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ART “4” “2”-DAY  13 June v.5.50
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DEATHS:  1947 MARQUET — 1931 RUSIÑOL
BIRTH: 1908 VIEIRA
^ Died on 13 June 1947: Albert Marquet, French Fauvist painter born on 27 March 1875.
— {Il y avait un peintre du nom de Marquet / qu'à Paris on voyait par rues et par quais. / Il était souvent recherché par le Parquet. / Mais alors pour outremer il s'embarquait, / et personne ne le remarquait.}
— Albert Marquet's father worked on the railroads and his mother encouraged and supported his early artistic endeavors. He joined Gustave Moreau's studio like the other Fauves at the École des Beaux-Arts. He painted the French urban landscapes extensively. He uses color to enhance or mute the effects of sunlight in his work. One such painting is Quai du Louvre et Le Pont-Neuf a Paris in which he used contrasting light and dark shapes to depict sunlight. Marquet preferred to live a secluded life with his wife, Marcelle Matinet whom he married in 1923. He loved to travel throughout Europe and Northern Africa. Marquet painted with Dufy along beaches in Normandy and Le Havre. Despite his penchant for painting landscapes, many would attest to Marquet's talent for portraiture which was often compared to that of Van Gogh's and Toulouse-Lautrec.
— Marquet nació en Burdeos. En 1890, con el apoyo de su madre, va a París a estudiar a la Escuela Nacional de Artes Decorativas, donde conoce a Matisse, con quien entabla una gran amistad. En 1894 ambos entran en la Escuela de Bellas Artes y estudian bajo la dirección de Moreau. Entre 1894 y 1904 va al Museo del Louvre y hace copias de los grandes maestros (Chardin, Poussin, Veronés y Claude Lorraine). En estos años su círculo de amigos son Matisse, Mangin y Camoin.
      En 1898, de nuevo con Matisse, entran en la escuela de Eugène Carrière, donde conocen a Derain. En 1901 participa con diez cuadros en el Salón de los Independientes; son paisajes de Arcueil y Luxemburgo. En 1905 participa en el Salón de Otoño en la primera exposición del grupo fauvista y al año siguiente empieza a trabajar con la galería Berheim Jeune. En 1912 va por primera vez a Tánger con Matisse y Camoin, y luego viajará al norte de África, sobre todo a Argelia, repetidamente a lo largo de su vida.
      En 1925 hace una importante exposición en la galería Berheim Jeune con paisajes pintados en Marsella. Durante toda su vida viajó constantemente por Europa y el Norte de Africa y abandonó el estilo fauvista. Sus cuadros más conocidos tienen por tema los puentes de París. Muere en La Frette.

LINKS
Fête populaire au Hâvre (1906; 600x757pix _ ZOOM to 1400x1767pix)
Le Hâvre (1906; 600x483pix _ ZOOM to 1400x1127pix)
Istanboul (1933; 600x483pix _ ZOOM to 1400x1127pix)
Vue d'un balcon (1945; 700x535pix, 241kb)
Vue de la Seine et du Monument à Henri IV (1906, 65x81cm; 575x719pix, 218kb)
Le Port de Hambourg (1909, 66x80cm)
Jour de Pluie à Paris (Nôtre-Dame) (1910)
Quai des Grands Augustins, Paris (1905)
Le Quai Conté, Paris (1947)
Landscape with a Bridge (1919, 24x33cm; 575x790pix, 233kb) _ In 1914, Albert Marquet went to the south, working in Collioure (1914), Marseilles and Nice (1915), and L'Estaque (1916-1918). However, Landscape with a Bridge was not painted in the south, but in the Île de France. In this picture, the light particular to that region is conveyed with rare simplicity and expressiveness. The subject of this painting and the treatment of the trees and the sky link it to several landscapes painted in Samois (1917) and Herblay (1919).
Harbor at Menton (1905, 65x82cm)
Place de la Trinité, Paris (1911, 81x65cm)
View of Saint-Jean-de-Luz (1907, 60x81cm)
Milliners (1901, 50x61cm)
Avenue in the Luxembourg Gardens (1901, 25x35cm) _ Albert Marquet painted in the Luxembourg Gardens as early as 1898. In all the pictures painted there, his love of open space is manifest. The artist shows a wide square before the palace, a path running off. Marquet focuses his attention on details: it is remarkable how he discriminates among various shades of green in the foliage while the sun is only just rising over the horizon.
 

