ART “4”
“2”-DAY 05 November
v.8.a0 |
| DEATHS:
1741 PELLEGRINI — 1872 SULLY
— 1955 UTRILLO
— 1946 STELLA
— 1807 KAUFFMAN
— 1575 ALBERTINELLI
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Born on 05 November 1751: Friedrich-Heinrich
Füger, Austrian painter, who died on 08 December 1818. — Füger was a fahionable portraitist and respected master of his period. As director of the Academy in Vienna he guarded the rigid system of Classicism against the new tendencies. He was the master of several Hungarian painters and he worked in Hungary, too. He executed portraits for the Haller family and altarpieces for Pannonhalma. — At the age of eight he was already painting miniature portraits. In 1764 he entered the Hohe Karlsschule in Stuttgart and received drawing lessons from Nicolas Guibal. Overawed by the great historical paintings in the ducal gallery, he lost heart and moved to Halle to study law; but in 1771 public demand for his miniatures encouraged him to return to painting, and in that year he moved to Leipzig, to the school of Adam Friedrich Oeser, where he became acquainted with Classical art. Returning from this two-year training, he was introduced to the works of the Italian Renaissance by Guibal. His fresh and natural miniature portraits on ivory remained in demand; portraits of his parents (1774) also date from these years. During a stay in Dresden, Füger met the British Ambassador, Sir Robert Murray Keith [1730–1795]. In 1774 he followed him to Vienna, where Keith organized numerous portrait commissions at the Austrian court. — The students of Füger included Eustatie Altini, Moritz Michael Daffinger, Peter Krafft, Leopold Kuppelwieser, Johann Baptist Lampi, Julius Schnorr von Carolsfeld, Joseph Karl Stieler, Martin von Wagner. — LINKS — Selbstbildnis (print; _ ZOOM) — Selbstbildnis mit dem Bruder Gottlieb Christian aka Der Künstler und sein Bruder am Flügel (1768 print, oval) — Prometheus brings Fire to Mankind (1817, 221x156cm; 2500x1751pix, 4130kb) _ Aeschylus structured the Prometheus legend as a tragic trilogy. As the son of a Titan and a powerful goddess, Prometheus held an intermediary status between god and humankind. According to myth, he created human beings, and was thus the archetypal visual artist. Against the will of the gods, Prometheus secretly lit his torch on the sun chariot and endowed his creatures with the spark of life. Füger presents Prometheus as a victor over the arrogant tyranny of the gods. He holds the flame to the heavens in triumph. Only the finger at his lips indicates the secretive nature of his deed. At his feet rests a creature devoid of life’s warmth. A cold green indicates the lifeless material. Füger’s Prometheus marks the end of the 18th century. The clear formal language of Classicism has replaced the excesses of the Baroque and the sweetness of Rococo art. Füger brings sculptural qualities to his mastery of this monumental format. The powerful figure of Prometheus is reminiscent of the colossal statues of the Monte Cavallo horse tamers in Rome — János Batsányi (1808, 68x51cm) _ János Batsányi [09 May 1763 – 12 May 1845] was Hungary's leading political poet of the age of Hungarian Enlightenment during the French Revolutionary and Napoleonic periods, and he was a member of the Hungarian Academy of Science. His political poetry was anti-royalist and advocated revolution and radical social change. His most famous political poem is A franciaországi változánokra (“On the changes in France”). He was imprisoned in Hungary for a year and in 1796 moved to Vienna and later to Paris, where the Austrians seized him after the fall of Napoléon and interned him in Linz for the remaining 30 years of his life. Batsányi also wrote fine lyric poems. _ Batsányi János a magyar felvi-lágosodás egyik legjelentosebb költoje. A jako-binus mozgalomban való részvétele miatt börtön-büntetést, majd Napoleonnak a magyarokhoz intézett kiáltványa fordításáért számuzetést szen-vedett. Mind a költo, mind felesége, a népszeru bécsi költono, Baumberg Gabriella, viszontag-ságos életük során mindig a legjobb osztrák muvészekre; bízták arcvonásaik megörökítését. Így képmásukat Friedrich Heinrich Füger mellett Vinzenz Georg Kininger és Johann Niedermann is megfestette. A Füger mellképen a költoi hivatásra utaló attribútumok, a háttérben elhelyezett köny-vek nem játszanak túlságosan nagy szerepet, hogy a jellemábrázolás legfontosabb tényezoje az arc minél teljesebben érvényesülhessen. Ezt emeli ki haj szürkéje, a nyakravaló fehérje és a sárgásbarna drapéria is. A balról beeso fény a plaszticitást fokozza. A bécsi klasszicizmus jeles mestere Batsányi képmásával az egyik legszebb magyar íróarcképet alkotta meg. –- Apollo und die Musen (1780; 705x930pix, 58kb) –(061104) |
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Died on 05 November 1741: Giovanni
Antonio Pellegrini, Italian painter born on 29 April 1675.
