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updated Wednesday 26-May-2004 21:56 UT
ART “4”
“2”-DAY 27 May |
| DEATH:
1596 TIBALDI |
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Born on 27 May 1871: Georges~Henri Rouault,
French Fauvist
and Expressionist
painter, printmaker, ceramicist, and stained glass artist, who died on 13 February
1958. — Rouault drew inspiration from French medieval artists and united religious and secular traditions divorced since the Renaissance. Although he first came to prominence with works displayed in 1905 at the Salon d’Automne in Paris, in the company of paintings by Henri Matisse and other initiators of Fauvism, he established a highly personal and emotive style. His technique and palette were also highly personal, and they ranged from watercolor blues to a rich, thick application of materials. These demonstrate, in their very complexity, not only originality but also the craft of the artist always in search of a greater form of expression. Even though he never stopped observing mankind, his deep religious feeling allowed him to imbue his work with great spirituality. — Rouault was born in a cellar in Paris during a bombardment of the city by the forces which were about to rout the Commune (18 Mar 1871 – 28 May 1871) at the end of la semaine sanglante. His father was a cabinetmaker. A grandfather took an interest in art and owned a collection of lithographs by Honoré Daumier [26 Feb 1808 – 11 Feb 1879]; Rouault said later that he “went first to school with Daumier.” In 1885 he enrolled in an evening course at the Paris École des Arts Décoratifs. From 1885 to 1890 he was apprenticed in a glazier's workshop; his mature style as a painter was undoubtedly influenced by his work on the restoration of medieval stained-glass windows, including those of Chartres cathedral. In 1891 he entered the École des Beaux-Arts, where he soon became one of the favorite students of the Symbolist painter Gustave Moreau [06 Apr 1826 – 18 Apr 1898], in a class that also included Henri Matisse [31 Dec 1869 – 03 Nov 1954] and Albert Marquet [26 Mar 1875 – 14 Jun 1947]. After the death of Moreau, a small Paris museum was created for his pictures, and Rouault became the curator. Rouault's early style was academic. But about 1898 he went through a psychological crisis,and, subsequently, partly under the influence of Vincent van Gogh [30 Mar 1853 – 29 Jul 1890], Paul Gauguin [07 Jun 1848 – 08 May 1903], and Paul Cézanne [19 Jan 1839 – 22 Oct 1906], he evolved in a direction that made him, by the 1905 Paris Salon d'Automne, a fellow traveler of the Fauves, who favored the arbitrary use of strong color. Until the beginning of World War I, his most effective medium was watercolor or oil on paper, with dominant blues, dramatic lighting, emphatic forms, and an expressive scribble. Rouault's artistic evolution was accompanied by a religious one, for he had become, about 1895, an ardent Roman Catholic. He became a friend of the Catholic intellectuals Joris-Karl Huysmans [05 Feb 1848 – 12 May 1907] and Léon Bloy [11 Jul 46 – 02 Nov 1917]. Through another friend, a deputy public prosecutor, he began to frequent, as had Daumier, the Paris law courts, where he had a close view of humanity apparently fallen from the grace of God. His favorite subjects became prostitutes, tragic clowns, and pitiless judges. Without completely abandoning watercolor, after 1914 Rouault turned more and more toward the oil medium. His paint layers became thick, rich, and sensuous, his forms simplified and monumental, and his colors and heavy black lines reminiscent of stained-glass windows. His subject matter became more specifically religious, with a greater emphasis on the possibility of redemption than he had put into his pre-1914 work. In the 1930s he produced a particularly splendid series of paintings on the Passion of Christ; typical examples are Christ Mocked by Soldiers, The Holy Face, and Christ and the High Priest. During these years he got into the habit of reworking his earlier pictures; The Old King, for instance, is dated 1916–1936. Between World Wars I and II, at the instigation of the Paris art dealer Ambroise Vollard [1865 – 21 Jul 1939], Rouault devoted much time to engravings, illustrating Les Réincarnations du Père Ubu by Vollard, Le