search 7500+ artists, their works, museums, movements, countries, time periods, media, specializations
ART “4” “2”-DAY  27 MAY
<<< 26 May|   |||||   CLICK FOR OTHER DATES   |||||   /28 May >>>
DEATH: 1596 TIBALDI
BIRTHS: 1871 ROUAULT — 1883 BOTKE
BIRTH OF DANTE who would inspire much art
^ Born on 27 May 1871: Georges~Henri Rouault, French Fauvist and Expressionist painter, printmaker, ceramicist, and stained glass artist, who died on 13 February 1958.
— He studied under Gustave Moreau [1826-1898]. Rouault drew inspiration from French medieval artists and united religious and secular traditions divorced since the Renaissance. Although he first came to prominence with works displayed in 1905 at the Salon d’Automne in Paris, in the company of paintings by Henri Matisse and other initiators of Fauvism, he established a highly personal and emotive style. His technique and palette were also highly personal, and they ranged from watercolor blues to a rich, thick application of materials. These demonstrate, in their very complexity, not only originality but also the craft of the artist always in search of a greater form of expression. Even though he never stopped observing mankind, his deep religious feeling allowed him to imbue his work with great spirituality. 
LINKSClown (1922) — Vieux Roi (1937, 1000x671pix, 236kb) — Automme (1938) — La Parade [de cirque] (1907, 65x96cm) — Christ and the Doctors (1937, 36x30cm) — Christ [crucified] (1936) — Head of Christ (1939)
63 prints at FAMSF one of which is Le Dictateur (22x15cm) and another is La Favorite (22x16cm)
^ Died on 27 May 1596: Pellegrino Tibaldi da Bologna, a leading Italian Mannerist artist successful both as a painter and as an architect. Pellegrino’s frescoes reveal the strong influence of Michelangelo, while as an architect he fulfilled the requirements of the Counter-Reformation. He was born in 1527. — Brother of Domenico Tibaldi [18 Apr 1541 – 1583]
— Pellegrino Tibaldi’s early paintings show the influence of Bagnacavallo and of other Bolognese followers of Raphael, but his actual teacher is unknown. The Mystic Marriage of St Catherine (1545) is, in its classical, hierarchical simplicity, clearly inspired by Raphael’s manner as interpreted by his Bolognese imitators; although it also bears delicate marks of Parmigianino’s grace, the power of its expressive dignity and the architectural background hint at Tibaldi’s future development. Tibaldi’s Adoration by the Shepherds (1546) shows an attempt at more elaborate composition, but its overtly Mannerist elements—perhaps derived from Vasari, as well as from Parmigianino—were not sufficiently digested to be fully integrated into the design. — Orazio Samacchini was a student of Tibaldi
— A builder's son, Pellegrino Tibaldi began his career with an unknown teacher in Bologna before he was thirteen. His early style combined the classicism of Innocenzo da Imola and Raphael's followers with an elegant Mannerist draftsmanship influenced by Parmigianino. Tibaldi's years in Rome were critical to defining his mature style. Arriving around 1645, he worked with on frescoes in Castel Sant'Angelo. His combination of muscular Michelangelesque Mannerism with his own graceful Mannerist style earned him the opportunity to complete the commission after his mentor's death in 1547.
     Summoned to Bologna around 1555 by Cardinal Giovanni Poggi, Tibaldi painted witty frescoes in the Palazzo Poggi, now the university, depicting the story of Ulysses. Extravagant posturings and combinations of forms created striking patterns that made space appear expansive and elastic. Pupils from the Carracci Academy studied his frescoes, and his ceilings directly inspired Annibale Carracci's decorations in the Palazzo Farnese gallery in Rome. After twenty years as architect for Cardinal Carlo Borromeo, Tibaldi traveled to Spain at the invitation of King Philip II in 1586. There he supervised the decoration of the Escorial and spread Mannerism to Spain through his vast output. Rich and ennobled, Tibaldi returned to Milan in 1596 and died shortly thereafter.
LINKS
Adoration of the Christ Child (1548, 1155x770pix, 127kb) Pellegrino Tibaldi (Pellegrino da Bologna) was influenced by Perin del Vaga during a stay in Rome in 1547 (as seen in the decoration of the Castel Sant' Angelo). Later he orientated towards Michelangelo. In his Adoration of the Christ Child, Pellegrino Tibaldi surrounds the infant Jesus by a whirling crowd of worshipping figures reminiscent of the angels and the damned in the Last Judgement in the Sistine Chapel.
Madonna con Bambino (64x51cm, 600x477pix) _ The strangely intersecting arms create a powerful composition of protection and restraint. The color has the translucent quality of a fresco.
^ Born on 27 May 1883: Jessie Hazel Arms Botke, US decorative painter who died on 02 October 1971.
— Born to English parents in Chicago, Jessie Arms Botke spent much of her free time as a child sketching and painting. At the age of fourteen she took art classes at the School of Art Institute of Chicago. When she graduated from high school, she enrolled as a full-time student at the Institute. During her summer vacations she participated in intensive painting workshops in Michigan and Maine, which led to her first exhibition at the Art Institute’s American Annual in 1904. After school, Botke worked in wall decoration and book illustration and refined her skills as a decorative artist. Inspired by an exhibition of friezes, decorations and tapestries from Herter Looms of New York, Botke moved there in 1911 and immersed herself in the city’s artistic climate. Several years later, she was employed at Herter Looms where she worked on tapestry design, painted panels and friezes, and began to specialize in painting birds.
     In 1914, Jessie Hazel Arms met design artist Cornelius Botke in Chicago and they married a year later. Together, the Botkes worked as artists in Chicago, Illinois and San Francisco and Carmel, California, and they traveled often to New York City and Europe. They both worked on major art commissions and held their largest joint exhibition in 1942 at the Ebell Club, a conservative women’s club for the advancement of women and culture. When Jessie’s eyesight began to fail in 1961, she continued painting small watercolors until surgery and contact lenses restored her vision and she resumed painting full-time. A stroke in 1967 destroyed her ability to paint and she died four years later at the age of 88.
     The indomitable Jessie Botke was one of the most celebrated decorative painters of the twentieth century. From her early plein-air landscapes to her decorative friezes and imaginary scenes, she arrived at a richly intricate mature style in the 1930’s. Working in an era when many women artists were forced to abdicate their careers, Botke successfully integrated her painting with her personal and public life. That her work was accepted in the teens and twenties, and yet remained relevant in the sixties, is a testament to her staying power and the sheer beauty of her paintings.
LINKS
Black Peacocks with Japanese Persimmons (107x128cm) _ This is representative of Botke's detailed, intricate style and her signature gold leaf technique, whereby thin sheets of gold are applied to the canvas or panel. Botke specialized in depicting birds such as peacocks, flamingos, geese and pelicans, often against an imaginary landscape or a background of exotic flowers and plants. As in many of her peacock images, the elaborate tail feathers of the black peacock take up a large portion of the canvas. In 1849, Botke wrote about her fascination with birds, “My interest in birds was not sentimental, it was always what sort of pattern they made.”
White Peacocks and Copa de Oro (1939) — The Ranch (1925) — Cockatoos with Matilija Poppies (66x81cm) — White Cockatoos and Loquats (1930, 74x86cm) — Japanese Sacred Cranes
^
Died on a 27 May:


