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Born on 09 February 1699: Étienne
Jeaurat (or Joras), French painter who died on 14 December
1789. — La véritable vocation de Jeaurat est la peinture de genre. Ses envois au Salon de l'Académie le prouvent (notre tableau a été exposé à celui de 1741 sous le numéro 19). Son répertoire est varié: pastorales, jeux d'enfant, turqueries; scènes domestiques dans la veine de Chardin ou de J.F. de Troy; scènes villageoises proches de l'art flamand. C'est dans le genre "poissard" que l'artiste, inspiré par ses amis littérateurs et sans doute aussi par les gravures de Hogarth, crée ses oeuvres les plus personnelles. Il laisse ainsi de la vie du peuple de Paris des témoignages d'un réalisme truculent. — Bain de Femmes (1741, 64x52cm) |
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Died on 09 February 1891: Johan
Barthold Jongkind, Dutch Realist painter and printmaker
born on 03 June 1819. — Jongkind's small, informal landscapes continued the tradition of the Dutch landscapists while also stimulating the development of Impressionism. — Originaire de Latrop, aux Pays-Bas, Johan Barthold Jongkind fit sortir l'art néérlandais de son provincialisme idyllique et devint du même coup l'un des plus notables précurseurs de l'évolution européenne ultérieure. Elève d'Andreas Schelfhout à La Haye et d'Isabey à Paris, il se fixa de 1855 à 1860 à Rotterdam, mais passa ensuite les trente dernières années de sa vie a Paris. Ses premières oeuvres hollandaises — surtout les représentations fluviales et marines — se distinguent cependant déjà par une atmosphère étonnamment transparente et un haut degré de luminosité. Créée en 1856, la toile intitulée Le Port de Rotterdam semble avoir pour sujet réel les teintes vaporeuses suspendues entre les objets, ainsi que les reflets de l'eau. Le coloriage de Jongkind obéissait encore aux règles de la cohésion tonale, mais dans la luminosité de ses atmosphères l'artiste dépassait jusqu'aux Français les plus hardis. A quel point il était attaché a l'inspiration puisée aux mille aspects de la nature vivante ressort aussi du fait qu'il aimait peindre et repeindre le même motif sous un éclairage different. Né exactement la même année que Colbert, et à peu près contemporain des principaux pleinairistes de l'école de Barbizon, Jongkind allait devenir, a côté de Boudin, l'un des plus grands promoteurs de l'impressionisme. Il n'a pas seulement enthousiasmé Manet, mais aussi — comme pas un autre — confirmé Monet dans son esthétique. Jongkind est mort à Côte-Saint-André, France. — LINKS — Le Pont de la Tournelle (1859) — Clair de Lune (1853) — Harbor Scene (1865, 14x23cm — Sortie du Port de Honfleur (1864) — La Jetée en bois dans le..., (1865) — Moulins en Hollande (1867) — Vue du Port à Chemin de Fer à Honfleur (1866, eau-forte 27x34cm) — Cahier de 7 Eaux-Fortes - vues... — Cahier de 7 Eaux-Fortes - vues... — The Seine and Notre-Dame à Paris (1864) — In Holland; Boats near the Mill (1868) — The Church of Overschie — Honfleur (1865, 52x82cm) _ This canvas was painted in August–September 1865, during Jongkind's third visit to Honfleur, on the Normandy coast, where Monet also worked in the early and mid-1860s. |
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Born on 09 February 1650: Jan
Verkolje (or Verkolye) Sr., in Amsterdam, Dutch painter
and engraver who was buried in Delft on 08 May 1693. Among his many students
were his sons Nicolaas [11 Apr 1673 – 21 Jan 1746] and Jan Jr., Albertus
van der Burch (1672-after 1727), the mezzotint engraver Jan van der Spriet
(active c. 1700), Willem Verschuuring (1657-1715) and Thomas van der Wilt
(1659-1733). Jan Verkolje spent six months as the pupil of Jan Andrea Lievens
(1644–80), where he completed unfinished mythological and genre pictures
by Gerrit Pieterszoon van Zijl (1619–65). Verkolje married in Delft
in 1672 and in the following year joined the city’s Guild of St Luke,
serving as its dean between 1678 and 1688. Verkolje’s genre scenes, for example The Music Party (1673), The Messenger (1674) and The Elegant Couple (1674), were influenced by Gabriel Metsu, Gerard ter Borch II and Caspar Netscher. Verkolje’s portraits commanded high prices and were greatly valued for their outstanding finish, a style more polished than that of his predecessors. His work as a mezzotint engraver was equally appreciated and sought after. On the basis of a few mezzotints made between 1680 and 1684 after the work of English artists, it is generally supposed that Verkolje lived in London at that time, although this is unproven. As a draftsman, he made precise, small cabinet pieces usually employing pen and ink with brown wash or watercolor heightened with white chalk. — LINKS — The Music Party (1673) _ Dutch painters achieved stunning naturalistic effects in pictures of various social situations, including musical companies. These artists shared an interest in using perspective to accurately describe architecture, as well as in painting refined lighting effects. Jan Verkolje was an artist who carefully examined the physical world and created pictures based on everyday life. The work of Verkolje and his peers, Johannes Vermeer and Pieter de Hooch among them, appealed to the increasingly wealthy Protestant middle class in the Netherlands, who preferred scenes that reflected their own tastes and interests, instead of paintings with religious or mythological subject matter. Here, the prosperity of Dutch society is evident in the depiction of a well-to-do young people enjoying their leisure time with music, reading, and an apparently playful conversation. A young servant carrying fruit enters the scene in the background; such servants, originally from the colonies the Dutch had established, were brought to the Netherlands and made a part of the household and raised as Protestants. The young servant, dressed as a courtier, is another symbol of middle-class affluence in seventeenth-century Dutch life. — Johan de la Faille (1674, 41x 30cm) — Margaretha Delff, Wife of Johan de la Faille (1674, 41x30cm) — The Messenger (1674, 59x54cm) |
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Died on 09 February 1675: Gerrit
Dou (or Dow, Dov), Dutch painter born on 07 April 1613.
