with Fruits (600x849pix _ ZOOM to 1400x1982pix, 458kb)
— Still-Life with Flowers and Fruit (56x74cm) _ detail _ This still-life represents a masterly display of technical ability placed in the service of a poetic and melancholy reflection on nature. De Heem was a Dutchman who worked in Antwerp with his father, Jan Davidszoon de Heem.
— Still-Life with Flowers (1660) _ The success of Jan Davidsz. de Heem's flower pieces won him many students and imitators both in Flanders and in the northern Netherlands, and occasionally it is difficult to separate his hand from works done by his followers. His son Cornelis de Heem can come dangerously close to his father, like in this picture.
— Vanitas Still-Life with Musical Instruments (after 1661, 153x166cm) _ The artist belonged to the second generation of the famous dynasty of still-life painters. He spent his youth in Leiden and as demonstrated by this work, he established close connection with the Leiden school of painting. This splendid painting invokes the memory of the golden age of Dutch still-life painting. The sumptuousness of the instruments is especially fascinating. Most prominent among them is the six-stringed, inlaid viola da gamba leaning against the chair, with a lion's head for decoration and an "S" shaped sound hole (more characteristic of violin). Next to it on the ground are two types of lutes, a trumpet, a flute and a mandolin; in a chair on the left, a violin, a bagpipe and a small pocket violin. On the table, richly laid with fruits and golden objects, are the traditional symbols of Vanitas. To illustrate the transitoriness of pleasures gained from wealth, plentitude and eating and drinking, there is an up-ended wine jug from which its content have spilled onto the ground, symbolizing that earthly pleasure is short-lived and man will return to dust. In this context the instruments are symbols of physical love. Next to them the painter depicted a snail on the ground. It was generally believed that this animal was born of mud, thus it became the symbol of sin. In contrast, the ivy crawling up the wall in the background promises immortality. The peach, melon and fig, since they are cut open and their seeds are revealed, symbolize reviviscence and resurrection. This image make the message of the painting less somber, although its warning intent is unmistakably recognizable.

^ Born on 08 April 1861: Irving Ramsey Wiles, US painter, mostly of portraits, who died in 1948.
—     Born in Utica, New York, Irving Wiles was educated at the Sedgwick Institute, Great Barrington, Massachusetts. He learned the basics of art from his father, Lemuel Maynard Wiles [1826-1905], who maintained a studio on Washington Square in New York City, and then studied in New York City for a year in 1879 at the Art Students League under Thomas Wilmer Dewing [1851-1938], J. Carroll Beckwith [1852-1917], and William Merritt Chase [1849-1916]. The fledgling school, incorporated the year before, had recently added several new instructors to its staff, including Chase who had just returned from Munich. Wiles continued his studies in Chase's opulent Tenth Street Studio, where he was exposed to European paintings, including Chase's own copies of the old masters.
      Encouraged by Chase and other League instructors, Wiles decided to complete his studies abroad in 1882. In Paris, he continued his training in drawing at the École des Beaux-Arts, at the same time pursuing a more direct approach to painting under the guidance of Sargent's teacher, Carolus-Duran. He went to Paris for a year as a student of Carolus-Duran [1838-1917] and Jules Lefebvre [1836-1911]. He also studied under Léon Bonnat and Ernest Hebert.
      When Wiles returned to New York in 1883 he supported himself as an illustrator, and in 1884, he also assumed a post at the Art Students League. In 1887, he opened his studio at 103 West Fifty-fifth Street, where he gave painting lessons. He also assisted at his father's art school in Upstate New York at Silver Lake, where regular classes were held each summer through 1894. During the 1890s, with a "free, dashing style," he established himself as a portrait, landscape, and genre painter in New York. He won numerous prestigious prizes in New York and at the Paris Salon. He was one of eight painters commissioned by the National Art Committee to paint the history of World War I. He also did a portrait of William Jennings Bryan. In about 1895, he and his father began conducting summer art classes on the North Fork of Long Island, and subsequently Irving purchased land and built a studio at Peconic and was there until his death.
— In 1879 Irving Ramsey Wiles followed his father's advice and moved to New York. He entered the Art Students League, where he spent two years studying under Thomas W. Dewing, J. Carroll Beckwith, and William Merritt Chase, who was to become his friend and mentor. He went to Paris in 1882, and spent his first months there at the Academie Julian under the direction of Gustave Boulanger and Jules Joseph Lefebre, before being admitted to the private atelier of Emile Auguste Carolus-Duran.
      After returning to the US in 1884 Wiles resumed study at the League, and began to exhibit at the National Academy of Design, the American Water Color Society, and, from 1886 until 1906, the Society of American Artists. Wiles supplemented his income by producing illustrations for Harper's Magazine, The Century Magazine, and Scribner's Monthly. From 1884 to 1894 he spent summers operating the Silver Lake Art School at Ingham, New York, with his father. Shortly after his return to the US he won a number of prestigious awards, including a bronze medal at the 1893 Chicago World's Columbian Exposition.
      Wiles was elected an associate member of the National Academy of Design in 1889, and became a full member in 1897. Beginning in the early 1890s, Wiles achieved recognition for his fashionable interior genre scenes and society portraits of women and children. His professional reputation was assured after 1902, when his portrait of the actress Julia Marlowe was exhibited at the National Academy. From then until the late 1920s, when old age and ill health forced him to retire, Wiles received portrait commissions from the US's most wealthy and socially prominent citizens. Highly competent in the field of male portraiture, he was one of eight US artists selected in 1919 by the National Art Committee to paint portraits for a pictorial history of World War I.
      Toward the end of his career Wiles was noted for the plein-air land and seascapes he painted at his home in Peconic, Long Island, where he died in 1948.
      Along with John White Alexander and Cecilia Beaux, Wiles was one of the most popular US portraitists active during the first quarter of the twentieth century. He was an exponent of grand manner portraiture as it had been redefined during the late nineteenth century by John Singer Sargent, Giovanni Boldini, and James Whistler. Wiles produced convincing likenesses without detracting from them by placing undue emphasis on technical virtuosity. Like Sargent, he was influenced by the expressive painterly technique of Hals and Velasquez, and his style bears the strong imprint of Chase. Although he freely incorporated impressionist color and brushwork into his technique, Wiles remained a conservative artist who never became associated with any of the avant garde movements that developed during his lifetime.