^ Born on 13 June 1908: Maria Elena Vieira da Silva, Portuguese French painter, engraver, stained glass and mosaic artist, who died on 06 March 1992. She painted intricate, semiabstract architectural compositions. She married Hungarian painter Arpad Szenes [1897–16 Jan 1985] in 1930. — {Vieira viellira}
— She arrived in Paris in 1928. She was impressed by the chequered tablecloths of the Bonnard paintings on display at the Galerie Petit, which influenced her later work; it was, however, sculpture that she first studied, under Émile-Antoine Bourdelle and then under Charles Despiau. She also studied from Roger Bissière. In 1929 she began engraving in S. W. Hayter’s Atelier 17 and started to design carpets for Dolly Chareau’s Art Deco interiors. The influence of Joaquín Torres García, whose work was exhibited at the Galerie Pierre Loeb in 1932, was also crucial. She exhibited in 1933 and 1937 with the Galerie Jeanne Bucher, finally achieving a distinctive style in which the diamonds and squares of Portuguese azulejos combine with metaphors of chessboards and card games (e.g. Chess Game, 1943). Receding perspectives create an impression of vertiginous, imploding spaces that progressively absorb and annihilate the human element.
— Her interest in painting flowered under the tutelage of Fernand Léger and Stanley William Hayter. Although the abstract patterning of her early paintings tended toward the decorative, her mastery of spatial manipulation became apparent. The luminous spots and intersecting lines in her paintings assumed an explicit architectural organization, culminating in the dreamlike cityscapes of such mature works as Golden City (1956). She and her husband Arpad Szenes lived in Brazil during World War II. She returned to Paris in 1947 and became a French citizen in 1956.
— Blah-blah-blah note: From the 1930s onwards, Maria-Helena Vieira da Silva gradually abandoned the figurative representation of space from a single point of view in favour of the divulgence of an inner vision – an enigmatic, dream-like world of mystic imagination. In this respect, the abolition of the centralized perspective and the single vanishing point were highly significant for da Silva’s artistic development. Influenced by Picasso and Braque, who she met upon her arrival in the French capital, da Silva wanted to reflect in her paintings the fragmented, often contradictory and arbitrary character of human perception. From the Italian Renaissance until the advent of Cubism, linear perspective as the quintessential embodiment of rationalism had reigned supreme over Western art and culture. Modernist art however sought to find new ways to reflect the fractured, time-based experience of industrial society. By returning again and again to the question of spatial construction, da Silva transformed the rational grid of the centralized perspective into an oscillating, compulsive web of horizontal and vertical lines, suggesting a multiplicity of points of view suspended between chaos and order.
      For example, the loose grid of dancing lines in La Place Ocre appears to emerge from the flatness of the picture plane, hovering within the confines of a vast, imaginary space. Vanishing lines have mutated into lines of force that create a pattern of rhythmic tensions. The notion of the maze or labyrinth is of central importance to the paintings of da Silva. Daubs of paint from a restricted palette of whites, blues and greys create countless small surfaces reminiscent of tiles or textile patterns. The spectator’s restless gaze is inevitably drawn to the hypnotic void that occupies the centre of the canvas. A large, formless patch of ochre seems to exert control over the surrounding labyrinth.
      In Vieira da Silva’s paintings, a vertiginous labyrinth of perspectives painted with hesitant, nervous dotted lines has replaced the depiction of subject matter in its traditional role as the bearer of expression. In its unrelenting complexity, da Silva’s labyrinths reveal a desire to appropriate the universe in its entirety. Every shape enters into a relationship with all others. A single brushstroke can radically alter the existing perspectives and set up new ones. Da Silva’s hand thus becomes the immediate conduit of artistic intuition.
Laplace stamp that never was
LINKS
Caronia (1963, 67x67cm; 801x810pix; 280kb)
Untitled (derelict tenements?) (1965, 26x21cm; 900x680pix; 104kb) almost monochrome
La Place Ocre (1954, 97x130cm; 900x1216pix; 233kb) _ Compare with Laplace ocre [>>>] by Paul-Pierre Lemagny [11 Feb 1905 – Jul 1977] (the French postal service did not use that color, so the stamp shown would be worth millions, if it existed. See the stamp in its true color) .
Ville au bord de l'eau (38x55cm; 285x400pix, 29kb) _ Indissociable de l'École de Paris, Maria-Helena Vieira da Silva occupe une place de premier plan dans les années 50. Vers 1945, l'architecture urbaine et surtout les vues de Lisbonne dominent ses recherches plastiques.

