ART / 4 / 2DAY

search 8000 artists, their works, museums, movements, countries, time periods, media, specializations

<<< ART 22 Jul

ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” JUL 23 ||| ALTERNATE SITES

ART “4” “2”-DAY 23 July

DEATH: 1840 BLECHEN

BIRTHS: 1477 GRANACCI — 1614 PEETERS — 1851 KRØYER

^ Born on 23 July 1477 (1469?): Francesco Granacci, Florentine painter and draftsman who died on 30 November 1543.
— Granacci was of the generation immediately preceding Michelangelo whose friend and admirer he was from early youth. Like Michelangelo, Granacci was a student of Domenico Ghirlandaio, whose assistant later he became. Granacci was one of the assistants engaged by Michelangelo in 1508 for the beginning of the Sistine ceiling but, like the others, was dismissed after about one month. On his return to Florence Granacci fell under the influence of Fra Bartolomeo, and his later works have elongated figures in an attempt at monumentality. The Dublin Holy Family, which is usually attributed to him, has also been attributed to Michelangelo and shows the approximation of their styles. Basically, however, Granacci was a quattrocento artist and is thus very similar to such transitional painters as Ridolfo Ghirlandaio and Franciabigio.
— A contemporary of Michelangelo and Fra Bartolommeo, Granacci was trained in Florence, with Michelangelo, in the workshop of Domenico Ghirlandaio, and the two then studied sculpture in the Medici garden at S. Marco under the supervision of Bertoldo di Giovanni. After Ghirlandaio’s death in 1492, Granacci completed the altarpiece of Saint Vincent Ferrer, probably painting the figure of Saint Roch. His first documented works date from 1515, but the paintings identified with his earlier period are done in a competent, inexpressive version of Ghirlandaio’s style. These include The Holy Family, which is awkwardly composed for the tondo format, and a conventional Virgin and Child Enthroned with Saint John the Baptist and the Archangel Michael. Ambitions for a more monumental style are apparent in The Rest on the Flight to Egypt (1494), which is notable for its charming exotic setting and luminous color. The sculptural emphasis and compact figure grouping in this painting may reflect Michelangelo’s influence. Four lively narrative scenes from the Life of Saint John the Baptist, not entirely autograph, also probably date from this period. In 1508 Granacci went to Rome to assist Michelangelo in painting the ceiling of the Sistine Chapel in the Vatican but was dismissed after only a brief stay.

— LINKS
— Madonna and Child (85x64cm; 3/8 size _ ZOOM to 3/4 size)
— Joseph Presents his Father and Brothers to the Pharaoh (1515; 100kb)
— Entry of Charles VIII into Florence (1518; 132kb) — Granacci seems precociously to have assimilated ideas from the activity of Michelangelo - who was his friend — although he later fell back more modestly on the monumental breadth of figures in the style of Fra Bartolommeo. His finest achievements can be seen in works like this, with a narrative content, full of highly individual stylized touches inspired by Pontormo.
— A Man in Armor (1510; 420x320pix, 28kb) _ The man in armor has not been identified; but the tiny white figure in the background is Michelangelo's David. This painting is a celebration of Florence, manhood, and Michelangelo. The man in armor, gripping his sword to defend his city, is an embodiment of courage and readiness. His armor is beautiful in its decorative, engraved lines. His face is sensitive and cultured, the beard finely trimmed, the eyes grave. He is a soldier for the city of the arts, whose symbolic heart, the Piazza della Signoria, is seen behind him. Here, men of importance debate politics and culture on the big coral-colored grid of a square. The new Florentine republic, established after the downfall of the religious zealot Savonarola at the end of the 15th century, was a people's government, with a Grand Council of more than 3000 men. It took the biblical giant-killer David as its hero and commissioned its most exciting young artist, Michelangelo, to make a colossal statue of him. This was a major public event, and the committee responsible for deciding where to place the statue on its completion in 1504 included Leonardo and Botticelli. During the two days it took to move David — on wooden rollers — to the Piazza della Signoria, stones were thrown at it, probably by supporters of the Medici, who hated the Republic.
This painting is a portrait of a man embodying Florence and taking upon himself the martial qualities of David, whose statue stands guarding the Palazzo Vecchio. Standing in front of the Piazza — with David at his right arm — this man has taken on the qualities of the biblical hero: he is youthful, strong and wise. His cold, unyielding armor perhaps also evokes Michelangelo's marble — steel and stone protecting the Republic.
War was relished in Renaissance Florence, and this portrait's taste for cold steel has antecedents that stretch from the ecstatic, hallucinatory painting of Uccello [1397-1475]The Battle of San Romano (1460) — which was commissioned by Cosimo de' Medici — with its robotic knights lightly hacking each other to pieces, to the drawings of grotesque armor and designs for lethal war machines of Leonardo.

