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ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” OCT 22 ||| ALTERNATE SITES

ART “4” “2”-DAY 22 October

DEATH: 1902 FAED — 1906 CÉZANNE

BIRTHS: 1791 PETTER — 1796 MICHALLON — 1925 RAUSCHENBERG — 1879 SMITH — 1882 WYETH

^ Born on 22 October 1791: Franz Xaver Petter, Austrian painter specialized in Still Life. He died on 11 May 1866.
— The tradition of painting detailed, carefully observed arrangements of flowers began in seventeenth century Holland, but remained popular and continues to be practiced in our own time. The still life is an ideal subject matter for the artist to display both his or her talent in describing different textures, as well as an individual sense of order and harmony. In nineteenth century Vienna, the still life was a standard subject at the Academy of Arts and was a favored subject with the Imperial Court, which collected examples by the Dutch masters and by local Viennese painters. Among these artists, Franz Petter distinguished himself as a disciplined and sensitive creator of still life subjects. Petter painted large opulent still lifes for Viennese homes which provided him with a regular income; but it was his small-scale studies of flowers and fruit that established his lasting reputation for their meticulous craftsmanship, compositional clarity, and sense of simplicity and intimacy.
— An Arrangement of Flowers with a Bird's Nest — An Arrangement of Flowers with Fruit —

^ Born on 24 October 1796: Achille Etna Michallon, French painter who died on 24 September 1822.
— Achille Michallon, the son of the sculptor Claude Michallon [1751-1799], who had won the prix de Rome in 1785, grew up in the Louvre where his parents had an apartment adjacent to his father's studio. At the age of six, while the Louvre was being renovated, they moved to artist's lodgings in the Sorbonne. Already exhibiting a precocious talent, Michallon first entered the studio of Jacques-Louis David [1748-1825] , where he studied the art of drawing the human form, before joining that of Valenciennes [1750-1819, specialized in landscapes]. Under the latter's tutelage he developed his interest in landscapes and took instruction from two of Valenciennes' followers, Dunouy and Bertin [1797-1871]. In 1812, at the age of fifteen Michallon exhibited for the first time at the Salon, receiving a second prize gold medal — an astonishing achievement that excited much comment at the time.
With such critical attention at an early age it is hardly surprising that Michallon attracted the patronage of the enormously wealthy Prince Yussoupoff (who returned to Russia in 1814), then of the Duchess of Berry, daughter-in-law of the future King Charles X, as well as the Count de L'Espine, the finance master of Louis XVIII. In 1817 he exhibited two major works at the Salon, Roman Shepherds contemplating the Ruins of a Tomb and A Landscape with Democritus and the Alberitons, for which he received the newly founded prix de Rome for historical landscape (paysage historique), founded to honor his former teacher Valenciennes. It was hoped that the institution of this prize would confer on landscape painting a similar prestige to that it had long bestowed on history subjects.
Michallon re-energized the art of landscape painting, avoiding the repetitiveness of Dunouy, Bidauld and Bertin, and soon established his own circle of admiring artists, of whom the most eminent was the young Camille Corot [1796-1875]. Michallon introduced into this genre a hint of the romanticism that was to dominate the succeeding two decades. His larger, most ambitious landscapes manifested the sense of drama and grandeur found in the work of Nicolas Poussin [1594-1665] , which was to become even more apparent in his works produced in Rome between 1817 and 1821. Michallon died before his talent was fully realized at the age of twenty-six, leaving only a modest output of finished works and a number of brilliant sketches, small studies and drawings.
— The Fallen Branch, Fontainebleau (1816, 41x52cm; 787x1000pix, 117kb — ZOOM to 1574x2000pix, 439kb)
— Le Bac de Neuilly-sur-Seine (lithograph 32x27cm)
— Mazzocchi, Brigand de l'État Romain (lithograph 37x23cm)

^ Died on 22 October 1902: John Faed, Scottish painter born in 1820.
— Self-portrait (1850; oval, 7x5cm) >>>
— Washington Taking the Salute at Trenton _ Faed is a Scot painter who did miniatures, portraits, and religious and historical painting. He never came to the US. But Andrew Carnegie, who owned a castle as a summer home for his family in Scotland, commissioned him to do this painting of a familiar American subject.
— Shakespeare and His Contemporaries (1851, 132x173cm) _ This painting is also known as Shakespeare and His Friends at the Mermaid Tavern. Sir Walter Raleigh created the Friday Street Club, a gathering of men of letters who met at the Mermaid Tavern; the club was named for the address--Friday Street--of the tavern. The owner of the Mermaid William Johnson was a business associate of Shakespeare, but we do not know if Shakespeare actually attended the meetings. In the painting, which Richard Altick calls a "kind of Tudor hall of fame," Faed puts Shakespeare in the center of the group, which includes Sir Francis Bacon, John Donne, Ben Jonson, and Sir Walter Raleigh.

