search 8000 artists, their works, museums, movements, countries, time periods, media, specializations
<<< ART 02 Aug
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” AUG 03 ||| ALTERNATE SITES
ART 04 Aug >>>
ART “4” “2”-DAY  03 August
TROP
FICHE
abspic
4~2day
DEATHS: 1929 DAGNAN — 1894 INNES — 1816 VINCENT
^ Died on 03 July 1929: Pascal-Adolphe-Jean Dagnan-Bouveret, French Realist painter and photographer born on 07 January 1852.
— Dagnan-Bouveret, was born in Paris; he died in Quincey, Haute-Saône. He refused to leave France when his father Bernard Dagnan, a tailor and businessman, moved to Brazil in 1868. So, in Melun, he was taken in by his maternal grandfather Gabriel Bouveret, whose surname he added to his own in gratitude. Dagnan-Bouveret was trained at the École des Beaux-Arts (beginning in 1869) in the ateliers of Alexandre Cabanel [1823-1889] and then of Gérôme [11 May 1824 – 10 Jan 1904]; the latter's teaching remained the most dominant influence on Dagnan's work, though he also studied under Corot [1796-1875]. One other artist, and a slightly older colleague, whose work had an impact on Dagnan's was Jules Bastien-Lepage [1848-1884], who taught Dagnan the significance of using rural life as a contemporary theme.
      Although Dagnan was a Parisian who kept an atelier in suburban Neuilly-sur-Seine for most of his career, he married into a Franc-Comtois family. He is always mentioned among a group of Franc-Comtois artists including Gustave Courtois [1852-1923] (a cousin of his wife), Louis Girardot [1856-1933], and Jules-Alexis Muenier [1863-1942] all of whom had been students of Gérôme, a painter who was also from the same general region of France.
      As a naturalist/regionalist Dagnan established his reputation with compositions representing the rural life of the Franche-Comté and of Brittany. These paintings made him one of the most respected members of an international naturalist circle that allowed Dagnan to have a very strong influence over other painters, working in a similar vein on the European continent, in England, and in the US.
      It is only later in his career, first in the mid 1880s and then more dramatically in the 1890s, that Dagnan turned to religious themes. These became increasingly more visionary and supernatural during the early years of the 20th century. Spiritual themes reflected Dagnan's determined turn toward religious revivalism, a genre that obsessed many painters in the 1890s; it also reflected the powerful influence of his wife whose own devout Catholicism was influential in moving Dagnan toward some of his religious themes. Dagnan's spiritual paintings found strong support in the atmosphere of the Catholic Revival in France; his paintings such as the mystical Supper at Emmaus and the Consolatrix Afflictorum, among others, were exhibited in a separate location at the Paris World's Fair of 1900 at a moment when Dagnan's work was highly praised by the establishment. His paintings were also well recognized in the United States as they were reproduced in US periodicals, and collected by such independent tastemakers as George Baker, Mrs. Potter Palmer, and Henry Clay Frick.
      Dagnan was also a portraitist of talent and in his later years he divided his activity between portraits and religious scenes. He painted members of some of the best established families of the Third Republic; he also did portraits of actresses (Mme. Bartet) and military leaders (Maréchal Foch).
      His first popular Salon success came with the anecdotal genre painting Une noce chez le photographe (1879), but the works which established Dagnan-Bouveret's reputation are his naturalist scenes inspired by life in the Franche-Comté and Brittany including Un accident (1880), Chevaux à l'abreuvoir (1885), Le Pardon en Bretagne (1887), Bretonnes au Pardon (1889), Le Concert dans la forêt or Les Conscrits (1890). The latter work reiterated the intense nationalistic fervor of the period by centering the activities of recruitment on the strength and support of the rural areas of France — regions that remained totally behind the central government.
      The success of these paintings in the 19th century and the impact they still have for us today are in great part due to the influ ence of photography in their creation. As a student of Gérôme, Dagnan-Bouveret with many of his colleagues (from Europe and from the US) learned how to use photography as a tool to arrive at a more naturalistic, decidedly casual, rendering for the scenes of daily life.
      Dagnan-Bouveret was closely associated with J.-A. Muenier, a painter who also maintained a fervent interest in photography. Both men traveled to Algeria together, in 1887-1888, where they actively photographed numerous scenes in Algiers in order to feed their developing interest in orientalist themes. The photographic record of their trip together provides an extensive documentary foundation for seeing how these artists were able to use this medium. Understandably, Dagnan did not merely take photographs so that he could copy them for his paintings. Rather, he saw the new medium of photography as a creative tool which, when added to the academic tradition of painstaking preparation of a given composition, added significantly to the way in which Dagnan-Bouveret could increase the intricacy and exactitude of his compositions while reinforcing the general interest in reality. Dagnan was also a pastelist and a member of the Société des Pastellistes.
      In addition to the influence Dagnan-Bouveret exerted on art students through his exhibitions or when they came to his studio in order to request his advice, he came in contact with others at the Académie Colarossi where he taught between 1885-1890 with G. Courtois.