^ Died on 23 July 1840: Karl Blechen, German Romantic painter born on 29 July 1799 (1798?).
— Despite early artistic inclinations, he was trained as a bank clerk and then worked as one from 1814 to 1822 before studying at the Akademie der Künste in Berlin. Here Heinrich Anton Dähling [1773–1850] sharpened his interest in Romantic and poetic subjects, while Peter Ludwig Lütke [1759–1831] encouraged his eye for the potential expressiveness of observed language. Blechen was also strongly influenced by the paintings of Caspar David Friedrich, which he was able to study in Berlin at this time. In 1823 he went to Dresden, where he visited Johann Christian Clausen Dahl and probably also met Friedrich, who shared the same house. Here Dahl impressed Blechen with his impulsive style of oil sketching. Studies of Meissen, especially of the cathedral, and of the dramatic landscape of the surrounding parts of Saxony reveal the early development of Blechen’s tendency to perceive landscape and architecture, especially ruins, as allegories of his own usually rather depressed moods. This passionately subjective use of imagery distinguishes Blechen from Friedrich, whose work shows a far more level-headed deployment of landscape symbols as religious allegory.

— LINKS
— Walzwerk bei Eberswalde (1835; 882x1182pix, 104kb — ZOOM to 1210x1576pix, 183kb)
— Palmenhaus auf der Pfaueninsel bei Potsdam (1834; 861X750pix, 73kb — ZOOM to 1148X1000pix, 116kb)
— In the Villa Borghese Park (1835; 861x750pix, 73kb — ZOOM to 1555x1256pix, 154kb)
— Die Waldschlucht (1825; 901x630pix, 65kb — ZOOM to 2252x1576pix, 370kb)
— The Ruins of the Septizonium on the Palatine in Rome, (1829)
— Woodland with Brook (1835) — The Building of the Devil's Bridge (1833)
— Monastery in the Wood (1835) — Sunset at Sea

^ Born on 23 July 1614: Bonaventura Peeters I, Flemish marine painter and satirical poet, who died on 25 July 1652. — [If ever the reputation of Peeters peters out, it'll be a sign that pitiful pea-brained peasants have taken power.]
the painter that was not

— [Please, without panting or petering, repeat as promptly as possible to people present prepared to pay heed:
Poet painter Peeters did not paint on paper a poster of a pretty peck of pickled peppers. A poster of a peck of pretty pickled peppers painter poet Peeters painted not. If you pretend that Peter Piper picked the peck of pickled pretty peppers painter Peeters painted on paper, where is the pretty poster of a peck of pickled peppers Peter Piper picked and painter Peeters painted on paper?]
— [Oh!... excuse me... are you saying that it is not painter Peeters but painter Pater who painted on paper a poster of the peck of pretty pickled peppers that Peter Piper picked? Well, I remain positive that neither painter Pater nor painter Peeters painted a poster of a pretty peck of pickled peppers on paper. A poster of a peck of pickled pretty peppers painter Pater and painter Peeters painted not. If you say that Peter Piper picked the pretty peck of pickled peppers painter Pater painted on paper, where is the poster of a peck of pretty pickled peppers Peter Piper picked, painter Pater painted on paper, and painter Peeters painted not?]
— {Note: the poster of a peck of pickled peppers that was never painted was not pretty... it was beautiful!}

