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ART “4” “2”-DAY 02 June v.5.42

BAPTISMS: 1565 RIBALTA — 1621 VAN OSTADE
BIRTH: 1841 ZANDOMENEGHI

^ Baptized as an infant on 02 June 1565: Francisco Ribalta, Catalan Baroque era painter who died on 12 January 1628. [a dubious source says that he was born on 22 June 1565]
— The first Spanish painter in the 17th century to abandon Mannerism for the new realistic style was Ribalta who, after receiving his early training in Toledo spent the years of his maturity in Valencia. It is not known whether Ribalta was aquainted with the work of Caravaggio or whether he arrived independently at results parallel to those achieved by the Italian Tenebrists. At all events, his style is remarkable for its virile naturalism. The brushwork is increasingly bold and free, so different from the polished smoothness of the previous age. Ribalta sought expressiveness as well as beauty and accentuated the sculptural modeling of his forms by contrasting light and shade. Among his better known works are the Last Supper in the Valencia Museum and the panels of the great altarpiece of Algemesi, painted in 1603; one of these, that depicting the martyrdom of St James, suggests a connection between Ribalta and Navarrete.
—  Ribalta was probably trained at the Escorial and during most of the 1580s and 1590s he worked in Madrid. His earlier paintings are Mannerist in character, notably his first known work, the undistinguished The Nailing to the Cross (1582). By 1599 he was settled in Valencia and there his style became much more sombre and naturalistic. Ribalta had studied in Italy and he is known to have made a copy of Caravaggio's Martyrdom of St Peter, but his late tenebrist style may have been influenced more by Ribera than by direct knowledge of painting in Rome.
     In 1598 he moved to Valencia and established a large studio under the patronage of the archbishop, Juan de Ribera. His compositions of this period, notably the Retable of Santiago in the church of Algemesí (1603, 1610), are highly imitative and mediocre.
      In his last period, after 1612, he achieved both originality and grandeur. Paintings such as The Singer and Christ Embracing St. Bernard and the Portacoeli Retable are marked by their monumental and powerfully modeled forms, simplicity of composition, and realistic lighting. These late paintings anticipate the work of Diego Velázquez, Francisco de Zurbarán, and Ribalta's student José de Ribera later in the 17th century.
      In their turn, Ribalta's dramatically lit and powerfully austere mature works (e.g. Christ Embracing Saint Bernard) had considerable influence on Spanish painting, notably on Zurbarán. Francisco Ribalta's son Juan Ribalta y Pelayo [1596 or 1597 – Jul or Oct 1628] was also an able painter in the Caravaggesque manner.
— When Francisco was about 7, the Ribalta family left his native Solsona for Barcelona, and it must have been there that he saw paintings by Isaac Hermes. In 1581, after the death of his parents, Ribalta moved to Madrid to seek an apprenticeship. He was enormously receptive to the work of other artists; he studied the paintings in the royal collection, came in contact with the Spanish and Italian artists who were carrying out the decoration of El Escorial and developed his early style, which was strongly influenced by Italian Mannerism. There is documentary evidence for Ribalta’s activity in Madrid, including his earliest known work, the Crucifixion (1586), which was painted there and which shows his interest in Venetian coloring and use of crepuscule light. In Madrid, Ribalta married Inés Pelayo, by whom he had a son, Juan Ribalta y Pelayo [1596 or 1597 – Jul or Oct 1628], an able painter in the Caravaggesque manner; and two daughters, one of whom married Vicente Castelló, who disseminated Francisco Ribalta's style during the second third of the 17th century.
     Francisco Ribalta was the most distinguished artist working in Valencia in the early 17th century. His move towards naturalism at an early date was significant for the history of Spanish painting as well as being very influential. His documented mature works after about 1620 show a change of vision, and they are also of the highest quality. The religious paintings are depicted with more pronounced realism, and his deeply felt spiritual belief is expressed in a direct and very immediate way. In 1607 Ribalta supported other leading Valencian painters in a move to form the Colegio de Pintores to safeguard the interests of the profession.
      The expulsion of the Moriscos in 1609 and the death in 1611 of the Patriarch Archbishop Juan de Ribera, Ribalta’s most important patron, led to an economic crisis and spiritual void in Valencia that had an effect on his activity, since thereafter commissions came more rarely, and his work became more introspective. During 1616 and 1617 the idea of forming the Colegio de Pintores was revived, and Ribalta took an active role in the management and signed the petition to Philip III seeking support for the Colegio.

