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DEATHS:
1525 ALBERTINELLI — 1741 PELLEGRINI
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BIRTHS:
1751 FÜGER — 1619 DE KONINCK
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Died on 05 November 1525: Mariotto
Albertinelli, Florentine painter born on 13 October 1474.
— Albertinelli was trained by Cosimo Rosselli, in whose studio he met Fra Bartolomeo. The two went into partnership in 1508, but soon after this Albertinelli temporarily abandoned painting to become an innkeeper, saying (according to Vasari) that he was fed up with criticism and wanted a 'less difficult and more cheerful craft'. Vasari also says he was a 'restless man, a follower of Venus, and a good liver.' His paintings are elegant but rather insipid. His best work is the Visitation (1503). — LINKS — Visitation (1503, 232x146cm) _ Mariotto Albertinelli, the pupil of Cosimo Rosselli, ran a workshop with Fra Bartolomeo, and like him shared an interest in the painting of Perugino, whose illuminating example is apparent in this work, unanimously considered to be his masterpiece. However, we cannot fail to notice also the monumentality of the figures and the geometrically divided landscape, influences, these, of Fra Bartolomeo. The spatial breadth is still characteristic of Perugino, but the narrative content is more vigorous. — Annunciation (1503, 23x50cm) — Birth of Christ (1503, 23x50cm). — Circumcision (1503, 23x50cm) The predella of the altarpiece with the Visitation shows these three stories from the life of Christ. Despite the small size of the three compartments, Albertinelli succeeds in constructing austere, essential spaces which display a great formal balance. The small, full figures are firmly and vigorously placed in scenes which respect the most rigorous perspective laws of the Florentine Quattrocento. |
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Born on 05 November 1751: Friedrich-Heinrich
Füger, Austrian painter, a fahionable portraitist and
respected master of his period. He died on 08 December 1818. — As director of the Academy in Vienna he guarded the rigid system of Classicism against the new tendencies. He was the master of several Hungarian painters and he worked in Hungary, too. He executed portraits for the Haller family and altarpieces for Pannonhalma. — LINKS — Portrait of János Batsányi (1808, 68x51cm) _ János Batsányi was a significant poet of the age of Hungarian Enlightenment, and he was a member of the Hungarian Academy of Science. _ Batsányi János (1763-1845) a magyar felvi-lágosodás egyik legjelentosebb költoje. A jako-binus mozgalomban való részvétele miatt börtön-büntetést, majd Napoleonnak a magyarokhoz intézett kiáltványa fordításáért számuzetést szen-vedett. Mind a költo, mind felesége, a népszeru bécsi költono, Baumberg Gabriella, viszontag-ságos életük során mindig a legjobb osztrák muvészekre; bízták arcvonásaik megörökítését. Így képmásukat Friedrich Heinrich Füger mellett Vinzenz Georg Kininger és Johann Niedermann is megfestette. A Füger mellképen a költoi hivatásra utaló attribútumok, a háttérben elhelyezett köny-vek nem játszanak túlságosan nagy szerepet, hogy a jellemábrázolás legfontosabb tényezoje az arc minél teljesebben érvényesülhessen. Ezt emeli ki haj szürkéje, a nyakravaló fehérje és a sárgásbarna drapéria is. A balról beeso fény a plaszticitást fokozza. A bécsi klasszicizmus jeles mestere Batsányi képmásával az egyik legszebb magyar íróarcképet alkotta meg — |
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Died on 05 November 1741: Giovanni
Antonio Pellegrini, Italian painter born on 29 April 1675.
