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DEATHS: 1817 APPIANI — 1830 SHCHEDRIN — 1905 RICHARDS — BURIAL: 1675 VAN EVERDINGEN

1793: ON L'OUVRE LE LOUVRE

^ Died on 08 November (08 Jan?) 1817: Andrea Appiani, Milan Italian painter and designer born on 31 (23?) May 1754.
— He had been intended to follow his father’s career in medicine but instead entered the private academy of the painter Carlo Maria Giudici [1723–1804]. He received instruction in drawing, copying mainly from sculpture and prints. He studied Raphael through the engravings of Marcantonio Raimondi, as well as the work of Giulio, Anton Raphael Mengs and, again from prints, the compositions in Trajan’s Column. He then joined the class of the fresco painter Antonio de’ Giorgi [1720–1793], which was held at the Ambrosiana picture gallery in Milan, where he was able to study Raphael’s art directly from the cartoon of the School of Athens and the work of Leonardo’s followers, particularly Bernardino Luini. He also frequented the studio of Martin Knoller, where he deepened his knowledge of painting in oils; and he studied anatomy at the Ospedale Maggiore in Milan under the sculptor Gaetano Monti [1750–1847]. His interest in aesthetic issues was stimulated by the classical poet Giuseppe Parini, whom he drew in two fine pencil portraits. In 1776 he entered the Accademia di Belle Arti di Brera to follow the painting courses of Giuliano Traballesi, from whom he received a mastery of the fresco technique and the encouragement to make copies after Domenichino and Correggio.
— Giovanni Carnevali was a student of Appiani.

— LINKS
— The Apotheosis of Napoleon (1807, 273x480cm; 564x800pix, 133kb _ ZOOM to 1446x2048pix, 436kb) _ The greatest work by Appiani, master of Lombardian Neoclassicism, was the decoration of the Milan royal palace in 1808, devoted to the greatness of the Empire. This cartoon is a preparation for the monumental fresco which decorated the vault of the Throne room. The required note of flattery is couched in allegorical abstractions, a language revived by the imitation of antiquity according to Winckelmann. Four Victories hold up the throne where the Emperor sits in majesty, amid the diverse attributes of immortality. Escaping the bombing of 1943 which destroyed its setting, the fresco is now housed in the Villa Carlotta at Tremezzo.
— Napoléon (1805, 100x75cm; 600x446pix, 69kb _ ZOOM to 2722x2024pix, 629kb)
— Eugène de Beauharnais (1800, 15x12cm; 600x472pix, 73kb _ ZOOM to 2572x2024pix, 636kb) _ Eugène de Beauharnais [03 Sep 1781 – 21 Feb 1824] was the son of general Alexandre vicomte de Beauharnais, who was guillotined on 23 June 1794, and of Joséphine Tascher de La Pagerie [23 Jun 1763 – 29 May 1814] who remarried on 09 March 1796 to Napoléon Bonaparte [15 Aug 1769 – 05 May 1821]. Eugène became a military aide to Napoléon, and participated in the victory of Marengo (14 Jun 1800). In 1805, when Napoléon proclaimed himself king of Italy, he made Eugène his viceroy there.
— General Desaix (1801, 115x88cm; 1055x801pix, 91kb) _ Crucial in securing Napoleon's success in Italy had been the 'lion of Marengo', General Desaix de Veygoux [17 Aug 1768 – 14 Jun 1800], who had turned the battle by a surprise attack on the Austrians during which he died shot through the heart. Napoleon commissioned the Lombard Appiani, who like many liberals in Milan had welcomed the French, to create a suitable memorial. In Appiani's subtle conception, the general is still very much alive, reading a service order; only his profile pose (a convention for pictures of the dead) and the distant allegorical figures of Time pursued by Death suggest a posthumous portrait. Rather than Italy, it is his former service in Egypt, where he had earned his nickname of 'Just Sultan', that is acknowledged by the two turbaned Mamluks, and he appears in a peaceful role, with sword sheathed and in civilian clothes.
— Allegory on the Peace of Pressburg (1808, 38x46cm; 1008x1267pix) In Appiani, Napoleon commissioned the premier court painter of Italy within the country itself. The Lombard master had become famous with a ceiling painting in the palace of Monza and was celebrated as the "pittor delle Grazie". The painter used a very much softer application of paint than his Italian contemporaries, as is evident in this painting. _ On 26 December 1805, by the treaty of Pressburg (now Bratislava in Slovakia) Austria, defeated by Napoléon at Ulm (20 Oct 1805) and Austerlitz (02 Dec 1805) , had to accept loss of territory and the payment of an indemnity.
— Olympus (29x60cm)

