search 7500+ artists, their works, museums, movements, countries, time periods, media, specializations
ART “4” “2”-DAY  28 JUNE
<<< 27 Jun|   |||||   CLICK FOR OTHER DATES   |||||   /29 Jun>>>
DEATHS:  1900 TROUILLEBERT — 1801 WHEATLEY — BURIAL: 1670 SORGH
BIRTHS: 1674 GHEZZI — 1529 PASSEROTTI — 1577 RUBENS — 1616 FRANCHOYS — 1884 HIGGINS
^ Born on 28 June 1674: Pier~Leone Ghezzi, Italian painter, draftsman, antiquarian, and musician, who died on 05 (06?) March 1755.
— Son of Giuseppe Ghezzi [1634-1721], Pier-Leone Ghezzi was the first professional caricaturist, but he also painted decorative frescoes and created a new type of anecdotal and realistic history painting. As a portrait painter, his works are distinguished by their fresh naturalism. He enjoyed a privileged relationship with Pope Clement XI and his family, and was patronized by the Roman nobility, high churchmen and French aristocrats in Rome. It is their world, and that of the British Grand Tourist, that he portrayed — with humor yet without malice — in his many caricatures.
— LINKS
— The Prodigal Son (1730, 98x134cm; 1446x1956pix, 504kb)
— Doctor Fossambroni (1730, 27x20cm) — 10 prints at FAMSF
^ Born on 28 June 1529: Bartolomeo Passerotti (or Passarotti, Passarotto), Bolognese painter who died on 03 June 1592.
— Except for some years in Rome (about 1551 to 1565) Passerotti worked in his native Bologna. There he had a large studio, which became the focal point of the city's artistic life. He was a pupil of Girolamo Vignola and Taddeo Zuccaro (or Zuccari), in Rome. Here, he also came into contact with the works of Correggio and Parmigianino.
      The religious paintings that were the basis of his success were fairly conventional and undistinguished, and he is now remembered for his pioneering genre scenes of butchers' shops. They reflect the influence of northern painters such as Aertsen and in their lively observations broke free from prevailing Mannerism. Annibale Carracci (whose brother Agostino Carracci studied with Passarotti) was influenced by these genre scenes in his early career. In addition to his religious and genre works, Passarotti painted excellent portraits throughout his career. His son Tiburzio (d. c. 1612) imitated his style, and he in turn had two artist sons, Gaspare and Archangelo.
— LINKS
— Holy Family with the Infant St John the Baptist and St Catherine of Alexandria (111x92cm) _ The composition follows the example of Raphael, but there are some details characteristic for Passerotti, e.g. the hand of St Catherine and the portrait-like position of St Joseph.
— The Butcher's Shop (1580, 112x152cm) _ This and The Fishmonger's Shop were originally part of a series of four. The dating of the pictures, considered to rank among the best examples of Italian genre painting, oscillates between 1578-80 and 1585-90. There are close stylistic connections between these canvases and the works of the Dutch masters Aertsen and Beuckelaer, as well as with The Butcher's Shop by Annibale Carracci (now at Oxford).
      Passerotti describes the butcher's shop with a combination of realistic precision in the rendering of details and irony in the characterization of the people. In late sixteenth century art the theme of the butcher shop was moralistically interpreted as an allegorical warning about the temptations of flesh and of indulgence in erotic passions without caution. According to the counter-reformation precepts laid down by Gabriele Paleotti (1582), veiled moral messages could be transmitted through comical pictures. In both pictures the sparrow appears: as this bird's Italian name is the passerotto, the artist used it as a type of pictorial signature.
— The Fishmonger's Shop (1585, 112x152cm) _ This painting is rich with the most minute naturalistic description, with the woman holding up the blowfish and with various types of sea shells on display reflecting Passerotti's interest in naturalistic study. A participant in the scientific culture of Bologna, of which Ulisse Aldovrandi was a protagonist, Passerotti created his own varied collection of curiosities and monstrosities.
