ART “4”
“2”-DAY 24 May |
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Born on 24 May 1834: Peter
Baumgartner, German painter who died in 1911. — Born in Munich, Baumgartner received his initial training at the Munich Polytechnic under Joseph Anton Rhomberg, but subsequently entered the Munich Academy where he studied with Hermann Anchutz. In 1857, Baumgartner entered the studio of Karly Theodore von Piloty, one of the most celebrated history painters of the Munich school. Munich, along with Dusseldorf and Berlin, was one of Germany's chief artistic centers at the time. Its genre and history painters established a widespread reputation among the country's haute bourgeoisie. Baumgartner, in conformity with this taste, represented scenes from literary sources, including German folklore and fairy tales. — Der Erhorte Bittgang. Eine Prozession Vom Regen Uberrrascht (142x127cm; 1188x1000pix, 222kb) — The Auction Sale (1863, 124x157cm; 245x314pix; 21kb) |
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Died on 24 May 1831: James
Peale, US painter specialized in Still
Life, born in 1749. — {Is it true that the appeal of a Peale is
only skin deep in the eye of the beholder?} — James Peale was the father of Anna Claypoole Peale [06 Mar 1791 – 25 Dec 1878], Margaretta Angelica Peale [01 Oct 1795 – 17 Jan 1882], Sarah Miriam Peale [19 May 1800 – 04 Feb 1885]; and brother of Charles Willson Peale [15 Apr 1741 – 22 Feb 1827], who encouraged him to become a painter. James also worked as a frame-maker for his brother until the US War of Independence, in which he served as a lieutenant. From 1779 James shared Charles’s practice, specializing in miniatures. His early work, occasionally confused with Charles’s, shows his brother’s influence. After 1794, his style became clearly his own: more delicate with subtle color harmonies, softened outlines and free handling; it may be distinguished by a faint violet tone in the shadows and the inconspicuous signature ‘IP’. His miniatures of male subjects are frequently superior to his portraits of women, for example Benjamin Harwood (1799), but his meticulous attention to costume and his success in imparting color and sparkle to skin and eyes, as in the lovely portrait of Mrs John McCluney (1794), compensate for drawing deficiencies. — LINKS — The Artist and His Family (1795, 79x83cm) — Still Life, Apples, Grapes, Pear (1825, 46x67cm) — Still Life: Balsam Apple and Vegetables (112kb) — Rembrandt Peale (1795, 71kb) _ Rembrandt Peale [22 Feb 1778 – 03 Oct 1860] was the son of James Peale's brother Charles Willson Peale — George Washington (1000x813pix, 57kb) — William Young (1817, 38 x 26 in.; 1175x932pix, 136kb) — Madame Dubocq and her Four Children (1807) _ Madame Marie (Trochon) Dubocq was born in Nantes, France, the daughter of Count Trochon de Lorrière. Marie Trochon was taken as a child to Haiti. There she met and married French merchant, Guillaume Dubocq. The Dubocq family moved to Philadelphia during the Haitian Insurrection, but relocated to Shippingport, Kentucky, during the early 1830s. James Peale painted Madame Dubocq and her children while the family lived in Philadelphia. James Peale painted several large-scale portraits like this one, but specialized in miniatures. The Dubocq family brought the portrait with them when they moved to Kentucky. Like many affluent families who migrated to the state, the Dubocqs sought to retain some of their cultural traditions even in the wilderness of Kentucky. — The Ambush of Captain Allan McLane (1803) _ James Peale began his artistic career as a student of his famous elder brother, Charles Willson Peale. James's steady progress as a portraitist was interrupted by the Revolutionary War, in which he served as an officer in the Continental Army under George Washington. At the Battle of Long Island, James Peale's regiment was reduced from 1000 men to a little over 150. Peale painted The Ambush of Captain Allan McLane at the request of Charles, who had heard of McLane's colorful military exploits. Captain McLane himself told James the story of his encounter with a British ambush in 1778 near Philadelphia. McLane shot one dragoon (cavalryman armed with a musket) and clubbed another with his pistol, then escaped. The captain posed for Peale to re-create this dramatic moment, thus lending to the work additional historical interest. Attentive to naturalistic details, Peale simultaneously endowed McLane with a sense of strength and nobility that serve to commemorate the struggle for independence in heroic overtones. |
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Born on 24 May 1728: Jean~Baptiste
Pillement, French Rococo