^ Died on 08 November 1830: Sil'vestr Feodosievich Shchedrin, Russian Romantic Italianate landscape painter born on 13 February 1791. Son of sculptor Feodosiy Shchedrin [1751-1825], nephew of landscape painter Semion Fedorovich Shchedrin [1745 – 01 September 1804]
— Sil'vestr Shchedrin was born in Saint-Petersburg and died in Sorrento, Italy. He studied at the Academy of Arts in St. Petersburg from 1800 to 1811. From 1818 he lived in Italy as a traveling scholar of the Academy of Arts. His early works, such as View of the Tuchkov Bridge and the Vasil'evskii Island from the Petrovskii Island in St. Petersburg, are good examples of academic classicism. When he arrived in Italy, his style changed, as he was influenced by the different light effects and nature he came to study. In his journal where he recorded observations from his travels, he condemned painters who "deal with compositions or paint from drawings." Since the middle of the 1820s, for the first time in Russian painting, he started to make oil studies from nature (en plein air) instead of sketches to be converted into finished compositions in the studio. His more mature landscapes are characterized by rich nuances of light and atmosphere and an impressive artistic unity. In Shchedrin's later works, for instance in the Moonlit Night in Naples, it is possible to notice the growing tendency towards Romantic emotionalism and more complex light effects. Despite his early death, Shchedrin was one of the foremost Russian romantic lanscape painters, and played a decisive role in bringing Russian landscape into the mainstream of European art.
— Sylvester Shchedrin's uncle, Semion Shchedrin, a landscape painter, was considered to be the founder of the Russian landscape genre. In 1800, Sylvester Shchedrin entered the Academy of Arts in St. Petersburg, in which he specialized in landscape. He graduated with honors and a gold medal, which gave him the right for studies abroad. But he had to wait with his postgraduate studies because of the wars with Napoleon (Napoleon's invasion of Russia started in 1812). Sylvester left for Italy only in 1818.
In Italy, he studied the works of great masters of the past, worked much himself. The biggest achievement of that period is New Rome. The Castle of the Holy Angel (1823). It was a great success and was imitated much. Sylvester himself was commissioned for 8-10 copies of the picture, though he never copied it, but drew different variants changing time, angle of view, details. His pension came to an end in 1823, but he decided to stay in Italy as a freelance painter. His works of the time were already so popular that he had many commissions to support himself. He lived in Rome and Naples, working much out-of-doors, drawing nature, bays and cliffs, views of small towns and fishermen villages. View of Sorrento (1826), A Terrace on a Seashore. A Small Town of Capuccini near Sorrento (1827), A Porch Twined with Vines (1828), Terrace on the Seashore (1828) are the examples of his work. He liked to draw terraces in vines with a view of the sea. In 1825-1828, he drew a lot of “terraces”, which were a great success. For him they embodied the idea of harmony between the lives of people, and nature. At the end of the 1820s, Sylvester Shchedrin started to draw nighttime landscapes full of an uneasy, anxious mood. His failing health might be the reason.