— Born in Venice. Pupil of Ricci and Pagani. 1716 painter to Prince-Elector of the Palatinate, traveled to Antwerp, the Hague (painted ceiling of the Mauritshuis), England.Died in Venice 05 November 1741 (or possibly up to 3 days earlier) — Venetian decorative painter, who was a pupil of Sebastiano Ricci and one of the most important of Tiepolo's predecessors. Like Pittoni, he worked for many foreign patrons and travelled widely. He was first recorded as a painter in 1703 and soon after this he married the sister of Rosalba Carriera, who mentions him in her diary on several occasions. In 1707 Lord Manchester went on an embassy to Venice; he commissioned a picture to celebrate the event from Carlevaris and brought Pellegrini and Marco Ricci back to London with him in 1708. Pellegrini soon had considerable success and became a Director of Kneller's Academy in 1711. Pellegrini 'painted prodigious quick, had a very noble and fruitfull invention' which may be seen in the decorations at Kimbolton Castle (now a school), done for Lord Manchester, or in the decorations at Castle Howard (1709, mostly destroyed in 1941). In these decorative series Pellegrini shows that he was a true precursor of Tiepolo in the lightness and gaiety of his touch which contrasts with the duller history painting of Pittoni. In 1713 he went to Germany and Flanders; returning to England in 1719 when he was less successful because Marco Ricci had sent for his uncle Sebastiano, who was generally agreed to be a better painter. Pellegrini also painted a splendid ceiling for the Bank of France (since destroyed) in Paris, decorated the Great Hall in the Mauritshuis in The Hague (1718), and worked in Prague, Dresden and Vienna. There is a sketch of 1710 which may represent his design for the cupola of St Paul's for which 'he made several designs and a moddle for painting the Cupolo at St Paul's for which he was paid tho' he had not the cupolo to paint'. — LINKS — Sacrifice of Iphigenia . — Allegory of Painting (1730, 143x132cm) — Allegory of Sculpture (1730, 142x132cm) _ Very early in his career, Giovanni Antonio Pellegrini, considerably influenced by Luca Giordano, absorbed the examples of Magnasco and Sebastiano Ricci and turned his style towards a refined decorative freedom in airily elegant works of pure rococo taste; and through his stays in several European artistic centres London, Düsseldorf, The Hague, Antwerp, Paris, Prague Dresden and Vienna, his work gained a certain popularity. The Allegory of Sculpture and the Allegory of Painting belong to his last years. They are an interweaving of the lightest of figural rhythms, a coloured web of impalpable, rarified weightlessness, shot through with silvery transparencies which recall the pastels of the artist's sister-in-law, Rosalba Carriera. Like hers, the paintings of Pellegrini are emblematic of the skin-deep spiritual frivolity of a part of the eighteenth century — |
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Born on 05 November 1619: Philips
de Koninck (or Koningh) — Dutch painter who died on 04
October 1688. — Dutch painter, the best-known member of a family of artists. He studied with his brother Jacob (1614/15-after 1690) in Rotterdam, and he was also a pupil of Rembrandt in Amsterdam, where he settled in 1641. Although he painted various subjects (the poet Vondel praised his portraits and history pictures) his fame now rests on his landscapes. He specialized in extensive views, and his work has a majesty and power that rivals the similar scenes of Ruisdael; the National Gallery in London has four outstanding examples. Like many Dutch painters he had a second occupation; he ran a prosperous shipping firm and evidently painted little in the last decade of his life. His wealth enabled him to collect drawings. He was a prolific draughtsman himself and his sketchy penmanship can be deceptively close to Rembrandt's. — Among his contemporaries, Philips Köninck (also Coning, Coningh, Coningh, Koning, Konnink) was known as a figure painter, specializing in portraits, genre and religious scenes. But nowadays he is known and praised as a landscape-painter. Philips was born in Amsterdam, the son of a successful goldsmith, and trained in the studio of his brother Jacob, a painter, who taught him from 1639 to 1641 in Rotterdam. Subsequently he returned to Amsterdam, where he lived for the rest of his life. Köninck was a wealthy man, owning a company, which operated horse-drawn passenger barges between Rotterdam and Amsterdam. He seems to have been a friend rather than a pupil of Rembrandt but he was certainly influenced by the great master in his manner of rendering biblical subjects. Köninck’s landscapes are characterized by a high viewpoint and a sky, which occupies at least half of the picture space. They are cloudscapes as much as extensive landscapes. Wide stretches of flat or slightly hilly land under a great expanse of sky are the realistic view of Holland. Waterways and paths intersect the land; houses are dotted in the foreground. These landscapes were mostly carried out in warm, brown-yellow tones. The landscape with a high sky was particularly in favor in the 1650s and 1660s, not only in the work