1973 Jacques Lipchitz, Lithuanian~French Cubist sculptor born on 30 August 1891. — LINKSStudy for a Sculpture (etching 35x28cm)

1837 William Anderson, British artist born in 1757.

1785 Jean-Baptiste-Louis Le Paon, French artist born in 1736, 1737, or 1738.

1734 (28 May?) Claude Audran III, French painter born on 25 August 1658, son of engraver Germain Audran [06 Dec 1631 – 04 May 1710 buried], and brother of engravers Benoît Audran I [22 Nov 1661 – 02 Oct 1721] and Jean Audran [28 Apr 1667 – 17 Jun 1756]; and grandson of engraver Claude Audran I [1597 – 18 Nov 1677]. — He trained under his uncles painter Claude Audran II [27 Mar 1639 – 04 Jan 1684] and engraver Girard Augran [02 Aug 1640 – 25 Jul 1703]. He was solely a decorative artist, specializing in painted paneling, harpsichord cases and so on; he was, however, able to renew the genre with his arabesques, grotesques and singeries. He worked at Versailles, Anet, Marly, Sceaux, Meudon and La Muette. He also made many tapestry cartoons for the Gobelins, including the Douze mois grotesques (1699) and the Portières des dieux. His decorations are now known mainly through his many drawings. His style influenced the decorators of the Régence. Watteau [1684-1721] was one of his pupils.

