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ART “4” “2”-DAY  16 November
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BIRTH: 1787 NAVEZ
^ Born on 16 November 1787: François Joseph Navez, French Neoclassical painter, specialized in History Painting, active in Brussels, who died on 12 October 1869.
—      After studying at the Brussels Académie des Beaux-Arts and winning first prize at the 1812 Ghent Salon, François-Joseph Navez received a grant to visit Paris. He was taught by Neoclassical painter Jacques-Louis David and returned to Brussels when David was exiled there in 1816. In technique and naturalism, Navez's works strongly reflect David's influence. While in Italy from 1817 to 1821, he became a fervent admirer of Jean-Auguste-Dominique Ingres, and his portraits began to reflect something of Ingres's combined Neoclassical and Romantic sensibilities.
      Upon returning to Brussels, Navez was disappointed to discover he was considered a mere portrait and genre painter rather than a history painter. Being David's heir-apparent also put him out of step with Brussels's new artistic climate, where Romanticism was the fashion. Around 1830 Navez became director of the Brussels Académie. He was able to adopt a sugary Romantic style, but he could not accommodate the vogue for Belgian Realists at the Brussels Salon of 1851. Navez stopped exhibiting but continued painting. He resigned from the directorship of the Académie in 1859. Hard of hearing and blind, he devoted his last years to his correspondence, which is now a rich source of information on mid-nineteenth-century artistic life.
. — LINKS
— Self Portrait (1826)
— The Massacre of the Innocents (1824, 117x134 cm). This unusual depiction of the Massacre of the Innocents, signed and dated 1824 on the golden bowl in the foreground, is one of a series of religious paintings which Navez executed following his return from Rome in 1821. Here, the slaughter of the children of Bethlehem of two years old and under, as King Herod sought to rid himself of the Christ Child (Matthew 2:16), is depicted only in a frenzied vignette on the upper left. Rather than mayhem, Navez explored the personal, intensely emotional dimensions of the tragedy. His use of half-length figures close to the picture plane, and of saturated colors reminiscent of 17th-century Flemish traditions, recall the history paintings that David was executing at the same time. The painting moves away from Davidian naturalism, however, towards a more austere purity of line and stylization of form which owe a debt to Ingres, as does the languid arm that the mother in the center folds across her head. The enamel paint surface that Navez achieves is also reminiscent of Ingres. Original to Navez, perhaps, is the anti~clockwise pinwheel movement of the four heads on the right which comes to a halt in the confrontation of profiles on the left.
— The Gaspard Moeremans Family (1831 and 1833, 223x163cm; quarter-size 247kb; ZOOM IN on main detail 3/8 size, 299kb) _ Gaspard Moeremans was a successful Belgian banker. When Navez painted this portrait in 1831, Moereman's wife, Marie Matthieu, was pregnant. The artist left a space in his composition and added the infant son later. He dated the picture for a second time on the hem of the baby's dress.
— The Fortune Teller (1849, 117x133cm)
— A Woman with a Turban (1826, 42x35cm)
— A Lady with a Letter (1827, 71x61cm; 1212x1000pix, 222kb)

Died on a 16 November:

^ 1955 John Alfred Arnesby Brown, British painter born on 29 March 1866. Sir John Arnesby Brown was born in Nottingham on 29th March 1866 and spent his early years there. He studied at the Nottingham School of Art under Andrew MacCallum, and went on to study under Herkomer at Bushey from 1889-1892. He exhibited works at the Royal Academy from 1890 as well as the Tate Gallery in London, and further afield in Nottingham, Liverpool and Cape Town. He was elected A.R.A. in 1903, and then R.A. in 1915. He spent the next few years alternating between Haddiscoe, Norfolk and St Ives in Cornwall, and later took a house in Chelsea. A retrospective exhibition of his work was held in 1935 at Norwich Castle Museum, and in 1938 he was knighted. Sir John Arnesby Brown is best known for his Norfolk and Suffolk landscapes although he did paint some portraits. Together with his contemporary, Edward Seago, Arnesby Brown captured the changing seasons and weather conditions of the East Anglian countryside. He is at his best painting the expansive vistas and skies of the region with strong contrasts of light and shadow. — The Line of the Plough (63x76cm; 428x512pix, 21kb) _ Sir Arnesby Brown was a Royal Academician who deliberately resisted Modernist influences, and a landscape painter known for his views of East Anglia. This painting was exhibited in 1919, the year after the end of the First World War. Like other artists of this post-war moment (including Stanley Spencer), Brown enfolds the sweeping movement of the plough into the perspectives of the landscape. This suggests a harmonious integration that may have been particularly appreciated in contrast to the shattered landscapes of the war in France and Belgium. — Full Summer (364x350pix, 24kb) — Summer pastures (16x23cm; 311x450pix, 19kb) — Autumn Morning (1898 lithograph; 584x422pix, 119kb)

1917 Leopold Horowitz, Hungarian Jewish painter born on 11 January (02 February?) 1838 in Kassa (now Kosice, Slovakia). After attending drawing classes in Kassa, he continued his studies at the Akademie der Bildenden Künste in Vienna. In 1860 he won a scholarship, enabling him to travel to Paris, where he settled, painting mostly portraits and genre pictures. In 1868 he moved to Warsaw, where he completed the biblical composition Anniversary of the Destruction of Jerusalem and painted a series of portraits of Polish and Russian aristocrats. Horovitz had his greatest success with his portraits, for which he was internationally renowned. Like Fülöp Elek László, and several other Hungarian portrait painters, Horovitz was able to travel widely in order to carry out portrait commissions. Between 1901 and 1906 he painted Emperor Francis Joseph five times. He also painted a number of leading figures in Hungarian political, scientific and literary circles, for example Ferenc Pulszky (1890).

