ART “4”
“2”-DAY 26 March
v.5.20 |
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Born on 26 March 1794: Julius
Veit Hans Schnorr von Carolsfeld, German painter
and draftsman who died on 24 May 1872; brother of Ludwig Ferdinand Schnorr
von Carolsfeld [11 Oct 1788 – 13 Apr 53]. — Julius was taught engraving by his father and then trained under Heinrich Füger at the Akademie in Vienna (1811–1815). Though not particularly excited by the curriculum, he was inspired by his friendship with Ferdinand Olivier and Joseph Anton Koch and the circle around A. W. Schlegel to an interest in both landscape sketching and in old German and Netherlandish art, as reflected in the style of the detailed pen drawing of The Prodigal Son (1816). From 1815 to 1818 he lived in the house of Ferdinand Olivier, whose step-daughter, Marie Heller, he later married. A painting of 1817, Saint Roch Distributing Alms, is an excellent record of this period, as it contains portraits of Ferdinand Olivier and Marie Heller, and a landscape background similar to that sketched by Schnorr von Carolsfeld with Ferdinand and Friedrich Olivier (who was his assistant) near Salzburg. — Melchior Paul von Deschwanden, and Karl Theodor von Piloty were students of Schnorr. — LINKS — Die breite Föhre nächst der Brühl bei Mödling (1838; 600x1072pix _ ZOOM to 1400x2501pix) — Verkündigung (1820; 600x460pix _ ZOOM to 1400x1073pix) — Maria mit dem Kind (1820; 600x500pix _ ZOOM to 1400x1167pix) — Siegfrieds Abschied von Kriemhild (1843; 600x596pix _ ZOOM to 1400x1391pix) — Frau Clara Bianca von Quandt (1820; 600x404pix _ ZOOM to 1400x943pix) — Bathseba im Bade (1825; 600x496pix _ ZOOM to 1400x1157pix) — Ruth in Boaz's Field (59x70cm) _ This picture was painted in Munich, based on drawings made a few years earlier in Italy. The artist had spent ten years in that country, and was a leading figure in a group of German and Austrian artists named the Nazarenes who sought to invest modern painting with the purity of form and spiritual values that they saw in Renaissance art. The subject is taken from the Old Testament Book of Ruth. Here the Moabite Ruth is gleaning (gathering up corn left after the harvest) to support her widowed mother-in-law. The landowner Boaz who talks to her has come to show his admiration for her support for her family. The two eventually married, and King David, Mary, Joseph, and Jesus were among their descendants. — Der Sechskampf auf der Insel Lipadusa (1816, 102x170cm) |
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Born on 25 March 1692: Jean
Restout II, French Neo-classical
painter, specialized in historical
subjects, who died on 01 January 1768. — Jean Restout came of a family of painters and did many religious and mythological pictures, and worked for a time for Frederick the Great. Born in Rouen, he was the son of Jean Restout, the first of that name, and of Marie M. Jouvenet, sister and student of Jean Jouvenet. In 1717, the Royal Academy having elected Restout a member on his work for the Grand Prix, he remained in Paris, instead of going to Italy, exhibited at all the salons, and filled successively every post of academical distinction. His works, chiefly altar-pieces, ceilings, and designs for Gobelin tapestries, were engraved by Cochin, Drevet, and others. — Jean Restout II received his early artistic training from his father, Jean Restout I, and from his mother, Marie Catherine Jouvenet Restout. By 1707 he was in Paris as the student of his famous uncle and godfather, Jean Jouvenet [1644 – 05 Apr 1717], the leading religious painter there. In 1717 Jean Restout painted Vénus demandant à Vulcain des armes pour Énée. Ce tableau lui mérita d'être agréé de l'Académie le 29 May 1717. On y voit l'influence de Jouvenet: même caractère de dessin, mêmes formes larges de drapées, même principe de disposer ses groupes, mêmes entente de la perspective et de toute la magie du clair-obscur. He followed with Vénus montrant ses armes à Enée. He was received (reçu) by the