— Bonaventura Peeters was almost the only noteworthy Flemish painter of seascapes [seascapes, NOT peppers!], much more a Dutch speciality. He was the leading member of a family of marine and landscape painters. Nothing is known about his training; Andries van Eertvelt, whose paintings of stormy seas appear to have influenced Bonaventura’s treatment of the subject, may have been his teacher. In his early works Peeters was also influenced by other Dutch masters such as Simon de Vlieger, but later he tended to introduce elaborate motifs and bright color in a decorative vein less impressive than his earlier style.      Peeters became a master of the Antwerp Guild of Saint Luke in 1634. He shared a studio in Antwerp with his brother Gillis Peeters I [born 12, bap. 23 Jan 1612 – 12 Mar 1653 bur.], a landscape painter. In 1639 Bonaventura and Gillis Peeters painted The Siege of Callão for the Antwerp municipal authorities. Bonaventura Peeters spent the last years of his life in Hoboken, together with his sister Catharina Peeters [16 Aug 1615 – >1676], a seascape and still-life painter, who collaborated with him, and his brother and student Jan Peeters I [bap. 24 April 1624 – 1679]. Clara Peeters [1594-1657], an outstanding Antwerp still-life painter, was no relation.

— LINKS
— An Oriental Harbor (1650, 66x95cm) _ In a cove overlooking a turbulent sea and under fast-moving clouds, a fortified harbor stretches out on a hill in the right foreground. Crowned by a central building with a western-style entrance, this is nonetheless a Turkish area, as can be seen from the crescent moon on the flag above the fortress and the turbans of the harbour dwellers. Outside the port western ships lie at anchor, one of them flying the English St George's cross from its mizzen mast. The most striking vessel, in the left foreground, a heavily-armed three-master with the Dutch tricolor in front and the arms of Amsterdam on the escutcheon, is still under sail and approaching the harbor. A sloop has been set out from this vessel. In the right foreground a heavy trunk is being heaved ashore with considerable difficulty from a moored sloop carrying two distinguished men, one wearing a turban, another a fur hat.
      The painting is signed with monogram and dated in the center right. However, the two final figures of the date are difficult to read. Reading the third number as a 5, which is the most probable solution, this situates the composition in the painter's later career, when he concentrated on harbor views having a reference to the Levant, or eastern Mediterranean, which the Venetians first reinforced with trading posts until these were later conquered by the Turks.
      The introduction of an exotic touch in Peeters' oeuvre is contemporaneous with a growing international demand for Italianising landscapes. Bonaventura Peeters the Elder, who became a free master of Antwerp in 1634, originally painted shipwrecks and rough seas, along with calmer Scheldt and coastal views and a subtly gradated palette. During the 17th century he was the leading marine painter in the Spanish Netherlands. His artistic importance can be cause for surprise because sea paintings are generally associated with the Dutch art of the Golden Age. However, like so many other genres, marine painting also originated in the Spanish Netherlands. With the migration of innovative artists like Adam Willaerts and Jan Porcellis from and to the United Provinces, the genre developed more or less in parallel in the North and the South. In terms of their quality and the finesse of their painting, the South Netherlandish seascapes deserve more attention and more detailed study than they have received until now.
— Storm on the Sea (1632, 58x84cm) _ one of the rare paintings signed and dated by the artist. Shipwreck is a companion-piece.
— Shipwreck (60x85cm)

Self-Portrait, detail of On Skagen Beach

^ Born on 23 July 1851: Feder Severin (or Søren) Krøyer, Danish painter, sculptor and draftsman, who died on 21 November 1909.
— He was a leading member of the artists’ colony at Skagen in Jutland (where he died) and a sought-after portrait painter, noted for his treatment of light and color. — Krøyer's students included Vilhelm Hammershøi [15 May – 13 Feb 1916], Carl Holsøe, Laurits Andersen Ring, Johan Rohde, Agnes Rambusch Slott-Møller [10 Jun 1862 – 11 Jun 1937], her husband Georg Harald Slott-Møller [17 Aug 1864 – 20 Oct 1937], Jens Ferdinand Willumsen.