— Silvestr Shchedrin, the greatest Russian landscape-painter of the early nineteenth century, was the most striking exponent of the realist aspirations of the time. The Shchedrin family, like the Bryullov and Ivanov families, was a kind of an artistic dynasty. Silvestr Shchedrin was born in Saint Petersburg. His father, Feodosy, was a well-known sculptor, professor and assistant rector of the Academy of Arts. And his uncle Semyon, a professor of landscape painting, gave the young Silvestr his first lessons. ‘I remember being taken to the Hermitage by my uncle when I was still young’, Shchedrin recalled later. ‘I walked past most of the pictures and only stopped to look at Canaletto.’ Shchedrin’s first successful art lessons in the family were soon backed up by training at the Academy. From 1800 his teachers were M.M. Ivanov, F.Ya. Alexeyev, whose main interest at that time was in painting views of Saint Petersburg, and the architect Thomas de Thomon, who taught him the laws of perspective. In 1811 Shchedrin graduated with a gold medal. His graduation piece was the landscape View from Petrovsky Island in Saint Petersburg, which conformed totally to the classical spirit. However, the young artist’s interest in depicting concrete, rather than ‘invented’ views soon asserted itself in his first large-scale works: View of Tuchkov Bridge From Petrovsky Island (1815) and View of the Stock Exchange From the Bank of the Neva (1817).
      In 1818 Shchedrin was among the first four pioneers to be sent to Italy. His travel notes and his letters home, written with gentle humor, reveal the artist’s lively mind and powers of observation. Having settled in Rome, Shchedrin set about painting views of the city. He was attracted by the Coliseum, his approach to which was far from classic. ‘Shchedrin wrote, ‘ordered me to paint its portrait of a building’ the real-life ‘model’, with its powerful architectural forms and distinctive stonework, was excellently conveyed. In the picture New Rome. Holy Angel Castle (1825) the artist reveals the beauty in simple and ordinary things. The grand structures of the Holy Angel Castle and Saint Peter's Cathedral become part of the general city scene. Shchedrin tried to convey the play of light on the rocks and walls, on the greenery and the boats — light which united all these objects, sometimes making them shine or sparkle, sometimes concealing or emphasizing their contours. He softened the highlights on the water and made the shadows transparent and airy. The buildings give the impression of being wrapped in air. In this painting Shchedrin passed from heavy, dark-brown shades to light silvery-greys. 'with great difficulty I have extricated myself from these dark shades,' he wrote to the sculptor S. Galberg. In a small, iridescent landscape Lake Albano in the Outskirts of Rome (1824), the water gleams with silver, while the verdure seems airy and suffused with pink sunlight. Light acts like a magician, transforming everything. This painting is one of Shchedrin's masterpieces.
      The artist's seascapes are particularly poetic. He was enraptured by Naples and its surroundings. On his first trip there from Rome, which lasted from June 1819 to the spring of 1821, Shchedrin lovingly described the colorful life on the seafronts, the merry-making and carnivals, and the scenery of southern Italy... '...Once again I am staying on the Santa Lucia Embankment — the best spot in the whole of Naples. The view from my window is magnificent: Vesuvius a stone's throw away, the sea, mountains, picturesquely situated buildings, people constantly in motion, walking and working - what better place for a landscape painter!' In View of Naples (1819) Shchedrin depicted himself among the townsfolk on the busy embankment. The artist was often to be seen with the fishermen and peasants in the coastal villages. A jolly, sociable person, he was on amicable terms with local population, and portrayed them in numerous pictures.' ... Within a few days I acquired a host of friends - farmers, retired soldiers and others ... these people were so fond of me that having discovered when I usually arrived they came ahead of time not to miss me...'
      At this time Shchedrin made friends with Karl Bryullov and Konstantin Batyushkov — it was with the latter that he stayed while in Naples. Together with Orest Kiprensky he began work on a portrait of A.M. Golitsyn. Having ultimately settled in Naples in June 1825, Shchedrin undertook trips to Sorrento, Capri, Vigo and Amalfi. His landscapes and seascapes ranked among the finest plein air paintings anywhere at that time, especially the series which included On the Island of Capri (1826), The Small Harbor at Sorrento (1826) and The Large Harbor at Sorrento (1827). Nature here accords with man, whose natural and contemplative life takes its course in the 'happy moments of being'. About Covered with Vines (1828) and Grotto at Sorrento (1829) rely on the contrasts between the shaded area and the sunlit open countryside. The midday sun penetrates the dense greenery of the olives and grapevines, picking out the people's figures and patches of vegetation amid the shadow. In his later period, Shchedrin moved away from chiaroscuro tonal painting in favour of heightened color range, as is clearly illustrated by Small Harbour in Sorrento. Evening (1826) and Moonlit Night at Naples (1828). Shchedrin gained popularity in Italy and his landscapes sold well. Meanwhile the dates of his stay abroad had long since expired. He was put off by the thought of a future in the formal atmosphere of the Saint Petersburg Academy of Arts. But he did not entirely abandon thoughts of the returning home: 'I am most displeased by your advice not to go to Russia,' he wrote to S Galberg. Despite a serious, progressing illness, the artist did not lose his joie de vivre and sense of humor. His last letters from Italy were full of hopes for a recovery and for a return home. But he never did return to his native country. In October 1830 he died, and a monument by S. Galberg was erected on his grave in Sorrento. Silvestr Shchedrin gave his own lyrical interpretation of the scenery of Italy — something that eluded many of his contemporary Italians. His landscapes contained that poetic affirmation of the beauty of simple things which was so characteristic of Russian portraiture and genre-painting of the first half of the nineteenth century.
— Portrait of Shchedrin by Karl Bruloff

