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ART “4” “2”-DAY 22 November
^ Died on 22 November 1911: Valentin Alexandrovitch Serov, Russian painter specialized in portraits, born on 07 January 1865.
—  Serov was born into the family of composer Alexander Nikolayevich Serov [11 Jan 1820 – 20 Jan 1871 Gregorian]. In 1872-1873 the little boy with his widowed mother, née Bergman, lived in Munich, where he had lessons from the artist K. Kepping. In 1874, they moved to Paris, where Valentin regularly visited the studio of Ilya Repin, who was very fond of the little boy. In 1875, the Serovs came to live at Abramtsevo, the estate of the industrial tycoon Savva Mamontov, and the cultural center of the time, where artists, musicians and actors were always welcome.
      Valentin grew up in an atmosphere of constant creativity, which characterized the Mamontovs’ household. He was lucky in getting a professional education from early childhood from the best Russian artists, and he soon showed himself to be a remarkably precocious draughtsman. He would catch the likeness of a model often more quickly and surely than the older artists in the ‘facetious drawing competitions’, which were so much a part of the gay and idyllic life of Abramtsevo. At the age of 15 Serov entered Academy of Arts in the class of professor Pavel Tchistykov. There he met his lifelong friend Vladimir Derviz. His first exhibited works Girl with Peaches. Portrait of Vera Mamontova. (1887) and Girl in the Sunlight. Portrait of Maria Simonovich. (1888) were a sensation. Critics called them a new word in painting. At the time of painting them Serov was unfamiliar with the works of the French Impressionists, yet he came very close to Renoir in these luminous, sunny, splendidly composed portraits.
      Serov tried himself in different genres: he was a beautiful landscape painter in a more sensuous and less nostalgic vein than another teacher of his, Isaac Levitan: Pond in Abramtsevo. (1886), The Overgrown Pond. Domotcanovo. (1888), Village. (1898), Watermill in Finland. (1902). Serov’s historical paintings are also of value and interest: Peter II and Princess Elizabeth Petrovna Riding to Hounds. (1900), Peter the Great. (1907).
      Serov became the most successful and brilliant portraitist in Russia of the 1890s and first decade of the 20th century. His most famous portraits are Portrait of the Actress Maria Yermolova. (1905), Portrait of Henrietta Girshman. (1907), Portrait of Ida Rubenstein. (1910), Portrait of Princess Olga Orlova. (1911).
He traveled much, participated in exhibitions in Russia and abroad. In 1897-1909, Serov taught in Moscow School of Painting, Sculpture and Architecture. He was a superb technical master of the many media in which he practiced and that too did not fail to impress his students. Among his students were N.N. Sapunov, M.I. Mashkov, P.V. Kuznetsov, N.P. Krymov, K.S. Petrov-Vodkin, C.Y. Sudeykin, K.F. Yuon and others. In 1903, he was elected the academician of the St. Petersburg Academy of Arts.
Self-Portrait (1883)

Died on a 22 November:

^ 1907 Paula Modersohn-Becker, German painter born on 08 February 1876.— [She was not her moder's sohn but her tochter] — She was trained in Bremen in 1892 and subsequently studied in London. From 1894 to 1896 she took a teacher’s training course at her family’s insistence but then with their permission attended the Berlin Malerinnenschule, from 1896 to 1898. In 1897 she met members of the artists’ colony in Worpswede, near Bremen, and in the autumn of 1898 she moved there, believing that in this unsophisticated farming village she could more easily achieve her artistic objective of simplicity. Her teacher was Fritz Mackensen, but her friendship with the painter Otto Modersohn [1865–1943] was more important to her artistic development. She soon, however, came to feel that further progress depended on fresh experience. On 31 December 1899 she left for Paris, where she attended the Académie Cola Rossi. In Paris she first saw paintings by Cézanne, which confirmed her own artistic aims. — LINKSOld Peasant Woman (1905, 79x58cm) — Mädchen mit Blütenkranz im Haar aka Brustbild Elisabeth mit Blütenkranz und blauen Schleifen im Haar (1901; 600x776pix, 198kb) — Mädchen mit Blumenkranz aka Brustbild der Schwester Herma mit Marienblümchenkranz (1903; 600x416pix, 113kb) — Stilleben mit Äpfeln (1903; 600x739pix, 191kb) — Stilleben mit Blumen (1906; 600x435pix, 156kb)

^ 1890 Frank Buchser, Swiss painter born on 15 August 1828. He was self-taught; his career as a painter began in Rome in 1847 while he was serving in the papal Swiss Guard. He lived in Paris between 1849 and 1850 and worked in the studio of his cousin Victor Schnetz. Schnetz’s intensely emotive Romantic style influenced Buchser’s work for many years, even after he had embraced Realism, as can be seen in Salvator Rosa among the Robbers (1857; priv. col., see exh. cat.). He visited England in 1853 and was introduced to landscape painting. Apart from portraits (which accounted for a large proportion of his income throughout his life) Buchser produced several landscapes in England, which already revealed the plein-air elements characteristic of such later works as Landscape near Scarborough (1874) and Storm at Sea near Scarborough (1873 ). LINKSVillage Street in Woodstock, Virginia (1867) — Landscape near Scarborough (1874) — The Farmer (600x901pix, 213kb) — The Beggar Girl (600x336pix, 81kb) — Pastoral Idyll in the Jura (600x800pix, 202kb)

1843 Pieter Frans de Noter, Belgian artist born on 23 February 1779. — [à noter: pas de Noter dans l'internet]

1822 Peter Paul Joseph Noël, Belgian artist born on 11 April 1789.

1781 Jan Ekels I, Amsterdam Dutch painter born on 21 November 1724. Father and first teacher of Jan Ekels II [28 Jun 1759 – 04 June 1793].