— Ungdomsår
      P.S. Krøyer blev født den 23. juli 1851 i Stavanger i Norge, men da hans moder, Ellen Cecilie Gjesdahl [1824-1893], led af depressioner, blev han sat i pleje på Christianshavn i København hos sin moster, Bertha Cecilie Krøyer [1817-1892], og hendes mand, marinezoologen Henrik Nikolaj Krøyer [1796-1870]. Krøyer begyndte 1861 på Teknisk Institut i København efter at have vist evner for at tegne ved at illustrere en af plejefaderens publikationer. Han fortsatte 1864-1870 studierne på Det Kongelige Danske Kunstakademi med Frederik Vermehren [1823-1910] som professor, og han malede ved siden af studierne portrætter. Et af dem forestiller Professorinde Bertha Cecilie Krøyer. Krøyer debuterede 1871 på Charlottenborg med et maleri af vennen fra kunstakademiet Frans Schwartz [1850-1917].
     Krøyer modtog 1873 en lille guldmedalje og et stipendium for kartonen David fremstiller sig for Saul efter have dræbt Goliath, da den blev udstillet på Charlottenborg. Han brugte stipendiet til et sommerophold i det afsides beliggende fiskerleje Hornbæk i selskab med malerne Kristian Zahrtmann [1843-1917], Holger Roed [1846-1874], Frants Henningsen [1850-1908], Bernhard Middelboe [1850-1931] og Viggo Johansen [1851-1935]. De seks malere dannede en lille kunstnerkoloni, hvor de malede naturen eller folkelivet i dagtimerne og morede sig hos den lokale kromand om aftenen. De foretrak som noget nyt at male deres billeder udendørs. Krøyer blev grebet af stemningen i Hornbæk og vendte tilbage i de tre følgende somre, hvor han bl.a. malede Morgen ved Hornbæk. Fiskerne kommer i land.

— Rejseår
     P.S. Krøyer tog i forsommeren 1875 på sin første udlandsrejse til Tyskland i selskab med vennen fra kunstakademiet Frans Schwartz [1850-1917]. De besøgte Berlin, Dresden, München og Tyrol. I München mødtes de med den norske maler Eilif Peterssen [1852-1928], som senere blev Krøyers ven i Italien og på Skagen.
      Kunstakademiet tildelte 1877 Krøyer Det Stoltenbergske Legat, der sammen med Heinrich Hirschsprungs støtte finansierede et fireårigt udlandsophold. Krøyer bosatte sig i juni på Montmatre i Paris blandt andre skandinaviske kunstnere. Han studerede samtidens moderne kunst på bl.a. de nye Salonudstillinger og modtog undervisning hos maleren Léon Bonnat [1833-1922]. Undervisningen krævede, at Krøyer arbejdede hårdt, og den introducerede ham for traditionel fransk kunst, som havde lighedspunkter med spansk barokkunst. Bonnat vægtede, at malerierne optrådte som enkle og klare helheder med underordnede detaljer, og han fremhævede valørernes betydning, dvs. at lyset i de enkelte farver harmonerer indbyrdes.
      Krøyer afbrød i februar 1878 undervisningen hos Bonnat for at rejse til Madrid i selskab med malerkammeraterne Frans Schwartz og Frants Henningsen [1850-1908] samt kunsthistorikeren Julius Lange [1838-1896], hvis forelæsninger han havde fulgt med stor interesse på kunstakademiet. De studerede spansk barokkunst på Prado og var især imponerede af maleren Diego Velázquez [1599-1660]. Krøyer fortsatte i marts til Granada, hvor han boede næsten et halvt år for at male det store friluftsmaleri Søndagmorgen uden for en Ghitanobolig, inden han i november vendte tilbage til Paris. Han rejste i april 1879 til Cernay-la-Ville, hvor han et par måneder tegnede portrætter og malede Franske skovarbejdere vender hjem gennem en hulvej. Efter ophold i Paris og Pont-Aven tilsluttede han sig i august den franske kunstnerkoloni i Concarneau og malede Et sardineri i Concarneau.
      Krøyer afsluttede i oktober 1879 undervisningen hos Bonnat og rejste over bl.a. Firenze og Siena til Rom. Han studerede kunst på museerne og dyrkede det livlige fornøjelsesliv i selskab med de øvrige skandinaviske kunstnere. Han tog i maj 1880 på en kort rejse til Paris for at se Salonen, hvor han var repræsenteret med billedet fra Concarneau. Han bosatte sig henover sommeren i landsbyen Sora di Campagna syd for Rom for at male bl.a. Italienske landsbyhattemagere. Han rejste i efteråret videre til Capri og Napoli, hvor han på bestilling af Hirschsprung udførte Nannina. En neapolitansk blomstersælgerske, men vendte tilbage til Rom for at fejre julen og nytåret. Rejseårene er rigt illustreret i en række vignetter, som Krøyer forsynede sine breve til vennerne og familien med.

