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ART “4”
“2”-DAY 07 August |
| DEATHS:
1899 MARIS — 1796 MAUBERTSCH |
| BIRTHS:
1862 LE SIDANER
— 1867 NOLDE |
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Born on 07 August 1862: Henri Eugène
Augustin Le Sidaner, French painter who died in 1939. —
[Il n'a jamais étudié à Rome. Avait-il peur de s'y
damner, Le Sidaner?] — Le Sidaner was a Symbolist, who later adapted Neo-Impressionism to his own purposes, beginning about 1898. He is, therefore, a Neo-Impressionist like Henri Martin and many others, and his work has substantial quality. He came to Paris in 1880 and studied with Cabanel for two years. He then moved to Etaples, near Boulogne, for the next twelve years. Upon his return to Paris in 1894, he absorbed the fin-de-siècle fondness for twilight scenes, which became his speciality. He was influenced by Eugène Carrière and Whistler. By about 1900 Le Sidaner was the French counterpart to the Italian 'Divisionisti', like Grubicy de Dragon and Pelizza, although there was probably no direct relationship. He was awarded a bronze medal at the Exposition Universelle in 1900; made an Officer of the Légion d'Honneur in 1930 and elected a Member of the Institute. He was also a Professor at the Académie des Beaux-Arts. — LINKS — Le Pont (1904, 60x74cm) _ détail — Table dans le Jardin (79x64cm) which looks almost like a detail of: La Table du Thé (1919) — Dimanche (1898, 113x192cm; 386x650pix, 23kb) — Petit Village: Gerberoy (1937, 125x150cm) _ In 1900 Le Sidaner visited Gerberoy, northwest of Paris, and later bought a house there. The village became the inspiration for many of his paintings, which are known for their evocative, atmospheric quality. |
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Died on 07 August 1899: Jacob Henricus
(or Hendrikus) Maris, Dutch painter specialized in Landscapes,
born on 25 August 1837. Brother of landscape painters Matthijs
Maris [17 Aug 1839 – 22 Aug 1917] and Willem
Maris [18 Feb 1844 – 10 Oct 1910]. Jacob Maris started as a figure
painter but later turned to painting town- and landscapes. He was one of
the leading painters of the Hague School, along with Jozef Israëls and Anton
Mauve. — Jacob Maris studied first at the Antwerp Academy and then in Paris (1865-1871). He is best known for his landscapes in oil, watercolor, and etching, with Dutch bridges, windmills, quays, towers, against misty or cloudy skies, where the atmosphere is more important than the subject. By the age of 12 he was apprenticed to Johannes Stroebel [1821–1905], and from 1850 he attended classes at the Academie in The Hague. In 1854 he accompanied his teacher, Huib van Hove [1814–1864], to Antwerp, where he attended evening classes at the Academie for two years and made contact with Louis Meijer, the marine painter. In 1855 he was joined in Antwerp by his brother Matthijs Maris, with whom he shared a workshop and house. For a short period their friend and fellow student Laurens Alma-Tadema came to live with them. They lived on Matthijs’s grant and made small paintings, based on 17th-century Dutch genre pictures, for the US market. — The students of Jacob Maris included his brother Willem Maris, as well as Théophile de Bock and Willem de Zwart. — Photo of Maris — LINKS — The Tow Path (1860, 35x31cm) — View of Amsterdam (1870) — View of Old Delft (1865, 56x71cm) — Harbor of Amsterdam (1872, 45x93cm) — Dutch Town on the Edge of the Sea (1883) — Harbor Town (1875, 36x60cm) — Close of Day — A View of a Harbor Town (67x126cm; 513x1000pix, 156kb) — Collecting Shellfish (128x94cm; 1000x736pix, 110kb) — The Bridge (1885, 113x138cm) _ Looking at the somber grays and blacks of this village scene, with its shimmering silver-surfaced canal, it is hard to believe that a contemporary of Maris had complained of the extreme vividness of the colors in the painting. This critic later learned from Maris that he expected his pigments to reach a mellow maturity only after ten or twelve years from the time of their application. The artist clearly understood his craft, for today the subdued tones of the picture greatly enhance this powerful portrait of an ordinary, even drab, Dutch town, blanketed under clouds stirred by damp, gusty winds. The site depicted is said to be near Rijswijk, on the outskirts of The Hague. A number of similar compositions by Maris, which include both oil sketches and a wash drawing, may be preparatory studies for the picture. |