1733 Carel van Faleus, Dutch artist born on 24 November 1683.

1717 Nicolas Colombel, French painter born in 1644. After studying under Pierre de Sève (1623–95) in Paris, he travelled before 1680 to Rome, where he was profoundly influenced by Raphael and, above all, by Poussin, whose drawings and paintings he copied. In 1682 he sent to Paris four paintings of subjects taken from the life of Christ, which are his first surviving works. They are Christ Expelling the Money-changers from the Temple — Christ Healing the Blind Man — Christ and the Woman Taken in Adultery — and Mary Magdalen Brought before Christ. Elected to the Accademia di S Luca in Rome in 1686, he was back in Paris by 1693 at the latest. Colombel, supported by Pierre Mignard, was approved (agréé) and then received as a full member (reçu) by the Académie Royale in 1694. There he became an associate professor (1701) and then professor (1705). He exhibited at the Salons of 1699 and 1704. Three dated paintings of this period — Mars and Rhea Silvia (1694), Bacchus and Ariadne (1699), and Fabius Maximus (1704) — reveal the powerful influence of Mignard and a late return to the austere style of Poussin. Colombel’s depiction of mythological and religious subjects also included Saint Hyacinth Saving the Image of the Virgin (1695)

^
Born on a 27 May:


1913 Otto Alfred Wolfgang Schultze-Battmann Wols, German artist who died on 01 September 1951.

1887 (23 May?) Jakob Steinhardt, German Israeli printmaker and painter who died in 1968. He attended the Akademie der Künste in Berlin in 1906 and in 1907 studied painting under Lovis Corinth and etching under the German painter Hermann Struck [1876–1944]. Steinhardt went to Paris in 1907 and there he studied first under Jean-Paul Laurens, then under Matisse and Théophile-Alexandre Steinlen. After returning briefly to Berlin in 1910 he visited Italy the following year. In Berlin again in 1912 he co-founded Die Pathetiker group together with Ludwig Meidner and the German painter Richard Janthur (b 1883); they had their first group show at the Sturm-Galerie that year. The group emphasized dramatic content over artistic form and the resulting works, such as Steinhardt’s painting The City (1913), reveal the characteristic Expressionist style. Die Pathetiker (1912), a portfolio of the group’s work, included etchings by Steinhardt.

1881 Adolf Erbslöh, German artist who died in 1947.

1868 Charles E. Prendergast, US painter who died in 1948; brother of Maurice Brazil Prendergast [10 Oct 1858 – 01 Feb 1924]. — LINKSCircus (1940)

1858 Juan Jiménez y Martín, Spanish artist who died in 1901. — Related? to Luis Jiménez Aranda [1845-1928]?
Landskap
1616 Antoni Goubau (or Antoine Goubeau, Goebauw, Goubaie), Flemish painter who died on 21 March 1698. In 1629 he was apprenticed to Jan Farius and seven years later became a master in the Antwerp Guild of St Luke. He lived in Rome from 1644 until 1650. He is known primarily as a painter of market scenes situated in Roman or Mediterranean settings and often decorated with many tiny figures. His journey to Italy and his introduction to the work of such masters as Paul Bril, Jan Miel, Michiel Sweerts and Johannes Lingelbach were of decisive importance for his development. On his return to Antwerp, he painted Italianate landscapes in the style of Bartholomeus Breenbergh and Jan Both. Rather than rendering exact topographical views, he wanted to evoke a Roman atmosphere. His earliest dated work, the Market Scene near the Triumphal Arch of Titus (1658), illustrates this clearly. Actual architectural features, such as the Arch of Titus and the ruins of the Temple of Saturn in the Forum Romanum, are combined with imaginary structures or buildings from elsewhere. The artist wanted to give a kind of synthesis of what could be seen in Rome. Other works, however, such as the View of the Piazza Navona (1680), reveal a more specific topographical interest. Apart from townscapes, he also made a number of religious compositions, mostly intended for churches in Antwerp. — [Image: Ett sydligt landskap med marknad >]

^
Happened on a 27 May:

1265 Birth of Dante Alighieri, who would inspire much art, for example:
A page from a Divina Commedia codexLa barque de DanteDante drinking the waters of the Lethe Beatrice Meeting Dante at a Marriage Feast, Denies Him Her SalutationDante's dream at the death of Beatrice The First Anniversary of the Death of Beatrice: Dante Drawing the Angel Beatrice addressing Dante from the whirlDante and Virgil entering Purgatory
Salvador Dali's illustrations for The Divine Comedy: http://narthex.com/gallerya.htm
Portraits of Dante: Allegoricalby Botticelliby Castagnoby Raphaelby Signorelli.

MORE ON DANTE AT HISTORY “4” “2”DAY

updated Tuesday 27-May-2003 1:24 UT
TO THE TOP
PLEASE CLICK HERE TO WRITE TO ART “4” MAY
http://h42day.0catch.com/art/art4may/art0527.html
http://members.xoom.virgilio.it/all42day/art/art4may/art0527.html
http://www.artcyclopedia.com/art42day/art4may/art0527.shtml

safe site
site safe for children safe site