ART / 4 / 2DAY

search 8100 artists, their works, museums, movements, countries, time periods, media, specializations

<<< ART 09 Mar

ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” MAR 10 ||| ALTERNATE SITES

ART “4” “2”-DAY 10 March v.5.20

DEATHS: 1927 POTTHAST — 1592 COXCIE

BIRTHS: 1822 ROELOFS — 1787 ETTY

^ Died on 10 (09?) March 1927: Edward Henry Potthast, US Impressionist painter born on 10 June 1857.
— Potthast, son of a German cabinet maker, was born in Cincinnati. At a young age he showed a natural inclination toward art, filling the blank pages and margins of his school books with drawings. He was apprenticed at an early age to a lithographer and attended night classes at the McMicken School of Design in Cincinnati. He studied under Fernand Cormon. He interrupted his studies to travel to Europe in 1882 and 1887, visiting Antwerp, Munich, Paris and Barbizon. His early work features the dark tonalities of the Munich school, evident in Dutch Interior (1890). After his move to New York in 1896, Potthast’s palette brightened. There he embarked on what was to become his primary subject: New York beach scenes in which spirited groups of families and children cavort under the strong, even light of the summer sun, as in Sailing Party. Obviously influenced by Impressionism — well established in the US by this time — Potthast applied his pigments with a thickly laden brush, obliterating facial expression but conveying gaiety and warmth through his high-keyed color schemes, energetic brushwork and sharply cropped compositions. Potthast was known as a modest, shy, and diligent person who painted almost every day. A bachelor who enjoyed life, much of Potthast's work focuses on leisure activity, especially that of women and children. As a mature artist, Potthast's fame rests on his beach scenes, completed in the last twenty years of his life. These paintings display the unique synthesis of the US Realist's subject matter and the US Impressionist's painting technique particular to Potthast's large body of work.

— LINKS
— The Century July 1896 cover (color lithograph, 51x36cm) — Ring Around the Rosy (22x30cm; 289kb) — Beach Scene (31x41cm; 925x1200pix, 107kb) — A Sailing Party (76x102cm; 913x1200pix, 76kb) — The Wave (935x1200pix, 92kb) — Snowy Mountain (952x600pix, 77kb)
— The Conference (61x76cm; 911x1200pix, 57kb) — Holiday (63x76cm; 955x1200pix, 65kb)

^ Born on 10 Mar 1822: Willem Roelofs, Dutch painter who died on 12 May 1897.
— The painter Willem Roelofs, born in The Hague, is considered to be a forerunner of the Hague School, a group of landscape painters who concentrated on the atmosphere and play of light in nature. During the years he lived in Brussels (1847-1887), Roelofs formed a link between the French Barbizon School and the progressive Dutch landscape painters in The Hague. He mainly painted Dutch landscapes with ponds and cows. Hendrik Van de Sande Bakhuyzen taught Roelofs the elements of painting and he later went on to study at the Hague Academy. His early work belonged to the dominant style in painting that time, Romanticism. His dramatic landscapes such as Approaching Storm display the grandeur and power of nature.
— He is said to have made his first sketches at the age of four; at fifteen he completed his first landscape painting. About 1837 or 1838 he was apprenticed to the amateur painter Abraham Hendrik de Winter [1800–1861] in Utrecht, where the Roelofs family had moved in 1826.
In 1838 he entered his first paintings in the Exhibition of Living Masters in Amsterdam and Rotterdam. In the late summer of 1840 Roelofs became a student of the landscape and animal painter Hendrik van de Sande Bakhuyzen [1795–1860], with whom he made a study trip to Germany in 1841. Roelofs took a special interest in nature: he applied himself energetically both to painting and drawing, almost always selecting landscape subjects. He also studied entomology and accumulated a large collection of insects. After his training he returned to his parents in Utrecht.
— H. W. Mesdag and Carel Nicolaas Storm van ’s Gravesande were students of Roelofs