— LINKS
— Virgen de Portacoeli
— Sueño de la Madre de San Eloy
— San Francisco Confortado por un Angel (1620, 204x158cm) _ After about 1612, Ribalta's art begins to reflect the heightened, anguished spirituality of the city, but it was not until a visit to Madrid about 1619 or 1920 that he found the way to channel the religious fervor into great works of art. In Madrid, Ribalta experienced the Florentine naturalism of the Carducho brothers. It is also possible that Pedro Orrente played a part in directing Ribalta toward a greater naturalism. Indeed, his Saint Francis Comforted by a Musical Angel is a direct descendant of Bartolome Carducho's Death of Saint Francis (1593, 115x153cm; 800x1118pix, 123kb) Ribalta's painting is purged of all vestiges of mannerism and uses the powerful force of light to enhance the presence of figures and objects alike. It also displays a new fluidity and confidence in composition and draftsmanship: the angel, dramatically framed by fluttering drapery, points the lute like a crossbow at the recoiling body of the saint, who is startled by the heavenly intruder.
— The Nailing to the Cross (1582, 145x103cm)
— Santo Isidro Labrador
— Abrazo de San Francisco al Crucificado (158x133cm) _ The depiction of Saint Bernard's rapturous vision is perfectly calculated to achieve maximum effect. The saint is represented as a gaunt figure with prominent cheekbones and deep-set eyes. He embraces Christ, and his mouth forms a half smile that communicates the holy rapture suffusing his body and soul. As Christ descends from the cross to meet him, Saint Bernard's body goes limp and needs to be supported by the Savior. Under the tightly focused light, the figures seem palpable. Exercising superb control of the composition and every detail, Ribalta succeeds in externalizing this powerful religious experience, making it seem real but not commonplace.
— Encuentro del Nazareno con su Madre
— Presentación de María en el Templo
— The Martyrdom of Saint Catherine (1602, 123x108 cm; 575x501pix, 120kb)

^ Baptized as an infant on 02 June 1621: Isaak (or Isack, Isaac, Isak) van Ostade, Dutch painter and draftsman who died on 15 October 1649.
— He was the younger brother and the most talented student of Adriaen van Ostade (bapt. 10 Dec 1610 – 27 Apr 1685), who also worked in Haarlem. He may have received additional instruction from a landscape painter, possibly Salomon van Ruysdael. As well as painting genre scenes in the manner of Adriaen, Isaack was an outstanding practitioner of the winter landscape and his early death cut short, after 11 years, a career of great promise, in the course of which he produced an extraordinary volume of work. Once he had attained artistic maturity, he began to exert an influence of his own on his elder brother. Like him, he was a prolific and accomplished draftsman.

