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ART “4” “2”-DAY  12 September
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BIRTHS: 1858 KHNOPFF — 1829 FEUERBACH
^ Born on 12 September 1858: Fernand Khnopff, Belgian Symbolist painter who died on 12 November 1921. — {The painter with the pfunny khname?}
— Fernand Khnopff was probably the most important of the Belgian Symbolists. Brought up in Bruges, he was influenced when young by reading Flaubert and Baudelaire. At first he studied law, but turned to painting under the influence of Xavier Mellery and showed his work at the Salon de la Rose + Croix. In 1879 he went to Paris where he was infected with enthusiam for Gustave Moreau. Péladan greatly admired Khnopff's work, hailing him as 'the equal of Gustave Moreau, of Burne-Jones, of Chavannes and of Rops.' The English Burne-Jones, with whom his work shares elements, and the Belgian poet Emile Verhaeren were strong supporters of his... he had very close ties with the Belgian Symbolist Poets and adopted their themes of "silence, solitude, deserted towns." He had a fanatical interest in precision: every effect and detail in his paintings is precisely and deliberately placed. Dreams and the unconscious were central to Khnopff's art.
— Born in Eastern Flanders, of a family of magistrates, Khnopff grew up in Bruges. He enrolled at the Law School in Brussels which he soon abandoned for the Académie des Beaux-Arts. There he studied under Xavier Mellery who taught him to consider painting as an enquiry into the meaning hidden in the "soul of things". In 1877, on a visit to Paris, he discovered the work of Delacroix, Gustave Moreau (whose fertile imagination greatly impressed him), and the Pre-Raphaelites (particularly Rossetti and Burne-Jones). The influence of these painters was to be of vital importance. On his return to Belgium he was one of the founders, in 1883, of The Twenty ("Groupe des XX") and was much admired by both painters and poets. Emile Verhaeren wrote enthusiastically about him in La Jeune Belgique and at first the rest of the press joined in his praises, though they tended to prefer his child portraits and landscapes.
      In 1892 he exhibited in Paris at the first Salon de la Rose+Croix, encouraged by his new friend, Joséphin Péladan. However, this friendship brought him trouble with The Twenty, some members having little regard for the Rose+Croix. He was a friend of the Belgian poets Georges Rodenbach and Grégoire Le Roy, some of whose books he illustrated. From this Symbolist poetry he took certain themes: silence, solitude, secretiveness and deserted towns. Already during his lifetime he was almost a cult figure, creating a personality for himself as a dandy much sought after in Society circles. He was given the Order of Leopold in recognition of his services to painting but despite this he was an exceptionally private artist. In about 1900 he had a house built to his own plans; it was like one of the structures in his pictures, a house out of a dream with false windows {and with the pfabulous pfaucets with the pfunny name?}. pfunny name

