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ART “4” “2”-DAY  18 September
DEATH: 1426 VAN EYCK
^ Died on 18 September 1426: Hubert van Eyck, Flemish painter born before 1390.
— He was the elder brother of Jan van Eyck [1390 – 09 Jul 1441 bur.], Lambert van Eyck, and Margareta van Eyck. He was born at Maeseyck, near Mons; the date is unknown. The name Hubert itself, which was not common in Ghent, may well indicate his foreign origin. A few facts can be gleaned from his tombstone. An inscription engraved on a copper plate which has since disappeared but which was once affixed to the stone, recorded 18 September 1426 as the date of his death.
      However, the most crucial piece of information to have come down to us is the quatrain inscribed on the frame of the Adoration of the Lamb, the Van Eyck brothers' most celebrated work. The verse was placed there when the altarpiece was installed on 06 May 1432. It states that the polyptych was begun by Pictor Hubertus Eyck, and finished by his brother Jan, at the request of Jodocus Vyd, deputy burgomaster of Ghent, warden of the church of Saint John, and of his wife, Elisabeth Borluut, who commissioned it. The quatrain was discovered in 1823.
      A stylistic analysis of the painting reveals the work of two different hands. The overall conception of the altarpiece is certainly the work of Hubert, along with the execution of certain parts, such as the panels in the lower tier: Here, the manner is archaic, and reflects the continuing dominance of the international style that was practised by Broederlam. The composition is typically unoriginal: the landscape is still conceived as a distant background, with which the figures at the front have no organic relation, an effect that is reinforced by the bird's eye point of view.
LINKS
The Three Marys at the Tomb (71x89cm)
^
Died on a 18 September:


1899 Fritz Glarner, Swiss US painter who died on 18 September 1972. Brought up in France and Italy, he studied at the Regio Istituto di Belle Arti in Naples from 1914 to 1920. Three years later he moved to Paris, where he studied at the Académie Colarossi intermittently between 1924 and 1926 and became acquainted with modernist artists, including Hans Arp, Sophie Taeuber-Arp, Alexander Calder, Theo van Doesburg, Jean Hélion, Fernand Léger, Piet Mondrian and Georges Vantongerloo. During the late 1920s and 1930s Glarner’s work consisted largely of semi-abstract still-lifes and interior scenes such as Painting (1937), in which flat, hard-edged areas of color are used to indicate the simplified forms of a table in the corner of a room. Although right angles predominate, a limited number of diagonal edges and overlapping forms serve to establish a sense of spatial recession and indicate the naturalistic origin of the imagery. — Painter and printmaker Fritz Glarner's art is one of bold colors and abstract shapes. Born in Zurich, Switzerland, and trained in Italy, he moved to the United States in 1936. Working in New York, he met other abstract artists and introduced them to the Dutch school of geometric abstraction, known as De Stijl, in which he had been trained. Influenced by the work of Dutch artist Piet Mondrian, Glarner's work, for example the lithograph Drawing for Tondo, recalls the balanced arrangement of abstract shapes in Mondrian's paintings. Unlike the Dutch painter, Glarner often worked on an architectural scale. He produced paintings for vast spaces such as the Dag Hammmarskjold Library at the United Nations and the lobby of the Time-Life building in New York. Glarner was among the artists invited to work at Universal Limited Art Editions, an important print workshop in West Islip, Long Island. During the 1960s, it offered printmaking equipment to a generation of abstract artists and fostered the growth of modern lithography in the US. — LINKS

1929 Hippolyte Petitjean, French painter born on 11 September 1854. — He initially studied art at his home town of Macon. He later studied at the Ecole des Beaux-arts de Paris. At age 30 he fell under the influence of his friend Seurat. He adapted the pointillist theories and produced at least 237 paintings in the "divisionist" style. In 1919 he went back to the impressionist style of Monet.— He began his studies in drawing in Mâcon before going to Paris in 1885 to join the Neo-Impressionists. He became very close to Seurat, who was generous with his advice and instruction and greatly influenced Petitjean’s conté crayon drawings. In 1887 he submitted paintings to the Salon in Stockholm and from 1891 was accepted by the Salon des Artistes Indépendants in Paris. In 1893 he was welcomed in Brussels; in 1898 he gained a new German clientele in Berlin, and in 1903 and 1921 his works were hung in Weimar and Wiesbaden.— Pont St.Michel (on sale for $7500)

1914 Albert Kappis, German Impressionist artist born on 20 August 1836.

1886 Eduard Jakob Steinle, Austrian painter born on 02 July 1810. He studied at the Akademie der Bildenden Künste in Vienna from 1823, where he was taught by Vincenz Georg Kininger. His training under Leopold Kupelwieser had a lasting influence on his work, for it was during this period (1826–1828) that he learnt about Italian painting of the Quattrocento. In 1828 he went to Rome, where he joined Philipp Veit, who influenced his style, Friedrich Overbeck and Joseph Führich. He sketched a Visitation, and an Annunciation for the church of Trinità dei Monti in Rome; these were painted as frescoes by his friend Josef Tunner. — Frederic Leighton [1830-1896] was a student of Steinle.