^ Born on 22 October 1925: Milton “Robert” Rauschenberg, US painter, sculptor, printmaker, photographer, and performance artist.
— While too much of an individualist ever to be fully a part of any movement, he acted as an important bridge between Abstract Expressionism and Pop art and can be credited as one of the major influences in the return to favor of representational art in the USA. As iconoclastic in his invention of new techniques as in his wide-ranging iconography of modern life, he suggested new possibilities that continued to be exploited by younger artists throughout the latter decades of the 20th century.
— Original name Milton Rauschenberg. US painter and graphic artist whose early works anticipated the Pop art movement. Studied at Kansas City Art Institute, Academie Julien (Paris), Black Mountain College (North Carolina), and Art Students League (New York); lives in New York
— Born in 1925 at Port Arthur, Texas. In 1942 he studied pharmacy briefly at the University of Texas, following which he served in the US Marines. From 1947 to 1948 he studied various subjects at the Kansas City Art Institute, including art history, sculpture and music. During this time he did window displays, executed film sets and designed photographic studios. In 1948 he attended the Académie Julian, Paris, met Susan Weil, who was later to become his wife, and returned to the US to study under Josef Albers [1888-1976] at the Black Mountain College, North Carolina. There he met the choreographer Merce Cunningham and the composer John Cage in 1949 and collaborated closely with both of them. In the same year he moved to New York and studied at the Art Students' League until 1952. He did window displays for Bonwit Teller and Tiffany, had his first one-man exhibitions in 1951 and returned to Black Mountain College in 1952. He travelled in Italy, France and Spain and had exhibition in 1953 at Florence and Rome. He moved into a studio in New York in the same year and started to paint his red pictures, replacing the all-white and all-black paintings. He erased a drawing by Willem de Kooning. Between 1954 and 1965 he intensified his work for the Merce Cunningham Dance Company. In 1955 he moved into a studio in the same neighborhood as Jasper Johns.
      In 1958 he had his first exhibition at the Leo Castelli gallery and began his drawings to illustrate Dante's "Inferno". In 1959 he was represented at the documenta "2", Kassel, and at the Paris and São Paulo Biennales. In 1960 he met Marcel Duchamp [1887-1968] . In 1962 he first used the technique of silkscreen on canvas, mixed with painting, collage and affixed objects. He also did his first litographic work, for which he was awarded the Grand Prix at Ljubljana. In 1963 he was given his first retrospective exhibition in Europe at the Galerie Sonnabend, Paris, also shown at the Jewish Museum, New York. He produced his first dance performance Pelican. In 1964 he had a retrospective at the Whitechapel Gallery, London, and won the Grand Prix at the Venice Biennale. He went on world tour with Cage and Cunningham's Dance Company. In 1967 he made his Revolvers - with revolving plexiglass discs. That year (the same year as Martin Luther King) he was made honorary doctor of Grinnel College, Iowa.
      In 1968 he was invited by NASA to witness the lift-off of Apollo 11 at Kennedy Space Center and to use this theme in his work. He set up the foundation Change Inc. for destitute artists in 1970, and a house with art studios in Florida in 1971. In 1974 he collaborated with the writer Alain Robbe-Grillet. He also visited Israel and India. In 1975 he received the Honorary Degree of Fine Arts from the University of South Florida, Tampa, and, together with James Rosenquist, became involved in appealing for a re-examination of taxation for non-profitmaking art institutions. A large retrospective of his work was shown in several American cities from 1976-78. In 1980 he had retrospectives at Berlin, Düsseldorf, Copenhagen, Frankfurt, Munich and London. In 1981 his photographs were shown at the Centre Pompidou, Paris, and he published the book Rauschenberg Photographs. He lives in New York City and on Captiva Island, Florida. In 1989 his work went on world tour, including an exhibition in Moscow.
— Robert Rauschenberg was born Milton Rauschenberg in Port Arthur, Texas. He began to study pharmacology at the University of Texas at Austin before being drafted into the United States navy, where he served as a neuropsychiatric technician in the navy hospital corps in San Diego. In 1947, he enrolled at the Kansas City Art Institute and traveled to Paris to study at the Académie Julian the following year.
      In the fall of 1948, he returned to the United States to study under Josef Albers at Black Mountain College, near Asheville, North Carolina, which he continued to attend intermittently through 1952. While taking classes at the Art Students League, New York, from 1949 to 1951, Rauschenberg was offered his first solo exhibition at the Betty Parsons Gallery. Some of the works from this period included blueprints, monochromatic white paintings, and black paintings. From the fall of 1952 to the spring of 1953, he traveled to Europe and North Africa with Cy Twombly, whom he had met at the Art Students League. During his travels, Rauschenberg worked on a series of small collages, hanging assemblages, and small boxes filled with found elements, which he exhibited in Rome and Florence.
      Upon his return to New York in 1953, Rauschenberg completed his series of black paintings, using newspaper as the ground, and began work on sculptures created from wood, stones, and other materials found on the streets; paintings made with tissue paper, dirt, or gold leaf; and more conceptually oriented works such as Automobile Tire Print (1953) and Erased de Kooning Drawing (1953). By the end of 1953, he had begun his Red Painting series on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow. In late 1953, he met Jasper Johns, with whom he is considered the most influential of artists who reacted against Abstract Expressionism. The two artists had neighboring studios, regularly exchanging ideas and discussing their work, until 1961.
      Rauschenberg began to silkscreen paintings in 1962. He had his first career retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for Painting at the 1964 Venice Biennale. He spent much of the remainder of the 1960s dedicated to more collaborative projects including printmaking, Performance, choreography, set design, and art-and-technology works. In 1966, he cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers.
      In 1970, Rauschenberg established a permanent residence and studio in Captiva, Florida, where he still lives. Rauschenberg continued to travel widely, embarking on a number of collaborations with artisans and workshops abroad, which culminated in the Rauschenberg Overseas Culture Interchange (ROCI) project from 1985 to 1991.

— LINKS
— Harbor (1964, 213x152cm; 823x581pix, 95kb) — Estate (1963, 244x178cm; 816x585pix, 94kb)
— Storyline I (1968 color lithograph 52x42cm; half-size)
— Storyline II (1968 color lithograph 52x42cm; half-size)
— Storyline III (1968 color lithograph 53x41cm; half-size)
book cover

— untitled (1964 color lithograph 41x29cm) _ Under the picture (mostly blotches of various colors) there are nine lines of words such as
outer space buried deep in earth cave
white whale never lost in south sea sky ocean
It is page 115 of the “poetry”{?} book 1 Cent Life (1964) by Walasse Ting [1929~], issued in an edition of 2100 copies, with images including over 60 original lithographs by Pierre Alechinsky [19 Oct 1927~] (untitled pages 81 _ 134 _ 23 _ 148 _ 149), Karel Appel, Enrico Baj, Alan Davie, Jim Dine, Oyvind Fahlstrom, Sam Francis, Robert Indiana, Alfred Jensen, Asger Jorn, Allan Kaprow, Alfred Leslie, Roy Lichtenstein [1923-1997] (Girl — Spray Can), Joan Mitchell, Kiki O.K., Claes Oldenburg, Mel Ramos, Robert Rauschenberg, Reinhoud, Jean-Paul Riopelle, James Rosenquist, Antonio Saura, Kimber Smith, K.R.H. Sonderberg, Bram Van Velde, Andy Warhol [06 Aug 1928 – 22 Feb 1987], Tom Wesselmann, and one by Walasse Ting.

