ART “4”
“2”-DAY 09 September |
BIRTH:
1867 SCHOFIELD |
| BIRTH:
1828 TOLSTOY, not a painter, but a painted. |
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Died on 09 September 1901: Henri~Marie~Raymond
de Toulouse~Lautrec~Monfa, French painter born on 24 November
1864 in Albi, France. — He was an aristocrat, the son and heir of Comte Alphonse~Charles de Toulouse and last in line of a family that traced its ancestry back a thousand years. Henri's father was rich, handsome, and eccentric. His mother was overly devoted to her only living child. Henri was weak and often sick. By the time he was 10 he had begun to draw and paint. At 12 young Toulouse-Lautrec broke his left leg and at 14 his right leg. The bones failed to heal properly, and his legs stopped growing. He reached young adulthood with a body trunk of normal size but with abnormally short legs. He was only 1.5 meter tall. Deprived of the kind of life that a normal body would have permitted, Toulouse-Lautrec lived wholly for his art. He stayed in the Montmartre section of Paris, the center of the cabaret entertainment and bohemian life that he loved to paint. Circuses, dance halls and nightclubs, racetracks — all these spectacles were set down on canvas or made into lithographs. Toulouse~Lautrec was very much a part of all this activity. He would sit at a crowded nightclub table, laughing and drinking, and at the same time he would make swift sketches. The next morning in his studio he would expand the sketches into bright~colored paintings. In order to become a part of the Montmartre life — as well as to protect himself against the crowd's ridicule of his appearance — Toulouse~Lautrec began to drink heavily. In the 1890s the drinking started to affect his health. He was confined to a sanatorium and to his mother's care at home, but he could not stay away from alcohol. Toulouse~Lautrec died at the family château of Malromé. Since then his paintings and posters — particularly the 'Moulin Rouge' group — have been in great demand and bring high prices at auctions and art sales. — LINKS — La Goulue — Confetti — Divan Japonais — Alone — The Kiss — Justine Dieuhl (1891) — A Montrouge (1886) — Quadrille Moulin-Rouge (1892) — A la mie — Yvette Guilbert — Women Dancing — Women of the Night Waiting — Souvenir d'Auteuil (1881; 1099x835pix) — Vincent van Gogh (1887; 1043x899pix) — Workers for the Omnibus Company (1888; 1019x626pix) — Les Vieilles Histoires frontispiece to a series of song sheets (1893 color lithograph, 36x54cm; 3/5 size) _ A mustachioed gentleman in a top hat leads a muzzled bear by a chain attached to a cruel ring in the bear's nose. — Au concert poster commisssioned by the Ault & Wiborg Co. “makers of fine printing and lithographic inks” (1896 color lithograph, 32x25cm; 4/5 size) — La Clownesse assise (Mlle. CHA-U-KA-O) (1896, 52x40cm; 3/5 size) — 251 images at Webshots |
^ Born on 09
September 1828 (28 August Julian) Lev Nikolayevich graf Tolstoy, Russian author, a master of realistic fiction and one of the world's greatest novelists NOT A PAINTER BUT A PAINTED click to see a gallery of Tolstoy portraits. [hand~colored photograph of Tolstoy >] (the painted portraits in the gallery are much better) |
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Died on 09 September 1767:
Thomas Bardwell of Bungay, English painter and writer
born in 1704. — He began his career as a painter of decorative panels, and a number of poor quality overmantels from 1728 onwards survive. About 1738 his brother Robert Bardwell took over the family decorative painting business, which was based at Bungay, Suffolk; by then Bardwell was producing conversation pieces and portraits, perhaps influenced by the Norwich-based portrait painter John Theodore Heins. William Henry, 4th Earl of Rochford, with his Hunter and Groom (1741) is an example of Bardwell's naive approach: the doll-like figures inhabit a clear, airless landscape, while the background view of Easton Park, Suffolk, painted with the same degree of clarity as the foreground figures, shows the influence of his early decorative work. In the 1740s and 1750s Bardwell visited London and painted several portraits there. In 1752 and 1753 he journeyed through Yorkshire to Scotland, carrying out a large number of commissions. His Elizabeth, Lady Lloyd, and her Son (1751) shows his dependence on the work of Anthony