— LINKS
— Moonlit Night in Naples _ In this work, Shchedrin continues to explore Italian landscape. In this painting, the elements of the Romantic Movement that characterize western painting of the time are much more evident. The scene is at night with the moon shining through the clouds. Everything is touched by the ethereal light and the water shines brightly. The contours are blurred as in a dream. The only " realistic" element is the presence of some figures in the very left corner. The attention is drawn to the little fire around which the people are gathered, depicted with the only warm tone color of the whole painting. Everywhere else the color scheme is made of cold hues and shadows with the exception of the sections touched by the moonlight. It is a very peaceful scenery, and the night setting probably adds to the sense of calm. Very little space is occupied by actual physical elements, such as the buildings or the boats, while most of the composition is focused on the depiction of the sky and the water. The moon is the main character here. It is the focus of this composition. Its light touches everything as a "wash" given to the whole landscape. To emphasize the importance of the moon, Shchedrin uses lines that point to the moon itself; the clouds are a primary example, but the boats' masts and the position of the building also provide a kind of frame for the main element. Shchedrin seems to maintain once again his tendency to combine the romantic traits such as the natural elements, with the presence of few human figures as if he wanted to include a bit of real life in this predominantly Romantic composition.
— New Rome. The Castle of the Holy Angel (1823)
— View of Sorrento (1826)
— Grotto in Florence (1826)
— A Terrace on a Seashore. A Small Town of Capuccini near Sorrento (1827)
— A Porch Twined with Vines (1828)
— Terrace on the Seashore (1828)
— Coastal Scene

^ Died on 08 November 1905: William Trost Richards, US painter born on 14 November 1833.
— In 1846–1847 he attended the Central High School in Philadelphia PA, but left before graduating in order to help support his family. He worked full-time as a designer and illustrator of ornamental metalwork from 1850 to 1853 and then part-time until 1858. During this period he studied drawing and painting under Paul Weber [1823–1916] and probably had some lessons at the Pennsylvania Academy of the Fine Arts, Philadelphia, where he exhibited in 1852. The following year he was elected full Academician there. In 1855–1856 he toured Europe with William Stanley Haseltine and Alexander Lawrie [1828–1917], studying for several months in Düsseldorf. Finding contemporary European landscape painting less inspiring than that of the US, he returned to Philadelphia.

— LINKS
— "The Sheepfold," Easton's Point, Newport (1890, 51x102cm)
— Rocky Sea Coast (1887, 30x60cm)
— Salt Marsh by the Sea (1877, 56x91cm)
— Indian Summer (1877)
— Indian Summer (1875, 61x51cm)
— Moonlight on Mount Lafayette, New Hampshire (1873, 22x36cm)
— Rocky Cove (1876)
— Tennysons Farm, Farmington, Isle of Wight
— Beach with Sun Drawing Water (1872)
— Lake Squam from Red Hill (1874, 23x35cm)
— Breakers at Beaver
— Paradise, Newport (1877, 69x94cm)
— Truth to Nature (1860)
— Beach with Sun Drawing Water (1872)
— Sundown at Centre Harbor, New Hampshire (1874; 527x800pix, 89kb)
–- Long Pond, Foot of Red Hill (1874; 823x1200pix, 199kb)
— Fort Dumpling, Jamestown
—(061107)

