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| DEATH:
1837 GÉRARD |
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Born on 11 January 1503:
Girolamo Francesco Maria Mazzola “Parmigianino”
“Le Parmesan”, Italian Mannerist
artist who died on 24 August 1540. ^top^ — Parmigianino (Girolamo Francesco Maria Mazzola), Italian painter of the Mannerist school. He was born in Parma and studied there with Correggio. One of the chief disciples of Correggio's sensuous style, he blended it with the classical style of the Roman painter Raphael. About 1523 Parmigianino went to Rome, from which he fled to Bologna in 1527, after the sack of Rome by the armies of Holy Roman Emperor Charles V. In Bologna he painted some of his finest works, including the Madonna and Child with St. Margaret and Other Saints.. He returned to Parma in 1531 and began the frescoes of the Church of Santa Maria della Steccata, left unfinished at his death in 1540. The Madonna with the Long Neck (1535) and Cupid Sharpening His Bow are among his principal works. Also a distinguished portrait painter, and one of the first Italian etchers, Parmigianino painted studies of the Italian navigators Christopher Columbus and Amerigo Vespucci and a Self~Portrait in a convex mirror (1523) — LINKS — Self~Portrait in a convex mirror (1523, 24cm diameter) — Madonna dal Collo Lungo (1535, 216x132cm) — Cupid Carving his Bow (1533, 135x65cm) — The Conversion of St Paul (1552, 177x128cm) — Rest on the Flight to Egypt (1524, 110x89cm) |
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Died on 11 January 1837: baron François
Pascal Simon Gérard, French artist born on 04 May
1770. — Gérard was one of the most accomplished students of Jacques-Louis David to emerge during the 1790s. Best known for his portraits, he carried on the tenets of David's classical teaching into the 1830s. Gérard was born in Rome and spent his childhood in Italy where his father served as an administrator under the French ambassador to the Holy See. After his family returned to Paris, he apprenticed to the sculptor J.-B. Pajou and then the painter Nicholas-Guy Brenet before entering David's studio in 1786. Gérard took second place in the Prix de Rome of 1789 but did not compete further. Illustrations for works by ancient authors published by Didot Freres helped him support his family during the Revolution. He exhibited at the Salons of 1791 and 1793 but drew particular attention for his Belisarius at the Salon of 1795 and his portraits from the later 1790s. Napoleon confirmed his fame with commissions for official portraits and decorations on the theme of Ossian for his home at Malmaison, and there followed a series of large history paintings, such as the Battle of Austerlitz of 1810. Commissions continued under Louis XV111, and his Henry IV Entering Paris. Much honored and decorated, Gérard continued to paint until his death in 1837 although his work declined in quality after about 1830. — LINKS — Comtesse de Morel-Vinde and her Daughter (or The Music Lesson) (1799, 201x143cm) |
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Born on 11 January 1549: Francesco
Giambattista da Ponte Bassano, Italian Mannerist
painter who committed suicide by throwing himself out of a window on 03
July 1592. — His father, Jacopo Bassano, was the most celebrated member of a family of artists who took their name from the small town of Bassano, about 65 km from Venice (original name: Jacopo da Ponte). Francesco the Younger had three painter brothers: Gerolamo (1566-1621), Giovanni Battista (1553-1613), and Leandro (1557-1622). They continued their father's style. Francesco and Leandro both acquired some distinction and popularity working in Venice. — Jacopo Bassano and Francesco Bassano jointly painted Christ in the House of Mary, Martha, and Lazarus (1577, 98x126cm) _ Beginning in the mid-1570s the Bassanos, father and son, specialized in Biblical scenes or allegories in which they stressed genre details over narrative content. In these pictures they marketed what they knew best –– life in the countryside around the provincial town of Bassano. This image of Christ being welcomed into the house of Mary, Martha, and Lazarus emphasizes not the protagonists but the exaggerated abundance of foodstuffs and utensils and the preparations for a sumptuous meal. The Bassanos favored nocturnal scenes with a variety of light effects, using glowing colors and scintillating highlights to increase the sense of material reality. |
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Born on 11 January 1936: Eva
Hesse, German US Minimalist
painter and sculptor who died on 29 May 1970. — The artist who did the most to humanize Minimalism without sentimentalizing it was Eva Hesse. Dying of brain cancer at thirty-four, an age at which most artist's careers are barely under way, she left a truncated body of work but one of remarkable power: an instrument of feeling that spoke of an inner life, sometimes fraught with anxiety... Spurred by the examples of Joseph Beuys, Claes Oldenburg, and Jean Dubuffet, Hesse grew more and more interested in what usually didn't pertain to sculpture. Backing away from its 'male' rigidity, which included the high-style rhetoric of Minimalism, she allowed her fascination with the 'female' and the inward, including what was grotesque and pathetic, to enlarge. The phallic mockery in Hesse's work can be comically obscene: black salamis wound with string, slumping cylinders of fiberglass. Even when it looks entirely abstract, her work refers to bodily functions. Hang Up, 1965-66, looks at first like a query about illusion and reality - the big rectangular frame hanging on the wall with no picture in it, but with a loop of steel tube spilling onto the gallery floor and connecting the frame's top left to its bottom right corner. But again, there's a fleshy metaphor. Both tube and frame are wrapped in cloth, like bandaged parts of a patient, and the tube might be circulating some kind of fluid. Blood? Lymph? Fantasies? Even in absence, the body is somehow there, as an ironically suffering presence; the title phrase, “Hang-Up”, means both what you do to pictures and (in 'sixties slang) a mental block, a neurosis. However, Hesse wasn't an art martyr and her images are very much more than mere enactments of illness or oppression. They reflect on identity, sometimes with wry wit or an angry fatalism; but to see Hesse as a precursor of 'victim art' does her a disservice. She never wanted to see her work smugly categorized as 'women's art.' Quite the contrary; Hesse wanted it to join the general discourse of modern images, uncramped by niches of gender or race. 'The best way to beat discrimination in art is by art,' she brusquely replied to a list of questions a journalist sent her. 'Excellence has no sex.' Very old-fashioned of her, by today's standards of cultural complaint. — LINKS — One More than One |
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