^ Died on 28 June 1900: Paul Desiré Trouillebert, French Barbizon School painter born in 1829.
— He was a student of Ernest Hébert [1817-1908] and Charles-François Jalabert [1819-1901], and made his debut at the Salon of 1865, exhibiting a portrait. He continued to paint portraits until about 1881, when he started to concentrate on landscapes. He received some attention as a result of a court case when one of his paintings in the collection of the writer Alexandre Dumas fils was sold as a work by Corot. Indeed there is some similarity in the two painters' approach to landscapes, especially river landscapes at dawn or dusk. Trouillebert painted a wide variety of subjects, including genre scenes, portraits, nudes, and, after 1881, mainly pleasant landscapes in cool, damped colors, with a silvery glimmer in the atmosphere. .
— LINKS
— Femme Sur Un Chemin (56x46cm) — Fisherman at the River's Edge (85 x 114 cm; 742x1000pix, 190kb) — Le Pêcheur (69x81cm) — different version Le Pêcheur (65x81cm) — Village Paysan (52x81cm; 641x1000pix, 109kb)
— A Bridge over the Oise (739x1107pix)
— The Fisherman (65x81cm) [a land-and-riverscape]
— Travaux de relèvement du chemin de fer de ceinture: le pont du Cours de Vincennes (1888, 38x56cm) _ Conceived in 1851, after Napoleon III came to power, the railway encircling Paris was intended to be used to transport merchandise and, eventually, passengers. The railway represented a new convenience, but measures were needed to ensure the safety of other traffic. The numerous railway crossings included in the initial plans turned out to be a source of fatal accidents. To remedy the problem, the platforms and retaining walls were to be raised at the most dangerous spots. The Cours de Vincennes, in the eastern part of Paris, had been one of the deadliest intersections. The work on an elevated railway bridge over this street, which is depicted here, was completed in February 1889. Trouillebert concentrated on portraits until about 1881, when he began to focus on landscapes. He also painted genre (everyday life) scenes and nudes. He was commissioned by Edmé Piot, a public works contractor, to paint this and four related views of the Paris railway construction.
click for self-portrait ^ Born on 28 June 1577: Pieter Pauwel Rubens, Flemish Baroque era painter who died on 30 May 1640. His studio assistants included Jan Fyt, and his students included Anthony Van Dyck, Lambert Jacobsz, Cornelis de Vos, and Simon de Vos.
[click for 1639 self-portrait >]
  — By completing the fusion of the realistic tradition of Flemish painting with the imaginative freedom and classical themes of Italian Renaissance painting, he fundamentally revitalized and redirected northern European painting. Masterpieces include portraits and landscapes, although he is perhaps best known for his religious and mythological compositions.
—     Born in Siegen, Nassau, Westphalia, Rubens was the greatest exponent of Baroque painting's dynamism, vitality, and sensuous exuberance. Though his masterpieces include portraits and landscapes, Rubens is perhaps best known for his religious and mythological compositions. As the impresario of vast decorative programs, he presided over the most famous painter's studio in Europe. His powers of invention were matched by extraordinary energy and versatility.
            Peter Paul Rubens was born into the family of a Calvinist who had to live in exile from Antwerp. On his father's death, Ruben’s mother returned to Antwerp in 1587, where he was brought up and educated in the Catholic faith. At the age of fourteen (1591) he entered the household of a Flemish princess as a page, and began to study painting first under Tobias Verhaecht, then under Adam van Noort, and then under Otho Venius. In 1598, he was accepted as master in the Lukas Guild, though continued to work in Venius’s  workshop until 1600.  Most of Rubens' youthful works have disappeared or remain unidentified. The Portrait of a Young Man (1597; 728x523pix, 43kb) is his earliest dated work.