O atelier (1940, 73x92cm)
O desastre aka A guerra (1942, 81x100cm)
O incêndio II aka O fogo II (1944, 81x100cm)
Biblioteca (1949, 114x146)
Composição branca (1953, 91x130cm)
De Marte à Lua (1969, 195x91cm)
Le promeneur invisible (1951, 132x168cm)
Bataille des rouges et des bleus (1953, 130x162cm)
La gare inondée (1956, 114x146cm)
+ ZOOM IN +
Midi y Sonne Bleu (1958, 89x116cm; 440x576pix, 46kb) _ Auctioned at Sotheby's on 07 February 2001 for £179'500.00 and worth every penny of it, but not one single pound.
    _ Compare with Minuit y Songe Rouge (2005; _ ZOOM to 600x800pix, 128kb _ ZOOM+ to 960x1280pix, 408kb) [shown here reduced >] by “A. V. Lisa Darie y Vainilla”, which is almost as worthless, but costs nothing and is in the public domain.

Composition Bleue (510x1151pix, 166kb) _ Again “A. V. Lisa Darie y Vainilla” has come up with something almost as+ ZOOM IN + worthless, Décomposition Jaune (2005; _ ZOOM to 600x800pix, 119kb _ ZOOM+ to 960x1280pix, 365kb) [< shown here reduced ]