1903 Lord Edwin Weeks (or Weecks), US artist born in 1849.

1893 Reinhard Sebastian Zimmermann, German artist born on 09 February 1815.

1849 (15 Nov?) Etienne-Barthélémy Garnier, French painter born on 24 August 1759. — Relative? of Michel Garnier (1753-1819)? — Although he was given a sound Classical education to prepare for the magistrature, he found a painter’s career more alluring. Despite his late start, he had an impeccable record of success in competition with the pupils of Jacques-Louis David, whose influence he mostly resisted. Trained by Louis-Jacques Durameau, Gabriel-François Doyen and Joseph-Marie Vien, he won second place in the Prix de Rome competition in 1787 with Death of Sedecius (Le Mans, Mus. Tessé) and first place in 1788 with a strenuously rhetorical Death of Tatius (Paris, Ecole N. Sup. B.-A.). Although his stay in Italy was abruptly ended by the Roman crisis of 1793, he completed before his return to Paris the course work and other pictures, including an academic study of Saint Jerome and several Classical subjects.


Born on a 16 November:

^ 1865 William Samuel Horton, US Impressionist painter who died in 1936. He studied under Benjamin-Constant and Jean-Paul Laurens. Horton was born into a wealthy Grand Rapids, Michigan family and brought up in Lisbon, North Dakota. He began to paint at an early age, for at the age of seven, he apparently won a prize at a state fair with a composition of roses. In 1877, Horton began to work for North West Magazine as an illustrator, a position he held for two years. At fourteen, he taught drawing. His parents were opposed to his choice of profession and in 1883, he left home without family support to attend the Art Institute of Chicago. By 1886, Horton was in New York to study at both the National Academy of Design and at the Art Students League. He exhibited at the National Academy of Design for the first time in 1888. Horton married Lottie Gray in 1892; she was from a well-off New York family. In 1895, Horton went to Paris where he studied under Benjamin-Constant [1767-1830] at the Académie Julian. His first one-man show was held back in New York in 1897 at the Salmagundi Club and he exhibited both at home and abroad throughout the rest of his career. He won a gold medal at the International Exposition in Nantes in 1904 and a bronze medal in 1905 at Orleans. After the death of his wife in 1932, Horton made three trips around the world including Norway as part of his itinerary. He died in London in 1936. Horton worked in oil, pastel, and watercolor. He developed his hallmark impressionist style using a bold, bright palette while studying in Paris; later his work would become more expressionistic. Since he was financially secure, Horton sold few of his works during his lifetime. — LINKS — A Country Road In England (64x78cm)

^ 1722 Clément-Louis-Marie-Anne Belle, Parisian history painter and tapestry designer, who died on 29 September 1806, son of Alexis-Simon Belle [12 Jan 1674 – 21 Nov 1734].— {Paris being in the northern third of France, neither of them could correctly be called a southern Belle. But were their mothers belles before they became Belles as the bells rang to celebrate their marriages?} — Clément Belle was trained by the history painter François Lemoyne and visited Rome. From 1755 he worked for the Gobelins, painting tapestry cartoons adapted from pictures by his contemporaries and from his own designs. In 1759 his altarpiece The Atonement, a work that demonstrates Belle’s gifts as a colorist, achieved great success at the Salon. Two years later he was received (reçu) as a history painter by the Académie Royale. Among his surviving works for the Gobelins is a cartoon of Leda and the Swan (1778) in the manner of François Boucher, designed to add a new subject to the famous tapestry series The Loves of the Gods. In 1788 Belle was commissioned by Louis XVI’s Directeur des Bâtiments, the Comte d’Angiviller, to design cartoons in triptych format for tapestries to decorate the Palais de Justice, Paris. He was later called on to transform them into Republican allegories by the Revolutionary authorities. The resulting monumental canvases, Allegory of the Republic and Allegory of the Revolution (both 1794), display the classicizing yet dynamic characteristics that Belle could achieve in his compositions. In 1790, shortly before its dissolution, he became Rector of the Académie Royale. Clément Belle's son Augustin-Louis Belle [1757–1841] was also a history painter, working in the Neo-classical style.

^ 1682 Jan Josef Horemans I “le Brun” or “le Sombre”, Antwerp Flemish artist who died on 07 August 1752 (1759?). He was a student of the sculptor Michiel van der Voort I and then of the Dutch painter Jan van Pee [<1640–1710], who was active in Antwerp. Horemans joined the Guild of Saint Luke in 1706–1707. He appears to have followed in the footsteps of the 17th-century Flemish genre painters, executing a few portraits and a large number of small anecdotal pictures that were highly prized on the market. In paintings such as The Village School and The Cobbler’s Shop (both 1712), The Musical Company (1715) and The Card-players he represented scenes from contemporary everyday life that combine observation with a certain degree of stiffness. Most of his paintings are signed. In 1746, together with his son Jan Josef Horemans II “le Clair” [bap. 15 Jan 1714 – >1790], he painted The Abbot of Saint Michel Visiting the Order of the Fencing Oath. — Peter Jacob Horemans [26 Oct 1700 – 1776] was the brother of Jan Josef Horemans I — Garden with Figures on a Terrace (1735)
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