            In May 1600, Rubens went to Italy. In Venice he was introduced to Duke Vincenzo I Gonzaga and accepted his offer to join his court in Mantua. Gonzaga had Rubens make copies of Renaissance paintings, mainly portraits of court beauties. Rubens accompanied the duke on his travels to Florence and Rome. In Florence, in October 1600, Rubens attended the marriage-by-proxy of Gonzaga's sister-in-law Marie de Médicis to King Henry IV of France, a scene he was to re-create a quarter-century later for the queen.
      In August 1601 Rubens arrived in Rome. His first major Roman commission was for three large paintings (1601–1602) for the crypt chapel of St. Helena in the Basilica of Santa Croce.
      In 1603, the duke of Mantua sent him on his first diplomatic assignment to Spain to present a shipment of paintings to King Philip III. For Philip's prime minister, the duke of Lerma, Rubens painted his first major equestrian portrait (1603).
      Toward the end of 1605 Rubens made his second trip to Rome. In 1606 he received his crowning commission in Rome: the painting over the high altar of the Chiesa Nuova, whose precious icon Rubens enshrined in an apotheosis borne aloft by a host of putti.
      While in Italy, Rubens studied and copied Titian, Tintoretto, and Raphael, he also admired the works of his contemporaries, including Caravaggio and Carracci. The copies Rubens made of Renaissance paintings offer a rich survey of the achievements of 16th-century Italian art. During his Italian period he also produced some of his finest portraits at various princely Italian courts: The Equestrian Portrait of the Duke of Lerma (1603), Portrait of Marchesa Brigida Spinola Doria (1606).
     In October 1608 Rubens returned to Antwerp. He was commissioned to paint for the Antwerp Town Hall an Adoration of the Magi (1609). In October 1609 Rubens married the 19-year-old Isabella Brant, and he painted his Double Portrait in a Honeysuckle Bower (1610; 1400x1072pix, 106kb).
            In 1609, Rubens was appointed court painter to the Regent Albert and Isabella. He married Isabella Brant. In 1610, he built himself a large house and studio. During his Antwerp period, until 1622, he received a flood of commissions from the church, state and nobility. The Gobelin factory produced tapestries after his sketches, and engravers used his paintings, distributing the ‘Rubens style’ all over Europe. Among his best works are The Elevation of the Cross (the triptych). (1611), The Descent from the Cross (the triptych) (1614; 1228x1468pix, 122kb), The Union of Earth and Water (1618), Castor and Pollux Abduct the Daughters of Leukyppos (1618), The Battle of the Amazons (1620), Perseus and Andromeda (1621).
            His largest commission was in 1621 for a series of 21 paintings for Marie de’Medici, the Queen Dowager of France, widow of Henry IV. The paintings, describing Marie's life, were for her palace in Paris. It was not an easy work. The queen was far from being a beauty, her life was not full of interesting events, besides she was of bad temper: she had constantly quarreled with her deceased husband, Henry IV, wasted enormous sums of money, and bothered her son, Louis XIII, with constant advice so that at last he ordered her out of Paris. Rubens’s diplomatic skills were much at hand in fulfilling the order. He successfully managed it within three years to the great satisfaction of the customer.
            Between 1623 and 1631, Rubens traveled frequently on diplomatic missions, visiting London and Madrid, where he received peerages from both Charles I of England and Philip IV of Spain. Isabella Brant died in 1626; in 1630 Rubens married the 16-year-old Helene Fourment, who sat for many portraits and other works: Bathsheba at the Fountain. (1635), The Fur Cloak (Helene Fourment) (1639), The Three Graces. (1638), Rubens, His Wife Helena Fourment, and Their Son Peter Paul. (1639). After the death of Archduchess Isabella he gradually withdrew from the court and bought castle Steen near Mecheln. His last big commission was the decoration of the Spanish King’s hunting lodge, Torre de la Parada near Madrid, which he designed but was no longer able to carry out himself.
