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DEATH:
1682 LE LORRAIN
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| ^ Born
on 23 November 1883: José Clemente Orozco,
Mexican Social Realist muralist who died on 07 September 1949. — Orozco contributed to the revival of fresco technique, design, and subject matter, and is regarded as one of the foremost mural painters in the western hemisphere. Orozco was born in Zapotlán del Rey, Jalisco State, and educated at the National Autonomous University of Mexico. In 1922 he became one of the leaders of the Syndicate of Painters and Sculptors that sought to revive the art of fresco painting, under the patronage of the Mexican government. Orozco's most important early work was a series of frescoes for the National Preparatory School in Mexico City, commemorating the revolutionary uprisings of peasants and workers in Mexico. Between 1927 and 1934 he worked in the United States. There he executed a set of murals entitled The Dispossessed at the New School for Social Research in New York City. In Pomona College, Claremont, California, he painted a fresco on the theme of the Greek hero Prometheus. His mural panels for the Baker Library at Dartmouth College depict the history of America in the Coming of Quetzalcoatl, the Return of Quetzalcoatl, and Modern Industrial Man. In the 1930s he painted his great murals in Mexico City and Guadalajara, and in the 1940s he explored on canvas the unique style, marked by diagonals and neutral color, that he already had conveyed in his murals. In his later years, Orozco's simple, dramatic style became more expressionistic; his subject matter remained the suffering of humanity. Orozco died in Mexico City. — José Clemente Orozco, pintor y muralista mexicano. — LINKS — Los Muertos — Paisaje de Picos — American Civilization - The Gods of the Modern World: detail, post-Cortes section (1932, fresco) — Prometheus — Zapata — Cactus — |
| ^ Died
on 23 November 1682: Claude Gellée “Le Lorrain”,
French painter born in 1600, one of the great masters of ideal-landscape
painting (often containing classical ruins and figures) — Claude's career spans almost the entire century - his earliest datable works are from the end of the 1620s - and he witnessed almost all the main changes of artistic style during his long stay in Rome. Some details of his early life are known, but they add up to very little in the search for his artistic origins. Orophaned at 12, he left his native Lorraine for Rome in 1613, Claude spent the next decade of his life learning his art. Nothing survives from this period. In 1626 he returned to Lorraine and was apprenticed to Claude Deruet for one year. After completing this one-year apprenticeship he returned to Rome. Claude's earliest surviving pictures have usually been dated to around 1630, although he did not begin to keep accurate records until the mid-1630s. Then he decided to keep a record of every picture he painted, in the form of the Liber veritatis, in which, after he had completed a painting, he made a careful drawing of the composition and noted the buyer on the back. He thus documented some two hundred pictures over almost fifty years. Claude's achievement as a pioneer in landscape painting has earned him a place in the pantheon of art history. He was widely imitated for almost two centuries, and therefore often produces in the popular imagination a feeling of déjà-vu, especially in his best-known compositions. Claude's powers of innovation were in fact limited — he concentrated on a very narrow range of tones in a very narrow landscape type. Once he had perfected his technique, he did not develop much further deliberately; his work was too eagerly sought after by powerful patrons for him to need to do so. — LINKS — Seascape with Aeneas on Delos (1672) — View of Tivoli at Sunset (1644) — Landscape with Cowherd (or Evening) (56x80cm) — 129 prints at Fine Arts Museums of SF — |
| ^ Born
on 23 November 1861 (05 Dec Julian): Constantin Alexeyevich
Korovin, Russian painter who died on 11 September 1939. — Korovin was born in Moscow into the family of businessmen. His grandfather, a self-made man was the founder of the family business; his father, Alexey Mikhailovich, after graduating from the University had to go into business as well, though he never liked it and was more interested in art and music. As a result, soon after the grandfather’s death the family went bankrupt and had to move into the country. Constantin and his younger brother, Sergey, also a future artist, were brought up in an artistic atmosphere, they received drawing and painting lessons since their childhood. In 1875, Constantin entered the Moscow School of Painting, Sculpture and Architecture, among his teachers were I. Pryanishnikov, E. Sorokin, V. Perov, and A. Savrasov. “These fair and kind teachers left deep traces in my soul. They are all dead now; and I remember them with admiration and a sad love; they seem alive, before me, these pure and honest people…” At School Korovin became friends with I. Levitan. In 1881-1882, Korovin spent a year at the Academy in St. Petersburg, but returned disappointed to Moscow. That year a new professor came to the Moscow School, a distinguished painter Vasily Polenov, who impressed his students not only with his painting but also with his knowledge and enthusiastic attitude towards contemporary Western art, especially French. Korovin stayed with the new teacher at the Moscow School until 1886. Polenov introduced his student to the famous patron of arts Savva Mamontov and his Abramtsevo group. The group included artists who favored the school of national romanticism in Russia. They were the first in the country to stage operas, produce experimental architectural works and design books in the new (‘neo-Russian’) style. They projected the image of a universal artist: painter, furniture and tableware designer, designer of stage costumes and settings, architect. With Polenov’s recommendation S. Mamontov invited Korovin to work for his private opera. Thus Korovin got engaged with theater, for which he worked till the end of his life. Korovin was the first to introduce the Impressionist style on stage. In 1885, Korovin made his first of many trips to Paris and Spain. “Paris was a shock for me… Impressionists… in them I found everything for what I was scolded back at home, in Moscow.” In 1888, Korovin traveled with S. Mamontov to Italy, then visited Spain, where he painted one of his best works In Front of the Balcony: Leonora and Ampara. The artist traveled widely within Russia, Caucasus and Central Asia, exhibited with the Itinerants’ Society of Traveling Exhibitions (“Wanderers”), painting in an Impressionist and later an Art Nouveau style. In the 1890s, Korovin became very active in the World of Art group (“Mir Iskusstva”). These artists adopted a new aesthetic approach to the world’s artistic heritage; they popularized the traditions of folk art and of Russian art of the eighteenth and early nineteenth centuries. In 1896, Korovin designed, to great acclaim, the pavilion of the All-Russian Exhibition of Arts and Crafts at Nizhnii Novgorod. In 1900, he designed the decorations for the Central Asia section of the Paris World Fair; the same year he was awarded the Legion of Honor. At the beginning of the twentieth century Korovin began to take a more close interest in the theater Working for the Bolshoi theater he upheld new principles in designing operas and ballets. His evolution as a stage artist is directly linked to his mature painting. The peculiar features of the Russian Impressionist school became increasingly pronounced in his works of this period: the predilection for decorative effects, the emphatically expressive coloristic solutions and the pronounced romantic note. Korovin’s subjects were quite diverse, they included townscapes and rural landscapes, portraits and still lifes. The first years of the 20th century were undoubtedly the peak of his creative career. In 1905, Korovin received the title of the Academician of Painting, and in 1909-1913 taught at the Moscow School of Painting. In 1923, Korovin left Russia never to return. He spent the last 15 years of his life in France supported by Shalyapin, he worked for theater as a stage designer. He also became famous as a book illustrator, but this period is obviously inferior to his former achievements. He died in Paris. Constantin Korovin always protested against attempts to place him into any artistic school or movement. Nevertheless he became the first Russian Impressionist painter, moreover, he was the creator of the national variant of this International school. — Portrait of Korovin by Serov (07 Jan 1865 – 22 Nov 1911) — LINKS — the Actress Titiana Liubatovich (1885) — Northern Idyll (1886) — the Opera Singer Fiodor Shaliapin (1905) — Pier in Gurzuf (1914) |
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