^ Buried on 08 November 1675: Allart (or Allaert, Allert) van Everdingen, Dutch Baroque landscape and marine painter, draftsman, etcher, and dealer, who was baptized as a newborn on 18 June 1621. — {He was alert to any opportunity to be all art}— Brother of Caesar van Everdingen [1616 — 13 Oct 1678 bur.]. _ Allaert van Everdingen was an artist whose views of foreign lands had a great impact on the repertoire of Dutch landscapist. He introduced and popularized the Dutch vogue for rocky mountainous Scandinavian landscapes and dramatic waterfalls.
— Everdingen worked with Savery in Utrecht and Molyn in Haarlem. In the 1640s he visited Scandinavia, where he developed a taste for subjects inspired by the scenery there — above all mountain torrents — and helped to popularize such themes in the Netherlands, where he was the first to depict Scandinavian motifs in his paintings and drawings. Jacob van Ruisdael, in his pictures of majestic waterfalls, was one of the artists influenced by him. Allaert was also a fine etcher. His elder brother Caesar [1617-1678], who painted portraits and historical pictures, was attracted by the south not the north. Although he never went to Italy, he captured the spirit of Italian art better than many of his countrymen who crossed the Alps: witness his beautiful Four Muses with Pegasus (1650), part of the decoration of the royal villa — the Huis ten Bosch — at The Hague.
— Allart van Everdingen was a student of Roelandt Savery in Utrecht and Pieter de Molyn in Haarlem; both painters influenced his work. In 1644 Allart traveled to Norway and Sweden, a trip that was to have profound consequences on his art; his annotated sketches document visits to the south-east Norwegian coast and to Bohusland and the Göteborg area in western Sweden. He returned to the Netherlands by 21 Feb 1645, when he married Janneke Cornelisdr Brouwers in Haarlem. He became a member of the Reformed Church in Haarlem on 13 Oct 1645, joined the Haarlem Guild of Saint Luke in 1646 and, along with his brother Caesar, enlisted in the Haarlem Civic Guard of Saint George in 1648. From 1646 to 1651 four of Allart’s children, a son and three daughters, were baptized in Haarlem; four additional children were born later in Amsterdam. In 1652 he moved to Amsterdam and on 10 April 1657 became a citizen. A visit he made about 1660 to the Ardennes in the southern Netherlands is documented by his painting View of Montjardin Castle and by his drawings and etchings of Spa and its surroundings. The artist probably forwent a return trip to Sweden in order to execute the commissions he received from the Trip family in the 1660s to paint the four overdoors decorating the Trippenhuis in Amsterdam, as well as the large Cannon Foundry of Julitabroeck, Södermanland . In 1661 van Everdingen joined Jacob van Ruisdael and Willem Kalf to judge the authenticity of a seascape by Jan Porcellis; Meindert Hobbema served as a witness to the proceedings. The sale of his widow’s estate on 16 April 1709 suggests that the artist, like many of his colleagues, had a second profession as an art dealer; the sale catalogue lists works by Raphael, Giorgione, Annibale Carracci, Titian, Veronese, Holbein, Savery, Porcellis, Hals, and Rembrandt.
— Everdingen's only known students are Ludolf Backhuysen and Gerard van Edema.

Allart van Everdingen was born in Alkmaar. He was the younger brother of the history painter Cesar van Everdingen. According to the biographer Houbraken, Allart learned his art from the painters Roelant Savery and Pieter de Molyn. In 1644 he journeyed to Scandinavia. His travel sketches became the inspiration for later paintings. Once back in the Netherlands, Van Everdingen settled first in Haarlem and later in Amsterdam, where he remained until his death. He probably he travelled to Sweden once again in the 1660s in connection with a commission from Amsterdam's Trip family. Van Everdingen was the first Dutch painter to portray the Swedish landscape. His only known pupil was the marine painter Ludolf Bakhuizen.

