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ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” OCT 30 ||| ALTERNATE SITES

ART “4” “2”-DAY 30 October

DEATH: 1893 BODMER

BIRTHS: 1737 LAFRENSEN — 1839 SISLEY — 1712 DIETRICH — 1842 SOMERSCALES — 1843 REGNAULT

^ Born on 30 October 1737: Niclas Lafrensen (or Nicolas Lavreince, Lavrince, Lawrence) Jr., Stockholm Swedish miniature painter, active also in France (as Nicolas Lavrieince), who died on 07 (06?) December 1807.
— Formé par son père et influencé par la peinture rococo française, il peignit, dans un style raffiné et malicieux, des scènes historiques (série de tableaux sur l'histoire de la Suède) et surtout des scènes galantes, parfois osées (le Billet doux; la Consolation de l'absence).
— He received his first training in miniature painting and gouache technique from his father, Niclas Lafrensen the elder [1698–1756], a self-taught miniature painter who had gained some popularity at the Swedish court. Lafrensen Jr. also attended the Swedish Academy. From 1762 to 1769 he studied in Paris, where French Rococo painting suited his temperament and was to be most important for his future development. His choice of realistic themes rather than those from the antique world led to his becoming a favorite of the public, though not of the academicians.
On his return to Stockholm he obtained a commission from Crown Prince Gustav (later Gustav III) to paint 12 miniature portraits (1770), in connection with which he was appointed Royal Court Miniature Painter. He was accepted into the Kungliga Akademi för die Fria Konsterna in Stockholm in 1773 but was passed over for a professorial appointment.
In 1774 he returned to Paris to paint galant subjects in miniature and gouache, many of which were engraved. He left Paris at the Revolution, returning in 1791 to Stockholm where he painted historical subjects in gouache and portraits in miniature, and where he died.
French stamp issued 21 Mar 1994

In 1994 France and Sweden celebrated their centuries-old cultural relationship and issued postage stamps featuring Lafrensen's Le Petit Trianon au parc de Versailles (1784) showing the French Court's celebration for Swedish King Gustav III during his 1784 visit to France.

— Conversation Galante (1785, 17x12cm)
— La Toilette Interrompue (oval 7x5.5cm; full size 337x250pix, 22kb) _ une scène d'intérieur grivoise : deux femmes à leur toilette surprises par un galant, au sol, empressé.

^ Born on 30 October 1839: Alfred Sisley, French painter who died on 29 January 1899.
— Sisley was born in Dunkirk to parents of Anglo-French descent. His father worked in the silk business and as an exporter of artificial flowers. From 1857 to 1861, Sisley lived in London and trained for a career in business. A growing interest in art, however, led him to return to Paris in 1862 and enter the studio of Charles Gleyre, where he met Monet, Renoir, and Frédéric Bazille with whom he painted in the Forest of Fontainebleau under the influence of Corot and Daubigny. Together they formed the vanguard of the impressionist movement.
Sisley exhibited at the Salons of 1866, 1868, and 1870, and at the impressionist exhibitions of 1874, 1876, 1877, and 1882. The Franco-Prussian War brought financial ruin to Sisley's father and left the artist with no means of support, although about 1872 Durand-Ruel began to handle his work. One-person exhibitions were organized by Durand-Ruel in Paris in 1883 and New York in 1889, but sales remained scarce. During the 1870s and early 1880s, Sisley lived and worked in various locations in Paris, the Seine valley, and England as well. In 1882 he moved to Moret-sur-Loing, then to Sablons in 1883, and finally back to Moret-sur-Loing in 1889. Plagued by ill health in his later years, Sisley died after a long battle with cancer.
— LINKS
— Les Oies (color lithograph 29x40cm; 3/4 size)
— Les Oies II (color lithograph 21x32cm; full size)
— Le pont d'Argenteuil en 1872 (1872; 1326x2131pix; 874kb)
— Le Bac de l'Ile de la Loge - inondation, 1872 (1831x2419pix; 2086kb)
— Inondation à Port-Marly (1876; 1272x1689pix, 303kb)
— Bords du Loing (1891, 36x45cm; recommended 3/5 size — ZOOM to 6/5 size)
— Le Loing à Moret (1886; 583x800pix, 125kb)
— Garde-Chasse dans la Forêt de Fontainebleau (1870; 946x759pix, 182kb)
— Avenue of Chestnut Trees — Meadow — Snow at Louveciennes
— The Bark During the Flood at Port-Marly (1876) — Louveciennes — Tugboat
— Flood (753x1000pix, 136kb) — Factory in the Flood, Bougival 1873; Oil on canvas; Ordrupgaard Collection, Copenhagen Photo 13 of 16 : Image resolution 800 x 607
— Seine at Bougival in Winter (1872) — Church at Moret (1894)
— 298 images at Webshots