— LINKS
— An Approaching Storm (1850, 90x140cm; _ ZOOM to 1011x1600pix, 261kb) _ A threatening mass of dark clouds hangs above the dune landscape. The rider spurs his horse on. He is holding his hat tight and his jacket is flapping in the wind. A dog follows them. Speed is of the essence, the storm could break at any moment. For a second, the sun breaks through the clouds. The light shines on the sandy ground, lighting up the silver-white birch trunks against the dark dunes. The scene illustrates the insignificance of humankind compared to the vastness of nature. It is typical of Romanticism.
This is one of Roelofs's last paintings in the Romantic style. Later he went on to paint in a more impressionist style. From the 1850s on, while living in Brussels, Roelofs's had considerable contact with the French Barbizon artists, who painted outdoors. Roelofs began to sketch outside in the country too. At the time of this stormy landscape, Roelofs was mainly concerned with the dramatic effect and not the accurate depiction of nature. This can be seen from the birch trees, they are unstirring, as if there was absolutely no wind around them.
— A Sunlit River Landscape With Cows Watering
— Fran Utrecht (66x80cm)
— View Of A Village Along A River, Germany (1842, 36x47cm)
— A Cowherd And His Cattle At Sunset (44x70cm)
— A Summer Landscape (14x26cm)
— A Summer Landscape With Grazing Cows (25x42cm)
— Bords du Gein près d'Abcoude (14x25cm)
— Coin de Paturage (65x111cm)
— People on a Country Road Along a Waterway, a Windmill in the Distance (47x73cm)
— Noorden (16x43cm)

^ Died on 10 March 1592: Michiel van Coxcie (or Coxie, Coxius) I “the Flemish Raphäel”, Flemish painter born in 1499 who studied under Bernaert van Orley.
— Flemish painter and engraver of religious subjects in the Raphaelesque style adopted after he visited Italy with his master Bernaert van Orley. In all likelihood he was born in Liège, but very early in his career he must have settled in Mechelen because, in time, they treated him like a native son. Like so many Flemish artists, he travelled to Rome where many of his works are still on display at the church of Santa Maria dell'Anima. Upon his return in Mechelen he went right back to work and did not stop until his dying day. He created more than a hundred large paintings, countless designs for tapestries, etchings, and drawings.
During his career, he became the favorite of Charles V and Philip II. For the latter he copied the Van Eycks' altarpiece The Adoration of the Lamb. Although in his day they called him the "Flemish Raphael", he is now considered a Romanist and a compulsive imitator of the Italian style. Admittedly, his style did not evolve much over time but he remains an important link between the Flemish primitives and the Baroque at of Rubens.
He had many sons, some of whom walked in their father's footstep without ever reaching his level. The most famous among them were Michiel van Coxcie (III) the Younger and Raphael van Coxcie.

— LINKS
— The Circumcision of Christ (detail) (1585) _ This detail shows the corner of the panel in which sits a sibyl. This figure was inspired by Michelangelo's painting on the ceiling of the Sistine Chapel.
— Original Sin (237x88cm) _ This is a side panel of a winged altarpiece. The other side wing is entitled Expulsion from the Paradise
— The Torture of Saint George (1586) _ This panel is one of the wings of a triptych in the Mechelen Cathedral depicting the Martyrdom of St George. A remarkable detail about this triptych (and another triptych in the same Cathedral depicting the Martyrdom of St Sebastian) is the fact that the artist was well into his eighties when he created them.

