DEATH:
1596 TIBALDI |
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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. LINKS Clown (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) |
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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. |
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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 |