^ Born on 30 October 1712: Christian Wilhelm Ernst Dietrich (or Dietricy), German painter and etcher who died on 23 (24?) April 1774.. — [Did he eat a rich diet, or was the family fortune made by running a fat farm?]
— Dietrich spent most of his life in Dresden, where he became a Professor at the Academy in 1764, and where he died. A diverse and eclectic artist, he painted pastiches of, for example, Watteau, Salvator Rosa, Adriaen van Ostade and Rembrandt; he also decorated Meissen porcelain and practiced as an etcher. He died in Dresden.
— Born in Weimar, he received his first training from his father, Johann Georg Dietrich [1684–1752], a court painter at Weimar, and, at the age of 13, was sent to Dresden to study under the landscape painter Johann Alexander Thiele [1685–1752]. In 1728 they traveled to Arnstadt to paint landscapes for stage sets. In 1730 Thiele presented his student to Frederick-Augustus I, Elector of Saxony, as a prodigy. Frederick-Augustus appointed Dietrich court painter and entrusted him to his minister Heinrich, Graf von Brühl, for whom he worked on some decorative paintings.
From 1732 he used the name ‘Dietricy’ to sign his paintings. He traveled in Germany from 1734 and may have visited the Netherlands, the source of his artistic inspiration. He returned from his travels in 1741 and was appointed court painter to Frederick-Augustus II, Elector of Saxony, (King Augustus III of Poland), who sent him to Italy in 1743 to study. Dietricy visited Venice and Rome but returned to Dresden in 1744. In 1748 he was appointed Inspector of the Gemäldegalerie in Dresden, which had recently become more influential because of important purchases from Italy. The following period saw Dietrich at the height of his success, and his works were in demand all over Europe.
— LINKS
— Seesturm und Schiffbruch I (801x1099pix, 65kb — ZOOM to 1201x1649pix, 248kb)
— Seesturm und Schiffbruch II (883x1198pix, 80kb — ZOOM to 1178x1598pix, 215kb)
— Himmelfahrt Christi (1048x570pix, 78kb)
— La Transverberation de Sainte Thérèse (75x60cm)
— The Wandering Musicians (43x33cm, signed and dated, bottom right: Dietricij fecit 1745) _ The style is an imitation of Adriaen van Ostade's. Dietrich himself later made an etching of the composition as did his friend, the engraver Jean-George Wille. In 1761, he painted a pendant showing a woman selling cakes.
— Felsige Landschaft mit Wasserfall (1752; 430x542pix, 50kb)

^ Died on 28 October 1893: Karl Bodmer, in Barbizon, France, Swiss painter and graphic artist, , active in the US and France, specialized in the US West, born on 11 February 1809.
— He visited the US (1832 to 1834), and he made important sketches of Amerindians. He was best known for his painting in France as a part of the Barbizon school of painting, working with Millet and Théodore Rousseau.
— His earliest exposure to art probably came from his uncle, the landscape painter and engraver Johann Jakob Meyer [1787–1858]. When Bodmer was 22, he moved to Paris, where he studied art under Sébastien Cornu. In Paris he met his future patron, Prince Maximilian of Wied-Neuwied, who was planning an ambitious scientific expedition to North America. Bodmer was engaged to accompany the expedition and to provide sketches of the US wilderness. After touring the East Coast, the party made their way westward via the Ohio and Mississippi rivers to Saint Louis MO, and in 1833 went up the Missouri River into country scarcely inhabited by White men. On the journey north to Fortt MacKenzie WY, Bodmer recorded the landscape and the groups of Amerindians they encountered. Having wintered in Fortt Clark ND, they returned to New York and then Europe in 1834.
— Article Karl Bodmer's Visionary Years
— Photo of Bodmer (11x8cm; full size)
— LINKS
— Blackfoot Makuie Poka — Kiasax — Blackfoot Pioch Kiaiu
— Blackfoot Mehkskehme Sukahs — Mahehsi Karehde — A Mandan Village
— Forest Scene — Rock Formations on the Upper Missouri River (1833)
— First Chain of the Rocky Mountains (1833) — Confluence of the Fox River & the Wabash
— The Delaware Water Gap — Susquehanna near Harrisburg, Pennsylvania
— Forêt de Fontainebleau (etching 27x33cm; 4/5 size) — Goats (etching 12x16cm; full size)