Cirque de l'étoile filante by Rouault himself, Les Fleurs du mal by Charles Baudelaire, and Miserere (his masterpiece in the genre), with captions by Rouault. Some of this work was left unfinished for a time and published later. In 1929 he designed the sets and costumes for a production by Sergey Diaghilev of Sergey Prokofiev's ballet The Prodigal Son. In 1937 he also did the cartoons for a series of tapestries. During and after World War II, Rouault painted an impressive collection of clowns, most of them almost self-portraits. He also painted some still lifes with flowers; these are exceptional, for three-quarters of his lifetime output is devoted to the human figure. In 1947 he sued the heirs of Vollard to recover a large number of works left in their possession after the death of the art dealer. Winning the suit, he established the right of an artist to things never offered for sale, and afterward he publicly burned 315 canvases that he felt were not representative of his best work. During the last 10 years of his life, he renewed his palette, adding greens andyellows, and painted some almost mystical landscapes: a good example is Christian Nocturne. Among the major artists of the 20th-century school of Paris, Rouault was an isolated figure in at least two respects: he practiced Expressionism, a style that has never found much favor in France {and rightly so}, and he was chiefly a religious painter, one of the most convincing in recent centuries. Both statements, however, need qualification. Rouault, fortunately, was not as rabidly Expressionistic as some of his Scandinavian and German contemporaries; in some ways his work is a late flowering of 19th-century Realism and Romanticism. And he was not an official church artist; his concern with sin and redemption was deeply personal. — LINKS — Clown (1922) — Vieux Roi (1937, 1000x671pix, 236kb) — Automme (1938) — La Parade [de cirque] (1907, 65x96cm) — Christ and the Doctors (1937, 36x30cm) — Christ [crucified] (1936) — Head of Christ (1939) — 63 prints at FAMSF one of which is Le Dictateur (22x15cm) and another is La Favorite (22x16cm) |
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Died on 27 May 1596: Pellegrino Tibaldi da Bologna,
a leading Italian Mannerist artist successful both as a painter and as an
architect. Pellegrino’s frescoes reveal the strong influence of Michelangelo,
while as an architect he fulfilled the requirements of the Counter-Reformation.
He was born in 1527. — Brother of Domenico Tibaldi [18 Apr 1541 –
1583] — Pellegrino Tibaldi’s early paintings show the influence of Bagnacavallo and of other Bolognese followers of Raphael, but his actual teacher is unknown. The Mystic Marriage of St Catherine (1545) is, in its classical, hierarchical simplicity, clearly inspired by Raphael’s manner as interpreted by his Bolognese imitators; although it also bears delicate marks of Parmigianino’s grace, the power of its expressive dignity and the architectural background hint at Tibaldi’s future development. Tibaldi’s Adoration by the Shepherds (1546) shows an attempt at more elaborate composition, but its overtly Mannerist elements—perhaps derived from Vasari, as well as from Parmigianino—were not sufficiently digested to be fully integrated into the design. — Orazio Samacchini was a student of Tibaldi — A builder's son, Pellegrino Tibaldi began his career with an unknown teacher in Bologna before he was thirteen. His early style combined the classicism of Innocenzo da Imola and Raphael's followers with an elegant Mannerist draftsmanship influenced by Parmigianino. Tibaldi's years in Rome were critical to defining his mature style. Arriving around 1645, he worked with on frescoes in Castel Sant'Angelo. His combination of muscular Michelangelesque Mannerism with his own graceful Mannerist style earned him the opportunity to complete the commission after his mentor's death in 1547. Summoned to Bologna around 1555 by Cardinal Giovanni Poggi, Tibaldi painted witty frescoes in the Palazzo Poggi, now the university, depicting the story of Ulysses. Extravagant posturings and combinations of forms created striking patterns that made space appear expansive and elastic. Pupils from the Carracci Academy studied his frescoes, and his ceilings directly inspired Annibale Carracci's