ART 4
2-DAY 01 March |
BIRTHS:
1886 KOKOSCHKA |
^
Died on 01 March 1704: Joseph Parrocel
“des Batailles” ou “le Vieux”,
French painter born on 03 October 1646. — He belonged to one of the most numerous French artistic dynasties, which from the 16th century produced 14 painters over 6 generations. Starting with him, they were most prominent in the late 17th century and the 18th. He and his son Charles Parrocel [06 May 1688 – 24 May 1752] were notable painters of battles and hunts. His nephew Pierre Parrocel [16 Mar 1670 – 26 Aug 1739] was a prolific painter of religious works, as was Pierre's nephew and student Etienne Parrocel “le Romain” [08 Jan 1696 – 13 Jan 1775]. | — Joseph Parrocel was taught by his father Barthélemy Parrocel [1595–1660} and then by his brother Louis Parrocel [1634–1694]. He went to Paris for four years to perfect his work and then, about 1667, to Rome, where he became the student of the battle painter Jacques Courtois and was influenced by Salvator Rosa. Parrocel remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agréé) by the Académie Royale de Peinture et de Sculpture in February 1676 and received (reçu) as a full member in November 1676, presenting Le Siège de Maastricht. His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685–1688 he made 11 paintings for the Salle du Grand Couvert at the château of Versailles; in 1699 he painted The Crossing of the Rhine for the château of Marly, Yvelines, and in 1700 he painted The Fair at Bezons, anticipating the fêtes galantes of Antoine Watteau. Parrocel was also the author of a number of hunting scenes. His most important religious paintings were The May of Notre-Dame de Paris (1694), Saint John the Baptist Preaching and Saint Augustin Secourant les Malades (1703). He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of painting and used thick impasto and intense colors. He was also a prolific engraver, producing around 100 plates, among them 25 Mysteries from the Life of Jesus Christ and 40 Miracles from the Life of Our Lord Jesus Christ. Others were for the Missale parisiense of 1685, and some depicted military subjects. — Joseph Parrocel’s students included his son Charles, his nephew Pierre, another nephew, Ignace-Jacques Parrocel [1667–1722], and the landscape painter François Sylvestre. — LINKS — Passage du Rhin par l'armée de Louis XIV, à Tolhuis (1699, 234x164cm; 1440x1260pix— or adjust the size to your liking — 186kb either way) _ Peint pour le château de Marly, ce tableau relate l'épisode militaire du 12 juin 1672. Plus pittoresque et plus tumultueuse que Passage du Rhin par l'Armée Française à Lobith de Van der Meulen [1632-1690] sur le même sujet, l'oeuvre est représentative des scènes de bataille de Parrocel influencées par Jacques Courtois et Salvator Rosa. — Bataille pour la salle des gardes du roi (1685; 748x936pix, 89kb) — Un Jeu de Dés (962x728pix, 62kb) |
^
Died on 01 March 1935: William
Degouve de Nuncques, Belgian Symbolist
artist born in France on 28 February 1867. Encouraged by his father, the eccentric descendant of an old French family, to daydream, Degouve shared a studio with Toorop, who influenced him. He was married to the sister-in-law of the Belgian poet Emile Verhaeren. In Paris he was encouraged by Rodin, Puvis de Chavannes and Maurice Denis. His paintings have a highly private quality of invention and represent places of mystery, where unexpected adventures may suddenly occur. He remained true to the imaginative intensity of his youth and continued to produce works with Symbolist themes into the Twentieth century. After the Franco-Prussian war (1870-1871), his parents settled in Belgium. Although self-taught, he was advised by Jan Toorop, with whom he shared a studio, and later lived with Henry de Groux. In 1894 he married Juliette Massin, a painter and Emile Verhaeren’s sister-in-law, who introduced him to the circle of Symbolist poets. His art, which bears the influence of poetry, transfigures reality in the sense that it affords a view of the invisible. Degouve de Nuncques belonged to the avant-garde group Les XX and later exhibited at the Libre Esthétique. He traveled widely and painted views of Italy, Austria and France, often of parks at night. He excelled in the use of pastel. Two works, in particular, demonstrate the magical quality of his work: Pink House (1892) and Peacocks (1896) From 1900 to 1902 Degouve de Nuncques lived with his wife in the Balearic Islands; he painted the rugged coastline and the orange groves. After suffering a religious crisis in about 1910, he painted pictures that revealed his tormented state of mind, and during World War I, while living as a refugee in the Netherlands, he produced only minor works. In 1919 he was overwhelmed by the death of his wife and lost the use of one hand. In 1930 he married the woman who had helped him through this crisis. They settled in Stavelot, where he devoted himself to painting snow-covered landscapes. LINKS — Night in Bruges (1897, 24x35cm) The Pink House (1892, 63x43cm) _ This painting is also