painter and draftsman who died on 26 April 1808. — He was an extremely varied and prolific artist who became fashionable early in his career. First trained by Daniel Sarrabat in Lyon, Pillement received a good grounding in the Rococo style of genre painting exemplified in the work of Antoine Watteau and François Boucher. After a brief spell at the Gobelins, in 1745 he left for Madrid. He stayed there for three years, and his work was much appreciated both in Spain and in Portugal, which he visited often. He supervised sets of Rococo singeries and chinoiseries painted for Quinta de Alegria, the house at Seteais, near Sintra, of the Dutch consul in Lisbon, Jan Gildemeester, and soon after he was offered the title of Painter to the King. He declined this honor and instead went to London. There he stayed for the next 10 years, during which time he fully exploited the English taste for landscapes. In addition to his brightly colored, artificial landscapes, inspired by Nicolaes Berchem and Claude-Joseph Vernet, Pillement painted fancy pieces, which were theatrical in composition and inspired by prints rather than nature. In 1761, having sold off his remaining work at the annual exhibition in London of the Society of Artists, Pillement went to Vienna. In 1763–1764 he decorated rooms at the Hofburg and he also worked for Wenceslas, Prince of Liechtenstein. In 1766 Stanislaw II Augustus Poniatowski, King of Poland, requested that Pillement decorate interiors at the royal castle in Warsaw. The result was a room of exquisite chinoiseries as well as the Pillement Room at the Ujazdow Palace. Made Pictor Regius by the Polish king in 1767, Pillement had in the meantime discovered a new method of printing on silk with fast colors (recorded in his Memoirs, 1764). — Francisco Vieira Portuense was a student of Pillement. — LINKS — Shepherds Resting near a Stream (1779, 77x101cm) — Rocky Landscape with Figures — Bamboo Flowers and Cactus (octagon, 21x21cm) — Pagoda Flowers and Roses (octagon, 21x21cm) — Trumpet Flowers and Daisies (octagon, 21x21cm) |
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Died on 24 May 1872: Julius
Veit Hans Schnorr von Carolsfeld, German painter
and draftsman born on 26 March 1794, brother of Ludwig Ferdinand Schnorr
von Carolsfeld [11 Oct 1788 – 13 Apr 53]. — Julius was taught engraving by his father and then trained under Heinrich Füger at the Akademie in Vienna (1811–1815). Though not particularly excited by the curriculum, he was inspired by his friendship with Ferdinand Olivier and Joseph Anton Koch and the circle around A. W. Schlegel to an interest in both landscape sketching and in old German and Netherlandish art, as reflected in the style of the detailed pen drawing of The Prodigal Son (1816). From 1815 to 1818 he lived in the house of Ferdinand Olivier, whose step-daughter, Marie Heller, he later married. A painting of 1817, Saint Roch Distributing Alms, is an excellent record of this period, as it contains portraits of Ferdinand Olivier and Marie Heller, and a landscape background similar to that sketched by Schnorr von Carolsfeld with Ferdinand and Friedrich Olivier (who was his assistant) near Salzburg. — Melchior Paul von Deschwanden and Karl Theodor von Piloty were students of Schnorr. — LINKS — Die breite Föhre nächst der Brühl bei Mödling (1838; 600x1072pix _ ZOOM to 1400x2501pix) — Verkündigung (1820; 600x460pix _ ZOOM to 1400x1073pix) — Maria mit dem Kind (1820; 600x500pix _ ZOOM to 1400x1167pix) — Siegfrieds Abschied von Kriemhild (1843; 600x596pix _ ZOOM to 1400x1391pix) — Frau Clara Bianca von Quandt (1820; 600x404pix _ ZOOM to 1400x943pix) — Bathseba im Bade (1825; 600x496pix _ ZOOM to 1400x1157pix) — Ruth in Boaz's Field (59x70cm) _ This picture was painted in Munich, based on drawings made a few years earlier in Italy. The artist had spent ten years in that country, and was a leading figure in a group of German and Austrian artists named the Nazarenes who sought to invest modern painting with the purity of form and spiritual values that they saw in Renaissance art. The subject is taken from the Old Testament Book of Ruth. Here the Moabite Ruth is gleaning (gathering up corn left after the harvest) to support her widowed mother-in-law. The landowner Boaz who talks to her has come to show his admiration for her support for her family. The two eventually married, and King David, Mary, Joseph, and Jesus were among their descendants. — Der Sechskampf auf der Insel Lipadusa (1816, 102x170cm) |
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Born on 24 May 1895: Marcel
Janco, Romanian Israeli painter, printmaker, architect,