BIOGRAFIA
1908 - 13 de Junho, nascimento de Maria Helena, filha única de Marcos e de Maria Graça Vieira da Silva.
1913 - Estadia em Londres e em Hastings onde assiste a uma representação do «Sonho de uma noite de Verão».
1919-1927- Estuda desenho com Emília Santos Braga, e pintura com Armando Lucena, professor na Escola de Belas Artes de Lisboa. Pratica também a escultura.
1928 - Vem trabalhar para Paris, inscreve-se na «Academie de la Grande Chaumiére» onde tira o curso de escultura de Bourdelle. A Exposição Bonnard na Galeria Bernheim Jeune é uma revelação. Visita a Itália onde se entusiasma pela pintura de Sena.
1929 - Estuda na academia escandinava com o escultor Despiau. Abandona definitivamente a escultura. Estuda pintura com Dufresne, Waroquier, Friesz. Pratica gravura no atelier de Hayter. Frequenta a academia de Fernand Léger e segue os cursos de Bissiére.
1930 - Casa com o pintor hungaro Arpad Szenes.
1932 - Encontro com Jeanne Bucher. Vieira da Silva descobre a obra de Torres Garcia.
1933 -Organização da primeira exposição individual de Jeanne Bucher na qual é apresentado KÔ e KÔ, livro para crianças, com texto de Pierre Guéguen e ilustrações de Vieira da Silva.
1935 - António Pedro - escritor, pintor, encenador - organiza a sua primeira exposição na Galeria UP, em Lisboa. Vieira da Silva deixa Paris para se instalar temporariamente em Portugal.
1936 - Em Janeiro, no seu atelier de Lisboa, Vieira da Silva e Arpad Szenes, expoem as suas pinturas abstractas. O jornal Paris Soir inicia a publicação dos seus desenhos em simultâneo com Madame la Grammaire de Pierre Guéguen. No princípio de Outubro regressa a Paris.
1937 - Em Janeiro, expõe de novo na galeria Jeanne Bucher. Hilla Rebay adquire um dos seus quadros para a colecção Guggenheim.
1939 - Vieira da Silva e Arpad Szenes decidem viver em Portugal.
1940 - Em Junho, o casal parte para o Brasil e instala-se no Rio de Janeiro. Rapidamente estabelecem contacto com poetas e escritores brasileiros, particularmente com Murilo Mendes e Cecília Meireles.
1942 - O seu atelier torna-se um centro onde se reúnem jovens artistas (exemplo: Ruben Navarra), que são fortemente influenciados por Vieira da Silva e Arpad Szenes. O Museu de Belas Artes do Rio de Janeiro expõe as suas obras.
1943 - Decora com azulejos a sala do restaurante da Escola Nacional de Agronomia, Quilómetro 44.
1944 - Vieira da Silva expõe na Galeria Askanasy, Rio de Janeiro.
1946 - M. Kubitscheck, Presidente da Câmara de Belo Horizonte, convida Vieira da Silva e Arpad Szenes a exporem as suas obras no Palácio Municipal. A Galeria Marian Willard apresenta a sua primeira exposição individual em Nova Iorque, com a organização de Jeanne Bucher.
1947 - Em Março, Vieira da Silva retorna a França. Em Junho decorre uma exposição na Galeria Jeanne Bucher. Pierre Loeb visita o seu atelier e fica interessado pela sua obra. Permanência em Lisboa nos meses de Dezembro e Janeiro.
1948 - Aquisição do Estado Francês de La Partie d'échecs (1948).
1949 - Exposição individual na Galeria Pierre, Paris. Guy Weelen, jovem crítico, organizador de exposições em museus estrangeiros, requer uma autorização para visitar o seu atelier. Fica profundamente interessado pela obra de Vieira da Silva e de Arpad Szenes, que conhecerá uns meses mais tarde. Pierre Descargues publica o primeiro livro sobre a sua pintura, (Les Presses Littéraires de France, Paris).
1950 - Exposição individual na Galeria Blanche (Estocolmo). Exposição de guaches com Reichel na Livraria-Galeria La Hune, Paris.
1951 - O Estado françês adquire La Bibliothèque (1949), depositado no Museu Nacional da Arte Moderna, Paris.
1952 - Em França, na região de Lille realiza a primeira exposição individual na Galeria Dupont.
1952/53 - Exposição individual na Galeria Redfern, Londres.
1953 - Prémio de aquisição na Bienal de S. Paulo.
1954 - Primeiro prémio de tapeçaria para Universidade Basileia. Para dedicar-se à pintura, sem quaisquer perturbações e preocupações do dia a dia, pede Guy Weelen que, amigo do casal, seja o elo entre eles e o mundo.
1955 - Terceiro prémio na Bienal de Caracas. No atelier de René Bertholo e Maria de Lurdes, efectua uma série de serigrafias.
1956 - Por decreto de 15 de Maio, Vieira da Silva e Arpad Szenes adquirem nacionalidade francesa. O estado adquire Jardins Suspendus (1955), depositado no Museu Nacional de Arte Moderna, Paris.
1957 - Exposição na Galeria Pórtico-Lisboa. A mãe de Viera da Silva, instala-se definitivamente em Paris. Exposição individual em Genebra.
1958 - Quarto prémio do Instituto Carnegie, de Pittsburgh. José Augusto França publica a primeira monografia em Portugal, Artis, Lisboa.
1959 - Trabalha nas gravuras destinadas à L'Inclémence lointaine, poemas de René Char.
1960 - Em Março é condecorada com o grau de Cavaleiro e da Ordem das Artes e de Letras. Exposição individual em Paris na Galeria Jeanne Bucher.
1961 - Primeira estada em Nova Iorque. O Estado adquire L'été ou Composition grise (1960).
1963 - Em Janeiro, Vieira da Silva é distinguida com o grau de comentador da Ordem das Artes e das Letras. Grande Prémio Internacional de Pintura Bienal de S. Paulo.
1964 - A 7 de Fevereiro morre a sua mãe. É apresentada numa retrospectiva da sua obra pela Galeria de Arte Moderna do Museu Cívico de Turim e pelo Museu de Pintura e de Escultura de Grenobla.
1965 - Exposição individual na Galeria Albert Loeb, Nova Iorque.
1966 - A Academia de Amadores de Música de Lisboa dedica-lhe uma exposição constituída por obras existentes nas colecções Portuguesas. Recebe a encomenda para a igreja de Saint-Jacques, em Reims.
1967 - O Estado adquire La Bibliothèque (1955). Exposição individual na Galeria Jeanne Bucher, Paris.
1968 - A Fundação Calouste Gulbenkian, Lisboa, adquire: Les Degrés (1964), Landgrave (1966) e L'Air du Vent (1966). Os vitrais realizados em colaboração com Charles Marq, no Atelier J.Simon, são colocados na Igreja de Saint-Jacques.
1969 - A Museu Cantini (Marselha) adquire Le Satellite , um desenho (1955). O Estado Francês adquire as maquetes para os vitrais da igreja Saint-Jacques de Reims.
1969/70- Exposição na Galeria S.Mamede e Galeria 111- Lisboa. Retrospectiva da sua obra exibida em alguns museus da Europa e na Fundação Calouste Gulbenkian.
1971 - Exposição na galeria ZEN, Porto — Museu Fabre, Montpelier.
1972 - Ilustrações de «O Banquete» de Platão, edição Hermann.
1973 - Desenho de homenagem a Pablo Neruda.
1978 - Documentário biográfico "Ma Femme Chamado Bicho".
1982 - Biografia por Augustina Bessa-Luís.
1985 - Morte de Arpad Szenes no seu Atelier.
1986 - Cartaz para a UNESCO.
1988 - Medalha da cidade de Lisboa. Ordem do Mérito em França. Grande Cruz da Ordem da Liberdade.
1989 - Inauguração do painel de azulejos no Metropolitano Lisboeta (Cidade Universitária). Protocolo para a criação da Fundação Arpad Szenes-Vieira da Silva. Medelha de Ouro da Cidade do Porto.
1990 - Apresentação do projecto do Catálogo Raisonné.
1991 - Exposição Vieira da Silva na Fundação Juan March em Madrid. Vieira da Silva é promovida ao grau de Cavaleiro da Legião de Honra.
1992- Morte de Maria Helena Vieira da Silva em Paris no dia 6 de Março.
 