— LINKS
— Hendrick Trip's Cannon Foundry at Julita Bruk, Södermanland, Sweden (1660, 192x255cm) _ Here is a country landscape that has been partially taken over by a seventeenth-century armaments factory. Here artillery was made. On the left are a number of cannons lying in front of a building with two sloping roofs, where the barrels of the cannons were drilled. This was the last stage in the production process. First the iron ore was brought from a nearby mine in wagon, one of which can be seen here about to pass the manager of the factory's house (center). On the right is the furnace belching two plumes of smoke. Glowing charcoal keeps the molten iron liquid. The casting of the cannons took place in moulds in the form of a barrel stuck vertically into the ground.
      The Julita Bruk (Bruk is Swedish for factory) cannon foundry was in an excellent location for an iron foundry. Iron ore was mined nearby. Water power and wood for fuel were readily available, as was cheap labor. The factory was on the Julitha estate belonging to the Swedish nobleman Paul Khevenhüller. The complex was leased by the Dutch merchant Mathias de Geer. Through the marriage between De Geer's daughter Joanna and Hendrik Trip, Julitha Bruk finally came into the hands of the Trip family, leaders in the international arms trade of the day.
      It was Lodewijk de Geer who was chiefly responsible for initiating Dutch involvement in the manufacturing and trading of weapons in Sweden. When, in 1641, De Geer was made a Swedish peer, he was given the right to buy the land on which his cannon foundry stood and which he had hitherto leased. Thus he became the largest landowner in Sweden. A few years previously, De Geer had managed to monopolize the Swedish weapons industry. This was financed by the Trip family, who took care of the sale of the weapons. Besides being linked in business, the two families were also joined by marriage: Lodewijk de Geer and Elias Trip were brothers in law.
      The Julitha Bruk foundry was probably sold by the Trip family after 1662. A ruling by the Swedish government made this necessary. The arms trade had brought the family a few windfalls: Lodewijk and Hendrik had an enormous town house built in Amsterdam, the Trippenhuis, on Kloveniersburgwal. It is there that this painting hung, together with other Swedish landscapes by van Everdingen, who had stayed in Sweden between 1640 and 1644, probably at the instigation of Hendrik van Trip.
— Waterscape with Rainbow (54x63cm; 879x1000pix _ ZOOM to 1897x2158pix)
— End of Village (76x66cm; 780x692, 109kb) _ The wooden houses and the stream are Scandinavian reminiscences of the artist.
— Forest Scene with Water-Mill (1650, 73x62cm; 962x796pix, 133kb)
— 30 images at Bildindex (4 in color)
—(061107)

Died on a 08 November:

1926 Joseph Noël Sylvestre, French painter born on 24 June 1847. He studied under Cabanel. He painted battle scenes, other historical subjects, and portraits.

^ 1880 Bartholomeus-Johannes van Hove, The Hague Dutch artist born on 28 October 1790. — Relative? of Hubertus van Hove [03 May 1814 – 14 November 1865]? of Johannes Hubertus van Hove [1827-1881]? — He was trained by his father, who was a gilder and frame maker, by Joannes Henricus Albertus Antonius Breckenheijmer [1772–1856], a painter of stage scenery, and at the Koninklijke Academie van Beeldende Kunsten in The Hague. He succeeded Breckenheijmer as resident painter at a The Hague theater, the Koninklijke Schouwburg, where he became renowned for his beautiful sets, some of which have been preserved. He also produced easel paintings, chiefly townscapes. One of his best works is The Garden at Gedempte Burgwal 34 in The Hague (1828). This carefully constructed view displays skills learnt in the theater. Later in his career, in tune with general stylistic developments in Dutch art, detailed execution and subtle use of color gave way to a looser touch and a grayer palette. The Gothic Gate (1841) and View on the Zieken in The Hague illustrate this shift. As well as his townscapes, mainly featuring complex and majestic churches, van Hove also painted church interiors (Church Interior, 1844). He was a popular and capable teacher. The best-known of his students were Jan Hendrik Weissenbruch and Johannes Bosboom. Some of his other students were Charles Leickert, Wijnand Nuyen, Salomon Leonardus Verveer.
— People Near a Church in a Dutch Town (1106x841pix, 156kb) a very tall church {designed for the kind of people portrayed by El Greco?}.
–- A Dutch Town in Summer (1858, 34x48cm; 731x1080pix, 71kb)
–- A Dutch Town (33x42cm; 1426x1080pix, 191kb)
–- Dinner Time (46x38cm; 872x720pix, 69kb) the children and the cat are caught by mom as they raid the kitchen to eat the dinner ahead of time.
— The Koorte Voorhout, The Hague (1828, 37x43cm; 768x886pix, 95kb)
–- Townsfolk in a Sunlit Chuch (1836, 48x38cm; 765x612pix, 50kb) –(061107)