— LINKS
— Farmhouse Interior (1642, 50x68cm; 690x960pix, 75kb) _ Isaack van Ostade, like his brother Adriaen, depicted peasant and low-life scenes. This untidy farmhouse interior is typical of Haarlem painting in the first half of the seventeenth century, with its low-key use of color. The painting would be taken as a warning against a dissolute life. Reddish color balance.
— a different Farmhouse Interior (1645, 600x763pix) Greenish color balance.
— Interior of a Barn with People and Animals (1648, 50x67cm; 680x900pix, 112kb) variation on the same theme, but with better color balance.
— Interior of a Peasant House (1640, 45x40cm) _ In this almost monochrome, brownish-yellowish painting a collection of objects of the everyday life of the peasants can be seen. This peasant room is warm and large like a barn and contains a collection of everything necessary for feeding men and animals. Basket, barrel, trough, broken jug, pail, ladder, tools and fodder have been hoarded by the farmer with all the collecting instinct of a hamster. He and his family are grouped round the fireplace trying to get warm, and the man's stance, though awkward, seems to indicate that he is master of his rather poor house. The colors are all different shades of brown and yellow.
— Pig-Killing (1642, 40x54cm) _ The occupants of the one room which constitutes the peasant's home are busy as ants about the slaughtered pig. Their faces are scarcely discernible and the children can only be recognized by their smaller size and the fact that they are playing at blowing up the bladder. The adult figures are busy at the pump-well. All their world is within the confines of this one room which the artist has painted in a variety of browns and yellows, with which he has created a rather mysterious atmosphere.
— The Cut Pig (42x31cm) _ The occupants of the one room which constitutes the peasant's home are busy as ants about the slaughtered pig. Their faces are scarcely discernible and the children can only be recognized by their smaller size and the fact that they are playing at blowing up the bladder. The adult figures are busy at the pump-well. All their world is within the confines of this one room which the artist has painted in a variety of browns and yellows, with which he has created a rather mysterious atmosphere.
— Winter Landscape (1643, 72x114cm) _ In his short life Isaack van Ostade painted a large number of pictures, some of genre subjects like his brother's Adriaen van Ostade, but the best are of landscape, especially winter landscapes. _ detail
— A Winter Scene (1645, 49x40cm) _ Isack van Ostade was the short-lived younger brother of the painter of scenes from peasant life, Adriaen van Ostade. They were both born, lived and worked in Haarlem, and Isack was a student of his brother who was eleven years his senior. Isack joined the guild in 1643. His earliest paintings — the first dated picture is from 1639 — are peasant interiors dependent on Adriaen's, but towards the end of his brief career he became more interested in outdoor scenes and produced a series of beautiful and original landscapes, often set in winter. This deliberately picturesque view, its low viewpoint serving to outline the wooden bridge against the sky, is one of his finest paintings. It is rich in its treatment of the details of peasant life, whose harsh aspects (as seen, for example, in the figure of the man laboring under his load of faggots) are relieved by the pleasure taken by the child in the anticipation of skating on the frozen river.
— The Outskirts of a Village with a Horseman (1650; 160kb)
— A Woman Selling Fruit by a Cottage (179kb)
— A Winter Scene with an Inn (1645; 170kb)
— The Halt at the Inn (1645; 98kb)
— Rest by a Cottage (1648; 179kb)
— Winter View (1648; 126kb)
— Traveler at a Cottage Door (1649; 118kb)
— Interior with Peasants Playing Cards at a Table (18x18cm; 924x900pix)
— Frozen Canal with Skating Couple (101x149cm; 474x700pix, 207kb)
— A Stop at the Village Inn (600x812pix)
— Interior with Peasants Playing Cards at a Table (18x18cm; 510x695pix, 122kb)