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Born on 07 August 1867: Emil Hansen “Nolde”,
German Expressionist
painter, watercolorist, and printmaker known for his violent religious works
and his foreboding landscapes. He died on 15 April 1956 in Seebull, West
Germany. — He was born Emil Hansen at Nolde near Tondern in northest Schleswig (now Tänder in southern Denmark) into a farming family, his father a Frisian-German, his mother Danish. The youthful Emil made his living as a woodcarver. He was able to study art formally only when some of his early works were reproduced and sold as postcards. Emil Hansen changed his name to Emil Nolde about 1904. In Paris Nolde began to paint works that bear a superficial affinity to Impressionist painting. In 1906 he was invited to join Die Brücke, an association of Dresden-based Expressionist artists who admired his "storm of color." But Nolde, a solitary and intuitive painter, dissociated himself from that tightly knit group after a year and a half. Nolde married Ada Vilstrup, who collaborated with him, printing many of the woodcuts, keeping records, etc. Fervently religious and racked by a sense of sin, Nolde created such works as Dance Around the Golden Calf (1910) and In the Port of Alexandria from the series depicting The Legend of St. Maria Aegyptica (1912), in which the erotic frenzy of the figures and the demonic, masklike faces are rendered with deliberately crude draftsmanship and dissonant colors. In the Doubting Thomas from the nine-part polyptych The Life of Christ (1911-1912), the relief of Nolde's own religious doubts may be seen in the quiet awe of Saint Thomas as he is confronted with Jesus' wounds. During 1913 and 1914 Nolde was a member of an ethnological expedition that reached the East Indies. There he was impressed with the power of unsophisticated belief, as is evident in his lithograph Dancer (1913). Back in Europe, Nolde led an increasingly reclusive life on the Baltic coast of Germany. He lived at Seeb¸close to the Danish border. His almost mystical affinity for the brooding terrain led to such works as his Marsh Landscape (1916), in which the low horizon, dominated by dark clouds, creates a majestic sense of space. Landscapes done after 1916 were generally of a cooler tonality than his early works. But his masterful realizations of flowers retain the brilliant colors. of his earlier works. He was a prolific graphic artist especially noted for the stark black and white effect that he employed in crudely incised woodcuts. Although Nolde was an early advocate of Germany's National Socialist Party, after the Nazis came to power, they included his work in the “Entartete Kunst” (Degenerate Art) exhibition they mounted in 1937 in Munich. That put Nolde in the company of Janker Adler, Ernst Barlach, Rudolf Bauer, Philipp Bauknecht, Otto Baum, Willi Baumeister, Herbert Bayer, Max Beckmann, Rudolf Belling, Paul Bindel, Theo Brün, Max Burchartz, Fritz Burger-Mühlfeld, Paul Camenisch, Karl Caspar, Maria Caspar-Filser, Pol Cassel, Marc Chagall, Lovis Corinth, Heinrich Davringhausen, Walter Dexel, Johannes Diesner, Otto Dix, Johannes Dreisch, Hans Christoph Drexel, Heinrich Eberhard, Max Ernst, Hans Feibusch, Lyonel Feininger, Conrad Felixmüller, Otto Freundlich, Xavier Fuhr, Ludwig Gies, Walter Gilles, Otto Gleichmann, Rudolph Grossmann, George Grosz, Hans Grunding, Richard Haizmann, Raoul Hausmann, Guido