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ART “4” “2”-DAY  25 September
^ Died on 25 September 1561: Alonso Berruguete, Spanish Mannerist painter and sculptor born in 1488.
— He was the most distinguished Spanish artist of the 16th century, and his style dominated the central Iberian Peninsula. He integrated the expressive qualities of Gothic art with the beauty of the Renaissance. He brought to Spain Italian Mannerist ideas both in sculpture and painting and played a leading part in their development. Berruguete’s workshop became a meeting place in the same way as the conversazioni, the precursors of the academies in Italy. Patronized by leading figures of the day, his artistic and financial independence helped to improve the status of the artist.
— Spanish sculptor and painter, one of the five sons of Pedro Berruguete [1450 – 06 Jan 1504], learnt painting from his father but later, under the influence of Michelangelo, turned toward sculpting and became the major Spanish sculptor of the 16th century. He was trained in Italy and brought back Italian Mannerist ideas, both in sculpture and in painting. He went to Florence about 1504, where he saw and copied Michelangelo's lost cartoon for the Battle of Cascina (he is even mentioned in Michelangelo's letters). He may have been in Rome before returning to Florence for about 5 years before his final return to Spain in 1517. He was, therefore, acquainted with the early work of Pontormo and Rosso at the very beginning of Mannerism. His own work as a painter is close to Rosso, and he probably finished the Coronation of the Virgin which was left incomplete by Filippino Lippi at his death in 1504.
      He was active in Spain principally as a sculptor on such works as the altar of the Irish College, Salamanca (1529-1532) and especially the choir stalls in Toledo Cathedral (on the Epistle side), made between 1539 and 1543. These works, like his paintings, show a combination of the influences of Leonardo da Vinci, Andrea del Sarto and Raphael. He had an extremely successful career, being made Painter to the King on his return from Italy and ennobled in 1559.
— Isidro Villoldo was an assistant of Berruguete. — Francisco Giralte was a student of Berruguete.
Salomé (1514, 88x71cm)
Madonna with Child and Saint John the Baptist as a Child (1515; round 1103x1086pix framed)
^ Died on 25 September 1949: Henri-Charles Manguin, French Fauvist painter born on 23 March 1874.
— He studied under Gustave Moreau at the École des Beaux-Arts in Paris from late 1894, making friends with his fellow students Albert Marquet, Henri Matisse, Jean Puy, and Georges Rouault, who were among those later to be labeled the Fauves when they exhibited together at the Salon d’Automne in 1905. Manguin’s Nude in the Studio (1903), in its rejection of local color, conspicuously broken brushstroke and subversion of traditional perspective, is an early example of his Fauvist style, which was considerably less revolutionary than that of Matisse or Maurice de Vlaminck. The picture is, however, given a personal twist by Manguin’s unusual framing devices and ambiguous space, for example in his use of a theoretically impossible reflection in a mirror to produce a picture within a picture. The disjunction that was noted at the time by Guillaume Apollinaire between Manguin’s use of heightened, unnaturalistic color and straightforward, almost academic drawing style is evident in a Self-portrait (1905), in which broadly brushed areas and patches of color break down traditional illusionism by drawing attention to the canvas surface.
Walk in St. Tropez
(1905) Fleurs (1915)
Paysage à St. Tropez
(1905) Matin à Cavaliere (1906)
Died on a 25 September:

1690 Peter van Lint, Flemish painter born on 28 June 1609.

1679 Philips-Ausgustyn Immenraet, Flemish painter born on 21 February 1627. — The Wolf Hunt — Similar subject by other artists: Alexandre-François Desportes : The Wolf HuntRubens : Wolf and Fox Hunt (1620) — Jacques-Raymond Brascassat : Dogs attacking a Wolf

Born on a 25 September:

1903 Marcus Rothkowits “Mark Rothko“, US abstract expressionist painter and draftsman, born in Russia, who died on 25 February 1970. He had an important influence on the development of color field painting. LINKSVessels of Magic (1946) — Number 10 (1950) — Ochre and Red on Red (1954) — Reds Number 5 (1961; 553x470pix) — Centre Triptych for the Rothko Chapel (1966)

1879 George William Sotter, US artist who died in 1953.

1875 Fernando Álvarez de Sotomayor y Zaragoza, Spanish artist who died in 1960.

1865 Henri Lebasque, French painter who died in August 1937. — Nono et Marthe dans le Jardin avec Madame LebasqueNature Morte (67x73cm; 2/3 size 1728x1872pix, 786kb; or see it 1/3 size) _ fruits, tasse, évantail, avec nappe et tapisserie.