^ 1865 Carl Friedrich Moritz Müller “Feuermüller”, German painter born on 06 May 1807. — Not to be confused with Moritz Müller “Kindermüller” [1825-1894] nor with Fritz Müller [1814-1861]. — Father of Moritz Gustav Müller “Moritz Müller der Ältere” [08 Apr 1841 – 31 Mar 1899] who was the father of Moritz Müller der Jüngere [28 Oct 1868 – 17 Dec 1934].
— Kniende Frau mit Kindern, vom Brand beleuchtet (1835, 62x50cm; 488x380pix, 37kb) —(051107)

^ 1621 Gerolamo da Ponte “Bassano”, Italian painter born on 08 (03?) June 1566. Son of Jacopo Bassano [1510 – 13 Feb 1592]. Brother of Francesco Bassano II [07 Jan 1549 – 03 Jul 1592] and of Leandro Bassano [10 Jun 1557 – 15 Apr 1622]. Gerolamo was trained in the family workshop. In 1580 and 1581 he signed receipts for payment for the altarpiece of The Virgin with SS Apollonia and Agatha, but the skilful drawing and painting technique indicate that it was made by his father. Gerolamo studied medicine at Padua University until at least 1592, although he never finished the course.
— Natività (1615, 43x68cm; 421x615pix, 110kb) it is an Adoration by the Shepherds.
–- The Adoration by the Shepherds (95x133cm; 525x739pix, 53kb) _ The five lefthand figures ultimately derive, albeit with slight differences, from a painting by Gerolamo's father, Jacopo, in the Galleria Nazionale, Rome. Gerolamo is known to have painted variants of his father's paintings: compare his signed Adoration of the Shepherds, of upright format, which is based on Jacopo's painting in the Kunsthistorisches Museum, Vienna. The landscape in the present work is extremely close to that in Gerolamo's signed Flight of Abraham, formerly in the Aldobrandini collection until sold, Florence, Sotheby's, 18 October 1969, lot 119. —(061107)

Born on a 08 November:

^ 1876 Jean Puy, French Fauvist painter and printmaker who died on 07 March 1960. At 19 he undertook training in architecture at the Ecole des Beaux-Arts in Lyon, but he soon decided to become a painter. He studied for two years (1895–1896) under Tony Tollet (1857–>1935), a student of Alexandre Cabanel, whose essentially academic realist style gave him a sound foundation in draftsmanship. The museum and art life of Lyon likewise enriched his early years. He moved to Paris in late 1897 or early 1898 to study at the Académie Julian under the history painter Jean-Paul Laurens. Puy was dissatisfied, however, with the studio conditions, with the lack of freedom offered to students and with Laurens’s reliance on bitumen and a dark palette. After a summer in Brittany he decided instead to study with Eugène Carrière, in whose studio he found more openness and discussion among the students. There he met Henri Matisse, André Derain, and Pierre Laprade.
— Paysage (1903)
— Mme. Puy, femme de l'artiste (1909)
— Été (1906)

^ 1817 Théophile Hamel, Quebec painter who died on 23 December 1870.
— Samuel de Champlain (1870) _ Champlain [03 Jul 1567 – 25 Dec 1635] was the French explorer who founded the city of Quebec (03 July 1608). There is no authentic portrait of Champlain. This false one by Hamel, Samuel de Champlain (1854) by Ducornet [1806-1856], and most others are based on a portrait of McMichel Particelli d'Emery engraved by Balthazar Moncornet in 1654. —(050810)