^ Died on 22 October 1906: Paul Cézanne, French painter born on 19 January 1839.
— Malgré l'opposition de son père qui aimerait le voir lui succéder à la tête de la banque qu'il a fondée, Cézanne se consacrera à la peinture. Il fut un certain temps attiré vers la lumière des Impressionnistes, mais il s'en détachera . Paul Cézanne, celui dont on a dit " Il y a des sérénités passionnées " ce qui illustre bien son art. Il réconcilie les tendances antagonistes du romantisme et du classicisme et se révèle donc comme l’un des peintres qui a le plus influencé l’art contemporain.
— Cézanne was born and died in Aix-en-Provence. He was groomed from an early age to assume his father's position at the family bank. Rejecting both a financial career and the legal studies he pursued at university, however, he left the south of France in 1861 to join his longtime friend Émile Zola in Paris and to launch his artistic training. He failed the entrance examination for the École des Beaux-Arts, but he frequented classes at the Académie Suisse and came to know artists in the impressionist circle such as Camille Pissarro and Claude Monet. Cézanne's early paintings, worked in a dark and foreboding style and dominated by sexually charged images of death and violence, received hostile critical reaction. He contributed in 1863 to the Salon des Refusés and, in 1874, to the first impressionist exhibition, where he sold La Maison du Pendu. Under the guidance of Pissarro, his early work gave way to an impressionist phase, but he quickly developed his signature style based on a blend of intense observation and architectonic compositional relationships that proved highly influential for twentieth-century formalist art. Cézanne divided his time between Paris and Provence but settled permanently in Aix in 1899. A large exhibition organized by Vollard in 1895 and a posthumous retrospective in 1907 brought belated recognition.
—      Paul Cézanne was born into a family of Italian origin in Cesana Forinese. His father had established a felt hat business in Aix-en-Provence and later became a banker. In 1859 he bought a country house on the outskirts of Aix, the Jas de Bouffan, which was to be frequently represented in Cézanne’s paintings.
     Between 1852 and 1859 Paul Cézanne studied at the Collège Bourbon and it was there that he formed a friendship with Émile Zola, with whom he shared an interest in literature. In 1856 Cézanne began to attend the evening drawing courses of Joseph-Marc Gibert at the Aix Museum. From 1859 to 1861 he studied law at Aix, entered his father’s bank. By April 1861 his father had finally yielded to Cézanne’s desire to make a career in art and allowed him to go to Paris to study at the Académie Suisse. In Paris Cézanne frequented the Louvre, met Pissarro and Guillaumin and, later on, Monet, Sisley, Bazille and Renoir. In September of the same year he was refused admission to the École des Beaux-Arts and went back to Aix, to the great relief of his father, who offered him a position in his bank. But in November 1862 Paul Cézanne went back to Paris and took up painting again.
       During his so called “dark” or “romantic” period (1862-1870) Paul Cézanne often visited Paris; he met with Édouard Manet and the future Impressionists, and tried to be accepted at the Salon. The Franco-Prussian War drove him to L’Estaque near Marseilles. Paul Cézanne’s “Impressionist” period (1873-1879) is connected with his staying at Pontoise and Auvers-sur-Oise in 1872, 1873, 1874, 1877 and 1881; he worked with Pissarro and exhibited with the Impressionists in 1874 and in 1877. The canvases produced at L’Estaque (1880-1883) and at Gardanne (1885-1888) are usually referred to Paul Cézanne’s “constructive” period. In 1886 after his father’s death, Cézanne married Hortense Fiquet, with whom he had a secret liaison since 1870. She is said to have looked after the finished canvases, which Cézanne never took care to keep and abandoned as soon as he completed the painting. The same year Cézanne quarelled with Zola over the 1886 novel L’Oeuvre, [résumé] in which Claude Lantier, the central figure, an unsuccessful and unbalanced painter, was identified with Cézanne.
      In 1887, after a long break, Cézanne participated in the exhibition of “Les XX” at Brussels. Towards the beginning of Paul Cézanne’s “synthetic” period (1890-1906) the younger generations of artists started to take an interest in him. His first one-man show was held in the Vollard Gallery in 1895. During these years the artist seldom visited Paris — his longest stays there took place in 1895, 1899 and 1904 — and produced many versions of canvases depicting Mount Sainte-Victoire, smokers, card-players and bathers, and painted still lifes and portraits. By 1901 Cézanne had become recognized. He often met with young artists who admired his work – Denis, Bonnard and Vuillard. In 1901 Denis painted Hommage à Cézanne. The future Fauvist Charles Camoin sought his advice, and in 1904 he was visited by Émile Bernard, an artist of the Pont-Aven school, with whom Cézanne corresponded extensively, expounding his views on art.
     In 1904 his paintings were shown for the first time at the Autumn Salon in Paris; and a year after his death, in 1907, a retrospective exhibition of his works was held there.

^ — Paul Cézanne, often called the father of modern art, strove to develop an ideal synthesis of naturalistic representation, personal expression, and abstract pictorial order.
     Among the artists of his time, Cézanne perhaps has had the most profound effect on the art of the 20th century. He was the greatest single influence on both the French artist Henri Matisse, who admired his color, and the Spanish artist Pablo Picasso, who developed Cézanne's planar compositional structure into the cubist style. During the greater part of his own lifetime, however, Cézanne was largely ignored, and he worked in isolation. He mistrusted critics, had few friends, and, until 1895, exhibited only occasionally. He was alienated even from his family, who found his behavior peculiar and failed to appreciate his revolutionary art.
     Early Life and Work
     Cézanne was born in the southern French town of Aix-en-Provence, the son of a wealthy banker. His boyhood companion was émile Zola, who later gained fame as a novelist and man of letters. As did Zola, Cézanne developed artistic interests at an early age, much to the dismay of his father. In 1862, after a number of bitter family disputes, the aspiring artist was given a small allowance and sent to study art in Paris, where Zola had already gone. From the start he was drawn to the more radical elements of the Parisian art world. He especially admired the romantic painter Eugène Delacroix and, among the younger masters, Gustave Courbet and the notorious Édouard Manet, who exhibited realist paintings that were shocking in both style and subject matter to most of their contemporaries.
     Influence of the Impressionists
     Many of Cézanne's early works were painted in dark tones applied with heavy, fluid pigment, suggesting the moody, romantic expressionism of previous generations. Just as Zola pursued his interest in the realist novel, however, Cézanne also gradually developed a commitment to the representation of contemporary life, painting the world he observed without concern for thematic idealization or stylistic affectation. The most significant influence on the work of his early maturity proved to be Camille Pissarro, an older but as yet unrecognized painter who lived with his large family in a rural area outside Paris. Pissarro not only provided the moral encouragement that the insecure Cézanne required, but he also introduced him to the new impressionist technique for rendering outdoor light. Along with the painters Claude Monet, Auguste Renoir, and a few others, Pissarro had developed a painting style that involved working outdoors (en plein air) rapidly and on a reduced scale, employing small touches of pure color, generally without the use of preparatory sketches or linear outlines. In such a manner Pissarro and the others hoped to capture the most transient natural effects as well as their own passing emotional states as the artists stood before nature. Under Pissarro's tutelage, and within a very short time during 1872-1873, Cézanne shifted from dark tones to bright hues and began to concentrate on scenes of farmland and rural villages.
     Return to Aix
     Although he seemed less technically accomplished than the other impressionists, Cézanne was accepted by the group and exhibited with them in 1874 and 1877. In general the impressionists did not have much commercial success, and Cézanne's works received the harshest critical commentary. He drifted away from many of his Parisian contacts during the late 1870s and '80s and spent much of his time in his native Aix. After 1882, he did not work closely again with Pissarro. In 1886, Cézanne became embittered over what he took to be thinly disguised references to his own failures in one of Zola's novels. As a result he broke off relations with his oldest supporter. In the same year, he inherited his father's wealth and finally, at the age of 47, became financially independent, but socially he remained quite isolated.