— LINKS
— The Sonata (1889, 112x67cm; 1/3 size, 160kb _ ZOOM to 2/3 size, 646kb)
— Mrs. Edward W. Redfield (91x71cm)
— Marie Antoinette (1910, 66x96cm)
— Sunshine and Shadow (1895, 34x41cm) [below] _ It was auctioned for $207'500 on 03 December 2002 at Phillips de Pury & Luxembourg in New York. ($8779 placed at 3% annual interest starting on 03 December 1895 would have grown to that much by then, but at 6% $407 would have sufficed.)
— Miss Julia Marlowe, (1901, 188x140cm) — Her Leisure Hour (1925, 69x57cm)
— The Absinthe Drinkers (1887, 46x61cm; 470x640pix, 55kb)
— Interior (61x56cm; 480x512pix, 27kb) — Russian Tea (122x92cm)
— Young Girl (1914, 23x18cm drawing) — Seated Nude (36x30cm)
— Scallop Boats, Peconic (1910) — The Wharf, Greenport (1890, 25x35cm)
— Regret – A Summer Idyl (36x30cm; 520x450pix, 61kb) _ a young woman, sitting on the steps of a house, facing a garden with an empty chair and flowers.

Sunshine and Shadow, by Wiles

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Died on a 08 April:

1928 Madeleine Jeanne Coll Lemaire, French artist born in 1845.

^ 1703 Domenico Piola, Italian painter born in 1627. At age seven, Domenico Piola learned to paint from his brother. After he reached maturity around 1650, the Piola family monopolized the market for the decoration of Genoese ceilings for nearly a century, though most of their ambitious projects have since been destroyed. The studio, know as Casa Piola, grew to include Piola's younger brother, his brother-in-law, his three sons, and his two sons-in-law. The comprehensive studio unified the design and production of the various elements of decorated ceilings: drawing, painting, stucco, and sculpture. They guided large decorative projects with a series of drawings, from careful studies of details through compositional sketches to full-scale cartoons. The Piolas also supplied designs for sculptors and for craftsmen in wood, ceramics, and metalwork. A prolific draftsman, Domenico Piola designed many prints, mostly frontispieces for books, which spread his fame throughout Europe. Piola derived his mature style from Giovanni Benedetto Castiglione's undulating figures, streamlined twisting draperies, and diagonal compositions. His son-in-law encouraged his use of bright colors and strongly foreshortened figures. They frequently collaborated, wedding a grand Baroque manner with Correggio's sfumato to create rich, festive, illusionistic scenes. By century's end, Piola was absorbing the new classicizing style. — LINKS — Assumption of the Virgin (1676, 294x194cm) _ One of the mature works of the artist; it shows the plasticity of a sculpture group. — Immaculate Conception (1683, 345x221cm) _ The painting represents the scene when the Virgin, crowned by the Eternal Father, crushes the head of the demonic serpent. At scarcely lighted lower right corner the scene of Adam and Eve tempted by the serpent can be seen. — Vanity (156 x 64 cm) _ The iconography of the painting is doubtful, it is also assumed by scholars that it represents Truth. — Janus and Hercule with Peace (1675) _ In the second half of the 17th century a strong interaction between sculpture and decorative painting can be observed in Genoa. The figures of this fresco can be compared with the sculptures of Pierre Puget executed in Genoa in the same period.

