ART / 4 / 2DAY

search 8000 artists, their works, museums, movements, countries, time periods, media, specializations

<<< ART 20 Sep

ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” SEP 21 ||| ALTERNATE SITES

ART “4” “2”-DAY 21 September

DEATH: 1895 LEGA

BIRTHS: 1853 BLAIR~LEIGHTON — 1904 HARTUNG

^ Born on 21 September 1853: Edmund Blair~Leighton, English Pre~Raphaelite historical genre painter, who died on 01 September 1922.
      Son of Charles Blair Leighton, a portrait and historical painter (1823-1855). Edmund Blair Leighton exhibited at the Royal Academy from 1878-1920. Typical titles: The Dying Copernicus, Un Gage d'Amour, Romola , Lady Godiva, etc. His pictures of elegant ladies in landscapes or interiors have a similar kind of charm to those of Tissot.
— Edmund Blair Leighton was a painter of historical genre pictures, mainly of medieval times, but also regency. He is now one of the most popular painters, his pictures being amongst the most frequently reproduced as posters. Rather like Waterhouse, and Herbert Draper, Leighton the man has virtually disappeared. The reasons for the continuing popularity of the artist’s work are not difficult to understand, as they are similar to those in his lifetime, namely nostalgia for an elegant chivalrous past. Leighton was also a fastidious craftsman, producing highly-finished, beautifully painted, decorative pictures.
      Edmund Blair Leighton was the son of the artist Charles Blair Leighton. He was educated at University College School, before becoming a student at the Royal Academy Schools. Leighton married Katherine Nash in 1885; they had a son and daughter. He exhibited annually at the Royal Academy from 1878 to 1920. Leighton was, as might be expected from his historic genre paintings a collector of old musical instruments, art, and furniture. He lived at 14 Priory Road, Bedford Park, London.
—    Blair Leighton may not have attained to the higher flights of art, yet he played a distinguished part in aiding the public mind to an appreciation of the romance attaching to antiquity, and to a realization of the fellowship of mankind throughout the ages. Edmund Blair Leighton was born in London, his father being that Charles Blair Leighton, portrait and subject painter, whose exhibits at the Royal Academy and other London galleries covered the period between 1843 and 1855. The son was educated at University College School, before taking a position in an office in the city, but entered the Royal Academy Schools after a course of evening study at South Kensington and Heatherley’s. He commenced exhibiting in 1874, and succeeded, four years later, in securing the verdict of the Hanging Committee of the Royal Academy in favor of two works, Witness My Act and Seal and A Flaw in the Title. Since then his highly wrought style was regularly represented at Burlington House until two years prior to his decease. Among the better known of his pictures, many of which were published, are The Dying Copernicus (1880), To Arms (1888) Lay thy sweet hand in mine and trust in me ( 1891), Lady Godiva (1892), Two Strings (1893), Launched in Life (1894), The Accolade (1901), Tristram and Isolde (1907), The Dedication (1908), The Shadow (1909), To the Unknown Land (1911), The Boyhood of Alfred The Great (1913). He had married in 1885, Miss Katherine Nash, by whom he had a daughter and one son, E. J. Blair Leighton, who is also a painter.

— LINKS
— The Accolade (1901)
— Call to Arms (1888; 768x550pix) [Sweet bridal hymn, that issuing through the porch is rudely challenged with cry 'to arms!']
— Alain Chartier (1903; 729x500pix) [This painting depicts the story of Margaret of Scotland who is said to have kissed the lips of Alain Chartier (a 14th century French poet) while he was sleeping in her palace, to honor, she said the mouth which elicited so many virtuous words.].
— Stitching the Standard (1911) — The King and the Beggar-maid
— Till Death Us Do Part :: Pounds, Shillings and pence (1878; 700x544pix)
— Off (1900; 727x500pix, 72kb) — God Speed (1900; 758x550pix, 59kb)
— Tristan and Isolde (1902; 434x600pix, 39kb) — Olivia (531x700pix, 69kb)
— End of the Song (774x891pix, 108kb) — Knighted (600x416pix, 123kb)