— Mødet med Skagen
P.S. Krøyer var i maj 1882 i Paris for at se Salonen. Han fortsatte til Wien for at se en international kunstudstilling, hvor han var repræsenteret med bl.a. Italienske landsbyhattemagere. Her mødte han ægteparret Anna [1859-1935] og Michael Ancher [1849-1927], der lovpriste Skagen. Krøyer havde tidligere hørt lignende begejstrede beretninger fra digteren Holger Drachmann [1846-1908] samt malerne Laurits Tuxen [1853-1927] og Karl Madsen [1855-1938], der alle havde besøgt Skagen i 1870'erne, og da han længe havde ønsket at se Jylland, rejste han samme sommer dertil. Krøyer blev imponeret af Skagens barske natur og de seje fiskere. Han begyndte straks at male og færdiggjorde hurtigt I købmandens bod, når der ikke fiskes. Der er bevaret samtidige fotografier af såvel Brøndums Hotel som den tilhørende købmandsforretning.

Krøyer beskrev kammeratskabet på Skagen i et brev til moderen den 2. august 1882: Ellers har vi et meget hyggeligt Kammeratliv heroppe. Drachmann, Ancher og en svensk Maler Björck bestaaer Selskabet af. Drachmanns og Anchers holder Husholdning selv, men vi mødes dog hver Dag og er jævnlig sammen om Aftenen. Jeg har derfor ikke faaet læst synderligt, skøndt jeg havde mange Bøger med. Man foretrækker i Regelen Kammeraterne.

— Livet på Skagen
I 1880'erne malede P.S. Krøyer bestillingsportrætter i København i vintermånederne. Et af dem forestillede Arkitekten Ferdinand Meldahl, 1882 (Statens Museum for Kunst. Deponeret i Den Hirschsprungske Samling). Han tilbragte forårene i udlandet, hvor han besøgte Salonen og de øvrige store kunstudstillinger i Paris, London, Amsterdam eller Stockholm. Somrene blev brugt på Skagen. Han indrettede et atelier i et havehus, der lå ved Brøndums Hotel, og færdiggjorde her Sommerdag ved Skagens Sønderstrand efter at have malet nogle af skitserne udendørs. Han malede også Fiskerne trækker vod på Skagen Nordstrand (1883), Ved frokosten (1883) og Hip, hip, hurra! (1888).
      Krøyer var med sit vindende væsen et samlende midtpunkt for kunstnerne på Skagen, som bl.a. var malerne Michael Ancher [1849-1927], Viggo Johansen [1851-1935], Christian Krohg [1852-1925], Anna Ancher [1859-1935] og Oscar Björck [1860-1929] samt digteren Holger Drachmann [1846-1908]. Krøyer deltog ivrigt i bl.a. jagter og er fotograferet sammen med Anna og Michael Ancher foran en redningsbåd. De er ledsaget af en jagthund, og Michael Ancher har en bøsse under armen. Krøyer var blevet inspireret af de franske kunstnerkolonier til 1883 at oprette den selskabelige kunstnerforening Aften-academiet, der havde til huse på Brøndums Hotel. Kunstnerne festede, diskuterede og musicerede, og fiskerne deltog som dekorative statister. Særlig mindeværdig var Krøyers 37-års fødselsdagsfest, som han beskrev i et brev til moderen den 31. juli 1888: Modtagelsen [på] min Fødselsdag var storartet. Hele Befolkningen var samlet dernede paa Stranden, der var Æreport og flere af Badegæsterne var klædt ud og der var Kanonskud og Tromme og Champagne paa Stranden. Saa drog vi i stort Tog op til Kroen hvor vi fik større Frokost.