— Dou was born in Leiden. He learned glass painting from his father and in 1628 became Rembrandt's first pupil. After some early portraits, he painted chiefly small domestic scenes characterized by minute detail — often painted under a magnifying glass — skillful chiaroscuro, and lifelike effect. Among these are A Poulterer's Shop [a fowl picture] and Evening Light. Dou's work was very popular and continued to be influential until the mid-19th century when appreciation for precision in painting declined under the pernicious influence of impressionism. — In 1628 Dou became the first pupil of the young Rembrandt van Rijn, basing his early work closely on his master's. After Rembrandt moved to Amsterdam, Dou developed a style of his own, painting usually on a small scale, with a surface of almost enamelled smoothness. He was astonishingly fastidious about his tools and working conditions, with a particular horror of dust. Some of his pictures were painted with the aid of a magnifying glass. He painted numerous subjects, but is best known for domestic interiors. They usually contain only a few figures framed by a window or by the drapery of a curtain, and surrounded by books, musical instruments, or household paraphernalia, all minutely depicted. He is at his best in scenes lit by artificial light. With Jan Steen [1625-1679] Dou was among the founders of the Guild of St Luke at Leiden in 1648. Unlike Steen he was prosperous and respected throughout his life, and his pictures continued to fetch big prices (consistently higher than those paid for Rembrandt's work) until the advent of the sloppy and lazy Impressionism influenced taste against the neatness and precision of his style. Dou had a workshop with many pupils, including Quirijn van Brekelenkam, Frans van Mieris and Godfried Schalcken. They perpetuated his style and Leiden continued the fijnschilder tradition until the 19th century. — LINKS — Self Portrait (1650) with pipe (opium pipe?) and book open to a full-page illustration (huge image). — same Self-Portrait (regular image). — earlier Self-Portrait (1638) — a later Self-Portrait (1663) — an ever later Self-Portrait (1665) — Old Woman Reading a Lectionary (Rembrandt's Mother) (1630, 71x55cm) (huge image) _ Old Woman Reading a Lectionary (Rembrandt's Mother) (regular image) _ Young Dou admired and imitated Rembrandt, his teacher, closely. He frequently used Rembrandt's schemes and paraphernalia. A comparison of his Old Woman Reading a Bible (also called Rembrandt's Mother) with Rembrandt's Old Woman Reading (1631) shows the master's superiority and the pupil's limitations. The face Dou painted is like a mask; it has a frozen surface which appears to have been over-exposed to the light. The woman is reading about the entry of Jesus into Jericho, an episode from Saint Luke's Gospel (19:1-27). The illustration shows the tax-collector Zacchaeus, who climbed into a tree to observe the event. Jesus, who is shown looking up at him, went to the man's house despite his disciples' objections to his visiting a tax-collector, for the profession was considered corrupt. To Protestants, the story proved that sinners are saved by faith (to Catholics too, but not by faith ALONE: “Zacchaeus stood up and said to the Lord, "Look, Lord! Here and now I give half of my possessions to the poor, and if I have cheated anybody out of anything, I will pay back four times the amount." [Luke 19:8] See also 1 Cor 13:2 ” if I have a faith that can move mountains, but have not love, I am nothing.” and 13:13 “these three remain: faith, hope and love. But the greatest of these is love.” and James 2:17: “faith by itself, if it is not accompanied by action, is dead.”). “He wanted to see who Jesus was, but being a short man he could not, because of the crowd. 4 So he ran ahead and climbed a sycamore-fig tree to see him, since Jesus was coming that way. 5 When Jesus reached the spot, he looked up and said to him, "Zacchaeus, come down immediately. I must stay at your house today." (Luke 19:3-5) — The Night School (huge image) _ The Night School (regular image) — Cardplayers by Candlelight (1660) _ Dou can be credited with starting a hardy vogue around the middle of the century for small pictures of nocturnal scenes lit by candlelight or lanterns, which usually throw a harsh red light. In these paintings the incident depicted — children at school, card players, a group around a table — is usually more important than the dramatic potential of the chiaroscuro. — Old Woman with a Candle (1661, 31x23cm) This painting by the pupil of Rembrandt and the founder of the Leiden school of 'fine painting' represents a type common in Leiden from the mid-1640s: the bust portrait of an allegorical figure in an architectural frame. Here the old woman is shielding a candle flame, symbol of the transience of human life. — Woman Peeling Carrot (57x43cm) _ Dou popularized