^ Born on 30 October 1842: Thomas Jacques Somerscales, British painter who died on 27 June 1927.
— Nació en Kingston Upon Hull, un puerto ubicado en el Mar del Norte, a una y otra orilla del estatuario del Humber. Fue el tercer hijo de una familia de siete hermanos. Su padre fue un hábil marino formado en la Academia Naval de Hull. Se educó en el Christ Church School hasta los trece años, siguió estudios de pedagogía en el Tenham College de Gloucesterschire, no tuvo una formación sistemática en las academias o escuelas de Bellas Artes, su actividad artística se desarrolló como una afición, motivado por una familia de larga tradición en el ejercicio de las artes pictóricas.
      1862 Se incorpora a la Armada Británica, siendo destinado a la estación naval del Pacífico, allí enseñó a los guardia marinas: matemáticas, geografía y dibujo, además de maniobras de arboladura y velamen.
      1864 Llega a Valparaíso, Chile, por primera vez, el 18 Dec, viaje que repite a comienzos de la primavera de 1867; dos años más tarde, afectado de fiebre palúdica.
      1869 Llega a Valparaíso el día 07 septiembre, afectado de fiebre pelúdica. Los médicos le recomiendan no regresar a zonas tropicales, por precaución decide quedarse en Chile, abandonando la filas de la Armada real. En Valparaíso hace clases en el Artizan English School y posteriormente en el colegio inglés Mackay, daba lecciones de inglés, aritmética, geografía, dibujo y caligrafía. Vive en el edificio del colegio en el cerro Concepción. Se integra al círculo de Bellas Artes de la ciudad, establece una gran amistad con Manuel Antonio Caro.
      1872 Gana medalla de plata en el Salón de pintura nacional chileno realizado con motivo de la gran exposición de Artes e Industrias en el Mercado Central de Santiago. Pablo Délano, ex guardiamarina del Cochrane le encargó la copia del cuadro La captura de la Esmeralda en el Callao, que se encontraba en el edificio de la Bolsa de Comercio.
      1874 Contrae matrimonio con Jane Trumble Harper, tuvo 6 hijos.
      1892 Se embarca de regreso a Inglaterra para entregarle una mejor formación a sus hijos y conocer a su familia. En Inglaterra hizo clases en el colegio de Manchester al noreste de Liverpool.
      1893 Se presenta en la exposición de la Real Academia donde obtiene tercera medalla.
      1898 Vuelve a participar en la exposición de la Real Academia envía Frente a Valparaíso, es adquirido por los administradores del legado de Chamtvey con destino a la Tate Gallery, esta es una de las obras más conocidas y reproducidas en el mundo. Su obra fue admirada por el público y la crítica en reiteradas ocasiones.
      1911 La cámara de Diputados de Chile le encarga la ejecución de un cuadro para la sala de sesiones en relación a la primera Escuadra Nacional. Permanece hasta hoy bajo la testera de la sala de plenarios de la Cámara.
— LINKS
— Cattle watering in a River Landscape (1887, 50x75cm)
— Off Valparaiso (1899, 96x180cm) _ Somerscales was as a naval teacher at sea, but he gave this up after suffering from malaria. He found a job in Chile as a schoolmaster, and began to paint as an amateur, specializing in South American landscapes and sea pictures. When he was in his fifties he returned to Britain to live in Hull, where he painted most of his best pictures as souvenirs of Chile. In Off Valparaiso and other such paintings he emphasized the jade green and blue of the Pacific Ocean. This full rigged iron ship was used for bringing minerals from Chile. It is shaking out top gallants and royal sails, while hoisting a goose-winged flying jib. The whaler is a pilot boat, with standing oarsmen, being greeted but refused.
— Combate Naval de Iquique (84x145cm) _ detail 1 _ detail 2
— A Barque Running Before a Gale (1910, 41x56cm; 517x700pix, 74kb) _ A four-masted barque wearing foul-weather rig is shown making its way through a heavy sea in this port-bow view. Ships such as this were used as trading vessels, including in the grain and nitrate trades to South American ports round Cape Horn. Since this British-born artist lived in Valparaiso, Chile, where he ran a painting school from 1874 until he returned to England in 1892, it is likely that portraits such as this were made from personal observation. By placing the ship high on the horizon, the artist has used a curious sense of perspective to create the illusion of movement and the power of the ocean. The painting is an evocation of the era of sail, which by 1910 was giving way to steam. Somerscales excelled at creating paintings of ships under sail.
— Sinking of the Scharnhorst at the Battle of the Falkland Islands, 8 December 1914 (1915, 61x110cm; 389x700pix, 59kb) _ On 01 November 1914, the German Far-Eastern squadron commanded by Vice-Admiral von Spee was brought to battle by an ill-assorted British force commanded by Rear-Admiral Sir Christopher Cradock, off Coronel on the coast of Chile. After a decisive victory for the German squadron it was decided that there was no future for cruiser warfare and von Spee was ordered to take his squadron home. He decided to make one call on the way at Port Stanley in the Falkland Islands to destroy the radio station and take the Governor prisoner, as an act of a reprisal for the British capture of the German governor of Samoa. He was confronted there by a superior British force. The main targets for the British ships were the Scharnhorst, commanded by von Spee and Gneisenau and they were the targets of the two battle-cruisers. The Invincible concentrated on the former and the Inflexible on the latter. After four hours, the Scharnhorst capsized and sank with no survivors. An hour later the Gneisenau also sank. On the left of the picture is Scharnhorst, in port-bow view, listing to port and sinking by the stern, her bow out of the water. She is on fire aft and about to capsize, smoke pouring from the fires and her funnels over the starboard side. In the extreme right background, the smoke and gun flashes of the Invincible commanded by Vice-Admiral Sir Doveton Sturdee and Inflexible, commanded by Captain Redare Beamish. The British-born artist lived in Valparaiso, Chile, where he ran a painting school from 1874 to 1892, when he returned to England. In 1893, he began to exhibit at the Royal Academy but kept his contacts in Chile and subsequently made a number of visits there.

