http://h42day.0catch.com/art/art4mar/art0324.html
http://members.xoom.virgilio.it/all42day/art/art4mar/art0324.html
http://www.artcyclopedia.com/art42day/art0324.shtml
updated Sunday 23-Mar-2003 3:12 UT
site safe for children 
| BIRTH:
1862 BENSON |
| ^
Died on 24 March (or 24 January) 1829:
Jean-Louis Demarne (or de Marne), French
painter born on 07 March 1752. — Demarne was born in 1752 in Brussels where he was baptized on 22 January 1754. In 1764 he came to Paris where he studied at the Académie 1769-77 under the history painter G. Briard. He first visited Switzerland and the Dauphiné in 1776 with N.-A. Taunay, and the sight of Karel Dujardin's works in the Randon de Boisset collection (sold in 1777) confirmed his inclination to paint picturesque scenes rather than history pieces. In 1779 he exhibited a landscape 'dans le goût de Karle Du Jardin' at the exposition de la jeunesse. He was agréé in 1783 (Paysage avec animaux) and showed regularly at the Salon 1789-1827. His work, which also included village fairs and guard-room scenes, was profoundly influenced by seventeenth-century Dutch masters, such as Wouwerman, Potter, Palamedesz, and Lingelbach. He never signed or dated his pictures and the titles of his exhibited works are repetitive. In 1806 he was commissioned to paint Napoléon et Pie VII à Fontainebleau (landscape by A. Dunouy). He worked for the Sèvres porcelain factory 1809-13 and made a number of landscape and figure etchings. He died at Batignolles, near Paris, on 24 January 1829. — Jean-Michel Diébolt [1779–] was as student of Demarne. — Landscape with Gothic Monument — Foire à l'Entrée d'un Village (36x50cm) — Une Route (1814, 50x61cm) — Entrevue de Napoléon et du Pape Pie VII dans la forêt de Fontainebleau, le 25 novembre 1804 (1808, 180x219cm) — Women and Soldiers Revelling (1787, 49x57cm) — The Elixir (49x60cm) |
| ^
Born on 24 March 1862: Frank
Weston Benson, US Impressionist
painter, who died in 1951. — Born in Salem, Massachusetts, Frank Benson was a painter of impressionist seascapes and landscapes, often with figures posed by his wife and children and also numerous hunting scenes. He spent most of his life in the seaport town of Salem and loved trekking through the countryside for his subject matter, especially wildlife. He is credited with making the US sporting print a distinct art form and for being one of the outstanding 20th-century wildlife printmakers. He was a teacher in Portland, Maine at The Society of Art, and in Boston at The Museum of Fine Arts, where he and his good friend Edmund Tarbell established it as a top-notch institution. He studied art in Boston at the Museum School of Fine Arts and in 1883 in Paris with Boulanger and Lefebvre at the Academie Julian during the French Impressionism movement. By the early 1900s, he had a very successful career and was a member of the Ten American Painters, a prestigious group of early impressionists. He was a life-long hunter, and it was said that he knew birds as only a sportsman can. He worked in both etching and drypoint and was lauded for his clear design, the naturalness of his birds and hunters, and the mastery of etching techniques. In 1900, Benson discovered the pleasures of North Haven Island off the coast of Maine, and from that time, he and his family spent every there, even purchasing a farm where he had a studio. There his style became increasingly impressionistic. Midway through his career as a recognized oil painter, he began to paint with watercolors, perhaps inspired by Winslow Homer's use of that medium to show hunting scenes in the Adirondacks. In 1921, Benson became a serious watercolorist while on a fishing expedition to the Gaspé Peninsula of Quebec, and from that time until his death in 1951, he created nearly six hundred watercolors. — LINKS — Indian Guide 1927 Oil on canvas 32.01 x 40.00 inches / 81.3 x 101.6 cm Private collection Added 10/23/2001 The Punter 1926 Watercolor 14.49 x 18.50 inches / 36.8 x 47 cm Private collection Added 10/23/2001 Two Duck Hunters 1926 Watercolor 25.79 x 20.00 inches / 65.5 x 50.8 cm — The Sisters, 1899, oil on canvas, IBM Corp. at Armonk, New York. 83KB Mrs. Benjamin Thaw and her Son, 1900, oil on canvas, Berry-Hill Galleries at New York. 60KB Lady Trying On a Hat, 1904, oil on canvas, The Museum of Art at the Rhode Island School of Design. 78KB Sunlight, 1909, oil on canvas, Indianapolis Museum of Art. 72KB Girl Playing Solitaire, 1909 — Summer (1890, 127x102cm) — Autumn and Spring, two companion paintings (1895, each 76x64cm) — 20 prints at FAMSF |