^ Born on 10 March 1787: William Etty, York English painter specialized in nudes, who died on 13 November 1849.
— He was the seventh child in the Methodist family of a miller and baker in Feasegate, York, and in 1798 he was apprenticed as a printer to Robert Peck, publisher of the Hull Packet. Financial support from his uncle, a banker, allowed him to go to London in 1805, where he entered the Royal Academy Schools in 1806. For a year, in 1807–1808, he was a student of Thomas Lawrence, who greatly influenced him. Following the death of his uncle in 1809 he became financially secure. From 1811 he exhibited regularly at the Royal Academy and the British Institution and in 1816 worked in the studio of Jean-Baptiste Regnault in Paris.
— His father had been in early life a miller, but had finally established himself in the city of York as a baker of spice-bread. After some elementary instruction, William Etty, at the age of eleven and a half, was placed as an apprentice in the printing-office of the Hull Packet. After completing seven years of apprenticeship he went to London.
      He began his training as an artist without an instructor, by copying from nature, models, prints, etc. He would later say that his first academy was a plaster-cast shop in Cock Lane, Smithfield. There, from a cast of a Cupid and Psyche, he made a copy which was shown to Opie, and led to his being enrolled in 1807 as student of the Academy. Among his fellow students were some who would become well-known artists, such as Wilkie, Haydon, Collins, Constable. In the summer of 1807 he was admitted as a private student of Sir Thomas Lawrence. The influence of Thomas Lawrence, whom Etty greatly admired, is evident in Etty's work as late as 1816.
      In 1811, after repeated rejections, Etty had his Telemachus rescuing Antiope shown on the walls of the Academy. It was badly hung, however, and attracted little notice. In 1816 he made a three months visit to Italy. In 1820 his Coral-finders, exhibited at the Royal Academy, attracted much attention, and its success was more than equalled by that of Cleopatra’s arrival in Cilicia, shown in the following year. In 1822 he again set out on a tour to Italy, taking Paris on his way, where he copied from the old masters in that gallery. On. arriving at Rome he immediately resumed his studies of the old masters at the Louvre. Though Etty admired the grand chefs-d’oeuvre of Raphael and Michelangelo in Rome, and went on to Venice, which influenced his style as a colorist more than of any other Italian school.
      Early in 1824 he returned home to find that honors long unjustly withheld were awaiting him. In that year he was made an associate of the Royal Academy, and in 1828 he was promoted to the full dignity of an Academician. In the interval between these dates he had produced the Combat (Woman interceding for the Vanquished), and the first of the series of three pictures on the subject of Judith, both of which ultimately came into the possession of the Scottish Academy. Etty’s career was from this time one of slow but uninterrupted success.
      In 1830 he again crossed the channel with the view to another art tour through the continent; but he was overtaken in Paris by the insurrection of the Three Days, and was so much shocked by the sights he was compelled to witness in that time that he returned home with all convenient speed. During the next ten years of his life the zeal and unabated assiduity of his studies were not at all diminished. He was a constant attendant at the Academy Life School, where he used to work regularly along with the students, notwithstanding the rem onstrances of some of his fellow-Academicians, who thought the practice undignified. The course of his studies was only interrupted by occasional visits to his native city, and to Scotland, where he was welcomed with the utmost enthusiasm, and feted with the most gratifying heartiness by his brother-artists at Edinburgh. On the occasion of one of these visits he gave the finishing touches to his trio of Judiths.
      In 1840, and again in 1841, Etty undertook a pilgrimage to the Netherlands, to seek and examine for himself the masterpieces of Rubens in the churches and public galleries there. Two years later he once more visited France with a view to collecting materials for what he called “his last epic,” his famous picture of Joan of Arc. This subject, which would have tasked to the full even his great powers in the prime and vigour of manhood, proved almost too serious an undertaking for him in his old age. It exhibits, at least, amid great excellences, undeniable proofs of decay on the part of the painter; yet it brought a higher price than any of his earlier and more perfect works, £2500.
      In 1848, after completing this work, he retired to York, having realized a comfortable independence. One wish alone remained for him now to gratify; he desired to see a “gathering” of his pictures. With much difficulty and exertion he was enabled to assemble the great majority of them from various parts of the British Islands; and so numerous were they that the walls of the large hall he engaged in London for ‘their exhibition were nearly covered. This took place in the summer of 1849. Etty holds a secure place among English artists. His drawing was frequently incorrect, but in feeling and skill as a colourist he has few equals. His most conspicuous defects as a painter were the result of insufficient general culture and narrowness of sympathy.
— Peter Harrison was a student of Etty.