^ Born on 30 October 1843: Alexandre-Georges-Henri Regnault, 1843 , French painter specialized in Orientalism, son of photographer-scientist-physician Victor Regnault [21 Jul 1810 – 19 Jan 1878].
— Henri Regnault showed exceptional abilities as a draftsman from an early age. After a traditional classical education he was sent in 1860 to the École des Beaux-Arts, Paris, where he studied under Louis Lamothe [1822–1869] and Alexandre Cabanel. In 1866 he won the Prix de Rome competition with Thetis Giving the Weapons of Vulcan to Achilles. In Italy he began several other ambitious history paintings, including Automedon Taming the Horses of Achilles (1868) and Judith and Holofernes (1869). He died on 19 January 1871, in the battle of Buzenfal of the Franco-Prussion war, in which he was fighting even though he was exempt from compulsory military service because of his artist status.
— Photo of Regnault
— LINKS
— Self-Portrait with a Maulstick (1863, 54x45cm; 380x318pix, 11kb)
— Execution without Trial under the Moorish Kings of Granada (1870, 302x146cm)
— Automédon ramenant les coursiers d'Achille des bords du Scamandre (1868, 315x329cm; 395x416pix, 38kb) _ Full of youthful fire and passion, this mammoth painting—more than ten square meters — {to which the puny reproduction does not do justice} was painted while Regnault, the son of the director of the Sèvres porcelain manufactory, was a student in Rome. Several years later, the artist returned home to fight in the Franco-Prussian War and was killed during the siege of Paris at the age of twenty-seven. Derived from Homer’s epic, the Iliad, the painting depicts Automedon, chariot driver for Achilles, struggling to control Xanthos and Balios, the horses that will carry the Greek hero into his final, fatal battle. Exhibited around the United States in the 1870s and 1880s, the painting was called both “the grandest painting in America” and “highly seasoned and unhealthful food which renders the palette insensitive to the milder flavors of what is wholesome.”
— Jean-Baptiste Biot [1774-1862] (1862, 33x25cm; 512x368pix, 48kb)
— Madame Mazois (1866, 66x63cm; 512x482pix, 65kb) _ morte, sur son lit.
— Salomé (1870, 160x103cm; 480x300pix, 59kb) _ Henri Regnault wowed the art world with this painting owing to it's unusual color scheme. The science of oil painting came to it's full fruition in the nineteenth century. The palette now included dazzling colors which could electrify a painting. Letters that Regnault wrote to his father in 1869 and 1870 recount the evolution of this picture. It began as an oil sketch of the head of a young peasant whom Regnault met in Rome in 1869, which was subsequently enlarged to a bust-length composition called "Study of an African Woman." He then added canvas to three sides of the work and painted the complete figure, holding the knife and basin, against the present yellow background. Regnault considered several titles before adopting "Salomé." It was shown in the Salon of 1870. First a student of Cabanel's and later influenced by Mariano Fortuny y Marshal, Regnault was one of the rising stars of the Romantic movement. He lived a passionate life, traveling to the Middle East even though he was broke, hanging out in Spain as it rose up against Queen Isabella the Second, he loved excitement and adventure.

