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| BIRTH:
1856 SARGENT |
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Died on 12 January 1931: Giovanni
Boldini, Italian painter born on 31 December 1842. — Fils d'un artiste de Ferrare spécialisé dans la peinture religieuse, Boldini apprit son art à l'Académie de Florence et fit la connaissance au café Michelangelo du groupe des Macchiaioli, qui aiguisèrent son sens de la touche libre et des rapports colorés intenses. Le choix facile des sujets, une facture brillante et minutieuse, une touche onctueuse, ont concouru au vif succès qu'il connut au cours de ses séjours à Londres et à Paris (1869 - 1871), consacrant sa vocation mondaine. Fixé définitivement à Paris en 1872, il se mêla au cercle des peintres qui fréquentaient le Salon. Il commença alors la célèbre série de ses portraits parisiens. Son coup de pinceau plus libre et plus nerveux annonce son style définitif, cette manière fiévreuse et elliptique qui s'épanouira pleinement vers 1886, au moment où il devient une célébrité du monde parisien, avec ses amis le peintre Helleu et le dessinateur Sem. Au cours des décennies suivantes, les plus prestigieuses personnalités du Paris de la fin du siècle posèrent devant lui. — The Misses Muriel and Consuelo Vanderbilt — Mrs. Graham Fair Vanderbilt — Mrs. Whitney Warren, Sr (1908) — Madame X (1907) — Cafe Scene (1887) — Portrait Study of a Woman — Portrait of Whistler Asleep (1897) — Lady Colin Campbell (1897) — Count Robert de Montesquieu (1897) — Parigi di Notte — Reclining Nude (55x74cm) — Madame Charles Max - Count Robert de Montesquiou — Henri Rochefort — Cecilia de Madrazo Fortuny (115x69cm) |
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Born on 12 January 1856: John
Singer Sargent, US painter specialized in portraits, who
died on 15 April 1925. — An expatriate US national, he showed remarkable technical precocity as a painter. After studying with Carolus-Duran, he achieved a great reputation for his portraits, employing a style that could be seen as derived from Velázquez by way of Manet. Moving in the circle of the Impressionists, he came to know most of them, and they reacted to his work in varying ways. Degas, as might have been expected, was brutally dismissive; Pissarro, in sending his son to see him in London, where Sargent spent the major part of his working life, described him as `an adroit performer'; but with Monet he had a close and mutually profitable relationship. In the 1880s he began to paint landscapes that were overtly Impressionist in technique and approach, despite a certain superficiality. At this time he visited Monet at Giverny on several occasions, painting two memorable portraits of him: Claude Monet Painting at the Edge of a Wood in a Garden Near Giverny (1885, 54x65cm) and Claude Monet in his Bateau-Atelier (1887). Although Monet was later to deny that Sargent was an Impressionist, this was unjust, especially in relation to some of his works in the 1880s and 1890s. Indeed, Sargent's technique for painting large canvases out of doors, as evinced in Carnation, Lily, Lily, Rose (1886), was to be of use to Monet in his larger compositions. Sargent persuaded Monet to exhibit at the New English Art Club, and at the Leicester Galleries in London. — John Singer Sargent was a US painter who is known for his glamorous portraits of eminent or socially prominent people of the period. He was born in Florence, Italy, of US parents. He studied art in Italy, France, and Germany, receiving his formal art education at the École des Beaux-Arts and in the Paris studio of the noted French portraitist Carolus-Duran. He spent most of his adult life in England, maintaining a studio there for more than 30 years and visiting the US only on short trips. Criticized for what some believed to be a superficial brilliance, Sargent's portraits fell into disfavor after his death. Since that time, however, these same canvases have been acknowledged for their naturalism and superb technical skill. About 1907 Sargent tired of portrait painting and accepted few commissions. He then worked chiefly on European scenes in watercolor, in a notably impressionistic style. Among his more famous works are El Jaleo (1882), Madame X (1884), The Wyndham Sisters- Lady Elcho, Mrs. Adeane, and Mrs. Tenant (1899), and Boats at Anchor (1917). — Life-long US citizen. His elegant portraits created an enduring image of society of the Edwardian age. Wealthy and privileged people on both sides of the Atlantic Ocean came to his studio to be immortalized. Sargent was raised abroad and first came the United States in 1876, when he established citizenship. Serious