— LINKS
— L'Encens (999x546pix, 72kb) — Art / Sphinx / Caresse
— La Ville Abandonnée (1904) — I Lock My Door Upon Myself (1891)
— Marie Monnom (1887, 50x50cm) — Le Lac D'Amour, Bruges (1887, 47x101cm)
— Fillette en blanc, debout (1884, 70x50cm) — Souvenirs
— Chut! [painted for a public library?] — Une Ville Morte (1889) — Sous les Pins (1894)
— Henri de Woelmont (1884; 959x1069pix) _ a seated little boy in a sailor suit, 2/3 length.
^ Born on 12 September 1829: Anselm Feuerbach, German Neoclassical painter and draftsman who died on 04 January 1880. Not to be confused with his uncle, philosopher Ludwig Feuerbach [28 July 1804 – 13 September 1872], or his grandfather, jurist Paul von Feuerbach [14 November 1775 – 29 May 1833].
— His family moved to Freiburg in 1836 and from 1845 tot 1848 he was a student of Wilhelm von Schadow, Johann Wilhelm Schirmer and Carl Friedrich Lessing at the Dusseldorf Academy. In 1848 he moved to Munich where he copied the old masters at the Pinakothek. In 1850 he studied with the history painter Gustaaf Wappers at Antwerp and in 1851 and 1852 he stayed in Paris. He moved to Karlsruhe and then to Rome, where he stayed from 1856 tot 1873. In Italy he was one of the "Deutschrömers" who were looking for the perfect synthesis between humans and culture. His paintings are not as dramatic of those of Böcklin, they tend to be far more calm and cool. In Rome he met the model Nanna Risi who became his lover. His future biographer Julius Allgeyer introduced him to Graf Adolf Friedrich von Schack, who supported Feuerbach financially. Feuerbach became a Professor at the Academy in Vienna (1873-1876). After staying in Venice and Nürnberg he died in solitary circumstances in Venice, completely neglected by his contemporaries.
— Feuerbach received his first art lessons from the anatomical draftsman at the University of Freiburg where his father, Joseph Anselm Feuerbach, lectured in Classical philology and archaeology. Anselm Feuerbach's teacher included Thomas Couture, Johann Wilhelm Schirmer, Carl Sohn. In 1845 Feuerbach enrolled at the Düsseldorf Akademie where he studied under Wilhelm Schadow. Though adept at academic drawing, he was urged by Schadow to simplify his rather unresolved and crowded compositional sketches and concentrate on a few figures. In 1848 he moved to Munich where he made copies after Old Master paintings in the Alte Pinakothek, being especially impressed by the work of Rubens. Though eventually studying at the Munich Akademie, he saw the landscape painter Carl Rahl as his real mentor. Works such as Landscape with a Hermit Returning Home (1849) combine the rich mood of the Munich landscape tradition with subject-matter more typical of the Düsseldorf school.
— Vojtech Hynais was a student of Feuerbach.
— Photo of Feuerbach
— LINKS
— Self-Portrait as a Young Southern Fisherman (1846, 600x424pix, 102kb _ ZOOM not recommended to fuzzy 1400x989pix, 290kb)
— Self-Portrait as a Youth (1846, 600x483pix, 130kb; distractingly patterned _ ZOOM not recommended to terribly patterned 1400x1128pix, 311kb)
— Front Self-Portrait (1835, 42x33cm; 1519x1168pix) — Profile Self-Portrait (672x527pix, 104kb)
— Mandolinenspieler (1868 137x99cm; 2710x1906pix, 747kb) _ The mandolin player is barely seen, in the shadows, while the main subject is the listener and her baby, for which she cannot afford clothes (this was common in pictures other than paid portraits; it seems that babies in those days were unaffected by heat, cold, or sunburn, and had no need of diapers)
— Mandolinenspielerin (1865; 79x60cm; 497x394pix, 68kb) _ Is it my imagination, or is this the same woman, in almost the same pose, who, three years later, after the birth of her baby, is, in the picture listed above, listening to a man (her husband?) playing the mandolin? Did she teach it to him?
— Hafis vor der Schenke (1852, 205x258cm; 1236x1557pix)
— Lady Holding A Fan (1866, 76x54cm) — Lady Wearing A Pearl Necklace (77x57cm)