^ 1726 Antonio-Domenico Gabbiani, Italian painter born on 13 February 1652. He was first trained by the Medici court portrait painter Giusto Suttermans and then with the painter Vincenzo Dandini. On 20 May 1673 he arrived in Rome, where he studied for three years under Ciro Ferri and Ercole Ferrata at the Accademia Fiorentina. He responded in particular to the paintings of Pietro da Cortona and Carlo Maratti who were both to be important influences on him. Though not precocious, Gabbiani became one of the most noted painters from the Accademia. After a period in Venice (1678–9) with the portrait painter Sebastiano Bombelli, he was in Florence in 1680. By 1684, the year in which he executed an Annunciation (destr.) for the Palazzo Pitti, he was an independent painter. His first important public commission, the Saint Francis de Sales in Glory (1685) for the church of Santi Apostoli, Florence, shows the influence of Maratti in its grandiose composition and that of Dandini in the treatment of figures. In Prince Ferdinando de’ Medici Gabbiani found a particularly loyal patron, and he painted his portrait, Ferdinando de’ Medici and his Musicians (1685). One of the works executed for Ferdinando was possibly a portrait of his sister, which Chiarini has identified with the painting of Anna Maria Luisa de’ Medici (1685). Further works from this period are the group portrait of Three Musicians at Ferdinando’s court and a Group of Courtiers (1690) — The students of Gabbiani included Giovanna Fratellini, Ignazio Enrico Hugford, Benedetto Luti, Giovanni Battista Ranieri del Pace, Tommaso Redi.
The Abduction of Ganymede (1700; 451x700pix, 78kb) _ An eagle, who may be Zeus in disguise, or else is sent by Zeus, takes up the young shepherd Ganymede to Mount Olympus to be the immortal cupbearer to the gods. The abduction of Ganymede has been seen as an allegory referring to the flight of the intellect, liberated from earthly desires, toward the heaven of contemplation.
_ Compare:
The Abduction of Ganymede (1532, 163x70cm; 800x331pix, 72kb) by Correggio
The Abduction of Ganymede (1575; octagon 800x798pix, 172kb) by Mazza
The Abduction of Ganymede (1635, 171x130cm; 1090x780pix, 127kb) by Rembrandt van Rijn
The Abduction of Ganymede (1000x453pix, 106kb) by Peter Paul Rubens

1658 Abraham van Cuylenborch (or Cuylenburg), Dutch artist born sometime between 1610 and 1620.

Born on a 22 November:

1864 Wilhelm List, Austrian artist who died on 09 February 1918.

1860 Cecilio Pla y Gallardo, Spanish painter.

1788 Albertus-Jonas Brandt, Dutch artist who died on 1821.

^ 1787 Anthony-Vandyke Copley Fielding, British painter who died on 03 March 1855. The third son of Nathan Theodore Fielding (fl 1775-1819), he was named after van Dyck and John Singleton Copley. He was the best known and most prolific of the Fielding brothers: Theodore Henry Adolphus Fielding [1781 – 11 Jul 1851], Frederick Felix Ferdinand Raffael Fielding [1784–1853], Thales Fielding [1793 – 20 Dec 1837], Newton Limbird Smith Fielding [1797–1856], and sister Amelia Fielding [1785–]. It is difficult to unravel the Fielding oeuvre, as the family were close collaborators.
     The family moved around England: in 1788 they were in Acton (London), and from 1794 to 1799 they lived in Durham; by 1800 they were back in London and then in 1804 they moved to the Lake District, first living at Ambleside and then at Keswick. Such moves were presumably an attempt to capture the market for picturesque landscape and were not unusual among this class of painter. Fielding Sr. painted small canvases of the Cumberland scenery, which his sons and daughter then copied. After their mother died about 1806, the family moved to Manchester and then to London.
     Copley Fielding was highly proficient, particularly in watercolor. Copley first worked closely with his father, going with him to Liverpool in 1807 and then to Wales in 1808. Their works of 1804 were said to be indistinguishable. He studied under John Varley in 1810 and exhibited at the Society of Painters in Water-Colours for the first time that year. He maintained a lifelong relationship with the Society, acting as treasurer from 1813, secretary from 1815 and president (elected 1831). He married Susannah Gisborne, Varley’s sister-in-law, in 1813 and from 1816 divided his time between Brighton and London. He made frequent sketching tours, exhibiting many hundreds of views at the Water-Colour Society in the course of his life. — The students of Copley Fielding included Theodore Henry Adolphus Fielding, Conrad Martens, John Ruskin. — LINKSA View in Sussex (1834, 23x34cm)

1648 Pierre-Antoine Patel II, French painter who died on 15 March 1707. Like his landscapist father Pierre Patel I [1605 – 05 Aug 1676], he was independent of the Académie Royale, and on 23 July 1677 he was admitted into the Académie de Saint-Luc. About 50 paintings by him survive, as well as gouaches such as Landscape, which are usually dated to the last 15 years of his life. He presumably learnt his skill as a painter from his father. Their canvases are often confused and at first sight are very similar. A Landscape with the Vision of Saint Eustace with very brown tonality is his first signed and dated work (1673). In 1699 he painted a series of 12 landscapes representing the months for the Jesuits’ convent of the Maison Professe (now St Paul–St Louis), Paris. These were confiscated during the French Revolution, but nine have been rediscovered, for example his Winter, which has an element of fantasy also present in the later work Dawn (1705).
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