^ Died on 21 September (21 November?) 1895: Silvestro Lega, Italian painter born on 08 Dec 1826.
— From 1843 to 1847 he attended the Accademia di Belle Arti, Florence, studying drawing under Benedetto Servolini [1805–1879] and Tommaso Gazzarini [1790–1853], then, briefly, painting under Giuseppe Bezzuoli. About 1847 he entered Luigi Mussini’s school , where the teaching emphasized the 15th-century Florentine “Purismo” principles of drawing and orderly construction. Then and for some years afterwards he continued to attend the Scuola del Nudo of the Accademia. Antonio Ciseri was one of his teachers. After fighting in the military campaigns for Italian independence (1848–1849) Lega resumed his training, this time under Antonio Ciseri, making his first large-scale painting, Doubting Thomas (1850). In 1852 he won the Concorso Trienniale dell’Accademia with David Placating Saul (1852), a subject taken from the play Saul (1782) of Vittorio Alfieri [16 Jan 1749 – 08 Oct 1803].
— LINKS
— The Folk Song (1867) — The Pergola (1868) — The Betrothed (1869)

^ Born on 21 September 1904: Hans (or Heinrich) Ernst Hartung, German then French painter, draftsman, printmaker, and photographer, who died on 07 December 1989.
— Early in his life he developed an interest in music, astronomy, philosophy and religion, but eventually above all in painting. His first enthusiasm was for the work of Rembrandt, then in 1921–2 for that of Lovis Corinth, Max Slevogt and the Expressionists, in particular Oskar Kokoschka and Emil Nolde. In 1922, before he knew anything about abstract art, he painted a series of completely abstract watercolors of a loose, non-formal kind, followed in 1923–1924 by a number of abstract drawings in charcoal and chalk, for example Scène goyesque III. In 1924 he became a student of both philosophy and art history at Leipzig University and of painting at the Kunstakademie, and was present in 1925 at a lecture by Vasily Kandinsky, his first contact with the abstract movement. Although he was advised to study at the Bauhaus, he chose instead to go to the Kunstakademie in Dresden, where the teaching followed traditional lines. At the Internationale Kunstausstellung in Dresden in 1926 he saw for more or less the first time modern paintings from outside Germany, and in particular works by Henri Rousseau, Picasso, Georges Rouault, Henri Matisse and Georges Braque.
— School of Paris abstract painter in oils and pastel, etcher and lithographer. Born at Leipzig. Became interested in painting, and in 1922 made a series of abstract tachiste watercolors. Studied philosophy and art history at Leipzig University and art at the Academies at Leipzig 1924-1925, Dresden 1925-1926 and Munich 1928. Lived mainly in Paris 1926-1931, with visits to Holland and Belgium, and was influenced by Rouault, Cézanne, van Gogh, and then by Cubism. First one-man exhibition at the Galerie Heinrich Köhl, Dresden, 1931. Lived 1932-1934 on Minorca, where he returned to a calligraphic abstract style. Moved to Berlin briefly in 1935, but then left Germany because of the Nazis and settled in Paris. Contacts with Hélion, Kandinsky, Mondrian, and other abstract artists working there. In 1938, through friendship with Gonzalez, made a few sculptures. Fought in the French Foreign Legion and was gravely wounded in 1944. Began to paint again in 1945 after an interruption of six years. Took French nationality. Series of paintings with graphic signs and gestures inscribed with the brush or, from 1961, scratched into the wet paint; also some pictures from 1962 onwards with large shadowy dark patches. Awarded one of the two main painting prizes at the 1960 Venice Biennale. Married to the Norwegian painter Anna Eva Bergman and lived in Paris.
— Era un pintor alemán, afincado en París y asociado al movimiento llamado Abstracción Lírica, nacido en Leipzig el 21 de Septiembre de 1904.
      Entre 1915 y 1924 se interesa vivamente por la pintura; se entusiasma con la obra de Rembrandt, Goya y el Greco y, después de 1921, por la de los expresionistas alemanes, sobre todo Kokoschka y Nolde.
      El desarrollo decisivo de su obra se produce en 1921-1922, cuando el objeto desaparece de su pintura, sin conocer todavía la obra de Kandinsky, Mondrian y otros abstractos.
      Desde 1922 experimenta con la abstracción libre en acuarelas y dibujos. En 1925 conoce a Kandinsky y su obra acusa la influencia del primer expresionismo abstracto de este. En ese mismo año estudia filosofía e historia del arte en la Universidad y en la Academia de Bellas artes de Leipzig; entre 1925 y 1926 estudia en la Academia de Dresden.
      Entre 1927 y 1929 inicia profundas investigaciones sobre la estética y las matemáticas. Realiza su primera exposición individual en Dresden, en la galería Heinrich Kühl, en 1930.
     En 1932 decide abandonar Alemania y se instala en Menorca. En 1935 se instala definitivamente en París; entabla amistad con Kandinsky, Mondrian, Magnelli, Miró y Calder. En los años treinta explora una personal variedad de cubismo y de surrealismo abstracto en la línea de Miró y Masson. Entre 1934 y 1938 realiza una serie de telas denominadas manchas de tinta. En 1937 conoce a Julio González cuya obra le impresiona profundamente; trabaja en el taller de este y se dedica temporalmente a la escultura.
      En 1944 es herido en el frente y se le tiene que amputar la pierna.
      A finales de 1945 regresa a París y en 1947 realiza su primera exposición individual en la capital francesa, en la galería Lydia Conti; su situación económica durante estos años es desastrosa, a pesar de que su obra es ampliamente reconocida por algunos críticos. A finales de los años cuarenta desarrolla su estilo maduro constituido por líneas flotando en campos de color.
      En 1974 se organizan grandes retrospectivas de su obra en París y en el Metropolitan Museum of Art de Nueva York. En ese mismo año Alain Resnais rueda el primer film sobre Hartung. Hacia mediados de los años cuarenta aparecen en su pintura las pinceladas ligeras y rápidas y en 1955 participa en la primera Documenta de Kassel. En 1960 recibe el Gran premio Internacional de Pintura de la Bienal de Venecia y en 1961 comienza un nuevo periodo en su pintura, caracterizado por los rascados sobre la pintura aún fresca; la Galerie de France organiza un gran restrospectiva de su obra de 1922 a 1939. Hacia mediados de los años sesenta realiza pinturas casi sin grafismo, telas de gran formato cuya estructura se organiza a base de grandes manchas de color. A finales de los años sesenta se instala en Antibes y recibe numerosos homenajes y reconocimientos a su trabajo.