^ Died on 13 June (July?) 1931: Santiago Rusiñol i Prats, Catalan painter and writer born on 25 February 1861.
— Santiago Rusiñol i Prats nasqué a Barcelona el 25 de febrer del 1861 a la casa número 37 del carrer de la Princesa i va morir a Aranjuez vora els jardins reials que tant havia pintat, el dia 13 de juliol de 1931.
— He studied under Tomás Moragas [1837–1906] and exhibited as early as 1878, when he was still working in a conventional realist style. He went to Paris in 1889 with Miguel Utrillo [1862–1934] and other artists. There he and his close friend Ramón Casas, who lived with him in the Moulin de la Galette, began to paint suburban views of Paris, mainly of Montmartre, and interior scenes with figures. The pictures of Paris that they exhibited in Barcelona in 1890 and 1891 opened Catalan art to a new wave of Impressionism influenced by Edgar Degas and James Abbot McNeill Whistler, a form of modernism that was symptomatic of the cultural renewal in Catalonia, and of which Rusiñol, not only a painter but also an active intellectual, was the undisputed leader. In the small seaside town of Sitges, near Barcelona, he created an important cultural center closely bound to other European developments. Reference to Botticelli and the Pre-Raphaelites can be detected in the Symbolist style which he adopted in his three large canvases, Music, Painting, and Poetry (1894).
— Santiago Rusiñol encarna la personalitat més complexa de tots els artistes catalans de la segona meitat del segle XIX i començament del segle XX. Ell és, sens dubte, l'artista total, sempre present a les iniciatives artístiques importants d'aquell període. Fou membre fundador del grup renovador Els Quatre Gats. També fundà, a Sitges, el Cau Ferrat, un taller-museu que fou l'escenari de les famoses Festes Modernistes, en les quals s'aplegaven els joves artistes, escriptors i músics de l'època.
      Com a pintor, i malgrat l'oposició familiar aferrissada que el volia apartar del camí de l'art (fins als vint-i-cinc anys hagué de treballar a la filatura familiar), va ser alumne del pintor gironí Tomàs Moragas, fundador del Centre d'Aquarellistes i de l'Acadèmia de Dibuix i Pintura de Barcelona. De ben jove se sentí particularment atret pel naturalisme plàcid de Joaquim Vayreda.
      El 1889 s'establí a Montmartre, a París, i esdevingué amic inseparable de Ramon Casas. Visqué una bohèmia daurada a la capital francesa amb Ramon Casas, Utrillo i amb l'escultor Enric Clarasó, nascut a Sant Feliu del Racó, i tots tres introduïren a Catalunya un art nou, inspirat en l'impressionisme d'Edgar Degas i que a causa de la seva modernitat va ser designat per la crítica d'aleshores, encapçalada per Raimon Casellas, amb el nom de modernisme. Les figures, les coses quotidianes i el paisatge urbà del barri parisenc on residien eren els seus temes habituals.
      Cap a l'any 1894, la pintura de Santiago Rusiñol derivà vers el simbolisme, molt especialment en la temàtica dels jardins, especialment d'Andalusia, Castella i Catalunya, que li donaren tanta fama i èxits, amb obres plenes de poesia, riquesa d'acolorit i lluminositat. Morí pintant els jardins d'Aranjuez el 1931. Té obres en tots els museus importants del món. Es dedicà, amb molta intensitat també, a l'obra literària i destacà enormement com a comediògraf amb abundor d'obres teatrals de gran difusió i lluïment.