^ 1725 Martin Knoller, Austrian painter who died on 24 July 1804. He was first taught by his father, Franz Knoller [–1773], and the Innsbruck painter Ignaz Pögl, then he studied at the Vienna Akademie (1751–1753) under Paul Troger and Michael Angelo Unterberger. Their influence shows in his first commission (1754), a fresco of The Glory of Saint Stephen for Anras parish church in eastern Tyrol. In 1755 Knoller went to Rome and Naples to further his training. There he came into contact with Graf Karl Joseph von Firmian who, as Imperial Governor of Lombardy, entrusted Knoller with decorating the Palazzo Firmian-Vigoni (since destroyed) in Milan. Between 1760 and 1765 Knoller was again in Rome, where the works of Pompeo Batoni, Anton Raphael Mengs and Anton von Maron had a decisive impact on him. These classicizing influences show in his Martyrdom of Saint Catherine (1763) and Martyrdom of Saint Sebastian (1765) and the altarpiece Saint Charles Borromeo among Plague Victims (1769). — Knoller's students included Andrea Appiani, Josef Bergler, Josef Schöpf, Franz Seraph Zwinck.— LINKS
— Nikolaus II. Prince Esterházy (1793, 252x175cm; 460x302pix, 27kb _ ZOOM to 1255x822pix, 146kb _ ZOOM+ to 2510x1644pix, 586kb, or same size, more kb) —(051107)

^ 1793 On l'ouvre le Louvre en tant que musée.
Louvre opens as a museum.
     After more than two centuries as a royal palace, the Louvre is opened as a public museum in Paris by the French revolutionary government. Today, the Louvre's collection is one of the richest in the world, with artwork and artifacts representative of 11'000 years of human civilization and culture.
      The Louvre palace was begun by King Francis I in 1546 on the site of a 12th-century fortress built by King Philip II. Francis was a great art collector, and the Louvre was to serve as his royal residence. The work, which was supervised by the architect Pierre Lescot, continued after Francis' death and into the reigns of kings Henry II and Charles IX. Almost every subsequent French monarch extended the Louvre and its grounds, and major additions were made by Louis XIII and Louis XIV in the 17th century. Both of these kings also greatly expanded the crown's art holdings, and Louis XIV acquired the art collection of Charles I of England after his execution in the English Civil War. In 1682, Louis XIV moved his court to Versailles, and the Louvre ceased to be the main royal residence.
      In the spirit of the Enlightenment, many in France began calling for the public display of the royal collections. Denis Diderot, the French writer and philosopher, was among the first to propose a national art museum for the public. Although King Louis XV temporarily displayed a selection of paintings at the Luxembourg Palace in 1750, it was not until the outbreak of the French Revolution in 1789 that real progress was made in establishing a permanent museum. On 08 November 1793, the revolutionary government opened the Musée Central des Arts in the Grande Galerie of the Louvre. Apart from the collections of the king and those of the Academy, it included the property stolen from the Church and from émigrés.
     After 1794, very many works of art came to the Louvre plundered by the victorious revolutionary armies, with a view to establishing a major European museum here. Masterpieces stolen from Italy arrived in Paris with great ceremony in July 1798. The sheer number of these necessitated a reorganisation of the museum, which was redecorated and inaugurated in 1800. Renamed the "musée Napoléon" in 1803, it continued to grow under the management of Vivant Denon [portrait by Prudhon], via orders, purchases and war captures. The collection was serious depleted as a result of works which were returned to the allies in 1815.
      However the Louvre's current Egyptian antiquities collections and other departments owe much to Napoléon's conquests. Two new wings were added in the 19th century, and the multi-building Louvre complex was completed in 1857, during the reign of Napoléon III.
      In the 1980s and 1990s, the Grand Louvre, as the museum is officially known, underwent major remodeling. Modern museum amenities were added and thousands of square meters of new exhibition space were opened. The Chinese American architect I.M. Pei built a steel-and-glass pyramid in the center of the Napoléon courtyard. Traditionalists called it an outrage. In 1993, on the 200th anniversary of the museum, a rebuilt wing formerly occupied by the French ministry of finance was opened to the public. It was the first time that the entire Louvre was devoted to museum purposes.

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