— På bryllups- og studierejse
     P.S. Krøyer blev i foråret 1889 forlovet i Paris med Marie Triepcke [1867-1940], der var en smuk, ung malerinde. Hun var veninde med Heinrich Hirschsprungs niece, Ida Hirschsprung, og havde været elev på Krøyers private kunstskole for kvinder i København. Krøyer skrev i et brev til moderen den 29. maj 1889: Ja - tænk hvilken Forandring - ja jeg synes det er aldeles forunderligt at jeg nu snart skal være Ægtemand - jeg, som næsten rent havde opgivet den Tanke - som mente at ende som Pebersvend. Og saa at faa til Hustru den yndigste, elskeligste unge Pige der kan gaa paa Jorden - ja jeg maa være en Lykkens Yndling. Lykken har virkelig fulgt mig i en forunderlig Grad. Jeg haaber den vil blive ved at følge med. Forlovelsen blev markeret med et fotografi optaget i Paris.
      Brylluppet blev afholdt på Krøyers fødselsdag den 23. juli samme år hos svigerfamilien, der ejede et væveri i Augsburg i Tyskland. Umiddelbart efter brylluppet begav de nygifte sig ud på en kombineret studie- og bryllupsrejse, der varede i over to år. De rejste først over Paris til Stenbjerg i Thy, hvor de opholdt sig indtil slutningen af oktober. Krøyer udførte her et interiørmaleri af sin hustru. De drog herefter igen til Augsburg og fortsatte over Tyrol til Italien, hvor de bl.a. besøgte Firenze, Rom og Napoli. De bosatte sig i maj 1890 i Ravello, men rejste den følgende måned videre til Amalfi, hvor Krøyer malede Bugten ved Amalfi. De besøgte maleren Kristian Zahrtmann [1843-1917] i Civita d'Antino, før de i oktober påbegyndte hjemrejsen. Ankomsten til København i februar 1891 blev fejret med en forsinket bryllupsfest. De indlogerede sig efterfølgende et par måneder i maleren Carl Lochers [1851-1915] hus i Hornbæk, hvor Krøyer malede Hornbæk ved vintertid, som blev erhvervet af Hirschsprung samme år.

— 1890'erne på Skagen
     Marie og P.S. Krøyer lejede i somrene 1891-1893 den tidligere postgård, kaldet Madam Bendtsens Hus, på Skagen. Krøyer omtalte den begejstret i et brev til moderen den 22. august 1891: Vi er særdeles tilfreds med den og her er jo alt hvad man kan ønske: Strand, Hede, Skov, Have og Fiskere og et velindrettet Hus. Krøyer havde allerede 1885 købt et fotografiapparat, og han optog en række fotografier af familielivet, hvoraf flere blev anvendt som forlæg for bl.a. Ved frokosten. Kunstneren og hans hustru med forfatteren Otto Benzon. Skagen og Roser. Haveparti fra Skagen med kunstnerens hustru (1893). Krøyer begyndte også at arbejde med en blå farveskala, der fulgte ham resten af livet. Den ses bl.a. i Badende drenge. Solskin og Sommeraften på Skagens Sønderstrand.
      Ægteparret overtog 1894 den idylliske byfogedgård, kaldet Krøyers Hus, i Skagens plantage til helårsbrug. Den blev ombygget af arkitekten Ulrik Plesner [1861-1933], og Marie tegnede møbler, der var inspirerede af Arts and Crafts-bevægelsen. Året efter blev datteren Vibeke [1895-1986] født. Krøyer var beskæftiget med at male portrætter og udførte bl.a. gruppebillederne Fra Københavns Børs (1894), Et møde i Videnskabernes Selskab (1897) og Skagens jægere (1898). Den Hirschsprungske Samling har forarbejder til dem alle. Han malede også kunstnerportrætter af bl.a. Digteren Holger Drachmann.