van Dyck in the studied informality of the poses and the elegant drapery. Some time after 1757, Thomas Bardwell painted The Entrance Front and stable Range of Adlington Hall in intense yet cold colors. The wide open composition has no equivalent elsewhere and the overall effect comes closer to the clinical observation of nature by the French realist school of the 1840s than to the atmospheric effects devised by mainstream English landscape painters. In 1756 Bardwell published The Practice of Painting and Perspective Made Easy; this original work details the techniques that Bardwell himself employed. From 1759 Bardwell was based in Norwich, where he established a thriving practice. — John Campbell, 2nd Duke of Argyll and Duke of Greenwich (1740, 140x112cm) _ Campbell [1680-1743] was a field marshal and statesman. — Maurice Suckling (1764, 126x100cm) _ Suckling [1725-1778] was a Comptroller of the British Navy; uncle of Lord Nelson. — Hannah Howard and her elder son, John, later 11th Earl (183x122cm; 611x400pix, 40kb) _ Full length portraits, though cut from a larger canvas. The lady in a silver dress with a blue scarf, hat and ribbons, the boy in pink, holding a hat in his left hand. In a wooded landscape. |
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Born on 09 September 1867:
Walter Elmer Schofield, US Impressionist
painter who died on 01 March 1944. — Schofield was born in Philadelphia where he attended Swarthmore College and the Pennsylvania Academy of Fine Art, before leaving for Paris to study at the Academie Julian. From Paris Schofield headed to England, where he settled in the St. Ives art colony at Cornwall. Schofield is remembered for his Impressionist winter scenes, painted in England and Pennsylvania. His works were richly developed, and often infused with brilliant cobalt blues. — Schofield was born in Philadelphia to Benjamin Schofield and Mary Wollstonecraft Schofield in 1867; Schofield's father had emigrated from England to the United States about 1840.(1) He attended Swarthmore College around 1885 and then studied art at the Pennsylvania Academy of Fine Arts between 1889 and 1892. There, he studied under Thomas Anshuz, who encouraged him to pursue an art education in Europe.(2) This he did, especially at the Academie Julien, Paris, under Bouguereau, Doucet, Ferrier, and Aman-Jean in 1892.(3) He encountered both traditional and innovative studies in these schools. After 1892, Schofield spent most of his time traveling to Europe, especially to Paris; he settled for the first time in Southport, England, with his family in 1901 and later moved to Saint Ives in 1903.(4) As he settled back in England, however, he maintained his US citizenship and, in fact, spent a substantial portion of almost every year in the United States around the Pennsylvanian area in order to produce winter landscape scenes. He then spent the rest of the year with his family, creating his Cornish village paintings. — Schofield painted landscapes filled with sun and bright colors, but became best known for his snowscapes and rushing streams, with the movement of the water often shown in diagonal lines, using broad fluid strokes. He was born in Philadelphia to a very creative family. His mother was the grand niece of Mary Wollstonecraft Shelley, author of Frankenstein. He attended Swarthmore College and the Pennsylvania Academy of the Fine Arts, studying with Thomas Anshutz from 1889 to 1892. Thinking he needed to supplement his art training, he went to Paris to study for three years, 1892 to 1895, and attended the Academie Julian. However, he soon tired of the strict regimen and chose to paint directly from nature in the Forest of Fontainbleau. Later he went to England, where he eventually settled in the St. Ives art colony in Cornwall in 1903, along with his English wife, Murielle Redmayne, and children. While living in various cities in England -- Yorkshire, Southport, Bedfors, and while attending the Academy, Schofield met US expatriate artists including Robert Henri, Edward Redfield, John Sloan, William Glackens, and Everett Shinn, members of "The Eight". Rebelling against the rigidity of the National Academy, "The Eight" were a group of painters whose historic exhibition was held at the Macbeth Galleries in New York in February 1908. Not all of "The Eight" painted in a similar mode, but they were generally