Ramon Casas a Paris (165x96cm; 802x463pix, 46kb)
S. Rusiñol i R. Casas retratant~se (1890; 650x800pix, 29kb)
La font
(114x76cm; 802x520, 56kb)
Montserrat (339x400pix, 25kb)
La noia de la clavellina
(1894; 820x375pix, 23kb)
 

Died on a 13 June:


1876 Anton Schiffer, Austrian artist born on 18 August 1811.

^ 1664 Michel Corneille I, French painter born in 1602. Originally from Orléans, he established himself in Paris as a painter of religious pictures, although he also carried out some interior decorations as well as cartoons for tapestries. He was a founder-member of the Académie Royale in 1648. He studied in the studio of Simon Vouet [1590-1649] in Paris. Corneille became friends with Eustache Le Sueur, François Perrier, and other leading artists in Paris. By his marriage in 1636 he became son-in-law to the sculptor Jacques Sarazin. Michel’s first signed painting, however, Esau Yielding his Birthright to Jacob (1630), shows no signs of Vouet’s influence. On the contrary, the realism of what is in effect a genre scene with an entirely imaginative basis relates it to the Flemish followers of Caravaggio, for example Pieter Lastman or the Pynas family, although as a whole the work recalls that of the Le Nain brothers. By turns attributed to Jacques Blanchard, Joachim Wtewael, and an anonymous Flemish artist, this odd and disconcerting work is an unusual example of an artist in search of a personal style. The other paintings attributed to Michel show, however, unmistakable signs of Vouet’s influence. This can be seen in the two Mays (the altarpieces commissioned annually by the goldsmiths’ corporation of Paris) he painted for Notre-Dame, Paris: SS Paul and Barnabas at Lystra (1644) and St Peter Baptizing the Centurion (1658). Together with a Visitation, all these works are well-balanced compositions in which architecture plays a large part, with full forms and light tonality, features that testify to Michel’s admiration for Raphael. Attribution of his other pictures is often contested: the father’s work is frequently confused with that of his sons, of which he was the first art teacher: Michel Corneille II [02 Oct 1642 – 16 Aug 1708] and Jean-Baptiste Corneille [02 Nov 1649 – 12 Apr 1695].


Born on a 13 June:

by Hartinger
^ 1875 (13 July?) Arthur Segal, Romanian artist who died on 23 June 1944. Arthur Segal was born in Romania but worked mainly in Germany and Switzerland, where he was a prominent member of the Dadaist movement. (b Iasi, 13 July 1875; d London, 23 June 1944). Romanian painter, printmaker and teacher. He went to Berlin in 1890, training at the Staatliche Hochschule für Bildende Künste, and in 1895 attended the Académie Julian in Paris. For a time he stayed in Munich, and then Dachau, but spent summers in Botosani, Romania, until 1924. Between 1900 and 1910 he produced landscapes, portraits and interiors, influenced above all by Pointillism, and exhibited at the Artistic Youth (Tinerimea Artistica) society between 1905 and 1913. In 1904 he settled in Berlin, where he co-founded the Neue Sezession (1910) with Max Pechstein and others. In this period the influence of van Gogh began to dominate his work. Through his connections with the Blaue Reiter, Segal exhibited at the Sturm-Galerie in Berlin, publishing a series of Expressionist woodcuts and linocuts between 1911 and 1913 in Der Sturm.

1844 Edouard Frédéric Wilhelm Richter, French artist who died on 04 March 1913.

1839 Modesto Urgell e Inglada, Spanish artist who died on 03 April 1919.

1806 Anton Hartinger, Austrian artist who died on 24 January 1890. — [Do you feel in your heart anger at not finding better Hartinger artwork on the Internet?] — Still Life with Fruit [above, right].
Foglar
^ 1805 Magnus von Wright, Finnish painter and illustrator who died on 05 July 1868. He was descended from a Scottish family who moved to Sweden in the 17th century. He and his brothers, Wilhelm von Wright [05 Apr 1810 – 02 Jul 1887] and Ferdinand von Wright [19 Mar 1822 – 31 Jul 1906] were brought up in a remote region in central Finland and were almost entirely self-taught. They were among the finest Finnish artists of the first half of the 19th century.Fiskar In 1826 Magnus moved to Stockholm, and, in 1828, he and Wilhelm began publishing Svenska Foglar, the series of bird illustrations that rapidly established the brothers’ reputation in Finland and Sweden. The work, completed in 1838, consists of 180 hand-tinted lithographs. Similarly they did the 500 or so handcolored lithographs of Skandinaviens Fiskar (1834-1857). Magnus also painted landscapes. — Helsinki

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