            Rubens is often called Prince of Baroque painters. In his style he successfully united  the features of Northern and Flemish art with those of Italy. His influence on the painters of his century was enormous, as it was on sculpture and architecture. He was a versatile genius and rivaled in inventive power the great minds of the Italian Renaissance. He was a humanist and classical archaeologist, a sumptuous designer of religious, historical and allegorical canvases and a supreme master in ‘pure’ landscape. Rubens was endlessly active. There are thousands of works by his hand, scattered through collections and museums across the world. The paintings amount to more than three thousand. He also gave the world the great number of pupils, the celebrated artists van Dyck, Jordaens, Snyders and Cornelis de Vos are among them.
— LINKS
— Render to Cesar the Tribute (1612, 144x190cm; 964x1260pix, 178kb — zoom to 1928x2520pix, 675kb)
 _ detail 1: Head of Christ (and that of an old man) (1152x1152pix, 80kb)
 _ detail 2: 4 Faces at left (1872x1872pix, 273kb)
  _ detail 3: 2 Faces in center (1008x1296pix, 78kb)
— Cimon and Pero (1630) — Entombment (1615)
— Sara Breyll, wife of Rogier Clarisse (1611, 118x92cm)
— Rogier Clarisse (1611, 118x91cm)
— Mars and Rhea Silvia (1620, 463x645cm) _ detail
— The Death of Seneca (1615, 182x121cm)
— Gaspard Schoppins (1605, 116x88cm) — The Emperor Charles V (1603, 75x55cm; 3110x2190pix, 2784kb)
— Leda and the Swan (1600, 64x80cm; 1857x2265pix, 1322kb) — Crocodile and Hippopotamus Hunt (1616)
— The Adoration by the Magi (1624, 447x231cm)(447x336?) _ detail _ Rubens' close involvement with the resurgence of Catholicism and the struggle for power led to the production a numerous large altarpieces. His stirring baroque ideas come to the fore in The Lance (1619-20), with its emotionally charged, highly plastic figures, and The Adoration of the Magi (1624). This masterpiece is particularly impressive because of its animated, asymmetrical composition, its marvelously gradated coloring, the spontaneity of execution and, above all, the expressiveness of the depicted figures.
— The Meeting of Abraham and Melchizedek (1625)
— The Landing of Marie de' Médici at Marseilles (1625, 394x295cm)
— Massacre of the Innocents (1621, 199x302cm)
— The Deposition (1602) _ Rubens painted his Deposition during his first stay in Rome. Rubens provides us with an extraordinary interpretation of the theme of the incarnation of the divine and human nature of Christ, suspended between death and potential future life. All the shades of the spectrum of light are apparent in the flesh tones, with an opalescence that develops that mother of pearl quality first introduced by Federico Barrocci. The impact made on Rubens by Roman statuary can be seen in the antique altar with sacrifice scenes, but above all in the strong sculptural high relief of the figures. The dense chromatic texture of the composition owes much Titian's later works, while the airy vibrato and gentle rhythms echo Correggio's achievements. The light unexpectedly bursting through the dark area of the painting provides evidence that Rubens competed in an original way with the chiaroscuro experiments of his contemporary Caravaggio.
— Virgin and Child (1604) looking upon the donors, Antoine Goubau and his wife, Anne Anthoni.
— Boy with Bird (1616, 49x40cm) _ A child of about two is shown playing with a captive bird. On the original panel, which was smaller, only the child's head was visible. Rubens made use of this study for an angel in the Madonna with a Floral Wreath in the Alte Pinakothek in Munich. Later the artist enlargened the picture on the left side, adding the hands with the bird. Although formerly taken to be a girl, the child portrayed is in all probability Rubens' first son Albert, who was born in 1614. The motif of the child playing with a bird goes back to antiquity. It also crops up frequently in Christian art. The bird symbolizes the soul or life, which passes all too quickly. In many pictures of the Virgin and Child, Jesus is portrayed holding a bird in his hand as an allusion to his death and resurrection. Whether Rubens had a similar allegory in mind when he introduced the bird into his child-portrait, or whether some particular incident in his own life motivated him, is not known.