interested in urban realism as well as Impressionism. Although he became an expatriate, Schofield was recognized as part of the Pennsylvania Impressionist tradition. After about 1903, his Impressionist style often incorporated cobalt blues, and prevailed throughout the rest of his career. He continued to exhibit in the United States and to belong to US art organizations. In the 1930s, he traveled in the US West, painting in California, Arizona, and New Mexico. From an early age, Schofield was familiar with Bucks County, north of Philadelphia, especially when visiting friends such as Edward Redfield. As a student at the Pennsylvania Academy of Fine Arts, he painted several geographic areas. In 1904, his Center Bridge, Across the River, earned him a Carnegie Institute medal. His friendship with Redfield ended in rivalry, however, as Redfield claimed the composition was initially his own concept, that Schofield stole it, and warned him to vacate the area. Schofield agreed, but Redfields influence to his painting style would continue. Perhaps influenced by his affinity for the rugged outdoors and winters bitter elements, Schofield favored snow scenes, as seen in Bucks County and other venues of the Delaware River Valley. Marine vistas, often painted in Cornwall, England, were done in bold colors with thick, heavy brushstrokes.  — Cornish Inn (1936, 76x91cm; 650x782pix, 91kb) — Cornwall (1930; 505x594pix, 50kb) — Street in Normandy (980x1100pix, 137kb) — Godolphin House (890x1100pix, 148kb) — Outer Harbor Polperro (1913; 876x1100pix, 110kb) — Mclegrenow Farm (1925; 886x1100pix, 103kb) — Boat House on a Canal (795x1000pix, 82kb) — Summer Morning (1016x1200pix, 211kb) — January Morning (1941; 768x900pix, 98kb) — Pennsylvania Barn in the Snow (830x1000pix, 86kb) — Seascape (836x1000pix, 83kb) — Boat House on a Canal (795x1000pix, 82kb) — A Cornish Village (797x1000pix, 75kb) — The Winter Woods (762x900pix, 71kb) — Hill Country (750x900pix, 63kb) — Frosty Morning (900x756pix, 51kb) |
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Died on 09 September 
1688: Claude Mellan, French draftsman, engraver,
and painter, born on 23 May 1598.— Born in Abbeville, Claude Mellan moved to Paris at a young age, his first print, produced for a theological thesis presented at the Mathurins College indicating that he was in the capital from 1619 onwards. Anatole de Courde de Montaiglon catalogued 400 engravings by him, and about 100 of his drawings are known. Mellan was also active as a painter; a number of lost paintings are recorded in his own engravings (e.g. Samson and Delilah and Saint John the Baptist in the Desert). Several paintings have been attributed to him since the 1970s, but none has support generally — 1598: naissance de Claude Mellan à Abbeville (Normandie), dans la famille d'un chaudronnier planeur de cuivre / 1624: départ pour l'Italie, grâce au soutien de Claude-Nicolas Fabri de Peiresc (1580-1637): il est l'élève de Villamena et de Simon Vouet / 1626: mariage de Simon Vouet et de Virginia da Vezzo, dont Mellan fait le portrait. / 1630 environ: Mellan grave des planches pour la Galleria Giustiniana, dirigée par Joachim von Sandrart, qui confie l'exécution des planches à différents graveurs, dont Pieter de Bailliu, Michel Natalis, Corneille Bloemaert et Théodore Matham / 1636: Mellan rentre en France; à Aix-en-Provence, il grave une carte de la Lune sous les instructions de Claude-Nicolas Fabri de Peiresc. / 1642: Mellan est logé au Louvre 1688: le 09 septembre, décès à Paris — LINKS — Self-Portrait (1635, 22x15cm) — La Face du Christ sur le Suaire (1649, 43x32cm) — Head of Christ (34x27cm) — The Virgin holding the Child appearing to Saint Bernard who is kneeling (1640, 36x24cm) _ detail — 50 engravings at FAMSF |
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Died on 09 September 1966:
Léon de Smet, Belgian painter born in Gand on 20