^ Born on 02 June 1841: Federico (or Federigo) Zandomeneghi, Italian painter who died on 30 December 1917.
— His father Pietro and grandfather Luigi tried to interest him in the plastic arts, but from a very early age he showed a stronger inclination for painting. Zandomeneghi soon rebelled against their teachings, and by 1856 he was attending the Accademia di Belle Arti in Venice, studying under the painters Michelangelo Grigoletti [1801–1870] and Pompeo Molmenti [1819–1894]. As a Venetian he was born an Austrian subject, and, to escape conscription, he fled his city in 1859 and went to Pavia, where he enrolled at the university. In the following year he followed Garibaldi in the Expedition of the Thousand; afterwards, having been convicted of desertion and therefore unable to return to Venice, he went to Florence, where he remained from 1862 to 1866. This period was essential for his artistic development. In Tuscany he frequented the Florentine painters known as the Macchiaioli, with some of whom he took part in the Third Italian War of Independence (1866). Zandomeneghi formed a strong friendship with Telemaco Signorini and Diego Martelli, with whom he corresponded frequently for the rest of his life. In this period he painted the Palazzo Pretorio of Florence (1865), in which the building, represented in the historical–romantic tradition, is redeemed by a remarkable sense of air and light, elements derived from the Macchiaioli.
Zandomeneghi moved to Paris in 1874 and identified increasingly with the Impressionists. During the late 1870s, he frequented the Café de la Nouvelle-Athènes, and became closely acquainted with Camille Pissarro, Alfred Sisley, and Edgar Degas. At Degas's insistence Zandomeneghi participated in the Impressionist exhibitions of 1879, 1880, 1881 and 1886. The critic F. C. de Syène wrote in 1879 in L’Artiste ‘Zandomeneghi has completed a bold group of paintings that have fresh, opulent, and even tonality… He is a modern who will become a forefather.’ Zandomeneghi chose almost exclusively to portray the petites bourgeoises of Paris either in the privacy of their homes, on the boulevards of Paris, or in refined social settings.
— Zandomeneghi è stato in un’epoca di rinnovamento, trainante e timoniante di una nuova filosofia pittorica. Conosce per cultura anche famigliare la grande scuola antica Veneta. Gli affreschi del Tiepolo, illuminano e arricchiscono, i palazzi, le chiese di Venezia, e le ville lungo il Brenta con punte altissime di eleganza estetica. Questo l’humus culturale in cui vive e si forma pittoricamente. Zandomeneghi con prodigioso equilibrio sarà mediatore tra l’arte Veneta e quella Toscana derivante da secoli di eccelso splendore, in perfetta simbiosi con gli avvenimenti culturali politici e sociali del suo tempo. Non sarà mai imitatore, ma sempre estremamente identificabile. Questo stupendo dipinto è emblematico di questo iter pittorico. Non è macchiaiolo, non è propriamente canonicamente impressionista , di quell’Impressionismo imperante dei suoi amici colleghi Francesi, non è divisionista, anche se dal 1890 al 96 realizza opere con una tecnica a filamenti di colore puro, approdando a un divisionismo personale che ne evidenzia la portata innovativa. Per gusto estetico, delicatezza e senso cromatico compendia tutto ciò che è stato detto.