^ Died on 28 June 1801: Francis Wheatley (or Wheatly), British painter born in 1747.
— He was trained at William Shipley’s Academy in London. In 1762, 1763 and 1765 he won prizes for drawing from the Society of Artists, and in 1769 he enrolled in the newly established Royal Academy Schools. He studied under a Mr. Wilson in 1762; this may have been the portrait painter Benjamin Wilson or, less likely, the landscape painter Richard Wilson. Wheatley was abroad in 1763, probably in the Low Countries and France, and in 1766 he made his first trip to Ireland. He was elected a Fellow of the Society of Artists in 1770 and became a director in 1774.
— A tailor's son, Francis Wheatley first was trained at William Shipley's academy in London. At age fifteen, he began winning drawing prizes from the Society of Artists. A year later, he probably traveled in Holland, Belgium, and France. Wheatley enrolled at London's new Royal Academy Schools in 1769, but by 1770 he was established enough for election to the Society of Artists. His early work consisted mainly of some interior decorative projects, small-scale, full-length portraits, and conversation pieces in Johan Zoffany's manner.
      With a fellow artist's wife, Wheatley fled to Dublin in 1779 to escape creditors. Returning to London in 1783, he painted genre pictures, portraits, landscapes, and even some history paintings with characteristic clear, pale color and free, sensitive handling. Wheatley entered the Royal Academy in 1791, but his last years were plagued by gout and debts.
      Wheatley's reputation was built on picturesque characterizations of the lower classes. While implying the benefits of good, honest work, Wheatley suited his contemporaries' taste for sentimental and moralizing subjects. His characterizations represent the more sentimentalizing vein of depicting such themes, while artists such as Jean-Baptiste Greuze, who had led the way in the genre, and William Hogarth were more overt in their moralizing treatment of such ideas.
— LINKS
— The Industrious Cottager (1786, 184x137cm) _ A woman sits outside a cottage mending a cabbage net, while a boy looks over her shoulder as he eats. Francis Wheatley characteristically painted working-class women at their tasks, using clear, pale colors and free, sensitive handling. Such paintings suited his contemporaries' taste for moralizing subjects that sentimentalized the less fortunate.
— Lord Aldeburgh Reviewing Troops (1782) — The Gamesters (1786, 19x23cm)
— A Family Group in a Landscape (1775, 102x127cm) _ Wheatley was born and trained in London, and in 1769 was one of the first students admitted to the newly founded Royal Academy. Although he initially practised as a landscape painter, by the mid 1770s he had become a popular painter of small-scale portraits and informal ‘conversation-pieces’. His characteristic neat draughtsmanship and clear colours are evident in this handsome family group. The identity of the sitters is, as yet, unknown. From the 1780s onwards, Wheatley turned increasingly to sentimental domestic scenes that were perfectly attuned to the genteel sensibilities of the period. Many of these subjects were engraved, and the popularity of these engravings enhanced Wheatley’s reputation.
— Man with a Dog (1775, 98x74cm) — Enniskerry (1783, 17x27cm)
^ Born on 28 June 1616: Lucas Franchoys II, Mechelen Flemish painter and etcher who died on 03 April 1681.
— Like his brother Pieter Franchoys [20 Oct 1606 – 11 Aug 1654], Lucas probably underwent further training in Antwerp after initial studies under his father Lucas Franchoys I [23 Jan 1574 – 16 Sep 1643]. Rubens was his master for many years. He is first mentioned as a painter in 1649 in connection with commissions for churches in Tournai, where he lived for some years. Works done in this period include The Adoration by the Shepherds (1650). Cornelius de Bie mentioned a six-year stay in France, perhaps a confusion arising from Tournai’s proximity to the French border. He returned to Mechelen by 1654 and painted altarpieces and other religious compositions for many of the churches, monasteries and convents there (e.g. the Saint Roch altarpiece, 1671). One of his patrons was Archbishop Alphonse de Bergues, whose portrait he painted.
