e acudían los flamencos afincados en Sevilla durante el siglo XVII. San Andrés era patrón de borgoñones y flamencos. Roelas traduce un momento de transición en el arte sevillano, que evoluciona desde el Manierismo hasta el Barroco. Los rasgos predominantes en este lienzo así lo confirman, pues combina una serie de personajes de rostros crispados y movimientos agitados, que muy bien recuerdan lienzos de medio siglo anterior. Pero por otro lado, la luz dorada y uniforme, los colores cálidos de matices dorados, el rompimiento de ángeles en el cielo y el naturalismo de las expresiones están hablando del nuevo estilo que se impone entre los artistas españoles del momento. — Pentecostés (1615, 363x329cm; 443x393pix, 143kb gif _ ZOOM to 886x786pix, 82kb)


Born on a 23 April:

1927 Manuel Rivera, Spanish artist who died in 1994. He studied drawing and painting at the Escuela de Artes y Oficios in Granada in 1941 and from 1944 at the Escuela de Bellas Artes in Seville. In 1951 he moved to Madrid, where he painted a succession of murals that were to have a decisive influence on his subsequent work. He turned to abstraction c. 1953 and soon after abandoned traditional materials in favour of metallic surfaces to identify his work. In 1957 he joined the El Paso group. In the following year he began to use open frames, over which he stretched wires and wire mesh to create different spatial levels and the appearance of a spider’s web, as in Metamorphosis (Self-portrait) (1961; London, Tate); critics began to refer to these works as ‘transparent sculptures’, although Rivera continued to think of them as paintings. From 1965 he introduced a wide range of colors and began to use reflective surfaces for works, to which he gave the generic title of Mirrors.

^ 1861 Carl Moll, Austrian painter who died on 12 April 1945.— [Moll did not have a moll?] [Heureusement que ses parents ont décidé de ne pas l'appeller Bernard, Bertrand, Blaise, Barnabé, Barthélémy, ou Baudoin: il aurait été B. Moll et serait peut-être devenu musicien.] — Moll studied (1880–1881) at the Akademie der Bildenden Künste in Vienna but had to abandon his course because of ill-health. Subsequently he studied privately with the Austrian painter Emil Jakob Schindler [1842–1892], and in 1895 he married Schindler’s widow and became the stepfather of her daughter, later Alma Mahler. From 1888 he exhibited in the Künstlerhaus in Vienna but did not become a member until 1892. In 1897 he joined the Vienna Secession. He became one of its leading organizers, working on the magazine Ver sacrum and taking responsibility for most of the exhibitions of foreign artists, including the French Impressionist exhibition of 1903. In 1900–1901 he was president of the Secession, leaving it along with the Klimt group in 1905. In 1908–1909 he took part in the Vienna Kunstschau, and until 1912 he was an adviser at the Galerie Miethke in Vienna. He was active in helping the young painters Oskar Kokoschka, Anton Kolig and Franz Wiegele. In 1930 he published a monograph on Schindler. — Aus meinem Atelier (1906, 100x100cm)

1842 Fritz Beinke, German artist who died on 16 December 1907. — [When he was learning drawing and asked whether he should use pencil or ink, was he told: “Let it be ink, Beinke.”?]

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— The Russell Sisters (1858, 92x74cm) — The Schoolmaster's Daughter (1870, 85x110cm)
— The Duet (oval 77x64cm) — Sentiment (76x63cm)
— Miss Martineau's Garden (1873, 31x47cm) — Rosalind (79x66cm)
— Ophelia (64x76cm) _ This half-length Ophelia looks more like a child than a woman capable of the attentions of the thirty-year-old Hamlet. Ophelia, wreathed in flowers and holding a pansy ("that's for thoughts"), is more puzzled — even vacant — than mad. Sant's keep-sake portrait is clearly aligned with the tradition of a young, vulnerable, and delicate Ophelia.
^ Born on 23 April 1833: Antoine Vollon, French Realist painter of still life, landscapes, and figures, who died on 27 August 1900. — [Il aurait fini mal si, au lieu d'une carrière de peintre, il avait écouté les chenapans qui lui disaient: “Nous voulons: volons, Vollon.” Il aurait été mis au violon.]
— He was born in Lyon, son of an ornamental craftsman. Apprenticed to an engraver on metal, he also began to paint, self-taught. He studied at the École des Beaux-Arts in Lyon from 1850 to 1853, under the engraver Vibert, then worked as a decorator of enamelled pans and stoves. Vollon moved to Paris in 1859 with the intention of becoming a painter. He met Ribot [1823 – 11 Sep 1891], and began by painting still life under his influence and that of the Dutch 17th century still-life painters; later also became a friend of Alexandre Dumas, Carpeaux, Daumier, and Daubigny. Vollon exhibited at the Paris Salon from 1864. Best-known for his still lifes, he also painted a number of landscapes in Marseille, Le Tréport and elsewhere. Vollon died in Paris.
— Having worked for a maker of enameled metalwork and an engraver, Vollon attended the École des Beaux-Arts in Lyon (1850–1852), where he won awards in printmaking. He subsequently copied 18th-century paintings for industrial design. He had begun to concentrate on his own work by 1858 and joined a group of Romantic artists based in Lyon, including Francis Verney [1833–1896], Fleury Chenu [1833–1875], Joseph Ravier [1832–1878] and Joseph Bail [22 Jan 1863 – 26 Nov 1921] and Jean Antoine Bail [08 Apr 1830 – 20 Oct 1919]. In 1859 Vollon moved to Paris, where he met the Realist painters François Bonvin [22 Nov 1817 – 19 Dec 1887] and Théodule Ribot, who encouraged him to paint genre and still-life scenes. Until 1863 he earned government stipends for copying pictures in the Louvre (e.g. Ribera’s Adoration by the Shepherds); that year he exhibited at the Salon des Refusés. He achieved public recognition in 1864 after his genre piece Kitchen Interior, one of two paintings accepted at the official Salon, was purchased by the state. In 1865 he earned a Salon medal for Interior of a Kitchen, a genre scene inspired by Chardin and 17th-century Dutch art. Vollon was best known for his still-lifes, in which he frequently depicted objects stored in his studio. Painted in a vigorous style, these range in palette from pastels to vibrant reds. In the rich coloring and sumptuous effects of Curiosities Vollon demonstrated his love of metallic surfaces, armor and elegant porcelains. He exhibited at the Salon until 1880 and was admitted to the Académie des Beaux-Arts in 1897. His son Antoine [12 May 1865 – 1945], who worked under the name Alexis Vollon, painted genre scenes and still-lifes and exhibited at the Salon from 1885. He won a few awards but did not achieve the success of his father.

