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ART
“4” “2”-DAY 03 July |
| BIRTH:
1738 COPLEY |
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Died on 03 July 1860: Simon Saint-Jean,
French painter, specialized in still life and flowers,
born on 14 October 1808. — A student of the École des Beaux-Arts in Lyon, where in 1826 he won a gold medal for flower painting in the class of Augustin-Alexandre Thierriat (1796-1871), he began his career as a designer for the textile firm of Didier Petit. He first exhibited his flower pieces in 1827 and in the following decade established himself as one of the leading artists and teachers in Lyon, which was renowned for its flower painters. Although he worked mainly in Lyon, he enjoyed the patronage of wealthy collectors in Paris and abroad. Six of his flower and fruit pieces were exhibited in 1851 at the Great Exhibition in London and at the 1855 Exposition Universelle in Paris, where he won a gold medal, nine of his paintings were shown. Lenders to the Paris exhibition included Napoléon III and the Empress Eugénie, the French state and the 4th Marquess of Hertford. — Still Life With Flowers and Wild Raspberries (1845, 122x93cm) — Flowers and Fruit (1848, 90x72cm) — other Flowers and Fruit (1853, 44x53cm) — Flowers and Grapes (1846, 125x102cm) — Flowers and Grapes by a Window (1844, 124x101cm) |
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Suicide on 03 July 1592: Francesco
Giambattista da Ponte Bassano, by throwing himself out of
a window, Italian Mannerist
painter born on 11 January 1549. — His father, Jacopo Bassano, [1517 – 13 Feb 1592] was the most celebrated member of a family of artists who took their name from the small town of Bassano, about 65 km from Venice (original name: Jacopo da Ponte). Francesco the Younger had three painter brothers: Gerolamo [1566-1621], Giovanni Battista [1553-1613], and Leandro [26 Jun 1557 – 15 Apr 1622]. They continued their father's style. Francesco and Leandro both acquired some distinction and popularity working in Venice. — From one of the 16th century’s largest and most productive north Italian families of painters, Francesco Bassano was one of four sons born to Jacopo Bassano. Jacopo was trained in Venice, and after returning to Bassano established an important workshop there. He became known by the name of the town, and together with his sons Francesco, Giovanni Battista, Leandro, and Gerolamo ran a large and well organized operation. In addition to altarpieces and other paintings of a religious nature, the Bassano workshop produced mainly works celebrating country life and nature as shaped by the work of farmers. These paintings were so well received that the younger men were required to paint endless new versions of them, frequently entire series. It is difficult to distinguish between their various hands, thus authorship of specific works is disputed. In 1579 Francesco moved from Bassano to Venice. — LINKS — Jacopo and Francesco jointly painted The Element of Water (1577, 144x187cm; 917x1182pix, 803kb — ZOOM to 1676x2161pix, 2952kb) _ This nocturne shows a fish market being set up on a riverbank at dawn. The vendors display a variety of seafood, while other activities involving water, such as laundering, ferrying, and drinking, take place nearby. Above, Neptune, god of the sea, drives his chariot across the sky. The dramatically lit landscape with many figures and meticulously rendered still-life details represents a new type of pastoral scene devised by Jacopo Bassano and his son Francesco. The large Bassano family workshop produced several series of such landscapes — the Four Seasons, the Four Elements, the Months, and well-known biblical stories. These proved so popular that the Bassanos made replicas of them for decades. This painting, in which Francesco is believed to have had the primary role, is from a suite of the Four Elements (Earth, Air, Fire, Water). It is the earliest surviving version of a subject copied well into the 1580s. — The Adoration by the Shepherds (600x936pix _ ZOOM to 1400x2184pix) — The Departure of Abraham for Canaan (600x744pix _ ZOOM to 1400x1736pix) — Autumn (1577, 115x145cm; 762x1008pix, 71kb) — Summer (97x127cm; 770x1026pix, 182kb) — Jacopo and Francesco jointly painted Christ in the House of Mary, Martha, and Lazarus (1577, 98x126cm) _ Beginning in the mid-1570s the Bassanos, father and sons, specialized in Biblical scenes or allegories in which they stressed genre details over narrative content. In these pictures they marketed what they knew best –– life in the countryside around the provincial town of Bassano. This image of Christ being welcomed into the house of Mary, Martha, and Lazarus emphasizes not the protagonists but the exaggerated abundance of foodstuffs and utensils and the preparations for a sumptuous meal. The Bassanos favored nocturnal scenes with a variety of light effects, using glowing colors and scintillating highlights to increase the sense of material reality. — The Return of the Prodigal Son (1580; 632x906pix, 50kb) |
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Born on 03 July 1738: John