— Homme au pourpoint entrouvert (118x93cm) _ Bon exemple de portrait distingué et baroquisant, vers 1650, dans cette manière vandyckienne, si répandue chez les peintres flamands du milieu du XVIIe siècle. Catalogué comme Van Dyck jusqu'en 1979.
— Saint Michael (1649)
^ Buried on 28 June 1670: Hendrick Maertenszoon Rokes Sorgh (or Sorch, de Sorch), Rotterdam Baroque painter born in 1611.
— His father, Maerten Claeszoon Rochusse (or Rokes), a market bargeman, was nicknamed ‘de Sorch’ (‘the Careful’) after his manner of handling cargo; Hendrick Sorgh held the official post of market barge captain for the Rotterdam–Dordrecht line from 1638 until his death. — His students included Abraham Diepraam.
— Sailing Vessels in a Strong Wind (1660; 862x1112pix, 55kb)
— A Woman playing Cards with Two Peasants (1644, oval 26x36cm; 420x551cm, 28kb) _ Sorgh worked in Rotterdam and specialized in peasant scenes. This and Two Lovers at a Table illustrate ways in which women can make fools of men. Here, the woman cheats the peasant of his hard-earned money; his basket of eggs and the duck suggest that he is on his way to market. His foolishness is mocked by the older man holding a clay pipe.
— Two Lovers at Table (1644, oval 26x36cm; 420x552pix, 25kb) _ Here, the procuress behind the door on the left will make the man pay dearly for the young woman's favors. The panel was probably cut down to an oval after it was painted.
^ Born on 28 June 1884: William Victor Higgins, US painter who died on 23 August 1949.
— He studied under Robert Henri. An itinerant sign painter gave Victor Higgins his first paints in Shelbyville, Indiana. He studied and later taught at the Art Institute and Academy of Fine Arts, Chicago. From 1910 to 1914, he painted at the Académie de la Grande Chaumière in Paris, and at the Academy in Munich. In Paris he met Walter Ufer, a rough, blunt Chicagoan. Although Higgins' opposite, he shared a mutual antagonism for the academic style. Back in Chicago, Ufer and Higgins found a patron who commissioned both to paint the New Mexico landscape.
      Higgins moved to Taos, New Mexico in 1914, joining the Taos Society of Artists in 1915. He exhibited with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. He was a guest at the Annual Meeting in 1924.
      In 1899, at age fifteen, Higgins went to Chicago, where he studied and worked until 1911. He then traveled to Europe, studying in England, Belgium, Germany, and France, returning to Chicago in the spring of 1913. While becoming established as an important figure on the Chicago cultural scene, he attracted the attention of Mayor Carter H. Harrison.
      In November of 1914, Harrison sponsored Higgins's first trip to the small town of Taos in northern New Mexico. It was a trip of great consequence, because for the remainder of Higgins's life, Taos would be the inspiration and Chicago a receptive market for his canvases. He became a member of the Taos Society of Artists along with E. Irving Couse, Joseph Henry Sharp, Oscar E. Berninghaus and others. However, Higgins was considered the "loner" in this group, as he preferred one-man shows of his nontraditional Southwest subjects over exhibiting with others of the Society.