July 1881. — Léon de Smet studied at the Academy of fine arts in Gand. He was a member of the expressionist group In Laethem. Also a member of the circle of Vie et Lumière with Theo Van Rysselberghe. — He received his artistic education at the Academy at Gand under Delvin. Painted from the beginning in an impressionistic way strongly influenced by Emile Claus who introduced the luministic impressionism. His subjects where landscape, figure and still-life. In the years until about 1920 his style was clearly divisionistic in which he mingled in soft strokes a pastellike palette. In that time his interiors with figures are intimate and dreamlike. In 1914 he escaped to London where he soon started a successful career. He painted the portraits of Bernard Shaw and other important artistic members of the London society. Leon de Smet is hardly influenced by the modern movement of expressionism that was represented by his brother Gustave de Smet [1877-1943], except in a short period about 1920, when he slightly adapted his style. He continued his career in his primary style of impressionism, nevertheless the divisionistic touch faded away and was replaced by a more vivid color balance, the figures were less vague. He often painted his first and second wives (Maria and Claire) and family. — Summer Landscape (38x46cm; 400x485pix, 67kb) — Woman on the Terrace (135x85cm; 493x311pix, 26kb). — Still Life (1032x843pix, 45kb) |
subito,
come Kleudgen fu attratto dal mare, dai pescatori dell'Arziglia e naturalmente
dagli ulivi e le palme. Fu nel 1909 che divenne ospite permanente di Bordighera
e fra la Città Vecchia e la Via dei Colli fece costruire la sua villa che porta
ancora oggi il suo nome e nel grande giardino lo studio, la famosa Specola. La
vicinanza di Montecarlo gli ispirò deliziosi quadri e bozzetti di vita mondana,
ma il suo fedele amico, la sua fonte d'ispirazione fu il mare che dominava dalla
sua Specola e che rappresentò in tutti i suoi aspetti. Dopo numerose esposizioni
la sua fama andò sempre aumentando. Verso il settantesimo anno la salute dell'illustre
artista cominciò a declinare.— He was born in Monza. His mother was Giulia
Bianchi (Mose Bianchi's sister) and his father was professor Martino Mariani.
After attending the secondary school (liceo) he started in 1879 working as a bank
clerk in Milan, following his father's advice. But soon, thanks to his friend
Uberto dell'Orto, he was apprenticed to the painter Eleuterio Pagliano. In 1883
Porto di Genova, a night scene, is shown at the Brera Exhibition. It
was made in 1882 during a period spent at his sister's house. In the same year
he takes part in the International Exhibition in Nice and in the National Exhibition
of Fine Arts in Rome. In 1884 he opens his first studio at Villa Sala in Monza;
he wins the award "Principe Umberto" thanks to the painting Saluto del Sol
Morente shown at the Brera Academy. In 1885 he receives the silver medal
at the International Exhibition at the Crystal Palace for the painting L'Onda.
In 1886, after his father's death, he moves with his family to Prince Porcia's
house. In 1887 Four paintings are shown at the first International Exhibition
of Arts in Venice: Ritratto della Contessa Rossi Martini, L'Onda, Pescatori
di Notte, L'Ora che Volge al Desio. In 1888, with his works Tramonto
nel Porto di Genova and Sorge la Luna he wins the golden medal at
the 3rd International Exposition in Munich. In 1889 he paints the bust of King
Umberto for the Cappella Palatina in Rome. He takes part in the Universal
Exposition of Paris with his works Cantuccio di Primavera and Acqua
a Catinelle. In 1898 he paints Rittratto della Signora Beddicom con la
Figlia that will be shown the following year at the Royal Academy. In 1900
he settles in Milan for four years and is appointed Councillor of the Brera Academy
by the ministry of Education. In 1906 he partecipates in the International Exposition
of Milan with the paintings In Val Seriana, Interno di Caffé, All'Eden,
La Violetta, Impressione, and with seventeen monotypes. in 1907 he gets marries
opera singer Marcelllina Caronni, nicknamed "La nana" (the dwarf). In 1909 he
returns to Bordighera and goes to live in via della Madonnetta (today called via
P. Mariani) in the villa that had belonged to Senator Agnelli. In 1914, after
his mother's death Mariani devotes himself to a welfare institution for the combatants.
In 1923, at the Gallery Pesaro in Milan there is an exhibition, organized by the
artist himself, with 348 paintings, among which Ricordi del Vecchio Cairo, Impressioni
di Genova, Ricordi di Monzo, Vita di Bordighera, Impressioni di Montecarlo. In
1927 he dies in Bordighera. — In
Zelata (49x74cm; 333x510pix, 55kb) — Ragazza
in giardino (1898, 54x39cm; 661x473pix, 61kb) — Marina
(1887, 80x109cm; 253x350pix, 24kb)
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