known as The Shuttered House or The House of Mystery. It is said to have inspired Magritte's paintings such as Empire of the Lights. The Angels of Night (1894, 48x60cm) _ Also known as Angels in the Night. The works of Degouve de Nuncques are often a poetic evocation of childhood daydreams This is as true of The Pink House as of this nocturnal vision in which angels kiss in a ghostly, supernatural park. Nocturnal Effect (1896, 47x68cm) _ The artist often depicts isolated houses in the night and the fog, with only a few weakly lit windows to suggest that they are inhabited. The Black Swan (1896, 38x47cm) _ This pastel is characteristic of the artist's Symbolist period, when he often strove to create an atmosphere of mystery by eliminating any trace of a human presence from his delicately shaded blue and green twilight scenes — Child with Owl (1892, 41x35cm) — La sucrerie au crépuscule (1917) — The Leprous Forest (1898) — The canal (1894) — The Mysterious Forest (1900) — Courtyard in Venice (1895) — Lake Como (1897) — The Grotto of Manacor, Mallorca (1901) — Storm on the north coast (1900) |
^
Born on 01 March 1886: Oskar
Kokoschka, Austrian Expressionist
painter who died on 22 February 1980. Kokoschka was born at Pöchlarn an der Donau, Lower Austria. His mother came from a family of foresters in Lower Austria. His father came from a celebrated line of goldsmiths in Prague, but when Oskar was born his father worked as a commercial traveler for a jewelry firm. Oskar was the second of four children. A few months after he was born the family moved to Vienna, where he spend the early part of his life. In 1904 Kokoschka was awarded a state scholarship to attend the Kunstgewerbeschule (School of the Arts and Crafts). His intention was to become a art teacher. In 1908 he had his first exhibition or, more truly, he got the chance to show some of his work to the public, because The Klimt group came on a visit to Vienna. In 1909, he had his first exhibition at the "Internationale Kunstschau" and the same year he left the school. In 1910 Kokoschka went to Berlin for the first time to work with Walden. In 1912 his name became know in the art world around Europe, and he was normally on every important exhibition on the continent. In 1913 he married Alma Mahler [so der Maler married die Mahler] who built a house for him where he could work and where they lived for a year. After Alma had an abortion in 1914 their life together ended. On 01 August 1914, the First World War broke out. Oskar enlisted in one of the most prestigious regiments in the Austro-Hungarian army, the 15th Imperial-Royal Dragoons. He was send to the Eastern Front, where he got wounded. He was discharged from the army as unfit for active service. In 1918 Gustav Klimt died. Oskar wrote to his mother: "I cried for poor Klimt, the only Viennese artist who had any talent and character. Now I am his successor, as I once asked of him at the "Kunstschau", and I do not yet feel ready to take charge of that flock of lost sheep." Three years later he moved to Dresden as a professor at the academy. At this time in Germany there were fights between different political parties. In March 1920, a Rubens painting was damaged in crossfire. Oskar addressed an open letter to the population of Dresden: "I request all those who intend to use firearms in order to promote their political beliefs, …, to be kind enough to hold their military exercises elsewhere than in front of the art gallery in the Zwinger; for instance, on the shooting-ranges on the heath, where human civilization is in no danger… It is certain that in the future the German people will find more happiness and meaning in looking at the paintings that have been saved than in the totality of contemporary German political ideas." Later the same year he wrote to his family: "Since leaving Vienna I have been in love about nineteen times, all serious, single-minded ladies with plenty of heart…. Then I get love letters regularly, and they are like sunshine when the sun goes in; and so I can paint wonderful colors that glow". In 1922 he wrote to his father: "I believe, in all seriousness, that I am now the best painter on earth." [which only goes to show that he was not the best art critic] In 1923 he started the life of a traveling restless soul. He painted as we today use a camera. He traveled around and painted and traveled and painted. Later he moved to Paris and after he broke with his art-dealer he moved to Prague. During the Second World War, he was banned by the Nazi regime, but after the war he again was represented at every large exhibition. It was also then that he had his first exhibition in the US. Often his works where exhibited were jointly with those of artists such as Klimt or Schiele. Kokoschka was the founder of The Free German League of Culture, set up in London in 1939 just before the second world war started. Oskar died in a hospital in Montreux. LINKS Self-Portrait (1921) Ezra Pound (1964) Bride of the Wind (1914) |
^
Died on 01 March 1944:
Walter Elmer Schofield, US Impressionist
painter born on 09 September 1867. — Schofield was born in Philadelphia where he attended Swarthmore College and the Pennsylvania Academy of Fine Art, before leaving for Paris to study at the Academie Julian. From Paris Schofield headed to England, where he settled in the St. Ives art colony at Cornwall. Schofield is remembered for his Impressionist winter scenes, painted in England and Pennsylvania. His works were richly developed, and often infused with brilliant cobalt blues. — Schofield was born in Philadelphia to Benjamin Schofield and Mary Wollstonecraft Schofield in 1867; Schofield's father had emigrated from England to the United States about 1840.(1) He attended Swarthmore College around 1885 and then studied art at the Pennsylvania Academy of Fine Arts between 1889 and 1892. There, he studied under Thomas Anshuz, who encouraged him to pursue an art education in Europe.(2) This he did, especially at the Academie Julien, Paris, under Bouguereau, Doucet, Ferrier, and Aman-Jean in 1892.(3) He encountered both traditional and innovative studies in these schools. After 1892, Schofield spent most of his time traveling to Europe, especially to Paris; he settled for the first time in Southport, England, with his family in 1901 and later moved to Saint Ives in 1903.(4) As he settled back in England, however, he maintained his US citizenship and, in fact, spent a substantial portion of almost every year in the United States around the Pennsylvanian area in order to produce winter landscape scenes. He then spent the rest of the year with his family, creating his Cornish village paintings. — Schofield painted landscapes filled with sun and bright colors, but became best known for his snowscapes and rushing streams, with the movement of the water often shown in diagonal lines, using broad fluid strokes. He was born in Philadelphia to a very creative family. His mother was the grand niece of Mary Wollstonecraft Shelley, author of Frankenstein. He attended Swarthmore College and the Pennsylvania Academy of the Fine Arts, studying with Thomas Anshutz from 1889 to 1892. Thinking he needed to supplement his art training, he went to Paris to study for three years, 1892 to 1895, and attended the Academie Julian. However, he soon tired of the strict regimen and chose to paint directly from nature in the Forest of Fontainbleau. Later he went to England, where he eventually settled in the St. Ives art colony in Cornwall in 1903, along with his English wife, Murielle Redmayne, and children. While living in various cities in England -- Yorkshire, Southport, Bedfors, and while attending the Academy, Schofield met US expatriate artists including Robert Henri, Edward Redfield, John Sloan, William Glackens, and Everett Shinn, members of "The Eight". Rebelling against the rigidity of the National Academy, "The Eight" were a group of painters whose historic exhibition was held at the Macbeth Galleries in New York in February 1908. Not all of "The Eight" painted in a similar mode, but they were generally interested in urban realism as well as Impressionism. Although he became an expatriate, Schofield was recognized as part of the Pennsylvania Impressionist tradition. After about 1903, his Impressionist style often incorporated cobalt blues, and prevailed throughout the rest of his career. He continued to exhibit in the United States and to belong to US art organizations. In the 1930s, he traveled in the US West, painting in California, Arizona, and New Mexico. From an early age, Schofield was familiar with Bucks County, north of Philadelphia, especially when visiting friends such as Edward Redfield. As a student at the Pennsylvania Academy of Fine Arts, he painted several geographic areas. In 1904, his Center Bridge, Across the River, earned him a Carnegie Institute medal. His friendship with Redfield ended in rivalry, however, as Redfield claimed the composition was initially his own concept, that Schofield stole it, and warned him to vacate the area. Schofield agreed, but Redfields influence to his painting style would continue. Perhaps influenced by his affinity for the rugged outdoors and winters bitter elements, Schofield favored snow scenes, as seen in Bucks County and other venues of the Delaware River Valley. Marine vistas, often painted in Cornwall, England, were done in bold colors with thick, heavy brushstrokes. — Cornish Inn (1936, 76x91cm; 650x782pix, 91kb) — Cornwall (1930; 505x594pix, 50kb) — Street in Normandy (980x1100pix, 137kb) — Godolphin House (890x1100pix, 148kb) — Outer Harbor Polperro (1913; 876x1100pix, 110kb) — Mclegrenow Farm (1925; 886x1100pix, 103kb) — Boat House on a Canal (795x1000pix, 82kb) — Summer Morning (1016x1200pix, 211kb) — January Morning (1941; 768x900pix, 98kb) — Pennsylvania Barn in the Snow (830x1000pix, 86kb) — Seascape (836x1000pix, 83kb) — Boat House on a Canal (795x1000pix, 82kb) — A Cornish Village (797x1000pix, 75kb) — The Winter Woods (762x900pix, 71kb) — Hill Country (750x900pix, 63kb) — Frosty Morning (900x756pix, 51kb) |