— Iphigenie I (1862; 600x420pix _ ZOOM to 1400x980pix) sitting
— Studienkopf zur Iphigenie II (1870; 750x585pix, 100kb _ ZOOM to 1400x1092pix)
— Iphigenie II (1871; 600x388pix _ ZOOM to 1400x905pix) sitting
— Am Meer (Iphigenie III) (1875; 600x344pix _ ZOOM to 1400x803pix) standing
  _ In Greek mythology, Iphigeneia was the eldest daughter of Agamemnon, king of Mycenae, and his wife Clytemnestra. When Agamemnon had assembled an army and a fleet to join the Trojan War, he had the poor judgment of going hunting in a grove dedicated to the goddess Artemis, killing a sacred deer, and boasting of his skill as a hunter. The irate Artemis sent a plague on the army and becalmed the fleet in Aulis. The prophet Calchas announced that the wrath of the goddess could only be appeased by the sacrifice of Iphigeneia. So Agamemnon sacrificed her, or so it seemed to him and to the onlookers; the plague abated, the winds started blowing, and the rest is history of the Trojan War. There are several differing continuations to the story of Iphigeneia. In the one adopted by Feuerbach, from the tragedy Iphigeneia in Tauris by Euripides, Artemis, out of compassion, spirits Iphigeneia away to Taurus in Crimea, where Iphigeneia is to serve her as priestess.
      Feuerbach felt inspired by what he termed the greatness of Antiquity and became the most important representative of Neoclassicism in German painting. In his three versions of this painting, Feuerbach shows the exiled Iphigeneia as she describes herself at the beginning ofIphigenie auf Tauris by Goethe:
“Doch immer bin ich, wie im ersten, fremd.
Denn ach! mich trennt das Meer von den Geliebten,
Und an dem Ufer steh ich lange Tage,
Das Land der Griechen mit der Seele suchend;
Und gegen meine Seufzer bringt die Welle
Nur dumpfe Töne brausend mir herüber.”
      In version II, the model Lucia Brunacci (successor since 1866 of Nanna Risi, whom Feuerbach had, since 1860, portrayed more than 20 times, as herself, the Madonna, Iphigenie I, etc.) is posed like an ancient Greek statue. The gray on gray picture, with a few accents of color, is reminiscent of an ancient fresco. This picture of unfulfilled longing, especially version II, became famous as the characteristic and frequently reproduced emblem of a whole epoch.
     Iphigeneia is a key character in another (unfinished) play by Euripides, Iphigeneia at Aulis, as well as in the tragedies Agamemnon by Aeschylus, Electra by Sophocles, Iphigénie by Racine, and the operas Iphigénie en Aulide (1774 _ libretto by Leblanc du Roullet, after Racine) and Iphigénie en Tauride (1779 _ libretto by N. F. Guillard, after Euripides) by Gluck [1714-1787].
     She is pictured in Sacrifice of Iphigenia (1942) by Rothko, The Sacrifice of Iphigenia (1671; 1240x1600pix, 259kb) by Steen, The Sacrifice of Iphigenia (1757, 350x700cm) by Tiepolo [1696-1770]

— Ruhende Nymphe (1870, 112x190cm; 412x726pix) _ Die Komposition der Ruhenden Nymphe knüpft an den Typus der Schlafenden Venus (1510, 108x175cm; 732x1028pix, 149kb) von Giorgione an — eine Verkörperung der in sich ruhenden Natur. Ihre göttliche Beseeltheit bringt Feuerbach durch das Motiv des Schmetterlings zum Ausdruck. Den Schmetterling — in der Antike ein Sinnbild für die Seele und ihrer Sehnsucht nach dem göttlichen Ursprung — hat er in die Mittelachse der Komposition gesetzt. Statt mit einer Quelle oder einem Brunnen bringt er die Nymphe mit der Weite des Meeres in Verbindung, womit er den angestrebten Eindruck mythologischer Größe unterstreicht.
— Garten des Ariost (1863, 102x153cm; 2853x4361pix) _ Ludovico Ariosto [08 Sep 1474 – 06 Jul 1533] was a Ferrara poet remembered primarily for his epic poem Orlando furioso. By 1525 Ariosto had saved enough money to buy a little house with a garden, a far cry from the vast garden at the side of the grandiose palace in Feuerbach's painting.
— Pietà (1863, 600x1191pix, 244kb _ ZOOM to 1400x2778pix, 599kb)
— Medea (1870, 600x1226pix, 302kb _ ZOOM to 1400x2861pix, 749kb)
— The Judgment of Paris (1870, 600x1151pix, 283kb _ ZOOM to 1400x2685pix, 700kb)
— The Battle of the Amazons (1870, 600x1108pix, 292kb _ ZOOM to 1400x2586pix, 750kb)
— In the Spring (1868, 600x847pix, 222kb _ ZOOM to 1400x1976pix, 601kb)
— Gastmahl des Plato (1869, 295x598cm; 757x1582pix)
— Gastmahl des Plato II (1873, 400x750cm; 545x999pix with frame)
— Kinderständchen (1860, 116x231cm; 768x1554pix)
— Musizierende Kinder (1864, 106x87cm; 1745x1410pix)
— Kinder am Strande (1867, 138x100cm; 953x693pix)
— Maria mit dem Kind zwischen musizierenden Engeln (1860, 117x96cm)
— Nanna (1861, 600x444pix _ ZOOM to 1400x1036pix) framed in a garland
— Nanna (1861, 600x436pix _ ZOOM to 1400x1017pix) holding an open fan
— Nanna als Virginia oder Schwarze Dame (1861, 600x488pix _ ZOOM to 1400x1139pix) holding a closed fan
— Nanna (1861, 600x476pix _ ZOOM to 1400x1111pix) right hand up on the back of the chair.
— Nanna (1861, 600x444pix _ ZOOM to 1400x1036pix) left hand up at collar