and reserved, he had a talent for drawing, so in 1874 he went to Paris to study painting with Carolus-Duran, a fashionable society portraitist. In 1879 Sargent went to Madrid to study the works of Diego Velázquez and to Haarlem to see the works of Frans Hals. Some critics believe that his best work, in a rich, dark palette, was done in the years immediately after this trip. At the Salon of 1884, Sargent exhibited what is probably his best-known work, Madame X, (the portrait of Madame Gautreau, a famous Parisian beauty). Sargent considered it his masterpiece and was unpleasantly surprised when it caused a scandal — critics found it eccentric and erotic. Discouraged by his Parisian failure, Sargent moved permanently to London. His work was perhaps too continental and avant-garde to appeal immediately to English taste; The Misses Vickers (1884) was voted worst picture of the year by the Pall Mall Gazette in 1886. Then, however, in 1887, Carnation, Lily, Lily, Rose (1886), a study of two little girls lighting Japanese lanterns, captured the hearts of the British public, and he began to experience the phenomenal acclaim in England and the United States that would stay with him the rest of his life. After 1910 Sargent abandoned portraiture and devoted himself to painting murals and Alpine and Italian landscapes in watercolor. With stenographic brilliance, Sargent pursued transparency and fluidity beyond J.M.W. Turner and Winslow Homer, sometimes becoming Expressionistic, as in Mountain Fire (1895). Between 1890 and 1910 Sargent worked on a commission for the Boston Public Library to execute murals on a history of the Jewish people. — LINKS — A Dinner Table at Night (1884) — Study of Architecture, Florence (1910) — Caroline de Bassano, Marquise d'Espeuilles (1884, 160x105) — Beach at Capri (1878) — Trout Stream in the Tyrol (1914) — A Note (The Libreria, Venice) (1908) — Opera Scene (1890) — Cloud Study — In a Hayloft — In a Hayloft (1907) _ Fellow artists Raffaelli and Pollonera sheltering from rain in a hayloft. — Duran — McKeller — Salsbury Cathedreal — Monet Painting — Paul Helleu Sketching — Dennis Bunker — Study of Dorothy Barnard for Carnation, Lily, Lily, Rose (1886) — Boats, Venice (1908, 36x51cm) — Garden Study of the Vickers Children (1884) — Fête Familiale (1887) — Paul Helleu Sketching with his Wife (1889) |
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Died on 12 January 1938: Oscar
Florianus Bluemner, suicide, German US painter born on 21
June 1867. — Born in Prenzlau, Prussia. Studied primarily architecture and building design in Hanover, Elberfeld and Berlin. Emigrated in about 1892 to US and practiced architecture in Chicago and New York for about twenty years until he began to paint seriously under the influence of Alfred Stieglitz. Worked in New Jersey and then South Braintree, Massachusetts. Committed suicide on 12 January 1938. — Between 1886 and 1892, Oscar Bluemner attended technical high schools in Hannover and Berlin, Germany. He held two jobs as an architect before immigrating to the United States in 1892. For the next eight years, Bluemner moved between Chicago and New York, working on a variety of architectural projects. By 1900, he was married and settled in the New York City area, where he would live until 1926. Bluemner painted and sketched landscapes in Germany and America. His 1910-11 color drawings of New Jersey and New York scenes display a chromatic vibrancy equal to that of the Post-Impressionists, especially van Gogh. In 1912, Bluemner gave up architecture to devote all his energies to painting. That same year, during a seven-month stay in Europe, he had his first solo exhibition in Berlin. During 1914-15, back in America, Bluemner radically transformed his artistic conceptions and techniques, incorporating simplified architectural and landscape forms into interlocking architectonic grids of color planes; the result is brilliantly prismatic. Although the use of bright color in these works resembles that of the Synchronists and Orphists, Bluemner claimed the early nineteenth-century color theories of Goethe were more influential. In 1926, Bluemner moved to South Braintree, Massachusetts. In his late work, he abandoned the geometric grid format and his landscapes became more naturalistic. He developed a system, based in part on Goethe's principles, that ascribed meanings to specific colors, and thus fully realized the emotive symbolism he had always sought. In 1938, bedridden and in great pain as the result of an automobile accident, Bluemner took his own life. — 1867: Born Oskar Julius Blumner on June 21 in Prenzlau (Brandenburg), Prussia. Father and grandfather were itinerant builders. 