LINKS
Whitney Warren Sr. (1916, 26x19cm, full size) — Hamlet et les fossoyeurs (1883)
Le Pardon en Bretagne (1886, 115x85cm; 2887x2088pix, 2170kb)
Bretonnes au Pardon (1887, 125x141cm; 1696x1907pix, 1348kb) _ Naturalism’s popularity reached its peak in the late 1880s. Contemporary interest aroused by subjects involving detailed imagery of rural life explains this objective painting’s huge success at the 1889 Salon, where it won an award. As an ethnographic image of pious customs, this painting shows the Pardon ceremony, an indulgence granted by the church to the faithful, and is used as a pretext for an analytical vision of a world that resisted the fin de siècle transformations. At that time, Brittany was the focus of great attention from artists painting in various different styles. Gaugin’s work can be used to establish one of the most striking contrasts with this canvas. Photographs that Dagnan-Bouveret took in Rumengol helped to produce the end result, as did successively reworked portraits of individual models. This work, which the painter assembled in the studio, reveals considerable prior effort to establish the compositional construction and a complex methodology to organise the scene.
Les Conscrits (1889, 168x146cm) — Une Bernoise (1887)— Ophélia (157x104cm)
Une Noce chez le photographe (1879, 82x120cm)
Le Christ et les disciples à EmmaüsConsolatrix Afflictorum
Dans l'étableMarguerite au SabbatUne Jeune Bretonne
Childs FrickThe Last SupperDans la forêt (1893, 155x125cm)
Dans le pâturage (1892, 96x91cm) — Bretons en prière (1888 124x85cm)
Jeune Homme Breton (1887, 42x25cm) — Gustave Courtois (1884, 122x82cm).
Black-and-white:
Gabriel BouveretChevaux à l'abreuvoir (1884, 229x188cm)
Le Pain Bénit (1885 etching, 33x23cm; full size)
L'accident (89x130cm) _ In front of the huge fireplace of a country home, grandma, grandpa, dad, an uncle, a hired hand, a four-year-old boy, and a cat (under the bed) watch the doctor bandage the hand of a twelve-year-old boy. What accident made that necessary is not clear.
^ Died on 03 August 1894: George Innes I, US Hudson River School painter, specialized in Landscapes, born on 01 May 1825.
— George Inness, born near Newburgh, New York, was the fifth of thirteen children. His father, a prosperous grocer, tried to make a grocer out of him, but the youth decided instead to become an artist. About 1841, he received a month's instruction from John Jesse Barker, a painter living in Newark, New Jersey, where the Inness family had moved in 1829. From the age of sixteen, Inness served a two-year apprenticeship as an engraver with the New York mapmaking firm of Sherman and Smith. He took some instruction in painting from Régis Gignoux [1816-1882] about 1843, around the time he was studying and being influenced by prints of the paintings of Claude Lorrain and the seventeenth-century Dutch landscape masters. He was also seeing the work of the leading Hudson River School painters - particularly that of Thomas Cole and Asher B. Durand - whose style is recalled in some of his early canvases.
      Inness exhibited for the first time at the National Academy of Design in 1844 and continued to exhibit there almost every year until the end of his life. Though he was elected an Associate of the Academy in 1853, he was not made an Academician until 1868. He was one of the important early members of the Society of American Artists, an exhibition organization founded in 1877 to challenge the conservative policies of the Academy.
      By the late 1840s, Inness was exhibiting regularly in New York and had attracted a patron, Ogden Haggerty. Inness married Elizabeth Hart in 1850, and the following February the couple departed for a fifteen-month stay in Italy made possible by Haggerry's financial support. On their way home, they stopped in Paris, where Inness visited an exhibition that included work by the Barbizon painter Théodore Rousseau; after a second trip abroad, in 1853-54, the work of Rousseau and other Barbizon painters exerted a strong influence on Inness's art.
      Inness and his family left New York in 1860, moving first to Medfield, Massachusetts, and later to an estate near Perth Amboy, New Jersey. In the early 1860s, fellow artist William Page introduced Inness to the theories of Emanuel Swedenborg, which made a deep and lasting impression on him; indeed, became a major force in his intellectual life. Throughout that decade, spent in rural surroundings, he sought to make his paintings convey the profound spiritual meaning he felt the landscape around him possessed.
     In 1870, the Innesses moved to Italy for four years, during which time the artist sent back paintings to be sold by the Boston dealers Williams and Everett, receiving in exchange regular monthly payments. Stopping again in Paris on the way back to the United States, in 1874, Inness first saw works by the Impressionists in an exhibition he visited, but he thought little of that new style of painting.
      In 1878, Inness's fortunes improved when Thomas B. Clarke, a prominent New York art dealer, became his agent. He took a studio in the New York University Building and bought a house and studio in Montclair, New Jersey. His theories on painting were published in Harper's New Monthly Magazine in 1878 and 1882; in 1882, Charles De Kay, under the pseudonym Henry Eckford, wrote an important critical article about his work. Two years later, a major exhibition of Inness's work was sponsored by John E Sutton, proprietor of the American Art Association, from which the artist emerged as the leading light in American landscape painting, an eminent position he enjoyed for the rest of his career. During the last years of his life, he spent summers traveling and painting in Connecticut, New York, Massachusetts, Virginia, California, and Florida. He and his wife returned to Europe in 1894, when Inness once again visited Paris, as well as Baden-Baden and Munich. On his way home, he died of a stroke in the Bridge of Allan, a small Scottish resort village. On 23 August 1894, the National Academy of Design held an impressive funeral service for Inness, who was by then one of its most illustrious members."
—   Louis Comfort Tiffany [1848-1933] was a student of Inness.
— George Inness, one of the most prominent figures in US art of the 19th century, is best-known today for his poetic and highly expressive approach to landscape painting. He was born in Newburgh, New York, in 1825, the son of a local grocer. While still a youth, he decided to pursue a career as an artist. He initiated his studies during the 1840s, working briefly under John Jesse Barker in Newark, New Jersey. At some point between 1843 and 1845 he was taught by the French-born landscapist, Regis Gignoux, in New York City. During this period, he also spent two years as an apprentice engraver with the New York firm of Sherman and Smith.
      Inness began exhibiting his pictures at the National Academy of Design in 1844. His early work, in its emphasis on detail and topographical accuracy, reveals the influence of the prevailing Hudson River School aesthetic as exemplified by such painters as Asher B. Durand. However after making trips to Italy (1851-1852) and France (1853-1854), he became deeply influenced by the serene, broadly-painted landscapes of Rousseau, Troyen, Daubigny and other members of the French Barbizon School.
      In 1860, for reasons of health as well as discouragement with what he felt to be a lack of recognition from local critics and patrons, Inness moved with his family to Medfield, Massachusetts. He remained there for four years and then settled at Eagleswood, an estate near Perth Amboy, New Jersey. It was around this time that he met the painter William Page, who introduced him to the spiritual teachings of the Swedish philosopher Emanuel Swedenborg. Throughout the 1860s, Inness gradually began to abandon many of the precepts associated with the Hudson River style, turning instead to a greater emphasis on mood and poetic effect through the use of rich color and fluid brushwork. One of his major points of divergence involved his vision or concept of the US landscape itself; while the Hudson River painters focused on the untamed wilderness, Inness was drawn to what he once described as the "civilized landscape," where nature was shaped to suit the needs of mankind, a combination of both the real and the ideal.
      In 1870, Inness made another trip to Europe, spending most of his time in Rome. Returning to the United States four years later, he spent a year in Boston before moving back to New York in 1875. In 1878, he bought a home and studio in Montclair, New Jersey, where he would live for the rest of his life. During that same year, he helped to found the Society of American Artists, a group of younger, European influenced artists dissatisfied with the conservative, insular attitude prevailing at the National Academy. In 1882, Inness's work was the subject of a major article by the New York critic Charles De Kay in Century Magazine. Two years later, a comprehensive exhibition of his pictures at the American Art Galleries helped further to strengthen his growing reputation.
      Throughout the 1870s and 1880s, Inness's art moved towards a greater level of individual expression. He continued to explore various aspects of both style and theory, always turning to color for its emotive potential. He also began to incorporate one, sometimes, two figures into his compositions, evident in such works as The Monk (1873). Inness produced his most original and his most visionary work during the last decade of his life. In paintings such as Sunrise, he explored mood and feeling through color, diffused light and a limited number of softly defined forms. Many of his pictures from this period are depictions of forest interiors at dawn or twilight. Although the hazy atmospheric qualities and ethereal nature of Inness's late work has led to comparisons with Impressionism (a movement which did inform his work to some extent), his concept of nature--spiritual, subjective (and thus very modern) — took him well beyond Impressionism's material and scientific concerns. Indeed, in his emphasis on emotion, his free handling of pigment and in his quiet, harmonious compositions, he was tremendously influential for a younger generation of painters, such as Henry Ward Ranger and Dwight Tryon, whose related aesthetic concerns have since been defined as Tonalism.
      During his later years, Inness painted in New York, New Jersey and Connecticut as well as in California and Florida. He traveled to Europe in 1894, visiting Paris, Munich, and Baden. He died in Bridge-of-Allan in Scotland that same year.
Photo of Innes