Died on a 12 September:

1924 Anton Piotrowski, Polish artist born on 07 September 1853.

^ 1854 Johann Cantius Dillis, German engraver and painter, born in 1779, brother of (1) Johann Georg von Dillis and (2) Ignaz Dillis. He lived in Munich from 1789 and studied under his brother Johann Georg Dillis [26 Dec 1759 – 28 Sep 1841], at whose instigation he was appointed court copperplate engraver in 1801 and court painter in 1807. In 1796 Cantius accompanied Johann Georg to Linz, where paintings from the gallery were taken for safe keeping during the advance of French forces under Napoleon. In 1805 the two men went to Rome, and in 1815 to Paris to bring back paintings that had been removed by the French. The earliest of the six known etchings by Cantius Dillis dates from 1790. His first known painting, the landscape Grottaferrata (1806), shows the influence of Johann Georg’s teaching but also reveals a certain independence. He helped Johann Georg with larger commissions, such as the eight wall paintings for the Schilcher Forestry Commission at Dietramszell (1809); these are idealized landscapes in the style of Gaspard Dughet, mainly painted by Cantius from Johann Georg’s sketches. His brother was certainly instrumental in procuring Cantius the commission for the painting Waterfall near Golling (1813) for Maximilian I Joseph to decorate a wall at Schloss Nymphenburg. The drawings and oil sketches of Cantius often resemble those of Johann Georg, but his style usually lags behind in development. When unsigned, such works have easily been confused with the work of his eldest brother. Another brother was Ignaz Dillis [1772-1808].

1733 Karel Breydel chevalier d'Anvers, Flemish artist born on 27 March 1678.

1653 Andrea (or Andries) Snellinck, Flemish artist born on 28 January 1587.

Born on a 12 September:

^ 1857 George Hendrik Breitner, Dutch Impressionist painter and photographer who died on 05 June 1923. He was trained as a painter and draftsman at the academy in The Hague. Although the Dutch painter Charles Rochussen taught the students history and landscape painting, Breitner’s interests did not lie in this area. He also had as teachers August Allebé and Johan Philip Koelman. In 1880 Breitner worked for a year in the studio of Willem Maris after his academy training. Maris belonged to the Hague school of painters who worked in the plein-air tradition of the French Barbizon school. Breitner painted outdoor life with them, although it was not the picturesqueness of the landscape or the Dutch skies that appealed to him. With Van Gogh he roamed the working-class districts of The Hague and through the dockyards of Rotterdam. Both artists recorded the vitality of city life in their sketchbooks. Breitner consciously chose these themes and motifs: he wanted to paint people going about their daily lives, and on his trips through the towns and docks he was constantly in search of motifs and impressions that he could use in his paintings. — Cornelis Johannes Maks and Floris Verster were students of Breitner. — Two Work Horses (360x550pix, 22kb) _ Breitner ought to have used brightener on this picture, if the original was anything like this paltry reproduction — Inspection of the cavalry (1883, 81x101cm; 394x662pix, 20kb) _ Breitner was very interrested in military activities especially the cavalry, which he painted in the Hague just before his departure to Amsterdam. — Marie Breitner (1900, 74x56cm; 433x320pix, 21kb) _ Figuur uitbeelding in de Amsterdamse school stijl waarbij een beginnend expressionisme is te bespeuren. De nadruk valt op de karakteruitdrukking van het gezicht, het lichaam is in een vage bijna abstracte sfeer gelaten. — Stop of the Cavalry (1885, 60x100cm) _ A broadly painted canvas of a backlighted cavalry group. There is an autumn-like atmosphere, the men are shivering in the cold. The painting is the highlight of the Hague period of the painter. — Artillery in the dunes (1880, 21x41cm) _ At that time Breitner was still active at the Hague, from where he went to the dunes where the artillery was on maneuvers. He also cooperated with Mesdag in the painting of his famous Panorama. Breitner's style at that time was still influenced by the painters of the Hague. — Two Amsterdam maids (1890, 59x46cm) _ A typical subject of Breitner is the working people in the streets of Amsterdam, inspired by his own photographic work. He made hundreds of photographs of the people living in the downtown Amsterdam, and used them for his impressionistic paintings.