of Köninck, but also in that of Jacob van Ruisdael and also in the etched landscapes of Rembrandt. — LINKS — Distant View with Cottages Lining a Road (1655) — Wide River Landscape — Distant view in Gelderland (1655) — Adoration of the Magi — Panoramic landscape (1665) — Plain in Holland (1670) — The baptism of the Chamberlain — — Dutch Landscape Viewed from the Dunes (1664, 122x165cm) If Koninck's development had stopped in the middle of the seventeenth century, he would be remembered as a talented Rembrandt follower. But from about 1649-50 until around 1665 he created a series of very large panoramic views in a distinctive personal style. They are closely related to the classical phase of Dutch landscape painting and are amongst the great glories of Dutch art. — An Extensive Landscape with a Hawking Party (132 x 160 cm) The human figures on the painting were executed by J. Lingelbach. — Panorama View of Dunes and a River (1664, 94 x 120 cm) Philips Koninck was a member of Rembrandt's entourage. His drawings and early painted landscapes show that he learned from Rembrandt. However, by the middle of the century he began to paint large panoramic views that are independent of the master's style. They rank with the most grandiose of the age. Where Molenaer and Houckgeest more or less assumed a specific viewing position outside the pictorial space, and Saenredam's perspective suggests looking from within it, many landscape painters positioned the beholder in undefined or even impossibly high positions. Koninck often suggested such a bird's-eye view in his sweeping panoramas of Dutch fields and rivers beneath imposing skies. The absence of one fixed viewpoint implies that the viewer is seeing an objective record of a city or landscape, recorded without human intervention. It has been suggested that, by positing such a freely surveying eye, these landscapes resemble the exquisite maps produced in great variety and quantity in the Dutch Republic. The maps depicted in genre scenes, hung on walls like paintings, indeed indicate that seventeenth-century viewers did not make the modern distinction between paintings as "art" and maps as "knowledge." — An Extensive Landscape with a Road by a Ruin (1655, 137 x167cm) Among his contemporaries, Philips Koninck was known as a figure painter, specializing in portraits as well as in genre and religious scenes, rather than as a landscapist as he is known today. He was born in Amsterdam, the son of a successful goldsmith, and trained in the studio of his brother, Jacob, who worked in Rotterdam. Subsequently he returned to Amsterdam, where he lived for the rest of his life. Koninck was a wealthy man, owning a company which operated trekschuiten (horse-drawn passenger barges) between Rotterdam and Amsterdam. He seems to have been a friend rather than a pupil of Rembrandt but he was certainly influenced by him in his manner of painting(and drawing) biblical subjects. Koninck's landscapes are characterized by a high viewpoint and a sky which occupies at least half of the picture space. They are cloudscapes as much as extensive landscapes. He emphasizes the flatness of Holland, a more realistic approach than, for example, that of Aelbert Cuyp, who attempts to make his landscapes more varied by the inclusion of hills and mountains taken from his imagination rather than from his observation of the Dutch countryside. The landscape with a high sky was particularly in favour in the 1650s and 1660s, not just in the work of Koninck, but also in that of Jacob van Ruisdael and also in the etched landscapes of Rembrandt. This painting of 1655 is an outstanding example of Koninck's landscape art. The colours, which in some of his canvases have sunk into uniform browns and greys with the passage of time, are particularly vivid and the painting is remarkably well preserved. — Village on a Hill (1651, 61 x 83 cm) Koninck is one of the last generation of Dutch landscape painters. In the 1660s, there was a general tendency to "upgrade" the various genres. During this period, the interiors of Vermeer and de Hooch became increasingly elegant, and even the still-lifes were freighted with "noblesse". In the work of Koninck, this trend even affected the landscapes, in which he positioned courtly figures and palatial architecture. In the 1650s, by contrast, when Koninck was at the height of his creative powers, he produced landscapes of exceptional purity, bringing the flat panoramic landscape to its greatest perfection. A soft and golden light is cast across the flat countryside, illuminating things that are, in themselves, uninteresting: sandy dunes, the occasional tree, some water, a village. There is nothing remarkable or jarring. The sensation is where the brown earth is bathed in sunlight to a golden hue. Koninck was influenced by Rembrandt's landscape painting, which represents a chapter in its own right within his enormous oeuvre. Rembrandt's influence is evident in the golden-brown tone of his paintings and in the way Koninck occasionally integrates unexpected and fantastic objects such as a glittering bridge spanning the water, a ruin or a fairy-tale castle. |
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