— De sidste år
     Livet på Skagen syntes ved udgangen af 1890'erne idyllisk, men sygdomme lurede. P.S. Krøyers syn blev gradvist dårligere som følge af kviksølvsbehandlinger mod syfilis i ungdomsårene. Han led yderligere af melankoli og hallucinationer og måtte periodisk indlægges på Middelfart Sindssygehospital. Marie Krøyer havde også et svageligt helbred. Krøyer formåede trods omstændighederne indimellem at male og rejse, og han udførte bl.a. Sommeraften ved Skagens strand. Kunstneren og hans hustru og Digteren Holger Drachmann i Skagens plantage, der leder tankerne hen på impressionismen.
      Marie forelskede sig i foråret 1902 i den svenske komponist Hugo Alfvén [1872-1960], som hun mødte under et rekreationsophold i Taormina på Sicilien, mens Krøyer malede portrætter i Paris. Krøyer accepterede Alfvén som en ven af huset på Skagen, men Marie foretrak 1903 at flytte med Alfvén til Sverige. Krøyer forblev på Skagen, hvor han færdiggjorde Skt. Hansblus på Skagens strand (1906), der havde været undervejs siden 1892. Han fandt støtte hos veninden Henny Brodersen [1868-1960], der 1896 var flyttet til byen med sin familie. Krøyers sygdomme tiltog gradvist, og han døde den 21. november 1909 på Skagen. De sidste års kvaler er fastholdt på fotografier, og et tegnet selvportræt viser en ældet kunstner.

— LINKS
— Self Portrait (1907; 749x619pix, 62kb)
— Marie in the Garden (1889, 43x58cm; 635x717pix, 96kb) _ a slightly cropped, degraded, grossly yellow image of the same painting is available, retitled Les Roses (723x1000pix, 248kb)
— Hip, Hip Hurrah, Artists' Party (1888; 757x1000pix, 123kb)
— Summer Eve in Skagen (1892; 800x464pix, 37kb)
— Wine Harvest in Tyrol (1901; 597x800pix, 101kb)
— Artists' Luncheon (800x587pix, 71kb) — Osteria Ravello, Italy (677x800pix, 81kb)
— Sommeraften ved Skagens strand. Kunstneren og hans hustru (1899, 135x187cm)

^
Died on a 23 July:

1927 Joseph Wopfner, Austrian artist born on 19 March 1843.

1905 Jean-Jacques Henher, French artist born on 05 March 1829.

1865 Petrus Johannes (or Jan) Schotel, Dutch painter and lithographer born on 19 August 1808. He was a student of his father Johannes Christiaan Schotel [11 Nov 1787 – 21 Dec 1838] and like him specialized in sea and river views. While his work clearly shows his father’s influence, it is often less brilliant and more dramatic: The Zeeland Waters at Schouwen (1827) and the watercolor Shipwreck on a Rocky Coast, both show his more somber style. Journeys to France in 1827–8 and 1829 gave his work a warmer tone, as in Evening with Calm Sea at Den Helder. From 1830 to 1848 he taught drawing at the Marine Instituut in Medemblik. He was an expert on the technical and historical details of ships. In 1831–1832 he painted two scenes depicting the naval hero Jan Carel Josephus van Speyk [1802–1831]. He also drew dozens of lithographs for the illustrated book Heldendaden der Nederlanders ter Zee (1850). In 1856, after a short stay in Kampen, he moved to Germany.

^
Born on a 23 July:

1844 Hermann David Salomon Corrodi, Italian painter and printmaker who died on 30 (20?) January 1905. Hermann Corrodi studied at the Accademia di S. Luca under his father, Salomon Corrodi [19 Apr 1810 – 04 Jul 1892], and in Paris (1872). Hermann Corrodi received commissions for history paintings from the British royal family and traveled widely in the Far East, which provided the subject-matter for many of his landscape paintings and etchings. He was the brother of Arnold Corrodi [12 Jan 1846 – 07 May 1874].

<<< ART 22 Jul

ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” JUL 23 ||| ALTERNATE SITES

ART 24 Jul >>>

TO THE TOP

PLEASE CLICK HERE TO WRITE TO ART “4” JUL
http://www.safran-arts.com/42day/art/art4jul/art0723.html
http://www.jcanu.hpg.ig.com.br/art/art4jul/art0723.html
http://geocities.datacellar.net/johncanu/art/art4jul/art0723.html
updated Saturday 10-Jul-2004 17:07 UT

site safe for children