— LINKS
— Fiesta Day (1918, 132x142cm.) _ This is a critical painting in the artist's career. In a 1917 Chicago Sunday Herald article, Higgins described the Taos Native Americans as "a people living in an absolutely natural state, entirely independent of all the world." He saw them as "self-supporting, self-reliant, simple and competent," and most important, as having "dignity in spite of their lack of riches, and nobility in spite of their humble mode of living." Higgins undoubtedly began work on Fiesta Day the same year. An oil sketch and photograph from the estate of the artist's daughter, Joan Higgins Reed, in the Museum of Fine Arts, Museum of New Mexico collection, supports the contention that he began the picture before 1918. It was exhibited for the first time in the Twenty-second Annual Exhibition of Works by Artists of Chicago and Vicinity (19 February to 17 March 1918). Higgins seems to describe his subjects in Fiesta Day with his Chicago Sunday Herald words, however, he rejected the usual practice of romanticizing the Native American, so often evident in his colleagues' canvases. Rather, the figures are stripped of their heroic and idealized qualities. His pictures are as much about New Mexico light, composition, and the quality of the painted surface as they are about the Pueblo people.
      The success of Fiesta Day was to affect the direction Higgins's art would take. An article in the Chicago Examiner of 16 March 1918, reveals that a controversy arose over its selection as the First Logan Prize winner. The writer, Marcus, reported heated battles over the painting's alleged flaws: "Fists used vociferously over its quality." As the critics pronounced the colors untrue and the anatomy of the horses ill-proportioned, supporters of Higgins praised the canvas as being "splendidly decorative" and creating an "exquisiteness of distance." In truth, both sides of the controversy had failed to understand Higgins's intentions with the painting. Following the completion of Fiesta Day, Higgins all but abandoned using the Native American as a subject. For the next three decades, as he explored forms of Impressionism, Cubism and Modernism, it was the townscape, still life, occasional portrait, and, in particular, the landscape that became his strength.
— Winter Funeral (1931) _ This modernist work has been described by Higgins's biographer as the "culmination of all of Higgins's training, exploration, and experimentation in oil and watercolor." The somber scene is intensified by the abstracted patterns, dark, bold colors and "dry brushwork" framing the canvas. It was awarded the William M. R. French Memorial Gold Medal in 1932, given by the Art Institute of Chicago Alumni Association, as well as the $1,000 First Altman Prize in the National Academy of Design's 107th Annual Exhibition. Pictured in the New York Times, the paper's art critic credited the NAD jury with "picking well," claiming that, "This large and beautiful painting . . . is easily one of the best achievements of the academy show; powerful and original in treatment, honestly dramatic and full of intensely felt harmonies." Indeed, this "intensely felt" work was Higgins's response to the death of his mother. It is believed that a funeral he attended in Taos for a young boy killed in an automobile accident may have provided the imagery for this painting, but it was not the catalyst. In this work, death strikes both humanity and nature, yet there is still hope for life. A patch of blue sky is visible through the storm clouds. Despite its acclaim, Higgins was unable to sell the painting.
— On the Quay (1912)
— Taos from the Hillside (66x75cm) — Mountain Forms #2 — Valley Spring — Arroyo Landscape (1933)
— (Lonely squaw?) — (Taos house at sunset?) — (Mountains in Moonlight?) — (Mountains at sunset?)


Died on a 28 June:

1848 (11 June?) Jean-Baptiste Debret, French painter and draftsman, active in Brazil, born on 18 April 1768. When very young he accompanied his cousin, Jacques-Louis David, on a trip to Italy from which he returned in 1785. He then enrolled in the Académie Royale de Peinture et de Sculpture in Paris, initially following parallel studies in civil engineering but soon devoting himself to painting. Between 1798 and 1814 he entered several of the annual Paris Salons with historical or allegorical paintings, Neo-classical in both spirit and form, for instance Napoleon Decorating a Russian Soldier at Tilsit (1808). He also collaborated at this time with the architects Charles Percier and Pierre-François Fontaine on decorative works.