— LINKS
— The Storm (1830, 89x74cm) _ When The Storm was exhibited at the Royal Academy it was accompanied by a quotation from Psalm 22: “They cried unto Thee and were delivered; they trusted in Thee and were not confounded”. The storm seems intended as a metaphor for life’s struggles in which the couple just manage to stay afloat in their hopelessly inadequate boat. They cling to each other and stare to the heavens as the wind whips up the freely painted waves, sail, and fluttering cloth behind the female nude, characteristic of Etty, but incongruous in this context.
— Christ Appearing to Mary Magdalene after the Resurrection
— Il Duetto
— Mira _ head only
— Window in Venice, during a Fiesta
— Youth at the Prow, Pleasure at the Helm
— Cupid (48x40cm)
— The Dangerous Playmate
— Standing Nude (86x48cm _ ZOOM by clicking on “VIEW high-resolution image in browser)
— Reclining Female Nude (64x51cm; 1/3 size _ ZOOM to 2/3 size)
— Study of a Female Nude (1824, 66x51cm)
— Female Nude in a Landscape (1830, 45x54cm)
— Academic Male Nude (63x48cm) _ seen from the back, with nothing very obvious showing whether it is male or female, in the posture of a pitcher about to throw a baseball, hands and one foot cropped off.
— Two Nudes In An Interior (74x55cm)
— Venus and her satellites aka The Toilet Of Venus (81x111cm)
— Cupid and Psyche (painting)
— Cupid and Psyche (wood engraving 33x25cm; 5/6 size, 280kb) p.317 Harper's Weekly 21 Apr 1877 _ Both are shown as young children, upper body only, quite decent, Cupid either placing or removing Psyche's head scarf.

Died on a 10 March:

^ 1941 Wright Barker, British oil painter of pastoral and genre subjects, born in 1863. He exhibited at the leading London galleries from 1891, mainly at the Royal Academy and at the Royal Society of British Artists. He lived at Mansfield and later at Harrogate. — Relative? of the Bath artist dynasty which includes Thomas Jones Barker [19 April 1813 – 27 March 1882]? — LINKS — Highland Cattle (120x152cm)
— Circe (1890, 138x200; 425x602pix, 80kb) _ bare-breasted, among lions into which she has changed some humans. According to Greek legend (see Ovid Metamorphoses XIV 223-319), she could also change humans into wolves, bears or, as she did to the companions of Odysseus, pigs. However Odysseus himself was immune, thanks to the herb moly which Hermes had given him, and he compelled Circe to change the pigs back into men.
_ See also the painting Circe half-covered with pigs (700x543pix, 76kb _ ZOOM to 1050x815pix, 83kb) by Mossa [28 Jan 1883 – 25 May 1971] and Circe with a drink (intended to transform Odysseus into a pig) and just one pig (1891, 149x92cm; 1000x596pix, 287kb _ ZOOM to 2858x1703pix, 1457kb, by clicking on “VIEW high-resolution image in browser”) by Waterhouse [06 Apr 1849 – 10 Feb 1917].

1871 Anton Einsle, Austrian painter of German descent, born on 30 Jan 1801. In 1814 he was admitted to the Vienna Akademie der Bildenden Künste, where in 1817 he was awarded first prize in ornamental design. By 1827 he was already executing commissions for portraits in oils and portrait miniatures, and in 1829 he received the Lampi prize. On the death of his father he moved to Prague, where he quickly established his reputation as a portrait painter. Having exhibited successfully in Prague and Dresden, in 1830 he began to show his work regularly at the Vienna Akademie exhibitions. In 1832 he settled in Budapest, where the patronage of the Archduke Joseph and his consort Maria Dorothea culminated in his appointment as court painter (1838), ensuring his future success and bringing further prestigious commissions from the nobility and the Church.