Singleton Copley, Massachusetts English Realist
painter, specialized in Portraits,
who died on 09 September 1815. — He was the greatest artist in the British colonies in America, active as a portrait painter in Boston from 1753 to 1774. After a year of study in Italy and following the outbreak of the US War of Independence, in 1775 he settled in London, where he spent the rest of his life, continuing to paint portraits and making his reputation as a history painter. — John Singleton Copley is considered to be the foremost artist of colonial English America. He is also one of its most prolific. Copley was born in Boston, and was trained by his stepfather, a mezzotint engraver. Copley's early work shows the influence of the Boston painter John Smibert and of English rococo portraitists. From the latter he learned the device of the portrait d'apparat, in which artifacts used by the subject are included in the portrait, as in Paul Revere, an intense likeness of the patriot-silversmith holding one of his silver teapots. By 1760 Copley's distinctive style had crystallized, characterized by meticulous technique, clear verisimilitude, and a vivid, balanced palette. His sitters included famous politicians (John Hancock, 1765) and wealthy New Englanders (Mrs. Sylvanus Bourne, 1766). Copley sent his painting The Boy with a Squirrel (1765) to London, where it was exhibited. Impressed by the painting, the English portraitist Sir Joshua Reynolds and the expatriate American painter Benjamin West urged Copley to immigrate to Europe. In 1774 Copley followed their advice, touring Italy and then settling in London in 1775. He was elected an associate of the Royal Academy in the following year and a full member in 1779, the same year he exhibited his protoromantic Watson and the Shark (1778), a virtuoso rendering of an actual incident in Havana Harbor. Under West's influence, Copley turned to history painting, with such splendid large canvases as The Death of the Earl of Chatham (1781), a dramatically composed version of a timely event. Copley died in London. — Copley's students included Henry Sargent. — LINKS — Self-Portrait — My Family — Samuel Adams — John Hancock — Paul Revere (1770) — William Vassall and His Son Leonard (1772, 127x104cm) — Henry Pelham (Boy with a Squirrel) (1765) — 3 Youngest Daughters of George III — Girl With Dog And Bird — Watson and the Shark (1778, 184x230cm) — Joshua Henshaw (1770, 128x102cm) — Mrs. Daniel Sargent (Mary Turner Sargent) (1763, 126x100cm) _ detail 1: head and shoulders _ detail 2: face — Mrs. Rufus Greene (Katherine Stanbridge Greene) (1760, 61x52cm) — The Three Youngest Daughters of George III (1785) — Mrs. Elizabeth Coffin Amory (1775, 77x64cm) |
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Died on 03 July 1929: Pascal-Adolphe-Jean
Dagnan-Bouveret, French Realist
painter and photographer born on 07 January 1852. — Dagnan-Bouveret, was born in Paris; he died in Quincey, Haute-Saône. He refused to leave France when his father Bernard Dagnan, a tailor and businessman, moved to Brazil in 1868. So, in Melun, he was taken in by his maternal grandfather Gabriel Bouveret, whose surname he added to his own in gratitude. Dagnan-Bouveret was trained at the École des Beaux-Arts (beginning in 1869) in the ateliers of Alexandre Cabanel [1823-1889] and then of Gérôme [11 May 1824 – 10 Jan 1904]; the latter's teaching remained the most dominant influence on Dagnan's work, though he also studied under Corot [1796-1875]. One other artist, and a slightly older colleague, whose work had an impact on Dagnan's was Jules Bastien-Lepage [1848-1884], who taught Dagnan the significance of using rural life as a contemporary theme. Although Dagnan was a Parisian who kept an atelier in suburban Neuilly-sur-Seine for most of his career, he married into a Franc-Comtois family. He is always mentioned among a group of Franc-Comtois artists including Gustave Courtois [1852-1923] (a cousin of his wife), Louis Girardot [1856-1933], and Jules-Alexis Muenier [1863-1942] all of whom had been students of Gérôme, a painter who was also from the same general region of France. As a naturalist/regionalist Dagnan established his reputation with compositions representing the rural life of the Franche-Comté and of Brittany. These paintings made him one of the most respected members of an international naturalist circle that allowed Dagnan to have a very strong influence over other painters, working in a similar vein on the European continent, in England, and in the US. It is only later in his career, first in the mid 1880s and then more dramatically in the 1890s, that Dagnan turned to religious themes. These became increasingly more visionary and supernatural during the early years of the 20th century. Spiritual themes reflected Dagnan's determined turn toward religious revivalism, a genre that obsessed many painters in the 1890s; it also reflected the powerful influence of his wife whose own devout Catholicism was influential in moving Dagnan toward some of his religious themes. Dagnan's spiritual paintings found strong support in the atmosphere of the Catholic Revival in France; his