decorations in the Palazzo Farnese gallery in Rome. After twenty years as architect for Cardinal Carlo Borromeo, Tibaldi traveled to Spain at the invitation of King Philip II in 1586. There he supervised the decoration of the Escorial and spread Mannerism to Spain through his vast output. Rich and ennobled, Tibaldi returned to Milan in 1596 and died shortly thereafter. — LINKS — Adoration of the Christ Child (1548, 1155x770pix, 127kb) Pellegrino Tibaldi (Pellegrino da Bologna) was influenced by Perin del Vaga during a stay in Rome in 1547 (as seen in the decoration of the Castel Sant' Angelo). Later he orientated towards Michelangelo. In his Adoration of the Christ Child, Pellegrino Tibaldi surrounds the infant Jesus by a whirling crowd of worshipping figures reminiscent of the angels and the damned in the Last Judgement in the Sistine Chapel. — Madonna con Bambino (64x51cm, 600x477pix) _ The strangely intersecting arms create a powerful composition of protection and restraint. The color has the translucent quality of a fresco. |
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Born on 27 May 1883: Jessie
Hazel Arms Botke, US decorative painter who died on 02 October
1971. — Born to English parents in Chicago, Jessie Arms Botke spent much of her free time as a child sketching and painting. At the age of fourteen she took art classes at the School of Art Institute of Chicago. When she graduated from high school, she enrolled as a full-time student at the Institute. During her summer vacations she participated in intensive painting workshops in Michigan and Maine, which led to her first exhibition at the Art Institute’s American Annual in 1904. After school, Botke worked in wall decoration and book illustration and refined her skills as a decorative artist. Inspired by an exhibition of friezes, decorations and tapestries from Herter Looms of New York, Botke moved there in 1911 and immersed herself in the city’s artistic climate. Several years later, she was employed at Herter Looms where she worked on tapestry design, painted panels and friezes, and began to specialize in painting birds. In 1914, Jessie Hazel Arms met design artist Cornelius Botke in Chicago and they married a year later. Together, the Botkes worked as artists in Chicago, Illinois and San Francisco and Carmel, California, and they traveled often to New York City and Europe. They both worked on major art commissions and held their largest joint exhibition in 1942 at the Ebell Club, a conservative women’s club for the advancement of women and culture. When Jessie’s eyesight began to fail in 1961, she continued painting small watercolors until surgery and contact lenses restored her vision and she resumed painting full-time. A stroke in 1967 destroyed her ability to paint and she died four years later at the age of 88. The indomitable Jessie Botke was one of the most celebrated decorative painters of the twentieth century. From her early plein-air landscapes to her decorative friezes and imaginary scenes, she arrived at a richly intricate mature style in the 1930’s. Working in an era when many women artists were forced to abdicate their careers, Botke successfully integrated her painting with her personal and public life. That her work was accepted in the teens and twenties, and yet remained relevant in the sixties, is a testament to her staying power and the sheer beauty of her paintings. — LINKS — Black Peacocks with Japanese Persimmons (107x128cm) _ This is representative of Botke's detailed, intricate style and her signature gold leaf technique, whereby thin sheets of gold are applied to the canvas or panel. Botke specialized in depicting birds such as peacocks, flamingos, geese and pelicans, often against an imaginary landscape or a background of exotic flowers and plants. As in many of her peacock images, the elaborate tail feathers of the black peacock take up a large portion of the canvas. In 1849, Botke wrote about her fascination with birds, “My interest in birds was not sentimental, it was always what sort of pattern they made.” — White Peacocks and Copa de Oro (1939) — The Ranch (1925) — Cockatoos with Matilija Poppies (66x81cm) — White Cockatoos and Loquats (1930, 74x86cm) — Japanese Sacred Cranes |
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