     With the fall of Emperor Napoleon Bonaparte I, whom Debret greatly admired, he agreed to take part in the French artistic mission which left for Brazil in 1816. He stayed there longer than the rest of the group, returning to France only in 1831. During those years spent in Rio de Janeiro and in neighbouring provinces, he was in the vanguard of local artistic life, still in its infancy. He founded and encouraged the Academia Imperial das Belas Artes, of which he became professor of history painting. He painted many historical works such, as the Acclamation of Peter I (1822). He and two other members of the French mission, the architect Auguste-Henri Grandjean de Montigny and the sculptor Auguste-Marie Taunay [1768–1824], were responsible for preparing the decorations in Rio de Janeiro for the celebrations in 1818 acclaiming John VI as King.

1801 Martin Joachim Kremser Schmidt, Krems region Austrian painter born on 25 September 1718. He was apprenticed briefly to Johann Gottlieb Starmayr ( fl 1720–40), and from 1741 he worked independently. His oeuvre is informed by thorough study of examples of early Baroque painting in Austria and also of the rich collections of prints and drawings in the monasteries of Göttweig and Dürnstein. Through these works Schmidt familiarized himself with the Venetian repertory of form (which he may also have studied while travelling in northern Italy). Schmidt paid particular attention to the prints of Jacques Callot and the prints and drawings of Rembrandt; the latter encouraged Schmidt to practise drawing in ink. Figures derived from Rembrandt’s types recur in a number of variations in the staffage of Schmidt’s altarpieces. While his drawings are retardataire in character, his manner of incorporating the types he adopted into his paintings is quite inventive.

1721 Isaac Sailmaker, British painter born probably in 1633. — Landscape (10x28cm)

Born on a 28 June:

1927 Tibor Csernius, Hungarian artist.

1891 Helmut Macke, German artist who died in 1936. — Related? to August Macke [1887-1914]? — [Was one of them known as “the big Macke”?]

1875 Charles Constantin Joseph Hoffbauer, French US painter who died in 1957. He studied under Gustave Moreau. — LINKS — Wintery Evening in Times Square (1927)

1869 Mario Puccini, Italian artist who died on 18 June 1920.

1866 Otto Pilny, Swiss artist who died in 1936.

1846 Otto Piltz, German artist who died on 20 August 1910.

1759 (02 June?) Jan Ekels II, Dutch painter and draftsman who died on 04 June 1793. He was first trained by his father, Jan Ekels I [1724–1781], and from 1774 to 1781 attended the Amsterdam Tekenacademie. He won prizes in the annual competition for life drawing in 1779 and 1781. In 1776 he went to Paris for two years to further his studies before returning to Amsterdam. Possibly influenced by the revival of interest in Dutch 17th-century art, he became a painter of portraits, genre pieces and ‘moderne gezelschappen’ (modern conversation pieces). In 1783 he travelled along the Rhine in Germany with his friends Daniel Dupré [1752–1817] and Jacques Kuyper [1761–1808], visiting the collections at Düsseldorf and Mannheim. After his return in 1784 he became an active member of the Felix Meritis society.

1609 Pieter van Lint, Antwerp painter and draftsman who died on 25 September 1690. Before becoming master of the Antwerp Guild of Saint Luke in 1632, van Lint worked for several years with Artus Wolffort; he recorded their collaboration in his diary. During these years he frequently copied the more famous paintings in Antwerp’s churches, not only those by Peter Paul Rubens, but also works by older masters such as Marten de Vos and the Francken brothers. His earliest known painting, an Adoration by the Shepherds (1632), shows a clear indebtedness to Wolffort’s style, which was in the pre-Rubensian, academic manner of Otto van Veen. Van Lint was active also in Italy.

TO THE TOP
PLEASE CLICK HERE TO WRITE TO ART “4” JUNE
http://h42day.0catch.com/art/art4jun/art0628.html
http://members.xoom.virgilio.it/all42day/art/art4jun/art0628.html
http://www.artcyclopedia.com/art42day/art0628.shtml
updated Saturday 28-Jun-2003 18:23 UT
safe site site safe for children safe site