1807 Franciszek Smuglewicz, Polish painter born on 06 October 1745. The son, not of a smuggler, but of the Warsaw craft painter Lukasz Smuglewicz [1709–1780], he was apprenticed to Szymon Czechowicz. Living from 1763 to 1784 in Rome, he initially studied under Anton von Maron and then from 1766 at the Accademia di San Luca on a scholarship given by King Stanislas V. There he became influenced by classicizing academicism, a style to which he remained faithful. He became proficient in fresco painting and at oil portraits (e.g. The Byres Family in Rome, 1776). He also did watercolor copies (1770–1776) of antique frescoes, being at that time conversant with international antiquarian and collecting circles. — Jonas Rustemas was an assistant of Smuglewicz.

^
Born on a 18 September:


1859 Thomas Austen (or Austin) Brown, British artist who died in 1924.

1854 Fausto Zonaro, Italian artist who died on 19 July 1929.

1838 Friedrich Otto Gebler, German artist who died in February 1917.

1764 Mauro Gandolfi, Bolognese painter and printmaker who died on 04 January 1834. Son of Gaetano Gandolfi [31 Aug 1734 – 20 Jun 1802] and nephew of Ubaldo Gandolfi [28 Apr 1728 – 27 Jul 1781]. The work of the three reflects the transition from late Bolognese Baroque through Neo-classicism and into early Italian Romanticism. During their period of collective productivity, from 1760 to 1820, the Gandolfi produced paintings, frescoes, drawings, sculptures and prints. Their drawings made an outstanding contribution to the great figurative tradition of Bolognese draftsmanship that had begun with the Carracci. Their prolific output and their activity as teachers gave them considerable influence throughout northern Italy, except in Venice. Mauro’s daughter, Clementina Gandolfi [1795–], was an artist and amateur musician, and his son by a second marriage, Democrito Gandolfi [1796–, studied under Antonio Canova but was an unsuccessful sculptor. He delivered a eulogy at Mauro’s funeral and sculpted the portrait bust that stands on the tomb of Gaetano and Mauro in the Certosa di Bologna. — Mauro Gandolfi was the eldest of seven children. By his own rather boastful account he ran away from home at the age of 16, joined the French army and returned home to Bologna only in 1786. By 1791 he was enrolled in the school of the Accademia Clementina, as two superb figure drawings dated 1791 and 1792 are among those preserved in the archives of the present Accademia di Belle Arti. His chief mentor was his own father. In 1792 he married Laura Zanetti, and in 1794 he was made a professor of the Accademia Clementina. The fine Self-portrait with a Lute (1794) may have been painted to commemorate this latter occasion. The decade of the 1790s was the most professionally productive time of Mauro’s long life. In his manuscript autobiography written in 1833, he listed his oeuvre, all of which he claimed to have done between 1786 and 1796: 1 painted carriage, 6 ceilings, about 28 ‘quadretti’, 20 large drawings, 40 ‘cappricci disegnati all’ inchiostro con diversi colori all’ acquarello di for a adattabile a tabacchiere’, 8 to 10 miniatures, over 100 ‘nudi’ (drawings?) and the pen drawing of his father.

1739 Jean-Jacques Lagrenée “le jeune”, Parisian painter, designer, and engraver, who died on 13 February 1821. He was a student of his brother Louis Lagrenée “l 'aîné” [21 Jan 1724 – 19 Jun 1805], with whom he went to Russia, where he stayed from 1760 to 1762. Although in 1760 he had only obtained second place in the Prix de Rome competition, he received permission to stay at the Académie de France in Rome, where he spent the years 1763 to 1768. In Rome he discovered the works of antiquity and followed the example of Giovanni Battista Piranesi [1720-1778] in drawing and engraving antique sculpture. He also painted a ceiling in the Palazzo Senatorio ‘in the arabesque taste’ (since destroyed). He was approved (agréé) by the Académie Royale in 1769. He exhibited regularly at the Salon between 1771 and 1804 and he was as prolific as his brother. LINKSHelen Recognizing Telemachus, Son of Odysseus (1795)

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