— LINKS
— La Conversazione (1895, 55x46cm; 1208x1000pix)
— Fillette (46x29cm)
— Donna in Rosso (1873, 46x25cm; 2077x1000pix, 285kb)
— Reading by the Window (54x46cm; 932x804pix, 198kb)
— A Young Beauty (45x38cm; 1000x783pix, 227kb)
— Young Girl Reading (39x46cm; 811x1000pix)
— a different Young Girl Reading (38x46cm)
— Mother and Daughter (1879, 61x51cm)
— At the Theater (87x71cm)
— Femme au balcon (65x54cm; 900x753pix, 152kb) _ L’elegante figura femminile affacciata ad un balcone con un viso bellissimo e sognante non è affatto statica, ma estremamente vitale, si affaccia alla vita, a ciò che sarà, ci suggerisce immagini e pensieri. Ritroviamo la stessa apertura al mondo, all’ignoto dei dipinti antichi, dei neoclassici, dove ogni gesto e particolare ha un preciso valore simbolico. Per epoca e tecnica ci è più vicino, ci appartiene. Nel suo volto ci sono tutti i volti che abbiamo amato, i volti vivaci e impertinenti delle “Tose” della sua giovinezza a Venezia con le leggere veste fluttuanti nel vento dei calli. Nel sole abbagliante, nella ricca florida vegetazione, ritroviamo la pace, la speranza dei nostri mattini.
— Lucie (45x37cm, 900x736pix, 134kb)
— Tête d'Enfant (45x37cm, 900x741pix, 119kb) _ It looks like the young girl has splashed blue ink all over her skin and her dress and is not at all happy about being pictured like that.
— Donna in Nero su Fondo Rosso (524x441pix, 55kb) _ Il ritratto è semplice per composizione ed uso di campiture omogenee di colore, ma intenso per sguardo ed espressione della protagonista.
— Melle Jeanne (1901 drawing 33x20cm; 604x377pix, 60kb)
— Riflessione (428x511pix, 57kb) _ Questa è una opera significativa dell'artista veneziano. Emigrato a Parigi ed entrato in contatto con i pittori impressionisti francesi, alle cui mostre partecipa, Zadomeneghi ritrae l'universo femminile nei suoi propri ambienti quotidiani. La giovane signora nel salotto di casa adornato di sculture, con libri e giornali che la accompagnano in questo momento di riflessione, non può non richiamare alla mente la suggestione di una certa parte del mondo borghese, colto e appassionato d'arte.
— La Toilette (651x343pix, 70kb) _ Le movenze femminili colte in momenti di intimità e in gesti quotidiani sono tra i soggetti preferiti del veneziano Zandomeneghi, che trascorse la maggior parte della sua vita a Parigi a contatto dei pittori impressionisti, vicino in particolare ad Edgard Degas e precursore di Henri Toulouse-Lautrec.
— a very different, fully clothed La Toilette (1894 63x53cm; 480x399pix, 21kb)
— Place Blanche le matin (1911, 74x92cm; 960x1226pix, 95kb) _ The present painting is one of the artist’s finest works demonstrating a uniquely personal style which evolved from a harmonious and concrete vision of reality. La Place Blanche is a superb portrayal of ‘la vie moderne’, a study of a broad range of urban types going about their business, the fashionable young lady carrying a colorful bunch of flowers, the well-dressed gentleman in a top hat preoccupied with his newspaper, the flower sellers plying their trade and in the background a young delivery girl carrying a large hat box. In the middle distance, underneath the shade of the trees there is a glimpse of a horse and carriage and in complete contrast in the right foreground one of the first automobiles is just about to drive into the scene. The setting is La Place Blanche in Montmartre, the home of the famous Moulin Rouge, which is situated just to the right of this scene. It is so called because it was a used as a thoroughfare by the quarrymen of Montmartre and the dust from their heavy loads of plaster coated the buildings and pathways with a thick layer of white. Zandomeneghi’s studio was just around the corner in the rue Caulaincourt at the junction of the rue Tourlaque in an area popular with his fellow impressionists. Renoir and Toulouse Lautrec had studios nearby and, like Zandomeneghi they were inspired by the variety of people from all walks of life that inhabited the district. This area was famous for its nightlife, the Moulin de la Galette, located at the other end of the rue Lepic which bordered the square, was where Renoir painted Bal au Moulin de la Galette (1876, 131x176cm; 790x1073pix). The present scene is reminiscent of Renoir’s famous painting, it is peopled by men and women from similar walks of life and conveys the same relaxed, happy atmosphere in the shade of the trees in the center of the square. Movement is central to Renoir’s painting, and the characters in Zandomeneghi’s painting are equally animated, captured in one brief moment as they make their way through the streets of Montmartre.
— The Red Roof (53x46cm)

Died on a 02 June:

^ 1944 Achille Guillaume Laugé, French artist born on 29 April 1861. Lauge, a very prolific artist, painted compositions, landscapes, portraits, and flowers. An artist of the French school, he was born in the same year as Bourdelle and Maillol: artists who would become two of his closest friends. Lauge, however, was willed to study pharmacology by his parents, and, against their wishes, attended the school of the Beaux-Arts in 1878 while working at a pharmacy in Toulouse. It was there, at the Beaux-Arts, where he first met the artist Bourdelle. In 1881, Lauge enrolled at the Beaux-Arts in Paris. He there found himself surrounded by the ateliers of artists such as Cabanel and J.P. Laurens, and met Maillol. He debuted at the Salon in 1884 with a painting depicting his friend Bourdelle. Lauge left Paris in 1888, and beginning in 1889, he maintained an atelier in Carcassonne where he established many friendships. He had, by the end of his stay in Paris, already adopted the divisional touch of the Neo-Impressionists. — Fleurs (24x30cm; 137kb) — La route aux genêts (54x73cm; 71kb) — Bouquet de fleurs (101x205cm; 350x598pix, 26kb) _ Auctioned at Drouot in 2000 for 92'000 FF. — 13 images at Sotheby's