— LINKS
— Lines and Curves (1956 etching, 41x33cm; 2/3 size)
— Schwarz auf Rostbraun (1957, 635x487pix, 121kb)
— T1963-R6 (1963, 180x141cm) _ Hartung developed a vigorously gestural and linear style in the early 1930s. Believing that painting should record and evoke his immediate inner experiences, tensions and energies, he rejected observation and memory as possible starting points and relied instead on spontaneous feeling and direct physical action. He thereby anticipated by many years the post-war development of what became known as Art Informel and was widely influential during this period. This so-called painting was made by scratching rhythmic and sweeping lines into the top layer of a vinyl coating before it dried. Hartung developed this particular technique in the early 1960s.

Died on a 21 September:

1662 Adriaen van Starbemt (or Stalbant, or Stalbempt), Flemish artist born on 12 June 1580.

1625 Bartolomeo Cavarozzi Crescenzi, Italian artist born in 1600.

^ 1605 (or 21 May?) Christofano di Papi dell' Altissimo, Italian painter born approximately in 1520. — [Would he have played basketball if it had been invented?] — He was a student of Pontormo and Bronzino. In July 1552 he was sent to Como by Cosimo I de’ Medici to copy the portraits of famous men in Paolo Giovio’s museum. By the end of May 1553, Cristofano had sent 24 finished portraits to Florence, followed by 26 more by September 1554 and another 25 by October 1556. The following month Cristofano received 100 scudi from Cosimo. By 1591 the works had been transferred to the corridors of the Uffizi, where they form part of the museum’s large collection of portraits. During his stay in Como, Cristofano travelled to Milan to execute two portraits of the Duchess Ippolita Gonzaga in competition with Bernardino Campi, who was declared the winner. (One of the portraits went eventually to her father, Giuliano Groselino.) In November 1562 Cristofano was noted as treasurer of the Accademia del Disegno in Florence, which received its official recognition in January 1563. On 18 January 1564 Vasari wrote to Angelo Riffoli, the ducal treasurer, requesting payment for ten portraits executed by Cristofano for Cosimo. On 5 April 1565 Vincenzo Borghini recommended Cristofano to Cosimo for employment in connection with the preparations for the marriage of Cosimo’s son Francesco (later Francesco I de’ Medici, Grand Duke of Tuscany) to Joanna of Austria. On 22 February 1567 Cristofano enrolled in the Arte dei Medici e Speziali. Between 1587 and 1589 he sent another group of works to Florence from the Giovio museum. The following year he was back in Florence, and in 1596 his lawsuit against Donato Bandinelli, concerning a portrait and drawing depicting Francesco Ferrucci, was submitted to a tribunal of the Accademia.