| ^
Died on 24 March 1476 (or 24
April 1484, or in 1496): Antonio Vivarini da Murena,
Italian painter born in 1415 — Antonio Vivarini was active 1440-1480, father of Alvise Vivarini and older brother of Bartolomeo Vivarini. His students included Carlo Crivelli. — Vivarini, family of Venetian painters of the mid- and late 15th century. Their work represents a transition from the traditional stylized Gothic- and Byzantine-inspired school to the more realistic Renaissance-influenced manner of the 1500s. The brothers Antonio Vivarini and Bartolomeo Vivarini (1432-1499) collaborated on religious polyptychs with linear, often stiff figures and vertical architectural backgrounds, all enclosed in ornate gilded frames. Alvise Vivarini (1446-1505) was the son of Antonio. — LINKS — Marriage of St. Monica (1441, 46x31cm) _ This small panel, together with others which have recently been identified, made up an altar-piece dedicated to St. Monica in the Church of S. Stefano in Venice. The domestic scene is set in the courtyard of a bourgeois household and embodies Antonio Vivarini's timid attempts at rendering spacial perspective. It demonstrates too the extent to which his world, suspended between the new and the old, acknowledged the importance of Renaissance rules. In contrast with the uncertain definition of the architecture in terms of perspective, the details of costume and the physical and spiritual gestures of the characters are carefully recorded. — Triptych (1446, 339x200cm central, 339x138cm each side) _ In this grandiose triptych Antonio Vivarini, helped by his brother-in-law Giovanni d'Alemagna (active 1441-1450), achieved a highpoint of balance between the International Gothic tradition now in decline, and the rising Renaissance. A natural light lends tenderness to the holy figures. The Virgin, however, sits rigid like a Byzantine empress on a Gothic throne, surrounded by Masolinoesque angels who are holding the poles of the high canopy almost as if it were a game. The saints Gregory and Jerome on the left and Ambrose and Augustine on the right, stand immobile in their heavy ecclesiastical garments shining with gold and color. The holy scene appears constrained by the marble walls with their Gothic fretwork, set in a perspective as improbable as it is ostentatious. The sumptuous static scene is a final dazzling reminder of a fairy-tale world. _ detail _ The picture representing Saints Gregory and Jerome is the left canvas of the triptych _ detail 2 _ The picture representing the Enthroned Virgin and Child is the central canvas of the triptych. _ detail 3 _ The picture representing Saints Ambrose and Augustine is the right canvas the triptych. — Virgin and Child (1441, 56x41cm) _ While at Padua and even in Venice itself some of the main figures of the new art of Tuscany were working to the laws of perspective and in the conviction of the conscious dignity of man as an individual, Venetian painting reacted to the promptings of the new culture almost with reluctance, filtering them through a vision which in substance was still Gothic. This is the context of the work of Antonio Vivarini and Jacopo Bellini (1400-1470), both founders of dynasties of artists, and both crucial figures in the period of transition in Venice from the first to the second half of the fifteenth century. This 'Madonna and Child' belongs to Antonio Vivarini's earliest period and is characterized by a certain plasticity of shape and form arising out of the gentle throbbing of the chiaroscuro and the luminous timbre of the color. |
site safe for children