Hebert, Erich Heckel, Wilhelm Heckrott, Jacoba van Heemskerck, Hans Seibert von Heister, Oswald Herzog, Werner Heuser, Heinrich Hoerle, Karl Hoefer, Eugen Hoffman, Johannes Itten, Alexei von Jawlensky, Eric Johansen, Hans Jürgen Kallmann, Wassily Kandinsky, Hans Katz, Ernst Ludwig Kirchner, Paul Klee, Cesar Klein, Paul Kleinschmidt, Oskar Kokoschka, Otto Lange, Wilhelm Lehmbruck, El Lissitzky, Oskar Lüthy, Franz Marc, Gerhard Marcks, Ewald Matare, Ludwig Meidner, Jean Metzinger, Constantin von Mitschke-Collande, Laszlo Moholy-Nagy, Margarethe Moll, Oskar Moll, Johannes Molzahn, Piet Mondrian, George Muche, Otto Meuller, Erich Nagel, Heinrich Nauen, Ernst Wilhelm Nay, Karel Neistrath, Otto Pankok, Max Pechstein, Max Peiffer-Watenphul [1896-1976], Hans Purrmann, Max Rauh, Hans Richter, Emy Röder, Christian Rohlfs, Edwin Scharff, Oskar Schlemmer, Rudolph Schlichter, Karl Schmidt-Rottluff, Werner Scholz, Lothar Schreyer, Otto Schubert, Kurt Schwitters, Lasar Segal, Friedrich Skade, Friedrich “Fritz” Stukenberg, Paul Thalheimer, Johannes Tietz, Arnold Topp, Karl Völker, Christoph Voll, William Wauer, and Gert Wollheim. In 1941 the Nazi regime forbade Nolde to paint. Most of his woodcuts, etchings, and lithographs were made between 1905 and 1937. After World War II he resumed painting but often merely reworked older themes. His last Self~Portrait (1947) retains his vigorous brushwork but reveals the disillusioned withdrawal of the artist in his 80th year. There is a great richness and the unusual diversity in Nolde's work, oil-paintings, water-colors, drawings, graphic works, and arts and crafts, of landscapes and seas, portraits, flower gardens, grotesques and fantasies, with pictures of big city nightlife in Berlin and others from his trip to the South Seas. “Art is exalted above religions and races. Not a single solitary soul these days believes in the religions of the Assyrians, the Egyptians, and the Greeks. And their races are exhausted, crossbred and spoiled. Only their art, whenever it was beautiful, stands proud and exalted, rising above all time.” — Emil Nolde, 1911 — Nolde (sein ursprünglicher Name war Hansen) zählt zu den führenden Malern des Expressionismus und gilt als einer der großen Aquarellisten in der Kunst des 20. Jahrhunderts, sein eigentliches Ausdruckmittel war die Farbe. Noldes ehemaliger Wohnsitz Seebüll liegt an der Grenze zu Dänemark inmitten der weiten Marschlandschaft nahe der Nordsee auf einer hohen Warft, nicht weit von Tondern und dem Dorf Nolde, wo der Maler 1867 als Sohn eines Bauern geboren wurde. Nolde ist weit und häufig gereist, die Winter verbrachte er zumeist in Berlin; doch empfand er zeitlebens eine tiefe Verbundenheit zu seiner Heimatlandschaft. — LINKS — E.N. (Selbstporträt) (1908 etching, 31x24cm; full size) — Autumn Sea VII — Candle Dancers — Child and Large Bird — Crucifixion (1912, 220x193cm) — Dance Around the Golden Calf — Excited People (1913) — Legend: Saint Mary of Egypt - Death in the Desert (1912; 836x960pix, 252kb) — Mask Still Life III — Wildly Dancing Children — Women and a Pierrot — Christ — Crucifixion (1912, 220x193cm) — Wildly Dancing Children (1909) — Amaryllis Madonna — Sultry Evening (1930) — Masks and Dahlias — Sunflowers (1936) — Branch of Orchids (34x47cm; 2/5 size, 64kb _ ZOOM not recommended to 4/5 size, 215kb) — Tänzerinnen (1917 woodcut, 24x30cm; full size, 245kb) — Zwei Teufel (1906 etching, 20x15cm; full size, 91kb) — Sibirische Gutsherren (1918 etching, 30x25cm; half~size, 80kb) — Kniendes Mädchen (1907 etching, 30x22cm; half~size, 61kb) — Klatsch (1905 etching, 18x13cm; full size, 83kb) — Lichter Kopf (1917 woodcut, 31x24cm; 3/5 size, 84kb) — Familie (1917 woodcut, 24x33cm; half~size, 99kb _ ZOOM not recommended to full size, 326kb) — Der Graf (1918 etching, 31x23cm, 67kb _ ZOOM not recommended to full size, 237kb) — Eva (1923 etching, 48x31cm; 2/5 size, 59kb _ ZOOM not recommended to 4/5 size, 