     Cézanne's Use of Color
     This isolation and Cézanne's concentration and singleness of purpose may account for the remarkable development he sustained during the 1880s and '90s. In this period he continued to paint studies from nature in brilliant impressionist colors, but he gradually simplified his application of the paint to the point where he seemed able to define volumetric forms with juxtaposed strokes of pure color. Critics eventually argued that Cézanne had discovered a means of rendering both nature's light and nature's form with a single application of color. He seemed to be reintroducing a formal structure that the impressionists had abandoned, without sacrificing the sense of brilliant illumination they had achieved. Cézanne himself spoke of “modulating” with color rather than “modeling” with dark and light. By this he meant that he would replace an artificial convention of representation (modeling) with a more expressive system (modulating) that was closer still to nature, or, as the artist himself said, “parallel to nature.” For Cézanne, the answer to all the technical problems of impressionism lay in a use of color both more orderly and more expressive than that of his fellow impressionists.
     Cézanne's goal was, in his own mind, never fully attained. He left most of his works unfinished and destroyed many others. He complained of his failure at rendering the human figure, and indeed the great figural works of his last years—such as Les Grandes Baigneuses (1906)—reveal curious distortions that seem to have been dictated by the rigor of the system of color modulation he imposed on his own representations. The succeeding generation of painters, however, eventually came to be receptive to nearly all of Cézanne's idiosyncrasies. Cézanne's heirs felt that the naturalistic painting of impressionism had become formularized, and a new and original style, however difficult it might be, was needed to return a sense of sincerity and commitment to modern art.
     Significance of Cézanne's Work
     For many years Cézanne was known only to his old impressionist colleagues and to a few younger radical postimpressionist artists, including the Dutch painter Vincent van Gogh and the French painter Paul Gauguin. In 1895, however, Ambroise Vollard, an ambitious Paris art dealer, arranged a show of Cézanne's works and over the next few years promoted them successfully. By 1904, Cézanne was featured in a major official exhibition, and by the time of his death he had attained the status of a legendary figure. During his last years many younger artists traveled to Aix to observe him at work and to receive any words of wisdom he might offer. Both his style and his theory remained mysterious and cryptic; he seemed to some a naive primitive, while to others he was a sophisticated master of technical procedure. The intensity of his color, coupled with the apparent rigor of his compositional organization, signaled to most that, despite the artist's own frequent despair, he had synthesized the basic expressive and representational elements of painting in a highly original manner.
— Pour Moi, Cézanne, fictional autobiography (in English) by Earl Mayan.
^ — LINKS
— Self-Portrait (1863) — Self-Portrait (1866) — Self-Portrait (1885)
— Self-Portrait at Easel — Self-Portrait. (1876) — Self-Portrait. (1881)
— Self-Portrait (1882) _ Self-Portrait (1880) _ Self-Portrait (1880)
_ Self-Portrait (graphite, 1882) _ Self-Portrait (1876) _ Self-portrait (1881)
_ Self-Portrait (1885) _ Self Portrait _ Self-Portrait in a Casquette (1872)
_ Self-Portrait with a Casquette (1875) _ Self-Portrait with Palette (1887)
_ Self-Portrait with Palette (1884) _ Self-Portrait on a Rose Background (1877)
_ Self-Portrait with Rose Background (1875) _ Self-Portrait with Soft Hat (1894)
— Les Quatre Saisons (1861)
— Hortense Fiquet dans un fauteuil rouge (1878; 1343x1022pix, 508kb)
— La lecture de Paul Alexis chez Zola (1870; 1042x1139pix, 485kb)
— L'après-midi à Naples. Le punch au rhum (1877; 1050x1299pix, 648kb)
— L'éternel féminin (1877; 1046x1303pix, 656kb)
— Route tournante en Provence (1868; 1307x1018pix, 520kb)
— Paysage de rocher (1871; 1038x1271pix, 658kb)
— La neige à l'Estaque (1871; 1030x1327pix, 426kb)
— La mer à L'Estaque (1876; 1042x1455pix, 705kb)
— Louis-Auguste Cézanne, père de l'artiste, lisant L'Évènement (1866, 198x119cm) _ Portrait of the Artist's Father _ Louis-Auguste Cézanne será uno de los primeros modelos empleados por el maestro a la hora de realizar retratos, al igual que el tío Dominique. El padre del pintor era un hombre hecho a sí mismo, que había prosperado gracias a su fructífero negocio de sombreros lo que le permitió crear un pequeño banco. Sin embargo, la aristocracia de Aix le veía como un nuevo rico por lo que su integración social fue bastante difícil. Cézanne presenta a su padre leyendo el periódico "L´Evénement", diario en el que su buen amigo Zola había publicado algunos artículos criticando la actitud del Salón y defendiendo a la nueva pintura, especialmente a Manet. El modelo aparece sentado en un sillón de flores — el mismo en el que se sentará después Achille Emperaire — en una posición oblicua respecto a la butaca, butaca que también aparece girada en relación con la pared del fondo. Sobre dicha pared podemos contemplar el lienzo Nature morte: sucrier, poires, et tasse bleue que Cézanne había pintado algunos meses antes. La actitud del modelo ha sido captada a la perfección, reflejando de manera correcta la concentración de monsieur Louis-Auguste a la hora de realizar su lectura. La figura goza de singular fuerza y sensibilidad en sintonía con el estilo de Daumier. Las pinceladas son tremendamente rápidas y empastadas, aplicando el color tanto con pincel como con espátula. Renuncia a los detalles, a excepción de la cabecera del periódico cuyas matizadas letras contrastan con la emborronada contraportada. Las tonalidades oscuras abundan en el conjunto, contrastando con el sillón y el papel del diario, las únicas notas claras en el lienzo. _ One of the most important works of his early years is the portrait of his formidable father. It is one of Cézanne's “palette-knife pictures”, painted in short sessions between 1865 and 1866. Their realistic content and solid style reveal 's admiration for Gustave Courbet. Here we see a craggy, unyielding man of business, a solid mass of manhood, bodily succint from the top of his black beret to the tips of his heavy shoes. The uncompromising verticals of the massive chair are echoed by the door, and the edges of the small still life by on the wall just behind: everything corresponds to the absolute verticals of the edges of the canvas itself, further accentuating the air of certainty about the portrait. Thick hands hold a newspaper--though Paul Cézanne has replaced his father's conservative newspaper with the liberal L'Evénement, which published articles by his childhood friend, Emile Zola. His father devours the paper, sitting tensely upright in the elongated armchair. Yet it is a curiously tender portrait too. Paul seems to see his father as somehow unfulfilled: for all his size he does not fully occupy the chair, and neither does he see the still life on the wall behind him, which we recognize as being one of his son's. We do not see his eyes-- only the ironical mouth and his great frame, partly hidden behind the paper. Paul Cézanne was in his twenties when he painted The Artist's Father. Wonderful though it is, with its blacks and greys and umbers, it does not fully indicate the profundity of his developing genius. Yet even in this early work, Cézanne's grasp of form and solid pictorial structures which came to dominate his mature style are already essential components. His overriding concern with form and structure set him apart from the Impressionists from the start, and he was to maintain this solitary position, carving out his unique pictorial language.
— Head of an Old Man (Père Rouvel at Bennecourt?) (1866) — Oncle Dominique (1866)
— Achille Emperaire peintre (1868, 200x122cm) _ Né en 1829 à Aix-en-Provence, nain et bossu, peintre de nus, de paysages; dessins (sanguines et fusain). Il tenta d'imposer son propre style fait de matières épaisses, rejetant ainsi l'influence de Cézanne dont il fut pourtant l'ami. Mort en 1898. Achille Emperaire y Cézanne se concocieron en la escuela primaria de la rue des Epinaux en Aix-en-Provence. Posteriormente coincidieron en la Académie Suisse — donde contactaron con Monet, Pissarro y Renoir — y expusieron juntos en la tienda del "père" Tanguy [1888 Tanguy portrait by van Gogh] , en compañía de van Gogh. También presentaron juntos diversos cuadros al Salón oficial, sufriendo los dos diversos rechazos. Entre ambos surgió una intensa amistad que se continuó en el tiempo. Gracias a esa amistad tenemos este espléndido retrato. Achille era paralítico y también se dedicó a la pintura, compartiendo con Cézanne la ausencia de éxito y el deseo de explorar nuevos caminos artísticos. El modelo aparece sentado en un sillón blanco con un estampado de flores — el mismo empleado en el retrato Louis-Auguste Cézanne, père de l'artiste, lisant L'Évènement — de frente al espectador, girando su cabeza hacia la derecha. Sus delgadas piernas se apoyan en una caja y las manos deformes se dejan caer sobre los brazos del sillón. Sin embargo, no estamos ante un retrato caricaturesco, antes lo contrario, ya que gracias a la pose y la inteligencia de la mirada la figura de Achille se dignifica, captando la personalidad del pintor, relacionándose con los retratos de bufones (ej. Don Sebastián de Morra, 1645) pintados por Velázquez. Incluso para aumentar la dignidad del modelo se coloca en la parte superior el nombre y su profesión en letras de molde, recordando el retrato de Napoléon sur le trone impérial pintado por Ingres en 1806. Las tonalidades oscuras dominan el conjunto, creando acentuados contrastes con el tapizado del sillón o la carnación del modelo. El óleo ha sido aplicado con intensidad, empleando la espátula y el pincel, dotando así de mayor fuerza a la imagen. Este retrato será muy admirado por los simbolistas, utilizándolo el propio Gauguin como modelo. También servirá de ejemplo a Matisse. Cézanne presentó este trabajo al Salón de París de 1870, junto con una figura femenina desnuda que no se ha conservado. Ambas obras fueron rechazadas, aludiendo a ellas en una caricatura publicada en el satírico Album Stock. — Achille Emperaire (tête) (1868) _ Achille Emperaire (1868, croquis 48x32cm)
— Maison Maria with a View of Château Noir (65 x 81 cm) _ Paul 's art challenged both the Romantic and neoclassical styles of painting popular during the 19th century as well as the newer, more radical style embodied by Impressionism. Termed a Post-Impressionist, Cézanne's later works, such as Maison Maria with a View of Château Noir, reveal the divided nature of his painting: the work's brushstrokes and muted, broken colors betoken Impressionism. But the work also diverges from the movement's emphasis on objectivity and surface. Maison Maria exhibits the compositional characteristics -- for instance, the imbalance of the house and the painting's depiction of deep space -- that are unique to Cézanne. Known as misanthropic and somewhat reclusive, he moved with his wife and son to Provence in 1870. In 1874, he relocated temporarily to Paris, where the Impressionist movement was taking hold. exhibited at the first Impressionist show during this year and again at the third, in 1877. Of all the paintings, which were almost universally denounced by critics and the public, Cézanne's received the soundest lashing. A split with the Impressionists led back to Provence, where he developed the mature style which would become his signature, and which Maison Maria embodies.
— L'enlèvement (1867, 90x116cm; 1046x1367pix, 514kb) _ The Abduction _ The Abduction _ Abduction, rape, and murder: these are themes that tormented . An early work full of dark miseries, it is impressive largely for its turgid force, held barely under his control. These figure paintings are the most difficult to enter into: they are sinister, with passion in turmoil just beneath the surface. 's late studies of the human body are most rewarding, his figures often depicted as bathers merging with the landscape in a sunlit lightness. This became a favorite theme for and he made a whole series of pictures on the subject. This mature work is dictated by an objectivity that is profoundly moving for all its seeming emotional detachment.