1820 Frederick Richard Pickersgill, British painter who died on 20 December 1900 — LINKSThe Bribe (1857, 75x56cm) Diploma Work accepted 1857 — Flight of the Pagan Deities (1856, 112x196cm) — The Contest of Beauty for the Girdle of Florimel Britomartis Unveiling Amoret (1848, 106x152cm) “At last the most redoubted Britonesse, Her lovely Amoret did open shew, Whose face, discovered plainly, did expresse heavenly pourtraict of bright angels hew.” – Edmund Spenser (Faerie Queene, book iv, canto 5) — Amoret, Aemylia and Prince Arthur, in the Cottage of Sclaunder (1845, 59x89cm)

1807 Marinus Adrianus Koekkoek, Dutch artist who died in 1870. — Relative? of Barend Cornelius Koekkoek [11 Oct 1803 – 05 Apr 1862], Willem Koekkoek [1839~1895]??
Unloading the Barges -- Kruseman
^ 1797 Cornelis Kruseman, Dutch artist who died on 14 November 1857. At the age of 14 he attended a drawing academy in Amsterdam, where he was taught by Charles Hodges and J. A. Daiwaille [1786–1850] among others. He painted portraits (e.g. Mrs Brak-Haskenhoff, 1818), biblical subjects and Italian peasant scenes, which are reminiscent of the works of his French contemporary Léopold Robert. He worked in a classicizing style, which favored pure line and ideal beauty. He went to Italy in 1821, spending two years in Rome, where he was particularly inspired by the picturesque details of Italian daily life and studied the Italian Old Masters. Typical of his work from this period is Piety, which combines, with careful lighting and modeling, a religious scene, a history piece and an imaginative treatment of local peasant life. After his return from Italy in 1825 Kruseman settled in The Hague, where he lived until 1854. He was in Italy again between 1841 and 1848, where he produced such paintings as The Captured Butterfly. — The students of Cornelis Kruseman included his nephew Jan Adam Kruseman [12 Feb 1804 – 17 Mar 1862], Alexander Hugo Bakker Korff, David Joseph Bles, Herman Frederik Carel ten Kate [16 Feb 1822 – 26 Mar 1891], Johan Philip Koelman, Raden Saleh. — Unloading the Barges (26x37cm) >>>

^ 1791 Karoly Markó I, Hungarian painter, teacher and illustrator, active in Italy, who died on 19 November 1860. He studied in Kolozsvár (now Cluj, Romania) and Pest and in 1822 at the Akademie der Bildenden Künste in Vienna. His early paintings are of Hungarian landscapes (e.g. the Danube Bank at Óbuda, 1821). In 1830 he painted his best-known early work, The Castle Hill at Visegrád, which amalgamated natural elements and patriotic sentiments through its reference to the heroic past. In 1832 he moved to Rome (the rest of his family followed in 1838), and in 1833 he illustrated Perlen der heiligen Vorzeit (1821), the poems of János Pyrker, the Bishop of Eger.
     Markó's main interest, however, was in painting landscape studies (e.g. Roman Campagna, 1838) and depicting the lives of the Italian peasants (e.g. Grape Harvest, 1836). In 1838 he lived in San Giuliano and in 1843 in Florence, where he became a teacher at the Accademia di Belle Arti. He moved to Villa Appeggi, near Florence, in 1847. His animated depictions of the natural world were influenced by the landscapes of Poussin and Claude, but the natural elements in his works always formed part of an ideal landscape. In the lit middle ground between the dark foreground and the blue sky in the distant background he placed biblical figures (e.g. Abraham Receiving the Angel, 1849) and mythological characters (e.g. The Death of Eurydice, 1847) or native peasants (e.g. Landscape of Appeggi, 1848). In 1845, however, he had participated in the architectural competition for the Hungarian parliament, and in his later career he became closely involved with Hungarian art life. During a visit to Pest in 1853 he was warmly received, and his impressions of Hungary appear in Hungarian Plain Landscape with Well. In the same year he became preoccupied with Hungarian historical themes, painting several versions of Béla IV’s Escape. He sent many pictures back to Hungary to be shown in the exhibitions of the Artists Association of Pest. Among his students were Eugenio Landesio, and numerous Hungarians, including his sons Károly Markó II [22 Jan 1822 – 1891], who eventually settled in Moscow, and Ferenc Markó [1832 – 03 Aug 1874], who settled in Hungary. Another son, András Markó [29 Sep 1824 – 12 Jul 1895], worked primarily in Vienna. — The Puszta (373x500pix, 40kb) — Mountain Landscape (50x45cm)

1718 Martin Johann “Kremser” Schmidt, Krems region Austrian painter who died on 28 June 1801. He was apprenticed briefly to Johann Gottlieb Starmayr (fl 1720–1740), and from 1741 he worked independently. His oeuvre is informed by thorough study of examples of early Baroque painting in Austria and also of the rich collections of prints and drawings in the monasteries of Göttweig and Dürnstein. Through these works Schmidt familiarized himself with the Venetian repertory of form (which he may also have studied while travelling in northern Italy). Schmidt paid particular attention to the prints of Jacques Callot and the prints and drawings of Rembrandt; the latter encouraged Schmidt to practice drawing in ink. Figures derived from Rembrandt’s types recur in a number of variations in the staffage of Schmidt’s altarpieces. While his drawings are retardataire in character, his manner of incorporating the types he adopted into his paintings is quite inventive. — Das Martyrium des Heiligen Vitus (1772, small engraving)

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