— Born in Venice. Pupil of Ricci and Pagani. 1716 painter to Prince-Elector of the Palatinate, traveled to Antwerp, the Hague (painted ceiling of the Mauritshuis), England.Died in Venice 05 November 1741 (or possibly up to 3 days earlier) — Venetian decorative painter, who was a student of Sebastiano Ricci and one of the most important of Tiepolo's predecessors. Like Pittoni, he worked for many foreign patrons and travelled widely. He was first recorded as a painter in 1703 and soon after this he married the sister of Rosalba Carriera, who mentions him in her diary on several occasions. In 1707 Lord Manchester went on an embassy to Venice; he commissioned a picture to celebrate the event from Carlevaris and brought Pellegrini and Marco Ricci back to London with him in 1708. Pellegrini soon had considerable success and became a Director of Kneller's Academy in 1711. Pellegrini 'painted prodigious quick, had a very noble and fruitfull invention' which may be seen in the decorations at Kimbolton Castle (now a school), done for Lord Manchester, or in the decorations at Castle Howard (1709, mostly destroyed in 1941). In these decorative series Pellegrini shows that he was a true precursor of Tiepolo in the lightness and gaiety of his touch which contrasts with the duller history painting of Pittoni. In 1713 he went to Germany and Flanders; returning to England in 1719 when he was less successful because Marco Ricci had sent for his uncle Sebastiano, who was generally agreed to be a better painter. Pellegrini also painted a splendid ceiling for the Bank of France (since destroyed) in Paris, decorated the Great Hall in the Mauritshuis in The Hague (1718), and worked in Prague, Dresden and Vienna. There is a sketch of 1710 which may represent his design for the cupola of Saint-Paul's for which 'he made several designs and a moddle for painting the Cupolo at St Paul's for which he was paid tho' he had not the cupolo to paint'. — LINKS — Sacrifice of Iphigenia . — Allegory of Painting (1730, 143x132cm) — Allegory of Sculpture (1730, 142x132cm) _ Very early in his career, Giovanni Antonio Pellegrini, considerably influenced by Luca Giordano, absorbed the examples of Magnasco and Sebastiano Ricci and turned his style towards a refined decorative freedom in airily elegant works of pure rococo taste; and through his stays in several European artistic centres London, Düsseldorf, The Hague, Antwerp, Paris, Prague Dresden and Vienna, his work gained a certain popularity. The Allegory of Sculpture and the Allegory of Painting belong to his last years. They are an interweaving of the lightest of figural rhythms, a colored web of impalpable, rarified weightlessness, shot through with silvery transparencies which recall the pastels of the artist's sister-in-law, Rosalba Carriera. Like hers, the paintings of Pellegrini are emblematic of the skin-deep spiritual frivolity of a part of the eighteenth century. |
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Born on 05 November 1619: Philips de
Koninck (or Koningh) — Dutch painter who died on 04
October 1688. — Cousin of Salomon
Koninck. — Philips Koninck is the best-known member of a family of artists. He studied with his brother Jacob [1615 – >1690] in Rotterdam, and he was also a student of Rembrandt in Amsterdam, where he settled in 1641. Although he painted various subjects (the poet Vondel praised his portraits and history pictures) his fame now rests on his landscapes. He specialized in extensive views, and his work has a majesty and power that rivals the similar scenes of Ruisdael; the National Gallery in London has four outstanding examples. Like many Dutch painters he had a second occupation; he ran a prosperous shipping firm and evidently painted little in the last decade of his life. His wealth enabled him to collect drawings. He was a prolific draftsman himself and his sketchy penmanship can be deceptively close to Rembrandt's. — Among his contemporaries, Philips Köninck (also Coning, Coningh, Coningh, Koning, Konnink) was known as a figure painter, specializing in portraits, genre and religious scenes. But nowadays he is known and praised as a landscape-painter. Philips was born in Amsterdam, the son of a successful goldsmith, and trained in the studio of his brother Jacob, a painter, who taught him from 1639 to 1641 in Rotterdam. Subsequently he returned to Amsterdam, where he lived for the rest of his life. Köninck was a wealthy man, owning a company, which operated horse-drawn passenger barges between Rotterdam and Amsterdam. He seems to have been a friend rather than a student of Rembrandt but he was certainly influenced by the great master in his manner of rendering biblical subjects. Köninck’s landscapes are characterized by a high viewpoint and a sky, which occupies at least half of the picture space. They are cloudscapes as much as extensive landscapes. Wide stretches of flat or slightly hilly land under a great expanse of sky are the