— The special attraction of still life to was the ability, to some extent, to control the structure. He brooded over his apples, jugs, tables, and curtains, arranging them with infinite variety. Still Life with Apples and Peaches (1905) glows with a romantic energy, as hugely present at Mont Sainte-Victoire. Here too is a mountain, and here too sanctity and victory: the fruits lie on the table with an active power that is not just seen but experienced. The jug bulges, not with any contents, but with its own weight of being. The curtain swags gloriously, while the great waterfall of the napkin absorbs and radiates light onto the table on which all this life is earthed.
— Nature morte, crâne et chandelier (1867; 1018x1331pix; 540kb) _ Still Life with Skull (1907)
— Still Life with Bread and Eggs (1865) — Still Life (1890) _ Still Life (1887)
_ Still Life (1900) _ Still Life _ Still Life (1894) _ Still Life: Apples, Bottle and Chairback (1906)
_ Still life with a Curtain (1895) _ Still Life with a Skull (1907) _ Still Life with Apples (1894)
_ Still Life with Apples _ Still Life with Apples (1890) _ Still-Life with Apples (1890)
_ Still Life with Apples (1898) _ Still Life with Apples, a Bottle, and a Milk Pot (1906)
_ Still Life with Apples, a Bottle, and a Milk Pot
— Still Life with Apples and a Pot of Primroses _ Still Life with Apples and a Pot of Primroses (1890)
_ Still Life with Apples and Oranges (1907) _ Still Life with Apples and Pears (1887)
_ Still Life with Basket of Apples
_ Still Life with Carafe, Sugar Bowl, Bottle, Pomegranates, and Watermelon (1906)
_ Still Life with Commode (1887) _ Still Life with Compotier (1882)
_ Still Life with Curtain and Flowered Pitcher (1899) _ Still Life with Drapery (1899)
_ Still Life with Flower Curtain and Fruit _ Still Life with Flower Holder (1905)
_ Still Life with Flowers and Fruit (1890) _ Still Life with Fruit (1882)
_ Still Life with Fruit, Pitcher and Fruit-Vase (1894) _ Still Life with Green Melon (1906)
_ Still Life with Jar, Cup, and Apples (1877) _ Still Life with Kettle (1869)
_ Still Life with Onions (1907) _ Still Life with Onions and Bottle (1907)
_ Still Life with Peaches and Pears (1890) _ Still Life with Peppermint Bottle (1894)
_ Still Life with Peppermint Bottle (1894) _ Still Life with Plaster Cupid (1895)
_ Still Life with Plate of Cherries (1887) _ Still Life with Soup Tureen (1877)
_ Still Life with Water Jug (1893) _ Still Life with Water Jug (1893)
_ Still Life with Watermelon and Pomegranates (1906)
— From 1872, under Pissarro's influence, painted the rich Impressionist effects of light on different surfaces and even exhibited at the first Impressionist show. But he maintained his concern for solidity and structure throughout, and abandoned Impressionism in 1877. In Le Château Noir, does not respond to the flickering light as an Impressionist might; he draws that flicker from deep within the substance of every structure in the painting. Each form has a true solidity, an absolute of internal power that is never diminished for the sake of another part of the composition.
— Le Meurtre (1869; 1038x1294pix, 495kb) _ The Murder (1870) _ Cézanne is best known for his monumental landscape paintings. The Murder is one of his early paintings, an unusually dramatic piece which conveys the brutality of the act. The murderer is lifting his hand ready to give the final strike while his collaborator is using all the force of her heavy and rounded body to keep the victim down. The body of the victim has almost disappeared, only its outline head and arms are distinct under the ferocious force of the two murderers. The murderers have no faces, but the victim's is contorted with pain. is not concerned with the identities of the murderers; they could be anybody. presents the act as one of anonymous violence; their crime is given no explanation. The threatening sky, the suggestion of a riverbank where the body will be thrown, and the desolate surrounding space all contribute to the menacing nature of the scene.
— La Maison du Pendu
— Bathers (1875) _ Bathers (1900) _ Bathers (1891) _ The Bathers (1905)
_ Bathers (1892) _ The Bathers _ Bathers at Rest (1876)
_ Les Grandes Baigneuses _ Big Bathers (1905) _ Five Bathers (1887) _ Five Bathers (1877)
_ The Large Bathers (1898) _ Large Bathers (1906) _ Large Bathers (1906)
_ Large Bathers (1905) _ The Large Bathers (1905) _ Large Bathers (detail) (1906)
_ Large Bathers (1906) _ Three Bathers (1877)
— Le Jardinier (1906) — Le Vieux Jardinier (1906)
— The Bay from L'Estaque (1886) — L'Estaque, (1885) _ View of L'Estaque (31x48cm) _ Cézanne has often been described as the supreme master of watercolor painting. Although his works often look unfinished, this View of L'Estaque does not have the empty, insubstantial feel of many of his other pictures. In a letter to the painter Camille Pissarro (1831-1903) of 02 July 1876, Cézanne remarked that 'the silhouettes you see here are not only black and white, but also blue, red, brown and violet'. He was fascinated by observations of this kind and evidently tried to capture the same effect in this painting by using all the colors he mentions. The pale blue above the roofs is not sky but the Mediterranean. This is easier to see in an oil version of the same view made in 1885 (previous link). The rooftops in that painting are depicted in the very same way.
— Landscape Mont Sainte-Victoire (1866) — Landscape at Aix (Mont Sainte-Victoire) (1905)
— Landscape near Aix, the Plain of the Arc River (1895) — Pine Tree near Aix (1895)
— Blue Landscape (1906) — Landscape in Provence (1875)
— Landscape near Paris (1876)
— Landscape with Poplars (1887) _ This is one of a group of five landscapes probably painted at this period in which Cézanne experimented with a regular pattern of parallel diagonal and vertical brushstrokes to suggest shimmering sunlight playing across the various textures of the foliage. The site has been identified as the artist's native Provence.
— 458 images at WebShots

