subject that his "hints for practical study' of marine painting were published in the September and November, 1888, issues of The Art Amateur. After his death, an admirer wrote that "As a painter of the sea in its many moods and phases, Edward Moran ... had no superior in America."
— Edward Moran, brother of artist Thomas Moran, was born in Bolton, Lancashire, England. He began his professional life there as a weaver. In 1844 his family immigrated to Maryland, and soon thereafter Edward, the eldest of twelve children, left to work in a cotton factory in Philadelphia. His employer was impressed with Moran's sketches, which covered the factory walls and machine frames, and advised him to pursue an art career. First studying in Philadelphia, both Edward and Thomas returned to England in 1847 for further study. Edward began his formal career back in Philadelphia in the mid-1850s, a time when that city was experiencing the height of the United States' clipper ship production. The artist finally settled in New York City in 1872, where he spent the remainder of his life. It was in Philadelphia in the 1850s that Moran came under the influence of James Hamilton [1819-1878], a prominent Irish-born marine painter known for his silvery tones and loose accents of light. In 1861 Moran returned to England with his brother and made sketches along the Channel coast. Through Hamilton and his own trips abroad, Moran developed a style based primarily upon English painting of the seventeenth and eighteenth centuries and seventeenth-century Dutch painting.
     Moran saw a distinction between decorative and scientific marine painters and aligned himself with the latter. Believing the decorative painter achieved handsome effects at the expense of fidelity, Moran advocated gaining scientific knowledge as a tool in art and even suggested the use of a portable camera. Moran was also a history painter, yet most closely identified himself as a marine painter. He chose a marine painting to represent his work in a portfolio published by the Artists Fund Society. In 1894 The Art Amateur proclaimed Moran "the best known painter of the sea in the United States." Upon his death in 1901, it was commonly admitted that Moran "had no superior [in marine painting] in America." Yet he was not mentioned in major texts of the early twentieth century, and his name makes only a brief appearance in more recent studies of marine painting. His obscurity may be attributed to the fact that he has been and remains today in the shadow of his more famous brother, Thomas.
LINKS
Shipwreck (1862, 76x102cm) — Half-Way Up Mt. Washington (1868, 76x128cm)
Good Morning (1889; 107kb)
Shipping in New York Harbor (539x790pix, 108kb) — New York Harbor (484x797pix, 111kb) — Ships at Sea (56kb)
^
Died on a 09 June:


1945 Antonin Prochaska (or Prochazka), Czech artist born on 05 June 1882. — [Was Prochaska a pro asker?]

1855 Piotr Michalowski, Polish painter born on 02 July 1800. — [Did Michalowski love ski?] — Born into a noble family, he studied (1815–1818) at the Jagiellonian University in Kraków, simultaneously taking drawing and painting with several local teachers. After travelling to Vienna, then Warsaw (1817–1818), he continued his studies (1821–1823) at Göttingen before entering the service of the Ministry of Finances of the Kingdom of Poland in Warsaw as an unsalaried official. In January 1826 he obtained a permanent position in the ministry, and in June 1827 he was appointed head of the whole of the state’s metal industry. In 1828 and 1830 he made official journeys to Germany, France and England and, during the Polish uprising of 1830–31, organized the production of munitions for the Polish army in his factories. In February 1831 he married Julia Ostrowska and, after the failure of the uprising, resigned from his ministry post and left for Kraków, in March 1832 moving on to Paris with the intention of establishing himself as a professional painter.

1798 Johann Georg Pforr, German artist born on 04 January 1745. — Relative? of Franz Pforr [1788-1812] ?— [The artist with the pfunny name?]

1676 Hendrik-Jacobszoon Dubbels, Dutch artist born in 1620 or 1621. — [Did Dubbels paint doubles?]

^
Born on a 09 June:


1864 Floris Arntzenius, Duch artist who died in 1925. — [Did anyone ever tell him: “Arntzenius, you arn't zerious!”?]

1737 Henri-Joseph Antonissen, Flemish artist who died on 04 April 1794. — [Is it true than Anthony sends Antonissens out of New York state to avoid the sales tax?]

click for portraits1672 (30 May Julian) Pyotr Alekseyevich, who would be Peter I “the Great”, tsar of Russia, jointly with his half-brother Ivan V from 1682 to 1696, then alone until his 08 February (28 Jan Julian) 1725 death, after having greatly modernized and expanded Russia, and having been proclaimed imperator in 1721, quite fittingly, as Russia has been an imperialist power ever since. — He was not a painter, of course, but his portrait was painted by Paul Delaroche [17 Jul 1797 – 04 Nov 1859] in 1838 (119x88cm) , Aleksei Petrovich Antropov [14 Mar 1716 – 12 Jun 1795] in 1772, Andrey Matveyev [1702 – 04 May 1739] in 1725, Ivan Nikitin [1680-1742+] in 1717, Nikitin again in 1726, Grigoriy Musikiysky [1670-1740] in 1723.

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