229kb) — Dampfer (1910 etching, 31x40cm; 2/5 size _ ZOOM not recommended to 4/5 size, 217kb) _ if it took more than 2 minutes to scribble, it was a waste of time. It may sound like “damp fur”, but it has nothing to do with it. — Fischdampfer (1910, 30x40cm; 2/5 size, 64kb _ ZOOM not recommended to 4/5 size, 207kb) _ now it should be obvious that “fish damp fur” is not the correct translation. This picture is less hurriedly done; it may have taken as much as 10 minutes. — Frauenkopf (36x28cm; 2/5 size, 48kb _ ZOOM not recommended to 4/5 size, 181kb) — a different Frauenkopf (50x37cm; 1/3 size, 46kb _ ZOOM not recommended to 2/3 size, 168kb) — Ältere Herren (1926, 16x11cm; 6/5 size, 90kb) — Diskussion (1913, 76x58cm; 1/5 size, 62kb _ ZOOM not recommended to 2/5 size _ much less ZOOM++ to 4/5 size) |
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Died on 07 August 1796: Franz
Anton Maulbertsch (or Malberz, Maubertsch, Malpertsch),
Austrian painter who was baptized as an infant on 07 June 1724 (born possibly
on 04 June 1724). — His work as a painter of both oil paintings and frescoes on religious, mythological and occasionally worldly themes spanned the second half of the 18th century, adapting a Late Baroque training to the onset of Neo-classicism but remaining strikingly individual throughout. His fresco work, mostly still in situ in widespread central European locations, came at the end of an artistic tradition and was for long neglected, being far from major cultural centres; but it is now seen to establish him as one of the leading painters of his century and a colorist comparable to Giambattista Tiepolo. — Maulbertsch was the outstanding Austrian decorative painter of the 18th century. He was active and extremely productive over a wide area of central Europe and most of his works (altarpieces as well as frescoes) are still in the churches and secular buildings in Austria, the Czech republic, Hungary, and Slovakia for which they were painted. Maulbertsch's vivacious, colorful, and emotional style was almost completely resistant to Neoclassical influences, representing the last glorious flowering of the Baroque and Rococo tradition. His painterly dash is even more apparent in his oil sketches, which are well represented in the Barockmuseum, Vienna, and he was also an outstanding etcher. His oeuvre is well represented in Hungary. A major work of his early period was a series of frescoes for the parish church of Sümeg (1757-1759) followed by frescoes for the Erdõdy-castle and its chapel (1763), allegoric frescoes for the Féltorony-castle (1765), frescoes of the Gyõr cathedral (1772, 1781), the dome of the Vác cathedral (1774) , frescoes of St. Stephen for the parish church in Vác (1781-1782) and frescoes of the episcopal see in Szombathely (1783). The frescoes of the chapel of the girls' school in Eger show the calmness of his late period (1792-1793). — Josef Winterhalder II was a student of Maubertsch. — LINKS — Rebecca and Eliezer (1750, 72x92cm) _ This painting and its companion-piece, Joseph and his Brothers (1750, 73x91cm), are early works showing the influence of Troger and the Venetian painter Giovanni Battista Pittoni. — Annunciation (study) (1794, 81x52cm) _ This study was painted for the fresco on the nave ceiling in the Cathedral of Szombathely. — Adoration of the Shepherds _ detail (1758) _ The detail is a self-portrait. — Mary Magdalen (1754) _ This painting shows the influence of Piazzetta. — Saint Paul (1759, 200x113cm) — The Trinity (62x33cm) _ This sketch from the late period of the artist was a study for the altarpiece in the Parish Church in Wien-Reindorf. — Allegory of the Alba (1750, 67x53cm) _ The artist applied the same rococo style to all subjects whether religious, mythological, or allegorical subjects. — The Death of Saint Joseph (1767) — Apotheosis of a Hungarian Saint (1773) — 52 images at Bildindex |
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