^ Born on 22 October 1879: Matthew Smith, English painter who died on 29 September 1959.
— He was interested in painting and drawing from an early age and studied art at Manchester College of Technology (1901–1905) and the Slade School of Fine Art in London (1905–1908) without, however, showing particular promise. He moved to France late in 1908, and in Etaples and Pont-Aven he painted still-lifes and portraits that are Intimist in manner, showing attention to local color and modeling (e.g. Portrait of a Young Boy, 1908). He settled in Paris and exhibited several of these works at the Salon des Indépendants before beginning to build more ambitious compositions using related and contrasting colors. These show the influence of Fauvism and of Matisse, whose studio he attended briefly in 1910. He also made an intensive study of Ingres, whose work retained particular significance for him.
      In canvases painted between 1914 and 1920, when Smith joined the London Group, he acknowledged the flatness of the picture surface with areas of strong unmodulated color and emphatic design. Fitzroy Street Nude No. 1 (1916) is characteristic in the tension created not only through a bold use of complementary colors — the green shadows of the nude against a vibrant red ground — but also in the contrast between direct observation from the model and the blatant artifice of his color and exaggerated drawing. In 1920, partly under the influence of Roderic O'Conor's views of Brittany, which he had first seen the previous year, Smith applied dark saturated color and an increasing fluidity of construction to a series of Cornish landscapes (e.g. Winter Landscape, Cornwall. Strongly Expressionist in character, these are the culmination of his early style.
      An increasing self-confidence in the 1920s led to the evolution of Smith's mature style; O'Conor's influence again probably contributed to this, together with Smith's love affair with the artist Vera Cuningham [1897–1955], who was the model for many of the figure paintings he made in 1923–1926. In marked contrast to his former approach, he now expressed a passionately spontaneous and celebratory response to his subject through an alla prima technique that enabled him to work very fast. In Couleur de rose (1924) the high-keyed, radiant color, the rapid, rhythmically applied brushstrokes and the model's abandoned pose fuse the various elements of the composition into an organic whole.
      Smith continued subsequently to work from traditional subjects, but with marked variations in his palette and use of paint. He spent the late 1920s and 1930s in France and produced many freely painted nudes, still-lifes (e.g. Still-life, 1936), portraits and landscapes. After returning to London in 1940, he moved towards darker colorations and a more emphatic solidity of form, seen for example in his portrait of Augustus John. During the 1950s he produced his largest and most decorative canvases, for example Still-life with a Pitcher II (1954). The greater fluidity of Smith's later work brought him considerable success in regular exhibitions in London, and he was twice represented at the Venice Biennale (1938 and 1950). His work also continued to appeal to later British painters, in particular Francis Bacon, who, in writing of Smith's use of paint as a means of making ‘a direct assault upon the nervous system', saw him as a precursor for his own work. Smith was knighted in 1954.