Académie on 28 June 1720, the year in which he married Marie-Anne Hallé [1704–], a daughter of the painter Claude-Guy Hallé. Unlike most history painters of his time, Restout did not travel to Italy to study. He had a solid training from Jouvenet, and perhaps also from Nicolas de Largillièrre, and, once established in the 1720s, he had a studio of assistants and students. He occasionally attended the drawing school of the Académie, where from 1730 he was professor of drawing, in which capacity he wrote his Essai sur les principes de la peinture. Jean Restout II painted many religious and mythological pictures, and worked for a time for Frederick the Great. His works, chiefly altar-pieces, ceilings and designs for Gobelin tapestries, were engraved by Cochin, Drevet and others. Jean Restout II had an impressively active and successful career. He specialized in serious historical subjects, especially sombre and large-scale religious scenes, which seem out of place in a period renowned for its rather more amorous Rococo art and fêtes galantes, although they demonstrate the continuity of the tradition of monumental figure painting throughout the 18th century. — LINKS — La Pentecôte (1732, 465x778cm) _ Cet immense tableau, à l'origine cintré et plus large, a été peint pour le réfectoire de l'abbaye de Saint-Denis. Les apôtres entourant la Vierge reçoivent du Saint-Esprit (invisible ici) des flammèches qui leur donnent le don des langues, pour aller évangéliser le monde. — Ananie imposant les mains à Saint Paul (1719, 99x80cm) — Mort de Sainte Scolastique (1730, 338x190cm; 1094x604pix, 81kb) — Venus Presenting Arms to Aeneas (1717, 137x105cm; 640x488pix, 58kb) _ Restout has faithfully illustrated the passage from Virgil's Aeneid (Book VIII) in which Venus descends amid clouds to bring weapons made by Vulcan to her son Aeneas: "Lo! the presents perfected by my lord's promised skill! so that thou mayest not shrink, my child, from challenging anon the haughty Laurentines or brave Turnus to battle." This painting is believed to be the diploma piece that Restout submitted in 1717 for his "agrégation," or entrance as an associate member of the French Royal Academy. It was the beginning of a successful career as a history painter, that would include his election as professor, director, and finally chancellor of the Academy. THE FAMILY — Jean Restout II is the most famous of a family of painters from Caen, of which the first was Marguérin Restout, active in the early 17th century. Marguérin’s son Marc-Antoine Restout [1616–1684] was a student of Noël Jouvenet and a friend of Nicolas Poussin, with whom he apparently visited Rome in 1642. He established a reputation in both Rome and the northern Netherlands, as well as in his native Caen. Several of Marc-Antoine's ten children became artists: Jacques Restout [?1653–before 1702], a student of Poussin's nephew Pierre Le Tellier [1614-1680], became a painter, etcher, writer, and abbot of the Premonstratensian abbey of Moncel, near Vitry.; Eustache Restout [1655–1743], prior of the Premonstratensian abbey of Mondaye, trained under Jean Jouvenet and made some fine decorative ceiling paintings as well as being active as an architect and sculptor.; Jean Restout I [1663–1702] married Jouvenet’s sister Marie-Madeleine-Catherine Jouvenet [1655–1698], herself a painter, and acquired a reputation for history painting. They were the parents of Jean Restout II, whose son, Jean-Bernard Restout [22 Feb 1732 – 18 Jul 1797], is the second most renowned painter in the family, best known for his portraits; and whose daughter (painter Anne-Catherine Restout?) married Noël Hallé [1711 – 1781]. Pierre Restout [1666–] was also a painter and monk. Charles Restout [1668–] was a Benedictine monk at Saint-Denis, who painted church ceilings and altarpieces. Thomas Restout [1671–1754] visited Rome and the Netherlands to study his art before establishing himself as a portrait painter. |
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