LINKS
The Coming Storm Oil (41x61cm)
Saint Andrew's, New Brunswick (1893, 83x108cm; 1/3 size _ ZOOM not recommended to blurry 2/3 size)
Landscape (1848, 75x113cm; 1/3 size _ ZOOM to 2/3 size) _ detail (4/3 size) river and bridge _ detail (4/3 size) arriving home at the house at the end of the bridge _ detail (4/3 size) sheep in the forest _
Moonlight (1893, 55x68cm; 1/2 size _ ZOOM not recommended to blurry full size)
Evening at Medfield, Massachusetts (1869, 30x45cm; 4/5 size)
Afternoon (1846) — Morning, Catskill Valley (1894; 747x1147pix, 210kb)
The Lackawanna Valley (1855; 754x1152pix, 167kb) — Old Homestead (1877) detail
Off the Coast of Cornwall (1887) — Landscape with Pond (1868, 31x51cm)
Valley Near Perugia (1867, 63x48cm) — Autumn (1859, 26x46cm)
End of Day aka Montclair (1855, 42x30cm) — Étretat (1874, 24x33cm)
68 images at Webshots
click for portrait of Vincent^ Died on 03 August 1816: François~André Vincent, French Neoclassical painter, specialized in historical subjects, born on 30 December 1746.
— Vincent, son of the Genevan miniaturist François Elie Vincent, and student of Joseph-Marie Vien, was one of the principal innovators in French art of the late l8th century, particularly in the fields of neoclassicism and themes of national history. He won the Prix de Rome in 1768 and in the 1770s he fell under the strong influence of Fragonard, whom he met in Rome in 1774. From the 1780s onwards, his studio vied with David's and Jean-Baptiste Regnault's as the most popular in Paris. Unlike his archrival David, also a student of Vien, Vincent rejected frieze-like compositions for a more realistic approach to his subjects that drew inspiration from a wide variety of sources, ranging from Netherlandish to Bolognese art. Nevertheless David eventually overshadowed Vincent, who then abandoned the monumental history paintings which David had made his own, and turned increasingly to genre painting.
— Vincent's students included Horace Vernet and John Vanderlyn.
— Vincent became the lover of Adélaïde Labille-Guiard [1749-1803], whose first teacher had been his father. In 1800 he married her, becoming her second husband, and she painted his portrait (1800, 73x59cm; 882x809pix, 64kb — ZOOM to 2247x2024pix, 380kb).