^ 1654 Lorenzo Garbieri “il Nepote”, Bolognese painter born in 1580. He was a follower of Ludovico Carracci, creating a more rigid yet at times powerfully expressionist style in response to the master’s emotionalism. His closeness to his teacher can be seen in the early fresco, Lamentation (1602), and in the Flagellation that forms part of the Mysteries of the Rosary traditionally attributed to Carracci himself. Later Garbieri painted the Stoning of St Stephen, scenes from the Life of Jacob (1606–1614) and the scenes from the Life of St Carlo Borromeo (1611), in which Carracci’s classicism is transformed into a stiffer academicism. The harsh, austere style of these works, which include striking nocturnal scenes, movingly evokes the world of the poor; they were perhaps indebted to the painter’s contacts with Caravaggio, both through his awareness of Lionello Spada and through direct knowledge of Caravaggio’s Incredulity of St Thomas, which was then in the Lambertini house in Bologna and which Garbieri copied. With his nocturnal scenes of the Deposition and the Entombment, painted after a visit to Loreto in 1609, Garbieri created deeply moving works of true expressive power, which are among the finest Emilian paintings of that period. His style softened in his later years, as in The Healing of the Blind Man. His bright clear light is reminiscent of Giovanni Lanfranco and Sisto Badalocchio’s reinterpretation of Correggio’s style, as, for example, in the Adoration of the Shepherds, and in the scenes from the Life of the Virgin (1613–1614). But later, in the scenes from the Life of St Felicity (1613–1626) and in the Circe, his tense, rhetorical style brings new dramatic power to the stylistic inheritance of Ludovico Carracci.

Born on a 08 April:

1866 Fritz Mackensen, German painter who died in 1953. After attending the academies in Düsseldorf and Munich, in 1889 he moved to Worpswede, a village on the moors that he had visited regularly from 1884. The simple life of the peasants and bare landscape led Otto Modersohn [1865-1943], Hans am Ende, and others to join him, forming the Worpswede Colony. He was thus part of the 19th-century movement that was rooted in the rejection of classical academic study, concern at the alienation of people from their environment by industrialization, the romantic move ‘back to nature’ and (in Mackensen’s case) also in long-established nationalistic feelings. His quiet, clearly grasped representations of peasants engrossed in daily work reveal his ideal of a unity of humankind with nature, but they are still far removed from the poor conditions of reality. This may be the reason for Mackensen’s rapid rise to popularity with the bourgeoisie. He achieved fame with his large painting Religious Service on the Moor (1895), in which a group of serious people in their Sunday clothes listens to a sermon in front of a row of peasant cottages.

1859 Stanislaw Polian Wolski, Polish artist who died on 02 May 1894.

1830 Jean Antoine Bail, French painter who died on 20 October 1919. He was largely self-taught, but he received some training at the Ecole des Beaux-Arts in Lyon before showing the intimate, monochromatic Artist’s Studio at the Salon there in 1854. He subsequently showed works at the Paris Salon, beginning in 1861 with The Cherries, and he exhibited at the Salon of the Société des Artistes Français, Paris, until 1898. He was recognized by contemporary critics as the artist who best exemplified the realist tradition in provincial themes. He used models who posed in his studio on the Ile St Louis for his paintings of cooks and maids, and many of his interior scenes, with their intimate figural groupings and close attention to detail, display an awareness of Chardin and Dutch 17th-century painting. Sensitive portraits such as the Member of the Brass Band (1880) demonstrate his ability to suggest the character of his sitters. He was the father of Franck Bail [1858-1924] and Joseph Bail [22 Jan 1862 – 26 Nov 1921]