— LINKS
— Fruit in a Dish (1915, 31x36cm) — Nude, Fitzroy Street, No. 1 (1916, 86x76cm)
— Apples (1920, 46x55cm) — Cyclamen (1920, 61x51cm)
— Cornish Church (1920, 53x65cm) _ After a period of prolonged illness Smith spent the autumn and winter of 1920 in the village of St Columb Major in Cornwall. Here he completed a number of landscapes, and this is the view from the window of his room. The intense colors and black sky are reminiscent of the Brücke group of German Expressionist painters, but Smith denied a connection, and felt himself to be closer to French art. In Paris in 1919 he knew well the Irish painter Roderic O'Conor, who like Smith had belonged to Gauguin's circle in Brittany. Smith saw his landscapes and nudes, in which he used radiant color in a similar constructional way.
— Model Turning (1924, 65x81cm) _ The paintings of the nude made by Smith in the winter of 1923-4 in Paris were a breakthrough to a new facility with color. The use of such a harmony is French in style, and Smith was one of very few British artists to paint in this way. Here the dark skinned model is dressed only in a red skirt, pulled up above her knees, and lies on a couch on blue and mauve cushions. The black background and absence of light give a feeling of enclosure, cutting out anything but the confrontation with the nude, made dramatic by the vigorous brushstrokes and unstable pose. The body is 'modeled' in color, like the surface of a sculpture in clay - not by outline or flat areas, but with the ups and downs along the surface.
— Woman Reclining (1926, 60x73cm) — Peonies (1928, 76x63cm)
— Still Life (1936, 81x100cm) _ In the 1930s Smith lightened the colors of his painting. This was in contrast to the sometimes impenetrable reds and browns he had used earlier. This still life is based on the weird mauve color of the anemone flowers in the basket at the left. In some places the paint is thin, so that the white ground shines through as in a watercolor. The design is like a still life by Cézanne, but Smith's fluid brushstrokes suggest the liveliness of the fruit. This is one of Smith's largest still lifes.
— Peaches (1937, 60x73cm) — Still Life with Clay Figure I (1939, 73x116cm)
— The Young Actress (1943, 76x64cm) _ The actress is the artist's niece; nearly all Smith's portraits were of friends and family. There is another version of the subject, but he did not paint this sitter again.

^ Born on 22 October 1882: Newell Convers Wyeth, who died on 19 October 1945 with his grandson when the car he was driving was struck by a train. He was a US painter famous for his illustrations of Treasure Island and Robin Hood. — Not to be confused with his son Andrew Wyeth [12 July 1917~]
— N. C. Wyeth was the head of several generations of US artists. He was the father of Andrew, Henriette, and Carolyn Wyeth, the grandfather of Jamie Wyeth, the father-in-law of Peter Hurd, etc. He was born the same year as Bauer, Dulac, and Pogany. An inveterate "drawer" as a child, Wyeth began his formal art training very sporadically, jumping from school to school (including a short stay at the Eric Pape School) and instructor to instructor until, at age 20, he was accepted into the Howard Pyle School for the 1902 sessions.
     Under Pyle's tutelage, Wyeth's innate talent blossomed. Within a year he had his first illustration published and it was a cover for a 1903 issue of The Saturday Evening Post. Another early market was Success Magazine. Soon he was a regular contributor to Harpers, McClures, Scribners and others, and a steady feature at The Saturday Evening Post. Wyeth was graduated from the Pyle School of Art in 1904, which simply meant that he no longer had to attend classes. He continued to paint in a studio at the school for several years. In 1904 and 1906 he took two trips out West to soak up the ambiance. By the time the March 1906 issue of McClures appeared, Wyeth was established as a Western Adventure illustrator. He was much more, but a goodly portion of his early commissions were for paintings to accompany classics like Arizona Nights by Stewart Edward White and the original Hopalong Cassidy yarns by Clarence Mulford.
     In 1907, Outing featured A Wyeth Portfolio, The Indian in his Solitude, which was probably influenced by pictures by George De Forest Brush (see some side-by-side comparisons). Then the publisher Charles Scribner's Sons had Wyeth illustrate books (in the years indicated), with from 8 to 16 color plates each (links with * have the Wyeth illustrations):
_ by Robert Louis Stevenson: *Treasure Island (1911), Kidnapped (1913), The Black Arrow (1916), David Balfour (1924)
_ by James Fenimore Cooper: The Last of the Mohicans (1919), The Deerslayer (1925)
_ by Jules Verne (translated): The Mysterious Island (1918), Michael Strogoff (1927)
_ by Sidney Lanier: The Boy's King Arthur (1917)
_ by Charles Kingsley: Westward Ho! (1920)
_ by Jane Porter: The Scottish Chiefs (1921)
_ by James Boyd: Drums (1928)
_ by Philip Ashton Rollins: Jinglebob (1930)
_ by John Fox, Jr.: The Little Shepherd of Kingdom Come (1931)
_ by Marjorie Kinnan Rawlings: The Yearling (1939)
_ an anthology: Poems of American Patriotism (1922)
     For other publishers, Wyeth illustrated:
_ Pike County Ballads by John Hay (1912)
_ The Mysterious Stranger by Mark Twain (1916)
_ *Robin Hood and His Adventures by Paul Creswick (1917)
_ The Courtship of Miles Standish by Henry Wadsworth Longfellow (1920)
_ *Robinson Crusoe by Daniel Defoe (1920)
_ Rip Van Winkle by Washington Irving (1921)
_ The White Company by Arthur Conan Doyle (1922)
_ Legends of Charlemagne by Thomas Bullfinch (1924)
_ The Odyssey of Homer by George Herbert Palmer (1929)
_ Men of Concord by Henry David Thoreau (1936)
     Wyeth also wanted to be a "fine artist" - an easel painter who would command the respect of the artistic community. But whenever he applied himself to this "serious" art, the life seems to go out of the painting. Thus his fame is as an illustrator and the fine art honors are given to his son Andrew, whose handling of landscape resembles nevertheless more closely N.C.'s illustrations than his easel work.
     In addition to books, Wyeth did illustrations for magazines, calendars, posters, murals, and painted maps for the National Geographic Society.
     Like many illustrators (Abbey, Brangwyn, Cornwell, etc.) Wyeth chose murals as one path to lasting fame. He painted scenes in the Missouri State Capitol building, images for several banks and hotels and for the National Geographic Society. His most ambitious project was a set of murals for the Metropolitan Life Insurance Co. He was working on these at the time of his death.
— Photo of N. C. Wyeth

— LINKS
— Self-Portrait
— Cream of Wheat Bronco Buster (1907, 105x71cm; 800x542pix, 349kb; ZOOM to 2000x1355pix, 2126kb)
— Tam On The Craig Face (86x63cm)
— We Were Three Days Taking Out Even What Gold And Gems We Could Load On Ourselves And Our Beasts, The Treasure Of Three Queens' Pardons (76x99cm)

Died on a 22 October:

^ 1941 Louis Casimir Ladislas “Marcoussis” (originally Markus), Polish French Cubist painter and printmaker born on 10 November 1878 (14 Nov 1883?). — Born in Warsaw, came to Paris in 1903, changed name from Markus to Marcoussis, naturalized French. Died in Cusset (Dept. Allier) — The second son in a cultivated family of Jewish origin that had converted to Catholicism, he began studying law in Warsaw but left to enrol in the Academy of Fine Arts in Kraków. When he refused to follow decorative arts and design, potentially useful in the family’s carpet manufacturing business, his father cut off his allowance, reinstating it only after he won honours in drawing and decided to continue his studies in Paris. In 1903 he enrolled under Jules Lefebvre at the Académie Julian in Paris, where he became friendly with Roger de La Fresnaye and the French painter Robert Lotiron [1886–1966]. A casual student, he spent most of his time visiting the Louvre, salon exhibitions, galleries and cafés until 1905, when the subvention from home ended. The first work he exhibited in Paris was an Impressionist landscape at the Salon d’Automne in 1905. Now obliged to support himself, he took advantage of his facility as a draftsman and submitted illustrations to Parisian magazines of humor and fashion: Vie parisienne, Le Journal and Assiette au beurre. He continued to paint and by 1907 had moved into the orbit of Fauvism. A chance encounter with Guillaume Apollinaire and Georges Braque at the Cirque Médrano in 1910, by which time he was living in bourgeois comfort with Marcelle Humbert as a highly successful illustrator, changed the course of Marcoussis’s life. Presented to Picasso, Marcoussis was startled by Cubism; Picasso in turn was taken with Marcelle, whom he renamed Eva and swept off to Avignon, Ceret and Sorgues. Freed of the pressures of maintaining a middle-class apartment, Marcoussis began to associate with Apollinaire and other younger poets and to experiment with the new painting. At the urging of Apollinaire he changed his surname to that of a small village in the district of Essonne. Although he exhibited in the Section d’Or (1912, the year in which he etched Apollinaire’s portrait), his own brand of Cubism was closer to that of the Montmartre artists Picasso and Braque than to that of the Puteaux Group. Like the former he favored still-life and subjects that made reference to music, but his approach to form remained readable, his Cubist treatment more moderate. He gave up illustration only in 1913, the year in which he married the Polish painter Alicia Halicka; among his last caricatures is one lampooning Cubism. A typical example of his pre-war work is The Cellist (1914) — LINKS — La Table (1930, color etching, 25x18cm; 4/3 size) — Intérieur à la contrebasse (50x61cm)

1902 Francesco Vinea, Italian artist born on 10 August 1845.

1900 Anders Monsen Askevold, Norwegian artist born on 25 December 1834.

1763 Frans van Mieris II, Leiden Dutch and writer born on 24 December 1689 — nephew of Jan van Mieris [1660-1690], son and student of Willem van Mieris [03 Jun 1662 – 27 Jan 1747], grandson of Frans van Mieris the Elder [16 Apr 1635 – 12 Mar 1681] — The oeuvre of Frans van Mieris II comprises portraits, several small history paintings, and many genre scenes (e.g. The Grocer’s Shop Seen through an Arched Window, 1715), which stylistically and thematically are similar to his father’s work. His most important picture, The Three Generations (1742), shows himself standing alongside his father, Willem, and holding in one hand a portrait of his famous grandfather, Frans, while pointing with the other to Houbraken’s De groote schouburgh, which lies open at an engraved portrait of the latter. In this way he demonstrated, with obvious pride, that he was from a distinguished family of painters, who for three generations had occupied a central position among Leiden artists. In addition to being a painter, he was well known for his historical and numismatic writings.

^
Born on a 22 October:

1871 Carlo Fornara, Italian artist who died in 1968.

1861 Charles Amable Lenoir, French artist who died in 1940.

1854 Walter Herbert Withers, English-born Australian painter who died on 13 October 1914. He studied at the Royal Academy and South Kensington Schools (1870–1882) in London and arrived in Melbourne on 01 January 1883 to work on the land for 18 months. He joined the life classes at the National Gallery of Victoria (1884–1887), while employed as a lithographic draftsman, and returned to Europe in 1887–1888 to attend the Académie Julian in Paris. Back in Australia, he exhibited with the Victorian Artists’ Society and painted with the Heiderberg School artists, based at Eaglemont, from October 1889 to June 1890. He was nicknamed ‘the orderly colonel’ for his organized habits. He leased the south end of the Heidelberg mansion ‘Charterisville’ from September 1890, painting prolifically, teaching and accommodating numerous fellow artists. With Arthur Streeton he was a leader of the Heidelberg School, for out-of-door painting. Withers remained mainly in Heidelberg until 1903, painting lyrical, essentially Barbizon-inspired, landscapes.

1850 Heinrich Johann von Zügel, German artist who died on 30 January 1941. — Schafe im Erlenhain (1875; 397x643pix, 144kb)

1816 Frederick William Hulme, British artist who died on 14 November 1884.

1788 Bertrand-Georges de Bayle, French artist who died on 26 May 1851.

^ 1628 Jan (or Johannes) Vermeer (van der Meer) van Haarlem II the Elder, Dutch painter who was buried on 25 August 1691. — Without bringing in that famous but unrelated painter from Delft, there is plenty of confusion to be had from the Haarlem Vermeers, since there were as many as five generations of them with the forename Jan. A Jan Vermeer (fl 1598–1612), whose occupation is not known, married Janneken Woutersdochter Knyff, the sister of the painter Jacob Wouterszoon Knyff. Their son, known as Jan Vermeer I [1601 – Feb 1670], was an art dealer, distiller and tobacco merchant; he is also said to have been a landscape painter, but this activity is not well documented. Two of Jan I’s sons became landscape painters, today's birthday boy Jan Vermeer II and his lesser-known brother, Isaak Vermeer [bapt. 19 Sept 1635 – >1665]. The artistic tradition continued with the two sons and students of Jan II, Jan Vermeer III [29 Nov 1656 – 28 May 1705] and his brother Barent Vermeer [bapt. 20 March 1659 – 1696±6], a still-life painter. Yet another minor painter of the same name, usually referred to as Jan Vermeer IV (fl 1694), is presumed to have been a descendant of the same family. ‘van Haarlem’ is traditionally added to the surname to distinguish the family members from Jan THE Jan Vermeer (van der Meer) van Delft [31 Oct 1632 – 15 Dec 1675 burial].
— For ten years from 1638, Jan Vermeer II was a student of Jacob Willemszoon de Wet [1610–1672], to whose Rembrandtesque manner he was evidently impermeable. He entered the Haarlem Guild of Saint Luke in 1654, the year of his marriage, and remained in Haarlem for the rest of his life. His early influences were fellow Haarlem landscape painters, especially Jacob van Ruisdael, and he continued to paint heavily wooded landscapes recalling the work of such followers of Ruisdael as Adriaen Verboom [1628–1670] and Jan van Kessel [1641–1680] throughout his career. His late work, possibly influenced by Philips Koninck, is more panoramic: it includes such landscapes as Dunes near Haarlem and extensive views inland from the coastal dunes, which exploit the natural advantage of a high viewpoint. These paintings are predominantly yellow and dark green in tone, with strong shadows.

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