paintings such as the mystical Supper at Emmaus and the Consolatrix Afflictorum, among others, were exhibited in a separate location at the Paris World's Fair of 1900 at a moment when Dagnan's work was highly praised by the establishment. His paintings were also well recognized in the United States as they were reproduced in US periodicals, and collected by such independent tastemakers as George Baker, Mrs. Potter Palmer, and Henry Clay Frick. Dagnan was also a portraitist of talent and in his later years he divided his activity between portraits and religious scenes. He painted members of some of the best established families of the Third Republic; he also did portraits of actresses (Mme. Bartet) and military leaders (Maréchal Foch). His first popular Salon success came with the anecdotal genre painting Une noce chez le photographe (1879), but the works which established Dagnan-Bouveret's reputation are his naturalist scenes inspired by life in the Franche-Comté and Brittany including Un accident (1880), Chevaux à l'abreuvoir (1885), Le Pardon en Bretagne (1887), Bretonnes au Pardon (1889), Le Concert dans la forêt or Les Conscrits (1890). The latter work reiterated the intense nationalistic fervor of the period by centering the activities of recruitment on the strength and support of the rural areas of France — regions that remained totally behind the central government. The success of these paintings in the 19th century and the impact they still have for us today are in great part due to the influ ence of photography in their creation. As a student of Gérôme, Dagnan-Bouveret with many of his colleagues (from Europe and from the US) learned how to use photography as a tool to arrive at a more naturalistic, decidedly casual, rendering for the scenes of daily life. Dagnan-Bouveret was closely associated with J.-A. Muenier, a painter who also maintained a fervent interest in photography. Both men traveled to Algeria together, in 1887-1888, where they actively photographed numerous scenes in Algiers in order to feed their developing interest in orientalist themes. The photographic record of their trip together provides an extensive documentary foundation for seeing how these artists were able to use this medium. Understandably, Dagnan did not merely take photographs so that he could copy them for his paintings. Rather, he saw the new medium of photography as a creative tool which, when added to the academic tradition of painstaking preparation of a given composition, added significantly to the way in which Dagnan-Bouveret could increase the intricacy and exactitude of his compositions while reinforcing the general interest in reality. Dagnan was also a pastelist and a member of the Société des Pastellistes. In addition to the influence Dagnan-Bouveret exerted on art students through his exhibitions or when they came to his studio in order to request his advice, he came in contact with others at the Académie Colarossi where he taught between 1885-1890 with G. Courtois. — LINKS — Whitney Warren Sr. (1916, 26x19cm, full size) — Hamlet et les fossoyeurs (1883) — Le Pardon en Bretagne (1886, 115x85cm; 2887x2088pix, 2170kb) — Bretonnes au Pardon (1887, 125x141cm; 1696x1907pix, 1348kb) _ Naturalism’s popularity reached its peak in the late 1880s. Contemporary interest aroused by subjects involving detailed imagery of rural life explains this objective painting’s huge success at the 1889 Salon, where it won an award. As an ethnographic image of pious customs, this painting shows the Pardon ceremony, an indulgence granted by the church to the faithful, and is used as a pretext for an analytical vision of a world that resisted the fin de siècle transformations. At that time, Brittany was the focus of great attention from artists painting in various different styles. Gaugin’s work can be used to establish one of the most striking contrasts with this canvas. Photographs that Dagnan-Bouveret took in Rumengol helped to produce the end result, as did successively reworked portraits of individual models. This work, which the painter assembled in the studio, reveals considerable prior effort to establish the compositional construction and a complex methodology to organise the scene. — Les Conscrits (1889, 168x146cm) — Une Bernoise (1887)— Ophélia (157x104cm) — Une Noce chez le photographe (1879, 82x120cm) — Le Christ et les disciples à Emmaüs — Consolatrix Afflictorum — Dans l'étable — Marguerite au Sabbat — Une Jeune Bretonne — Childs Frick — The Last Supper — Dans la forêt (1893, 155x125cm) — Dans le pâturage (1892, 96x91cm) — Bretons en prière (1888 124x85cm) — Jeune Homme Breton (1887, 42x25cm) — Gustave Courtois (1884, 122x82cm). Black-and-white: — Gabriel Bouveret — Chevaux à l'abreuvoir (1884, 229x188cm) — Le Pain Bénit (1885 etching, 33x23cm; full size) — L'accident (89x130cm) _ In front of the huge fireplace of a country home, grandma, grandpa, dad, an uncle, a hired hand, a four-year-old boy, and a cat (under the bed) watch the doctor bandage the hand of a twelve-year-old boy. What accident made that necessary is not clear. |
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