1882-1886: Attends school in Hildesheim, Hanover, Elberfeld. 1887-1892: Studies at Konigliche Technische Hochschule, Berlin (Charlottenburg). Royal Medal for painting of an architectural subject. Builds theater in Glewitz and post office in Halle am Saal. 1892: To the United States aboard SS City of Chester. Design assistant at the World's Columbian Exposition, Chicago. 1893-1895: To Long Island and New York City. Sporadic employment as draftsman, bartender, and peddler. Contracts malaria. 1895-1899: To Chicago, Licensed as architect. Marries Lina Schumm. Birth of son Robert. Becomes U.S. citizen. 1900-1907: To New York City. Licensed architect (161 Columbus Avenue). Designs residences and Bronx Borough Courthouse Birth of daughter Vera. Early watercolors, sketch trips, notes ("Principles of Painting"). 1908-1910: Meets Alfred Stieglitz at The Little Galleries of the Photo-Secession (291 gallery). Considers leaving architecture for painting. |
| 1911:
Produces first fifteen oils. Begins writing in his Painting Diary Studies
of Cezanne exhibition at 291 and color theories of Chevreul, Rood, Church,
Bacon, and Bezold. 1912: Wins Bronx Borough Courthouse lawsuit and is awarded $12,500. Tours Europe (April-October). Inaugural one-man exhibitions at Galerie Fritz Gurlitt, Berlin; Leipzig Kunstverein; and Stadtliches Museum, Elberfeld. Visits Sonderbund exhibition in Cologne (review published); Kahnweiler, Sagot, and Druet galleries in Paris, and Roger Fry's second Post-Impressionist exhibition at the Grafton Galleries in London. Reads essays by Signac, Denis, and Matisse. Produces copies In museums, small watercolors, and sketchbook. 1913: Five paintings included in the International Exhibition of Modern Art (Armory Show) in New York, First of several articles for Camera Work published. 1915: Initial American solo exhibition at 291 features series of eight recent oils and related studies. 1916: Displays four oils in "Forum Exhibition of Modern American Painters," Anderson Galleries, New York. 1916-1923: To Bloomfield, New Jersey. Revises early paintings. First sales to William Bahr (Montross Gallery) and Georgia O'Keeffe (291). Begins Theory Diaries. Demonstrates interest in Oriental art, Symbolism, and Goethe's Farbenlehre. Participates in annual group shows at Bourgeois Galleries, New York. Becomes a board member of Salons of America. Transience, poverty, occasional home improvement/repair work. 1924-1926: To Elizabeth, New Jersey. Begins new series of fifty-nine watercolors Notes on philosophers Schopenhauer and Spengler. Solo exhibitions at J. B Neumann's New Art Circle and Aline Meyer Liebman's Handwork Centre, New York. Wife dies. 1926: To South Braintree, Massachusetts. Leaves many of his paintings in care of Stieglitz (Lincoln Storage, New York). 1927: Essay on O'Keeffe printed by Stieglitz. 1928: One-man exhibition,''Suns, Moons, Etc. Facts and Fancy Strains or Moods" at The Intimate Gallery, New York. 1929: "Twenty New Oil Paintings on Panels," Whitney Studio Galleries, New York. Joins Boston Society of Independent Artists. 1930-1931: '" Modern American Watercolors," Newark Museum, Develops "Casein-Varnish" paintings. Cat "Florianus" dies. Falls out with Stieglitz for favoring "native" artists; makes new arrangements with J. B. Neumann. 1932: Included in first "Biennial Exhibition of Contemporary American Painting," Whitney Museum of American Art, New York (purchase). Unsuccessful application for Guggenheim Fellowship. 1933: Joins Public Works of Art Project (P.W.A.P.), New England Region. "FLORIANUS" adopted as middle name and signature. 1934: Holds "smallest one-man show" (Self-Portrait) at Morton Gallery, New York. Participates in "Public Works of Art Pictures," Labor Department, Washington, D.C. 1935: "Landscape Paintings by Oscar F. Bluemner Compositions for Color Themes" shown at Marie Harriman Gallery, New York, and the Arts Club of Chicago. Invited to submit single works to "Abstract Painting In America," Whitney Museum of American Art, New York and "Second Biennial Exhibition of Paintings of Today," Worcester Art Museum and St Louis Art Museum. 1936: Suffers from falling health. Begins last paintings and "Sonnet" drawings. 1937: Plans retrospective exhibition, University Gallery, University of Minnesota, Minneapolis (held in 1939). Reviews and organizes all records. 1938: Commits suicide on January 12. — LINKS — Color Study for the painting Moonlight on a Creek (1929, 18x12cm) — Color Study (1926) — Azure (1933, 91x130cm) — Paterson Centre (Expression of a Silktown) — Venus — Violet Tones |
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