Died on a 30 October:

^ 1895 Adolf Stademann, Munich German artist born on 19 June 1824. — A winter's day in the village (20x30cm; 367x529pix, gif 90kb) _ a snowy landscape of a country village with thached roof houses and a church in the background. — Wintervergnügen (22x36cm; 312x500pix, 56kb)

1848 Martinus Schouman, Dutch marine painter born on 29 January 1770, great-nephew and student of Aert Schouman [04 Mar 1710 – 07 May 1792].

1666 Willem Gilleszoon Kool (or Koolen), Dutch artist born in 1608. — {He must have painted some Kool pictures, but I cannot find anything of or on him}.

^ 1661 Alexander Adriaenssen, Flemish painter baptized as an infant on 16 January 1587. He was the son of the composer Emanuel Adriaenssen and brother of the painters Vincent Adriaenssen [1595–1675] and Niclaes Adriaenssen [1598–1649]. In 1597 he was apprenticed to Artus van Laeck [–1616] and in 1610 became a master in the painters’ guild. In 1632 he took on Philips Milcx as apprentice, and in 1635 he painted the coats of arms of the 17 provinces on the triumphal arches in honor of the new governor. Adriaenssen’s many signed and often dated oil paintings on wood and canvas are all still-lifes, mainly of food on tables with copper- and tinware, glass and pottery (e.g. Still-life with Fish, 1660). There are four paintings of vases of flowers, but vases of flowers, as well as single flowers on the table, also appear in other still-life combinations. Only two canvases are known in which he worked with figure painters: a garland of flowers around a painting of The Holy Family by Simon de Vos and a porcelain bowl of fruit beside a Virgin and Child attributed to a follower of Rubens. His compositions are graceful and balanced but somewhat stereotyped, and they are bathed in a soft chiaroscuro. Adriaenssen depicted with great skill the moist waxiness of fish and oysters, the luminous transparency of drops of water and glasses filled with liquid, as well as crisp, juicy fruit, downy feathers and velvety fur.

1429 Ambrogio di Baldese, Italian artist born in 1352.

^
Born on a 30 October:

1956 Frédéric Berger, Swiss artist. His site.

1895 Mario Tozzi, Italian artist who died in 1979.

1858 Louise Abbéma, French Artist who died in 1927.

1853 Ottokar Walter, Austrian artist who died on 15 December 1904. — [Quand il voyageait, c'était en Ottokar.]

1827 Leopold Baron of Löffler-Radymno, Austrian Polish artist who died on 06 February 1898.

1799 Emilius-Ditlev Baerentzen, Danish artist who died on 14 February 1868.

1740 Angelica Catharina Maria Anna Kauffman, Swiss artist who died on 05 November 1807.

1657 Jacques Autreau, French artist who died on 16 October 1745.

1629 Jan Wouverman, Dutch painter who died on 01 December 1666. Brother of Philips Wouwerman [bap. 24 May 1619 – 19 May 1668].

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