^ 1917 Hilda Fearon, British painter born on 14 September 1878. — [Who held a fear on Hilda Fearon, so that they didn't show more of her work on the Internet?]— Hilda Fearon was one of those rare women painters of her generation who managed to study art in the most prestigious venues of the time. She was born in Barnstead, Surrey, England. From 1897-1899 she studied in Dresden and went on to study at the famous Slade School in London from 1899-1904. From there she continued independent work with Algernon Talmage at St. Ives in Cornwall. Proficient in many different areas, she was noted for her work in figure subjects, landscapes and still lifes. She exhibited primarily at the Royal Academy from 1908 and also at the Goupil Gallery, London Salon, Royal Hibernian Academy and Royal Institute Oil Painters. — The Homecoming (154x190cm; 642x800pix, 43kb) — The Tea Party (1916, 55x66cm)

^ 1903 Ferencz Eisenhut, Hungarian Austrian orientalist painter who was born in Serbia on 26 January 1857. — [Did he usually wear a helmet?} — Hongrois, né en Serbie, il étudie à Budapest puis à Munich. Il a certainement voyagé en Egypte, en Asie Centrale et au Caucase, mais sans doute aussi ailleurs. Il voyagea peut-être en compagnie de Rudolf Gustav Müller et de Franz Roubaud, auxquels il est très lié, ayant eu les mêmes maîtres. En 1896 il participe à l'Exposition du Millénaire de Budapest. — Eisenhut studied at the Budapest School of Applied Arts under Bertalan Szekely and Janos Greguss, in 1877-1884 he continued his education at the Munich Academy under Gyula Benczur, Ludwig von Loeffitz, Otto Seitz, and Wilhelm von Diez. Member of Munich Artists' Society, after 1892 he joined the "Luitpold-Group". From 1883 on Eisenhut turned to orientalist paintings. In 1884 he made a trip to the Caucasus region, inspired by one of his classmates, Franz Roubaud, who came from Odessa, and to Central Asia. From 1884 on he regularly participated in exhibitons in Budapest, Munich and Vienna. In 1894 he undertook a journey to Egypt. Eisenhut repeatedly visited his home in Yugoslavia and adjoining Bosnia, Croatia, etc.— The Pasha's Concubine (60x39cm; _ Zoomable) — The Armorer (71x57cm) — The Albanian Guard (1902, 50x34cm; 800x515pix, 59kb) _ detail (590x531pix, 66kb) — Tuniszi bazárban (1886, 48x32 cm; 593x380pix, 43kb) — Bibliai jelenet (540x388pix) — Havas táj beszélgeto alakokkal (41x31cm; 600x461pix, 59kb)— Zentai csata (33x48cm; 565x800pix, 155kb) an extremely rough, almost indistinct sketch.