1846 Louis Auguste Georges Loustaunau, French artist who died in 1898. — [Did he switch to painting after hearing once too many times his music teacher exclaim: “Loose tone! No, Loustaunau!”]

1758 Jacques Albert Senave, Belgian artist who died on 22 February 1823. — [Est-ce que Senave se navre de ce que l'on ne trouve aucun exemple de ses chefs-d'oeuvre dans l'internet?]

1727 Heinrich Hirt, German artist who died on 03 September 1796. — [Would Hirt be hurt to know that no example of his masterpieces is to be found on the internet.]

1707 Michel-Hubert Descours, French artist who died on 17 November 1775. — [Est-elle vraie la rumeur qui courre que si Descours donnait des cours, Descours ne donnait pas des Descours, il les vendait? Mais, de nos jours, qui donc sait quoi que ce soit des cours des Descours?]

^ 1659 Dirk Maas (or Maes), Dutch painter, draftsman, and engraver, who died on Christmas 1717. He was a student of Nicolaes Berchem and Hendrick Mommers [1623–1693]. Maas entered the Haarlem Guild of Saint Luke in 1678, later moving to The Hague, where he entered the Guild in 1697. He accompanied William III, Prince of Orange Nassau, to England and joined him on his Irish campaign. A large drawing of The Battle of the Boyne, signed and dated 01 July 1690, served as the basis for an unknown number of paintings. He also made two engravings of the battle. He was back in the Netherlands by 1693 and apparently continued working for William III, decorating his hunting lodge at Soestdijk. He painted three versions of William III Stag Hunting, one dated 1696. Most of Maas’s pictures contain horses. His preferred subjects include cavalry skirmishes, hunting parties, horse fairs, and, occasionally, winter scenes. Their settings are sometimes Italianate, but the costumes are usually northern and often military. His style stems from his teachers and from his friend Jan van Huchtenburg [1647–1733], who was an important influence, but his color scheme, predominantly green, is more somber than theirs. His numerous drawings are in red or black chalk, often with watercolor. — Relative? of Dutch painters Johannes Maas Jr. [1655~1690] and Nicolaes Maes [1634~1693]?

^ 1632 (infant baptism) Claude Lefèbvre, in Fontainebleau, French painter and engraver who died on 25 April 1675 in Paris. He was the son of painter Jean Lefèbvre [1600–1675], and joined the studio of Claude d’Hoey [1585–1660] at Fontainebleau. In 1654 he was a student of Eustache Le Sueur in Paris and in 1655 of Charles Le Brun. Under Le Brun’s direction he seems to have assisted with the cartoons for the series of tapestries illustrating the History of the King. He appears to have painted a Nativity for Louis XIV, but Le Brun apparently considered his compositions weak and advised him to specialize in portraiture; in 1663 Lefèbvre was received (reçu) as a member by the Académie Royale de Peinture et de Sculpture with his portrait of Jean-Baptiste Colbert. Lefèbvre was an assistant professor at the Académie from 1664. At the height of his fame he exhibited ten pictures (nine of which were portraits) at the Salon of 1673. Apart from that of Colbert, Lefèbvre’s painted portraits are now known only through the work of such engravers as Gérard Edelinck, Nicolas de Poilly and Pierre-Louis van Schuppen. Among works attributed to him on the basis of such evidence is the portrait of Charles Couperin with the Artist’s Daughter. He was also a talented engraver, and examples of his work in this medium include a Self-portrait and a portrait of Alexandre Boudan. Claude Lefèbvre should not be confused with Roland Lefèbvre, a portrait painter who died in London in 1677.— Relative? of Jules-Joseph Lefebvre [1836-1911]?

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