realistic view of Holland. Waterways and paths intersect the land; houses are dotted in the foreground. These landscapes were mostly carried out in warm, brown-yellow tones. The landscape with a high sky was particularly in favor in the 1650s and 1660s, not only in the work of Köninck, but also in that of Jacob Isaackszoon van Ruisdael [1628 — 10 Mar 1692] and also in the etched landscapes of Rembrandt van Rijn [15 Jul 1606 – 04 Oct 1669]. — LINKS — Distant View with Cottages Lining a Road (1655, 133x168cm) _ When he painted this river landscape, Philips Koninck drew his inspiration from the countryside of Gelderland, although this is probably not a depiction of an actual location. The artist based his work on observations but carefully composed the painting in his studio. Using small strokes of the brush, he painted a panorama with a meandering river. The country road on the left draws the eye past farmhouses to a distant town. Koninck employed largely subdued earth-colored tints in this painting. Here and there he added a colour highlight, like the red roof tiles of the farmhouse and the fisherman's jacket. These colors and the loose style of painting with visible brushstrokes betray the influence of Rembrandt. Koninck signed and dated the work in the bottom left corner: 'P. Koninck 1655'. This is an excellent example of the artist's use of tiny dabs of thick paint. The landscape contains relatively few living creatures. But the fisherman appears to have caught something: a glistening fish is struggling at the end of the line. Fifteen years after Koninck painted his river landscape, Jacob van Ruisdael produced View of Haarlem (43x38cm). As in Koninck's work, Van Ruisdael's painting is dominated by the cloudy sky. The landscape is composed of horizontal strips with the shadows cast by the clouds rendered as bands of light and dark. Yet the two vistas are clearly different. Van Ruisdael's colors have more contrast. He also painted with greater detail in almost indiscernible strokes of the brush, while Koninck's loose strokes are more suggestive than representational. — Wide River Landscape — Distant view in Gelderland (1655) — Adoration by the Magi — Panoramic landscape (1665) — Plain in Holland (1670) — The baptism of the Chamberlain — Dutch Landscape Viewed from the Dunes (1664, 122x165cm) If Koninck's development had stopped in the middle of the seventeenth century, he would be remembered as a talented Rembrandt follower. But from about 1649-1650 until about 1665 he created a series of very large panoramic views in a distinctive personal style. They are closely related to the classical phase of Dutch landscape painting and are amongst the great glories of Dutch art. — An Extensive Landscape with a Hawking Party (132x160cm) The human figures on the painting were done by J. Lingelbach. — Panorama View of Dunes and a River (1664, 94x120cm) _ Philips Koninck was a member of Rembrandt's entourage. His drawings and early painted landscapes show that he learned from Rembrandt. However, by the middle of the century he began to paint large panoramic views that are independent of the master's style. They rank with the most grandiose of the age. Where Molenaer and Houckgeest more or less assumed a specific viewing position outside the pictorial space, and Saenredam's perspective suggests looking from within it, many landscape painters positioned the beholder in undefined or even impossibly high positions. Koninck often suggested such a bird's-eye view in his sweeping panoramas of Dutch fields and rivers beneath imposing skies. The absence of one fixed viewpoint implies that the viewer is seeing an objective record of a city or landscape, recorded without human intervention. It has been suggested that, by positing such a freely surveying eye, these landscapes resemble the exquisite maps produced in great variety and quantity in the Dutch Republic. The maps depicted in genre scenes, hung on walls like paintings, indeed indicate that seventeenth-century viewers did not make the modern distinction between paintings as "art" and maps as "knowledge." — An Extensive Landscape with a Road by a Ruin (1655, 137x167cm) _ Among his contemporaries, Philips Koninck was known as a figure painter, specializing in portraits as well as in genre and religious scenes, rather than as a landscapist as he is known today. He was born in Amsterdam, the son of a successful goldsmith, and trained in the studio of his brother, Jacob, who worked in Rotterdam. Subsequently he returned to Amsterdam, where he lived for the rest of his life. Koninck was a wealthy man, owning a company which operated trekschuiten (horse-drawn passenger barges) between Rotterdam and Amsterdam. He seems to have been a friend rather than a student of Rembrandt but he was certainly influenced by him in his manner of painting(and drawing) biblical subjects. Koninck's landscapes are characterized by a high viewpoint and a sky which occupies at least