1843 Johann-Heinrich-August Friedrich, German artist born on 01 July 1789.

^ 1839 Wijnand Jan Josephus Nuyen, Dutch painter and printmaker specialized in landscapes, born on 04 March 1813. — {Trouve-t-on quoi que ce soit d'ennuyant en Nuyen?}— The son of a baker, he was apprenticed at the age of 12 to Andreas Schelfhout in The Hague, and from 1825 to 1829 he went to the Hague Tekenacademie, under the direction of Bartholomeus J. van Hove. With remarkable rapidity Nuyen grew into a highly productive painter of landscapes, marines and townscapes; his favorite themes were the Normandy and northern French coasts. In 1829 he was awarded a medal by the Felix Meritis society in Amsterdam for a watercolor of a forest landscape. After completing his training he made several trips to Belgium, France and Germany, sometimes in the company of A. Waldorp [1803-1866]. In 1836 Nuyen was admitted to the Koninklijke Akademie in Amsterdam, and one year before his death he married Schelfhout’s daughter. — Nuyen was born in The Hague, the son of a baker. At the age of twelve Nuyen received lessons from the artist Andreas Schelfhout. Later, he attended the Art Academy in The Hague. Nuyen soon emerged as a prolific painter producing landscapes, marine paintings and town views. Nuyen traveled to Normandy and along the northern coast of France; the landscape formed a recurring theme in his work. Nuyen was one of the few Dutch painters of the nineteenth century to fully absorb the influence of the French Romantics. His paintings have a certain un-Dutch dramatic quality. Nuyen, a promising painter, died in The Hague aged twenty-seven. — Nuyen's students included Charles Rochussen and Charles Leickert. — LINKS
— Shipwreck on a Rocky Coast (1837, 154x206cm) _ In this intensely dramatic painting we see a three-master sinking off a rocky shore in a raging gale. The main mast lies shattered on the beach where the crew have also sought refuge. Here and there we see people lying exhausted, injured, unconscious or dead. The survivors are doing their utmost to save what they can. On the right a man has managed to haul one of the shipwrecked crew from the water. On the left people are warming themselves by a fire. Breaking through the clouds, the sun casts a harsh and eerie light on this macabre spectacle. This work is not a depiction of some historical occurrence. Nuyen has painted a spectacular fantasy landscape, the main theme of which is the insignificance of humans faced with the forces of nature.
     Nuyen has painted a work that is sheer spectacle. He was not concerned so much with the technical perfection of every inch of canvas; the important thing was the total composition, which he intended to be awe-inspiring. The emphasis is on human powerlessness in the face of nature's violence: clouds, sea and rocks occupy the greater part of the canvas. The little figures on the beach are insignificant by comparison. Even so, the activity in the foreground attracts the viewer's attention. Nuyen introduced different notes here: the dead bodies in the foreground lying on the sail, strike one first. With great sense of drama the painter has set this scene in full light. Further off, where it is darker, darkness, accents of color catch the eye: a fire blazing up, or a colorful item of clothing.
     Nuyen's work was unique in Holland: theatricality and a free, variegated style of painting were unusual here. Other Dutch painters stressed the careful imitation of reality, with the art of the Golden Age as their model. Take, for instance, the painting Turbulent Sea by the specialist in seascapes, Schotel: this painter had an eye for dramatic lighting, but concentrated more on the precise depiction of his subject. His work is reminiscent of the seventeenth-century artist Bakhuysen. Nuyen discovered the feeling for lofty drama and bold use of color in France. An art of intense emotions flourished there, that of Romanticism. Nuyen was the only convincing representative of this movement in Holland.
     Nuyen painted the 'Shipwreck' in 1837. Two years later he died, aged only 26. But by then he had already had a brilliant career. His admirers saw him as the supreme innovator in Dutch painting. One of his most fervent admirers was King William II, who bought the Shipwreck in 1843. The king also owned five other works by him. Nuyen's daring innovations brought him criticism too. Some people thought that he exaggerated too much and was only interested in shocking people.
— Ships in a French Harbor at Low Tide (1836, 31x39cm) _ An everyday scene in a French coastal harbor. The tide is out, leaving only patchy areas of water. Most of the ships are lying high and dry. A group of people are standing chatting near a boat. On the right, two men are looking on from the quayside. It is late afternoon. The sun is setting, painting the misty sky grayish-pink. Vague contours of houses and ships are visible in the distance. Only the dilapidated tower and the quay can be seen clearly. Nuyen was inspired by a journey through France when he painted this watercolor. On his travels he met French and English Romantic artists. Their influence is clearly visible in this dreamy harbor scene.
     While in France, Nuyen became familiar with the work of painters such as Bonington (an Englishman working in France) and Isabey, who made a great impression on him. These artists painted picturesque neighborhoods, Normandy harbors and seascapes, with a free and spontaneous hand. Nuyen not only began painting similar subjects, he even adopted their style. His penchant for ruins as a picturesque motif, is typically Romantic. He was clearly inspired by seventeenth-century landscape paintings featuring ruins. Nuyen was Holland's only true Romantic artist. One of his most spectacular works is the dramatic Shipwreck.
     The tranquil atmosphere of Nuyen's French Harbor is reminiscent of the watercolors of the English artist Turner. It is possible that Nuyen became familiar with Turner's work in France. Like Turner, Nuyen blended colours into one another, creating a certain unity. He did, however, depict objects in the foreground in greater detail. He added dashes of color, accentuating the woman on the left with yellow, white and red, the boat with a green stripe and the two figures on the sailing boat with blue. Traces of the black chalk which Nuyen used to mark out the broader composition are still visible through the watercolors.
— River Landscape with Ruins (1838, 99x142cm; 850x1257pix, 153kb) _ When Nuyen was twenty, he visited France. There he met artists who painted in the Romantic manner, with strong contrasts of light and shade, intense colors and a sense of drama. Nuyen became fascinated with this style of painting and soon emerged as Holland's leading Romantic artist. This painting is a good example of his work, with a ruined castle, a dead tree blown down by the wind, clouds scudding across the sky, and shadows darkening the landscape. Nuyen's work was innovative and exuberant by Dutch standards.
— Moored Sailing Vessels Near a Harbor (51x60cm; 390x482pix, 28kb).
— Beach Scene on the Normandy Coast with People by an Upturned Boat and Cliffs Behind (1837 sketch, 9x12cm; ZOOM).
— Church Interior (1837 sketch, 9x5cm; ZOOM).