Born on a 21 September:

^ 1910 Ennio Morlotti, Italian artist who died in 1992. He studied at the Accademia di Belle Arti in Florence under Felice Carena (1936–1937). In 1937 he went to Paris, where he studied the works of Courbet, Cézanne and Picasso, whose Guernica (1937) he saw at the Exposition Universelle. His landscapes and nudes of 1938–1940, already displaying his characteristic impasto, were very obviously influenced by these three artists. In 1939 he moved to Milan, where he attended the Accademia di Belle Arti for three years. In 1940 he joined the Corrente movement and exhibited aggressive figure paintings indebted to Picasso in the movement’s gallery (1944) together with Bruno Cassinari and E. Treccani. After World War II he was one of the signatories in Milan of the Manifesto del Realismo (1946), which concentrated on contemporary social concerns. However, in Paris, where he went in 1947, he came into direct contact with such Art informel artists as Wols and Nicolas de Staël. This encounter was an important factor in directing him towards matter painting following the most advanced European trends. Among members of the Fronte Nuovo delle Arti, with whom he exhibited at the Venice Biennale of 1948, he represented a trend towards a progressive dissolution of form, which later became the distinctive stylistic feature of the Gruppo degli Otto Pittori Italiani, with whom he exhibited at the Biennale of 1952. At the Biennale of 1956 he had a room devoted to himself. The dominant motif of his painting, particularly after 1960, was landscape, particularly that of Lombardy, even though it may have lost any explicit narrative or descriptive references (e.g. Landscape at Merate, 1959). His own individual naturalism has been defined as a transference, in terms of color and substance, on to canvas of the biological rhythms of nature, its organic and inorganic stratification. In his work during the 1970s figures and nudes again reappeared in these landscapes. However, by the mid-1980s their lush vegetation was replaced by arid unpopulated images.— Costiera ligure

1902 Marie Germinova Toyen, Czech artist who died on 09 November 1980.

1898 William George Gillies, Scottish painter who died on 15 April 1973. His studies at Edinburgh College of Art were interrupted from spring 1917 to 1919 by his induction into the Army. In 1922 he and nine fellow students, including William Crozier (1893–1930) and William MacTaggart (1903–before 1934), founded an exhibition society called the 1922 Group, through which they promoted their work in annual exhibitions at the New Gallery in Edinburgh for about ten years. In 1924 a travelling scholarship enabled Gillies to study in Paris under André Lhote and in Italy.

1898 Pavel Tchelitchev (or Chelichev, Tchelitcheff), Russian US painter and stage who died on 31 July 1957. He grew up in an advantaged and cultivated environment concerned with the arts. Educated by private tutors, he drew from an early age and attended art classes at the University of Moscow from 1916 to 1918. Moving south in 1918 to avoid the Revolution, he studied at the Kiev Academy until 1920 and worked with Alexandra Exter. He moved again in 1920, this time to Odessa, where he worked in the theatre, and then via Sofia in 1921 to Berlin, where he supported himself with theatre work and began to paint still-lifes, figures and portraits such as Natalie Glasko (1926).

1876 Julio González (or Gonzales), Spanish sculptor who died on 27 March 1942. He is primarily known for his works in wrought iron.

1861 Marius Borgeaud, Swiss artist who died on 16 July 1924.

1859(69?) Percival Leonard Rosseau, US artist who died in 1937.

1829 Auguste Toulmouche, French artist who died on 16 October 1890.

1815 Hendrik Reekers, Dutch artist who died on 15 May 1854.

1742 Marquise de Grollier de Fuligny-Damas, French artist who died in 1828.

^ 1644 Simon Peeterz Verelst (or Varelst, or Ver Elst), Dutch Baroque painter who died in 1721. — LINKS — Flowers in a Vase (1669, 26x22cm; 380x329pix, 13kb) _ With just a few flowers, Verelst created a composition of great sophistication and balance. A simple glass flask has been filled with a large rose, a red anemone, and a white narcissus tinged with pink. These flowers are surrounded by a scattering of smaller blossoms. Like many still-life painters Verelst depicted a window reflected in the glass vase, but here he did not show the window's precise structure. He did, however, use another common device — the depiction of a few chips in the stone surface to make the material seem more tangible. Born in Holland, Verelst moved to London early in his career where he worked for the court of King James II and was extravagantly praised for the realism of his flower pictures. It was reported that the artist became so vain and conceited that he experienced a mental breakdown.

TO THE TOP

<<< ART 20 Sep

ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” SEP 21 ||| ALTERNATE SITES

ART 22 Sep >>>

updated Wednesday 15-Sep-2004 18:21
PLEASE CLICK HERE TO WRITE TO ART “4” SEPTEMBER
http://www.jcanu.hpg.ig.com.br/art/art4sep/art0921.html
http://www.geocities.com/fa1931/art/art4sep/art0921.html
http://www.safran-arts.com/42day/art/art4sep/art0921.html

site safe for children