1856 Ludovico Lipparini, Italian artist born on 17 February 1800.

1745 Jan-Peter van Bredael I, Flemish artist born on 28 April 1654.

^ 1573 Hans Mielich (or Mülich), German painter and illuminator born in 1516. He was a leading painter in Munich of religious compositions, manuscript illuminations and portraits. He studied under his father, Wolfgang Mielich, a Munich municipal painter, who appears in the Munich tax records from 1509 onwards, but the years 1536–1539, spent with Albrecht Altdorfer in Regensburg, were decisive for Hans Mielich’s approach to color. In 1536 he illuminated the title-page to the Freiheitenbuch of the city of Regensburg. In 1541 Mielich went to Rome on a commission from Duke William IV of Bavaria. He stayed there until 1543, when he became a master in Munich. From 1545 onwards Duke Albert V of Bavaria helped him obtain commissions, and in 1558 Mielich became leader of the Munich painters’ guild. He consistently signed his works with the monogram HM (=M in H). — As the son of Munich city painter Wolfgang Mielich, Hans Mielich was initially tutored in his father’s workshop. He was then trained by Albrecht Altdorfer, in whose Regensburg studio Mielich is known to have worked from 1536 until the death of the master. By 1540 Mielich had returned to Munich. Following a two-year journey to Italy he was admitted as a Master to the Munich painters’ guild, which he headed from 1548. Mielich’s artistic importance lies particularly in his portrait painting, in which he combines the tradition of Barthel Beham with his understanding of exemplary Italian works. At the court of the art-loving Albrecht, Duke of Bavaria, Mielich also decorated several codices with precious miniatures. — LINKS — Ladislaus von Fraunberg, Count of Haag (1557, 214x113cm; 2500x1325pix, 1297kb) _ Ladislaus von Fraunberg [1505–1566] was the sovereign ruler of the County of Haag, close to Wasserburg in eastern Bavaria, and the last of his line. Shortly before this picture was painted Fraunberg married the niece of Duke Ercole d’Este, Emilia Rovella di Pio, in Ferrara. But his mother-in-law had her daughter abducted to a convent and arranged so many attempts to poison and murder the Duke that, finally, he returned home without his wife in 1556. The following ten years until his death were marked by Ladislaus’ unsuccessful attempts to remarry, in order to save his family lineage. After his death the County of Fraunberg fell to his adversary, Duke Albrecht V of Bavaria. With great authenticity, Albrecht’s court painter Hans Mielich managed to capture both the quarrelsome nature of his subject as well as his tragic fate. Fraunberg’s Italian adventure is symbolized by the leopard at his side given to him by his brother-in-law.

Born on a 10 March:

1946 Gérard Garouste, French painter. He was brought up in Burgundy by an uncle who made untutored stone-carvings. He studied at the École des Beaux-Arts in Paris (1965–1972), but, influenced by the work of Marcel Duchamp, temporarily gave up easel painting for theatrical performance and set design. It was not until the early 1980s that his gestural and highly colored mythological figuration (e.g. Orion the Classical, Orion the Indian, 1982) gained recognition as part of a broader eclecticism associated with the Italian Transavanguardia. While retaining similar references, for example in Untitled (1987), from his Dante cycle (1986–1987), he developed a more personal and enriched style, which brings passion to his characteristically reduced figures.
1853 Luigi Rossi, Swiss artist who died on 06 August 1923.

1843 Hugo Oehmichen, German artist who died in 1932.

1789 Augustin Alexandre Thierrat, French artist who died on 13 April 1870.

1695 (12 Mar?) Adrien Manglard, French painter, draftsman and engraver, active in Italy, who died on 31 July 1760. — {Did Manglard mangle art?} — The son of a modest Lyon painter and godson of Adriaen van der Cabel, he learnt figure painting with Frère Imbert in Lyon. Adrien Manglard went to Rome in 1715, where he spent much of his time making studies of ships, and even of Turks and camels. He also was trained in the studio of Bernardino Fergioni [1674–1738] and learnt from those artists in the circle of the sculptor Pierre Legros, who was to purchase two seascapes by Manglard before 1719. Manglard's skill as a marine painter was such that his career advanced rapidly: prestigious clients included Victor Amadeus II, Duke of Savoy and King of Piedmont, who bought two matching pieces from him in 1726, and Philip, Duke of Parma [–1765], who acquired a pair in 1759, and the Rospigliosi family in Rome, for whom he produced a number of pictures.

<<< ART 09 Mar

ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” MAR 10 ||| ALTERNATE SITES

ART 11 Mar >>>

TO THE TOP

PLEASE CLICK HERE TO WRITE TO ART “4” MARCH
http://www.safran-arts.com/42day/art/art4mar/art0310.html
http://www.intergate.com/~canu/art/art4mar/art0310.html
http://www.geocities.com/quermaz/art/art4mar/art0310.html
updated Thursday 10-Mar-2005 0:42 UT
Previous update Tuesday 23-Mar-2004 17:12 UT

site safe for children

Hosted by www.Geocities.ws