Born (or baptized) on a 02 June:

^ 1849 Paul-Albert Besnard , French painter, printmaker, and designer, specialized in historical subjects, who died on 04 December 1936. He was born to an artistic family and was precociously talented. In 1866 he entered the École des Beaux-Arts, where he studied under Jean François Brémond [1807–1868] and Alexandre Cabanel. His Salon début in 1868 and his subsequent entries were well received, and in 1874 he won the Prix de Rome with The Death of Timophanes, Tyrant of Corinth. Remaining in Italy for five years, Besnard worked in an academic style influenced by Pietro da Cortona and Michelangelo. — Portrait of Besnard (41x33cm;640x519pix, 68kb) by Jules Alexandre Grün [26 May 1868 – 15 Feb 1934] — LINKS — The Amber Necklace (1910, 62x49cm; 1/5 size, 29kb _ ZOOM to 2/5 size, 100kb _ ZOOM to 4/5 size, 400kb) — Bather with Child and Swan by the Sea (1905; 913x768pix, 178kb) _ the baby is blue (from the cold?) — Jeune Femme au Bouquet (200x91cm; 510x231pix, 13kb)

^ 1658 (baptized) Nicolas Dorigny, French printmaker who died on 01 December 1746. He was trained by his father Michel Dorigny [1616 – 20 Feb 1665] but abandoned painting for engraving early in his career. In 1687 he went to Rome, summoned by his brother Louis Dorigny [14 Jun 1654 – 29 Nov 1742], producing there a series of reproductions of antique statues, published by Rossi in 1704. From Rome he went to London, where he worked for the British royal family. Between 1711 and 1719 he engraved Raphael’s cartoons of the Acts of the Apostles, for which he was knighted by George I in 1720. He returned to France suffering from eye trouble and was received (reçu) as a member of the Académie Royale in 1725. He exhibited at the Salons of 1739 and 1743. He made more than 140 prints, combining etching and engraving in an expansive, vigorous style close to that of Gérard Audran. Besides portraits, his works are mostly reproductive prints after the Italian masters, particularly Raphael, Carlo Maratti, Domenichino, Guercino and Giovanni Lanfranco.
— Paulus et Barnabas Lystrae (52x76cm engraving of painting by Raphael) illustrating and quoting Act. 14:07~13:
Et quidam vir in Lystris infirmus pedibus sedebat, claudus ex utero matris suae, qui numquam ambulaverat hic audivit Paulum loquentem. Qui intuitus eum, et videns quia haberet fidem ut salvus fieret, dixit magna voce, surge super pedes tuos rectus et exilivit et ambulabat.
Turbae autem cum vidissent quod fecerat Paulus, levaverunt vocem suam Lycaonice dicentes dii similes facti hominibus descenderunt ad nos. Et vocabant Barnaban Iovem Paulum vero Mercurium, quoniam ipse erat dux verbi. Sacerdos quoque Iovis
qui erat ante civitatem tauros et coronas ante januas afferens, cum populis volebat sacrificare. Quod cum audierunt apostoli Barnabas et Paulus conscissis tunicis suis exilierunt in turbas.
Compare this anonymous engraving.

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