and writer, who died on 21 April 1984. — He was a student of the painter Iosif Iser and from 1915 studied architecture in Zurich. With Tristan Tzara, Hans Arp, Richard Huelsenbeck, and Hugo Ball, Janco participated in the Dada performances of the Cabaret Voltaire. Janco made props and posters for the Dada group and illustrated with engravings the books of Tristan Tzara. Janco broke with Dada in 1922. In 1918 he became involved with the Neue Leben group in Basle. After returning to Romania in 1920 he took part in all the major avant-garde exhibitions, showed at the Maison d’Art in Bucharest (1922) and was a member of the group Contimporanul (1924), which published an eponymous review and organized the first international avant-garde exhibition in December 1924. Janco was prolific as an artist, drawing, painting, engraving, designing buildings (e.g. Wexler House, 1931, Bucharest, with his brother, Jules Janco) and also writing manifestos and articles. As well as abstract graphic compositions, in which he explored the possibilities of a universal formal language, Janco produced works of traditional genres. In his portraits in Indian ink he took up the formal aspects of Expressionism. His paintings also display such elements. Although some abstract reliefs of 1918–1920 show an inclination towards geometric abstraction, Janco never fully came to terms with it. In 1940 he emigrated, settling in Tel Aviv. The move marked a renewal in his art, away from abstraction to vigorous interpretations of the colorful local life. He also became involved in progressive art education. In 1948 he founded the New Horizons group, and in 1953 he set up the artists’ colony of Ein Hod in the ancient Arab village of Carmel. In 1967 he was awarded the Grand Prix National d’Israel. — Composition with an Owl, Galloping Horse and a Pipe (1944, 45x70cm) — Don Quixote and Sancho Panche (sic) (1945, 35x50cm) — Don Quixote and Sancho Pancha (sic) (1955, 20x32cm) — Don Quihote and Sansho Pansha (sic) (28x20cm) — Goat (1950, 35x50cm) — Man Smoking Pipe (1965, 35x50cm) — Man Sitting (1945, 17x21cm) — Nude (29x21cm) — Acre (1945, 24x33cm) — Jaffa (27x40cm) — Tiberiade (1949, 33x44cm) — Composition (26x37cm) — Landscape (24x36cm) — Marine Landscape (1955, 25x35cm) — On the Banks of the Yarkon River (1975, 16x20cm) — Fabulation Dada (38x56cm) — Euphorie Dada (40x31cm) |
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Died on 24 May 1881: Samuel Palmer,
,English Romantic
landscape painter, draftsman, and etcher, born on 27 January 1805. — Palmer studied under John Varley. Palmer was a key figure of English Romantic painting who represented, at least in his early work, its pastoral, intuitive and nostalgic aspects at their most intense. He is widely described as a visionary and linked with his friend and mentor William Blake, though he stood at an almost opposite extreme in his commitment to landscape and his innocent approach to its imagery. He had none of Blake’s irony or complexity and was inspired by a passionate love of nature that found its philosophical dimension in unquestioning Neo-Platonism. — Palmer painted from an early age, but it was his meeting with William Blake in 1824 that intensified the spiritual “visionary” qualities of his work in which landscapes were treated as visions of paradise. Soon he was leader of a group of artists who called themselves the Ancients, based in Shoreham, Kent. Although his work’s mystical qualities are less apparent by the 1830s, he continued to paint and make etchings of more conventional pastoral subjects until the end of his life. — LINKS — The Magic Apple Tree (1830, 35x27cm; full size) _ As far as we know, Palmer himself did not call his picture The Magic Apple Tree, but it is hardly surprising that this is how we know it now. There is clearly something otherworldly about this tree laden with glowing fruit in a golden landscape. Although the landscape glows as if in sunlight the sky itself is dark, suggesting an almost supernatural presence. Nature appears transformed and the mood is similar to one of Palmer’s letters where he wrote that ‘sometimes, when the spirits are in Heav’n, earth itself, in emulation, blooms again into Eden.’ — Harvesting (1863, 19x42cm; 283x635pix, 82kb) _ A dog stands transfixed in the center foreground, its attention caught by the dramatic sunset behind the ruined abbey. The all enveloping blaze of light, seen through the church window, suggests God’s bountiful presence in this harmonious, idyllic landscape. The harvesters, at the end of a day’s labor, suggest Biblical figures – a water-carrier and a mother and child. Palmer uses complementary blue and orange colors to increase the contrast and heighten the sunset’s visionary nature. — The Rest on the Flight into Egypt (1825, 150kb) — Coming from Evening Church (1830) — 26 prints at FAMSF |
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