LINKS
La Leçon de Labourage (an VI = 1798, 213x313cm; 741x1128pix, 73kb — ZOOM to 1769x2819pix, 410kb) _ The upper part of the canvas was burnt in a fire on 07 December 1870. There are two preparatory drawings; three studies in paint also exist. The scene attests to the physiocratic ideas as found in Treatise on the Cultivation of the Land (1750) by the agronomist Henri Louis Duhamel du Monceau [20 Jul 1700 bapt - 22 Aug 1782] and Rural Philosophy or General and Individual Economy of Agriculture (1764, 3 volumes) by the economist Mirabeau [1715-1789]. It may depict the family of the future Girondin member of the National Convention, François Bernard Boyer-Fonfrède [1766-1793], with his wife Marie-Anne, née Barrère, and their children Geneviève and Jean-François Bernard, who is having a ploughing lesson.
L'Arrestation du Président Molé (1779; main detail 897x1147pix, 116kb — ZOOM TO FULL PICTURE 1795x1791pix, 351kb)
Henri IV faisant entrer des vivres dans Paris (1783, 157x192cm; 611x768pix, 57kb) _ Assiégeant Paris en 1590, Henri IV décide, contre l'avis de ses généraux, de ravitailler la ville affamée. Cette toile est un carton de tapisserie pour la tenture de l'Histoire de Henri IV, commandée par le comte d'Angiviller. Elle témoigne de l'intérêt alors grandissant pour le passé national.
Zeuxis choisissant pour modèles les plus belles filles de Crotone (1789, 323x415cm; 489x642pix, 57kb) _ The account of Zeuxis choosing his models is taken from Cicero, De Inventione, II, I, I, with a shorter description in Pliny the Elder, Natural History, XXXV, 36. Having been commissioned to paint a portrait of Helen of Troy for the Temple of Jupiter at Crotona, the famous Greek artist Zeuxis had to seek the most perfect characteristics from five of the greatest beauties of the city. Vincent has exhibited his own scholarship by incorporating items which are exclusively fifth century, while the image of Helen herself is drawn in outline as on a Greek vase painting. The Doric columns, the mixing bowl with its colonnettes and oil flask placed on the table beside the artist, the frieze derived from the sarcophagus of the Muses in the Albani collection in Rome, and Zeuxis's arm which seems to have been borrowed from the Apollo Belvedere, are all talismans of classical erudition and archaeological truth. Here Vincent seems to revive the seventeenth century idealistic vision of achieving perfection by selecting the most pleasing aspects from the natural world, but it seems that Vincent may be suggesting that at least one of the young beauties was rejected altogether. Why else would the girl in the foreground by weeping in the arms of another if she had been chosen to model? Thus, while otherwise following the narrative, the artist has distorted the story by introducing the human reality of sorrow and disappointment, albeit superficial, into a scene which would otherwise be without deep sentiment. Vincent's large painting, one of his most ambitious efforts, was enthusiastically received by the critics.
^
Died on a 03 August:


1934 Cecilio Pla y Gallardo, Spanish painter.

1888 Jorgen Roed, Danish artist born on 13 January 1808.

1814 Karl Gotthard Grass, Serb artist born on 19 October 1767. — [Did he smoke, Grass? Did he smoke grass?]


Born on a 03 August:

1846 Karl Wilhelm Anton Seiler
, German artist who died on 21 February 1921.

^ 1824 Alexander Hugo Bakker-Korff, Dutch painter and draftsman who died on 28 (31?) January 1882 (his birth date is given as 31 [sic] Sep 1824 by the same source which lists his death date as 31 Jan 1882). He was first trained under Cornelis Kruseman at the Academie in The Hague (1841–1845), then specialized in history painting at the Antwerp Academie under Gustaf Wappers from 1845 to 1848. He set up as a painter in The Hague in 1848 and exhibited large history paintings in 1848 and 1849. An example of a history painting from this period is Death bed of Frederick Henry. By 1852 he was living in Leiden but the following year, because of failing eyesight, he temporarily gave up painting until 1858 or 1859, when he started painting small-scale, realistic genre scenes based on photographs (e.g. The Pastry Cook). From 1861 until his death he regularly exhibited genre paintings. Most of these are small and generally depict one or more women (never men) engaged in conversation or domestic occupations. He was awarded the knighthood of Leopold when The Romance was shown in Brussels in 1869. Though highly respected, he lived a solitary life and had no direct students. Bakker-Korff’s career can be divided into three phases: large-scale history paintings (1845–1852); small, realistic scenes of working-class people, painted from photographs (1859–1860); and small, slightly ironical scenes of women in meticulously detailed interiors (1861–1882), for example Under the Palms (1880). The very high standard of craftsmanship in his paintings after 1861, compared to his rather awkward, early history paintings, testifies to the influence of photography. He made numerous drawings of two types: casual crayon drawings that served as preparatory sketches for his paintings, and pen-and-ink drawings, sometimes touched up with watercolor, as records of his finished paintings intended for sale.