^ 1605 Lodewyk de Vadder, Flemish painter who died on 10 August 1655. — LINKS

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jor work combining his minotaur and bullfight themes; in it the disemboweled horse, as well as the bull, prefigure the imagery of Guernica, a mural often called the most important single work of the 20th century.
Guernica
      Picasso was moved to paint the huge mural Guernica shortly after German planes, acting on orders from Spain's authoritarian leader Francisco Franco, bombarded the Basque town of Guernica on 26 April 1937, during the Spanish civil war. Completed in less than two months, Guernica was hung in the Spanish Pavilion of the Paris International Exposition of 1937. The painting does not portray the event; rather, Picasso expressed his outrage by employing such imagery as the bull, the dying horse, a fallen warrior, a mother and dead child, a woman trapped in a burning building, another rushing into the scene, and a figure leaning from a window and holding out a lamp. Despite the complexity of its symbolism, and the impossibility of definitive interpretation, Guernica makes an overwhelming impact in its portrayal of the horrors of war.
      In 1936, Picasso had begun an affair with Dora Maar [1909~], a Surrealist painter and photographer. Their affair overlapped his liaison with Marie-Thérese Walter. Since Dora was brought up in Argentina, the two could speak Spanish to each other. She photographed the progress of Guernica, showing the different stages of the work, and participated in the private reading of Picasso's play Desire Caught by the Tail. With the end of WW II came the end of their relationship; later, she had a nervous breakdown.
World War II and After
      Picasso's palette grew somber with the onset of World War II (1939-1945), and death is the subject of numerous works, such as Still Life with Steer's Skull (1942) and The Charnel House (1945). He formed a new liaison with the painter Françoise Gilot [1921~], whom he met and seduced in May 1943. The two began living together in 1946; they had two children, Claude [15 May 1947~] and Paloma [19 Apr 1949~]. Picasso was most active in the Communist Party during the span of this relationship, Picasso was most active in the Communist Party, which he had joined on 05 October 1944. Gilot, ambitious and sick of living in Picasso's shadow, left him and took the children in September 1953. Picasso, although he had several artist-mistresses — before Gilot, there had been Olivier and Maar — was always dismissive of women artists. For him, women were, as he famously remarked, either "goddesses or doormats." Gilot, it seems, preferred leaving him to becoming a "doormat" ex-muse. She later wrote Life with Picasso (1964) and Matisse and Picasso: A Friendship in Art; and in 1970 married Jonas Salk [28 Oct 1914 – 23 Jun 1995], developer of the polio vaccine. Claude and Paloma appear in many works that recapitulate Picasso's earlier styles. [Françoise Gilot with Claude and Paloma (1951)]
      The last of Picasso's mates to be portrayed was Jacqueline Roque, a young divorcée with a small daughter, whom he met in 1953, and who moved in with him in June 1954. In 1955 they moved together to a villa called La Californie, at Cannes; then, looking for someplace quieter, they moved in September 1958 to the Château de Vauvenargues. After Koklova's 11 February 1955 death, Picasso was free to marry again; Jacqueline and Picasso had a quiet marriage ceremony on 02 March 1961 and stayed together until his death. Later she committed suicide.
Late Works
      Many of Picasso's later pictures were based on works by great masters of the past — Diego Velazquez, Gustave Courbet, Eugene Delacroix, and Edouard Manet. In addition to painting, Picasso worked in various media, making hundreds of lithographs in the renowned Paris graphics workshop, Atelier Mourlot. Ceramics also engaged his interest, and in 1947, in Vallauris, he produced nearly 2000 pieces. Picasso made important sculptures during this time: Man with Sheep (1944), an over-life-size bronze, emanates peace and hope, and She-Goat (1950), a bronze cast from an assemblage of flowerpots, a wicker basket, and other diverse materials, is humorously charming. In 1964 Picasso completed a welded steel maquette for the 18.3-m sculpture Head of a Woman (unveiled in 1967). In 1968, during a seven-month period, he created an amazing series of 347 engravings, restating earlier themes: the circus, the bullfight, the theater, and lovemaking. Picasso died in his villa Notre-Dame-de-Vie near Mougins.