the the compositional device of a figure engaged at some occupation at a window. — Officer of the Marksman Society in Leiden (1630, 66x51cm) _ The cavernous background contains all the detail of a still life in the carefully painted armor, drum, saddle and guns seen in what must be an arsenal. It is only the figure of the officer with his plumed headband which makes this a genre painting. Like most of Dou's works this picture is quite lacking in incident. The man is no more than a carefully painted object included in the picture along with the rest of the contents of the store-room. _ detail _ The artist is more interested in the still-life occupying the foreground of the painting than the the stiff figure in the background whose clothing seems to be part of the still-life. The helmet, the drum and the shield can be found in several other paintings of the artist. — Painter in his Studio (1647, 43x34cm) _ It is assumed that the painter represented is Rembrandt, the master of Dou. — The Prayer of the Spinner (28x28cm) _ — Old Woman (1645, 20x16cm) _ This small painting is part of a series painted of the same sitter who was probably the artist's mother. — A Woman (82x65cm) _ At one time this portrait was attributed to Jan Vermeer van Delft. — Old Woman Watering Flowers (1664, 28x23cm) _ Dou popularized the the compositional device of a figure engaged at some occupation at a window. — The Physician (1653, 49x37cm) _ Dou was an assistant and pupil of the young Rembrandt between 1628 and 1631. He became a master of the genre painting with a lot of still-life elements. A characteristic example of his works is The Physician — The Quack (1652, 112x83cm) _ This painting shows the characteristic qualities of the style of Dou and of the Leiden school he was to start: meticulous drawing, high or ever slick finish, and dark glossy colors — hence the name of the school: the Leiden Fijnschilders”. — Young Mother (1658) _ In 1660 the States of Holland selected Dou's Young Mother as one of the precious gifts to Charles II on the occasion of the Restoration. This picture is painted so finely as hardly to be distinguished from enamel. — The Grocer's Shop (1647, 38x29cm) _ Dou popularized the the compositional device of a figure engaged at some occupation at a window. The earliest dated one is this The Grocer's Shop. Soon after, the window motif occurs frequently in the Leiden School. The window frames quickly become more elaborate, bas-reliefs are introduced under the sills, and the windows are draped with curtains. — A Poulterer's Shop (1670) _ Signed on the sill: GDOV [Gd in monogram]. Dou popularised 'niche' pictures of this type, showing an interior seen through an aperture. The painting is a late work, probably of about 1670, and signed below the peahen. The relief on the parapet, showing children playing with a goat, is probably based on a marble bas-relief by François Duquesnoy (1597-1643), the famous 17th-century Flemish sculptor who worked in Rome. The design is also recorded on an ivory plaquette. It appears in other paintings by Dou from 1651 onwards. This painting can be compared with another work by Dou, the Grocer's Shop of 1672. |
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Born on 09 February 1950: Javier
Mariscal, dissenyador, dibuixant, pintor, i escultor valenciano.
— Mariscal estudia disseny gràfic a l'Escola Elisava i art imprès a l'Escola Eina de Barcelona. Dibuixa, edita i distribueix El Rrollo enmascarado, el primer còmic underground de l'estat espanyol (1974). Posteriorment, publica els seus dibuixos a Star, El Víbora, Cairo o Vogue. Ha realitzat tot tipus de treballs gràfics, d'illustració i publicitaris, com la creació del conegut logotip BAR CEL ONA (1979), a més de dissenys d'objectes i mobiliari, decoració i interiorisme que han tingut una difusió internacional, com la collaboració amb la firma Menphis de Milà. A partir del 1988, data en què el dibuix del seu personatge "Cobi" és triat com a mascota olímpica, participa en activitats relacionades amb el projecte de Barcelona 92. També fou autor de les mascotes "Petra", per als paralímpics, i "Nosi", per a l'Olimpíada Cultural dels mateixos Jocs Olímpics del 1992. També ha creat sèries de dibuixos animats per a la televisió, com The Cobi Troupe (1990). La seva obra plàstica ha tingut una important projecció exterior i ha donat peu a nombroses publicacions, així com a exposicions nacionals i internacionals, entre les quals destaca "100 años con Mariscal", a València i Barcelona (1988), i una mostra itinerant a la Takashimaya Art Gallery a Tòquio, Osaka, Kyoto i Yokohama. La seva obra pictòrica, de caràcter irònic i quotidià, està influenciada per la seva activitat com a illustrador. El 1987 participa en la VIII Documenta de Kassel (Alemanya). — Far de Fomentera — Vinyetes — Carros (1998) [baix]  |
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