^ 1815 Jean-Marie Reignier, French painter who died in 1886. He was a professor of drawing and flower painting at the École des Beaux-Arts in Lyon, where he had among his students Pierre-Nicolas Euler [1846-1913], Eugène Baudin [1843-1907], Adolphe Castex-Degrange (who succeeded him in 1884). — Nature Morte: Medaillon entouré de fleurs (1847; 300x237pix, 13kb)

^ 1794 Pierre Raymond Quinsac Monvoisin, French painter who died on 26 March 1870. — LINKS Telemachus and Eucharis (1824, 295x251cm; main detail 862x1012pix, 82kb — ZOOM TO FULL PICTURE 2000x1687pix, 284kb) _ Telemachus (center) and Eucharis (left) were lovers forced to part. The story is from Greek mythology, as retold by the French writer Fénelon in 1699. Telemachus had set out to find his father, Odysseus (Ulysses), the famous hero of the Trojan War. The goddess Athena (right) accompanied him disguised as his guardian, Mentor. They were shipwrecked on the island of the nymph Calypso, and Telemachus fell in love with Eucharis, one of Calypso's attendants. But Mentor intervened to part them, so the search for Odysseus could continue. "Mentor...took Telemachus by the hand and led him towards the shore," wrote Fénelon. "Telemachus consented with silent reluctance, and looked behind him at every step." Neoclassical history paintings such as this were meant to be lessons in virtue, as duty invariably triumphs over love. — Callirhoe (1823, 196x261cm)

^ 1789 Johann Friedrich Overbeck, German Pre-Raphaelite painter who died on 12 November 1869. Overbeck came from a well-situated family. His father was a senator and later a mayor. First, he attended painting lessons in his hometown of Lübeck, where he was taught by J. Peroux. Overbeck enrolled in the Vienna Academy of art in 1806, but was subsequently expelled after declaring his opposition to Classicism. He left the academy for Rome. There he formed the German Romantic school of the Nazarenes, who painted religious scenes in a medieval and high-Renaissance style. The Nazarenes consisted of Peter von Cornelius, Veit, Schadow-Godenhaus and other German Romantics. In 1813 he converted to Catholicism and he tried to paint a new image of Christ, one that people would revere. — He studied under Eberhard Wächter. In Rome, in 1809, together with Vogel, Hottinger, and Pfoor, he founded the Lukasbrüder (aka Nazarene). The group had very strict views on the religious mission of art and aimed at renewing German religious art by imitating works of artists such as Dürer, Perugino, and the young Raphael. The Nazarenes' ideas are considered the primary example of the German Romantic movement. — Three of Overbeck's students were Melchior Paul von Deschwanden, Gamba, and Luís Pereirade Meneses. Joseph Being Sold by his Brothers (1816; 853x1050pix, 100kb) — 2 unlabeled images: (1) Italia and Germania (22x25cm); (2)(detail of The Liberation of Jerusalem)?

<<< ART 02 Aug
ANY DAY ...IN ART ...IN HISTORY ||| HISTORY “4” AUG 03 ||| ALTERNATE SITES
ART 04 Aug >>>
TO THE TOP
PLEASE CLICK HERE TO WRITE TO ART “4” AUG
http://www.safran-arts.com/42day/art/art4aug/art0803.html
http://www.jcanu.hpg.ig.com.br/art/art4aug/art0803.html
http://www.geocities.com/jcanu/art/art4aug/art0803.html
updated Sunday 25-Jul-2004 15:43 UT
safe site
site safe for children safe site
Hosted by www.Geocities.ws

1