— LINKS
— Self~Portrait 012 — Self~Portrait 013 — Self~Portrait (1899) — Self~Portrait (1940)
— Self~Portrait 721 — Self~Portrait 722 — Self~Portrait 1896 — Yo, Picasso (1901)
— Self~Portrait (1899) — Self~Portrait nn — Self~Portrait — Self and Monster
— Tragedy — Stravinsky — Crucifixion — Nude Boy — Boy With Dog — Guernica (detail)
— Saint Antoine et Pierrot — Absinthe Drinker — Déjeuner Sur l'Herbe (après Manet)
— Mort de Marat — Première Communion — Paulo en Pierrot (1925) — Pierrot (1915)
— Jeunes Filles au Bord de la Seine (après Courbet) — Boy Leading a Horse — Burial of Casagemas (1901) — Chat Saisissant un Oiseau (1939, 81x100cm) — Le Coq de la Libération (1944) — La Corrida (1934, 33x41cm) — Les Demoiselles d'Avignon — La Femme au Corbeau — Helmut — Jacqueline (1964) — Le Tub — Maya Holding Doll — Nude in Red Armchair — The Old Guitarrist (1903, 122x82)
— Pipes of Pan — Chapeau à Plume — Sabartes con su Cerveza — Famille de Saltimbanques
— Daniel~Henry Kahnweiler (1910, 101x73) — Composition With Skull (1908, 116x89cm)
— Igor Stravinsky — Ulysse et les Sirènes — Ambroise Vollard (1910, 92x65cm)
— Women Running on the Beach (1922) — Femme dans un Fauteuil (1908, 116x89cm)
— Françoise, Claude and Paloma (1951) — Françoise, Claude and Paloma (1954)
— Paloma and Claude, Children of Picasso (1950) — Claude et Paloma [dans leurs autos-jouets] (1950, 118x145cm)
— Claude, Son of Picasso (1948) — Claude en costume polonais (23 Oct 1948, 120x50cm)
— Claude à deux ans avec son cheval à roulettes (09 Jun 1949, 133x98cm)
— Claude écrivant (11 Jan 1951, 46x38cm).
— Paloma Picasso (1956) — Paloma Playing with Tadpoles (1954) — Paloma with Celluloid Fish (1950)
— Girl with a Boat (Maya Picasso) (1938) — Maya, Picasso's Daughter with a Doll (1938)
— a different Maya with a Doll (1938)
— Online Picasso project: one-page-per-year-(or quarter) biography, 6060 tiny (not more than about 400x400 pixels) images.

^ Born on 08 April 1631: Cornelis Janszoon de Heem, Dutch painter specialized in Still Life who died on 17 May 1695, son of Jan Davidszoon de Heem, brother of Jan Janszoon de Heem [bapt. 02 Jul 1650 – 1695].
— Dutch painter, son of Jan Davidszoon de Heem [1606-1684], one of the greatest Baroque painters of still life in Holland whose most numerous and characteristic works are arrangements of fruits, metal dishes, and wine glasses; compositions of books and musical instruments; and examples of the popular "vanity of life" theme, with such symbolic articles as skulls and hourglasses. Cornelis de Heem, was not quite the equal of Jan. Jan's younger brother, David Davidsz. de Heem, and Jan's eldest son, David Janszoon de Heem, were also well-known painters.

— LINKS
— A Swag of Fruit and Flowers (56x81cm; 1/3 size _ ZOOM to 2/3 size)
— Still-Life with Fruits (600x849pix _ ZOOM to 1400x1982pix, 458kb)
— Still-Life with Flowers and Fruit (56x74cm) _ detail _ This still-life represents a masterly display of technical ability placed in the service of a poetic and melancholy reflection on nature. De Heem was a Dutchman who worked in Antwerp with his father, Jan Davidszoon de Heem.
— Still-Life with Flowers (1660) _ The success of Jan Davidsz. de Heem's flower pieces won him many students and imitators both in Flanders and in the northern Netherlands, and occasionally it is difficult to separate his hand from works done by his followers. His son Cornelis de Heem can come dangerously close to his father, like in this picture.
— Vanitas Still-Life with Musical Instruments (after 1661, 153x166cm) _ The artist belonged to the second generation of the famous dynasty of still-life painters. He spent his youth in Leiden and as demonstrated by this work, he established close connection with the Leiden school of painting. This splendid painting invokes the memory of the golden age of Dutch still-life painting. The sumptuousness of the instruments is especially fascinating. Most prominent among them is the six-stringed, inlaid viola da gamba leaning against the chair, with a lion's head for decoration and an "S" shaped sound hole (more characteristic of violin). Next to it on the ground are two types of lutes, a trumpet, a flute and a mandolin; in a chair on the left, a violin, a bagpipe and a small pocket violin. On the table, richly laid with fruits and golden objects, are the traditional symbols of Vanitas. To illustrate the transitoriness of pleasures gained from wealth, plentitude and eating and drinking, there is an up-ended wine jug from which its content have spilled onto the ground, symbolizing that earthly pleasure is short-lived and man will return to dust. In this context the instruments are symbols of physical love. Next to them the painter depicted a snail on the ground. It was generally believed that this animal was born of mud, thus it became the symbol of sin. In contrast, the ivy crawling up the wall in the background promises immortality. The peach, melon and fig, since they are cut open and their seeds are revealed, symbolize reviviscence and resurrection. This image make the message of the painting less somber, although its warning intent is unmistakably recognizable.

Sunshine and Shadow, by Wiles

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