half of the picture space. They are cloudscapes as much as extensive landscapes. He emphasizes the flatness of Holland, a more realistic approach than, for example, that of Aelbert Cuyp, who attempts to make his landscapes more varied by the inclusion of hills and mountains taken from his imagination rather than from his observation of the Dutch countryside. The landscape with a high sky was particularly in favor in the 1650s and 1660s, not just in the work of Koninck, but also in that of Jacob van Ruisdael and also in the etched landscapes of Rembrandt. This painting of 1655 is an outstanding example of Koninck's landscape art. The colors, which in some of his canvases have sunk into uniform browns and greys with the passage of time, are particularly vivid and the painting is remarkably well preserved. — Village on a Hill (1651, 61x83cm) Koninck is one of the last generation of Dutch landscape painters. In the 1660s, there was a general tendency to "upgrade" the various genres. During this period, the interiors of Vermeer and de Hooch became increasingly elegant, and even the still-lifes were freighted with "noblesse". In the work of Koninck, this trend even affected the landscapes, in which he positioned courtly figures and palatial architecture. In the 1650s, by contrast, when Koninck was at the height of his creative powers, he produced landscapes of exceptional purity, bringing the flat panoramic landscape to its greatest perfection. A soft and golden light is cast across the flat countryside, illuminating things that are, in themselves, uninteresting: sandy dunes, the occasional tree, some water, a village. There is nothing remarkable or jarring. The sensation is where the brown earth is bathed in sunlight to a golden hue. Koninck was influenced by Rembrandt's landscape painting, which represents a chapter in its own right within his enormous oeuvre. Rembrandt's influence is evident in the golden-brown tone of his paintings and in the way Koninck occasionally integrates unexpected and fantastic objects such as a glittering bridge spanning the water, a ruin or a fairy-tale castle. –(051104) |
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Died on 05 November 1872: Thomas Sully,
English-born (19 June 1783) US artist, specialized in portraits.
— {Could anything sully Sully? or did Sully sully others?} — Sully immigrated to the US in 1792 with his family, who were theater and circus performers. He made at least one appearance on stage as an acrobat in 1794 and was then apprenticed to an insurance broker, after which he was placed with his brother-in-law, Jean Belzons, a miniature painter. After an argument with Belzons, Sully fled and in September 1799 joined his older brother Lawrence Sully [1769–1804], also a miniature painter, in Richmond, Virginia. Thomas Sully also studied under Henry Benbridge [bap. 27 May 1744 – 25 Jan 1812 bur.], Thomas Lawrence [13 Apr 1769 – 07 Jan 1830], and Benjamin West [10 Oct 1738 – 11 Mar 1820]. In 1801 the Sully family moved to Norfolk VA, where Thomas painted his first miniature, a likeness of his brother Chester. In January 1803 Lawrence and his family returned to Richmond. Thomas remained in Norfolk for another six months but in July 1803 returned to Richmond, where he opened his own studio. — Mary Peale {she had a Peale appeal}, George Inness [01 May 1825 – 03 Aug 1894], and Alfred Jacob Miller [10 Jan 1810 – 1874] were students of Sully. — LINKS –- The Reverend Thomas Stockton (1843, 91x71cm; 1003x875pix, 41kb) –- Alfred Sully (1839, 61x51cm; 1124x883pix, 56kb_ .ZOOM to 2110x1785pix, 561kb) head and shoulders, a young man in a soldier's uniform, holding a rifle with fixed bayonet. –- Charles Carroll of Carrollton (1826, 49x38cm; 792x792pix, 54kb_ .ZOOM to 1584x1583pix, 157kb) — Mother and Son (1840, 145x115cm; 600x470pix, 53kb _ ZOOM to 2581x2024pix, 467kb) — Eliza Ridgely aka The Lady with the Harp (1818, 215×143cm; xpix, kb _ ZOOM to 2397x1576pix, 228kb) This has been adapted by the pseudonymous Sam Clense in the much more unusual _ Lady Holding Up Two Harps Being Played by a Disembodied Double Arm Which is Not Attracting Her Attention (2005; 718x539pix, 43kb _ ZOOM to 2155x1618pix, 275kb). — George Washington (1820, 239x152cm; 2000x1277pix, 1205kb) _ This painting is an exact copy of one of the best-known portraits of George Washington (1800; 800x514pix, 81kb), by George Stuart. Sully made many copies of Stuart's portraits of President Washington for government buildings and historical societies because Stuart could not meet the astonishing demand for them. In this portrait, Washington's right hand rests on a copy of the Constitution. The sword alludes to his military heroism. — Lady on the Battlements of a Castle (56x36cm) — Daniel de la Motte (1813, 92x74cm) — Robert Fielding Stockton (1849, 74x91cm) _ about 3 year old — Mrs. Fitzgerald and her Daughter Matilda (76x64cm) –(061103) |
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