— LINKS
— Self-Portrait (41x33cm) — Vue d'Anvers (1871, 74x 93cm)
— A Still Life with a Basket of Flowers, Oranges and a Fan on a Table (49x61cm)
— A Still Life with a Bowl of Fruit — (95x65cm)
— Portrait of a Man (61x50cm) — Motte de Beurre (1885).
^ Died on 23 (24?) April 1774: Christian Wilhelm Ernst Dietrich (or Dietricy), German painter and etcher born on 30 October 1712. — [Did he eat a rich diet, or was the family fortune made by running a fat farm?]
— Dietrich spent most of his life in Dresden, where he became a Professor at the Academy in 1764, and where he died. A diverse and eclectic artist, he painted pastiches of, for example, Watteau, Salvator Rosa, Adriaen van Ostade and Rembrandt; he also decorated Meissen porcelain and practiced as an etcher. He died in Dresden.
— Born in Weimar, he received his first training from his father, Johann Georg Dietrich [1684–1752], a court painter at Weimar, and, at the age of 13, was sent to Dresden to study under the landscape painter Johann Alexander Thiele [1685–1752]. In 1728 they traveled to Arnstadt to paint landscapes for stage sets. In 1730 Thiele presented his student to Frederick-Augustus I, Elector of Saxony, as a prodigy. Frederick-Augustus appointed Dietrich court painter and entrusted him to his minister Heinrich, Graf von Brühl, for whom he worked on some decorative paintings.
      From 1732 he used the name ‘Dietricy’ to sign his paintings. He traveled in Germany from 1734 and may have visited the Netherlands, the source of his artistic inspiration. He returned from his travels in 1741 and was appointed court painter to Frederick-Augustus II, Elector of Saxony, (King Augustus III of Poland), who sent him to Italy in 1743 to study. Dietricy visited Venice and Rome but returned to Dresden in 1744. In 1748 he was appointed Inspector of the Gemäldegalerie in Dresden, which had recently become more influential because of important purchases from Italy. The following period saw Dietrich at the height of his success, and his works were in demand all over Europe.

— LINKS
— Seesturm und Schiffbruch I (801x1099pix, 65kb — ZOOM to 1201x1649pix, 248kb)
— Seesturm und Schiffbruch II (883x1198pix, 80kb — ZOOM to 1178x1598pix, 215kb)
— Himmelfahrt Christi (1048x570pix, 78kb)
— La Transverberation de Sainte Thérèse (75x60cm)
— The Wandering Musicians (43x33cm, signed and dated, bottom right: Dietricij fecit 1745) _ The style is an imitation of Adriaen van Ostade's. Dietrich himself later made an etching of the composition as did his friend, the engraver Jean-George Wille. In 1761, he painted a pendant showing a woman selling cakes.
— Felsige Landschaft mit Wasserfall (1752; 430x542pix, 50kb)
^ Born on 23 April 1775: Joseph Mallord William Turner, British Romantic landscape painter and engraver who died on 19 December 1851, specialized in landscapes and maritime scenes, considered by the French Impressionists as having given art a turn that impressed them.
— Turner's expressionistic studies of light, color, and atmosphere were unmatched in their range and sublimity. His marine paintings are particularly notable.
— William Turner was born in Maiden Lane, Covent Garden, London, sometime in late April or early May 1775 (although the artist himself liked to claim that he was born on 23 April, Saint George's Day and coincidentally Shakespeare's birthday).
— One of the finest landscape artists was J.M.W. Turner, whose work was exhibited when he was still a teenager. His entire life was devoted to his art. Unlike many artists of his era, he was successful throughout his career.
      Turner was born in London. His father was a barber. His mother died when he was very young. The boy received little schooling. His father taught him how to read, but this was the extent of his education except for the study of art. By the age of 13 he was making drawings at home and exhibiting them in his father's shop window for sale.
      Turner was 15 years old when he received a rare honor--one of his paintings was exhibited at the Royal Academy. By the time he was 18 he had his own studio. Before he was 20 print sellers were eagerly buying his drawings for reproduction. He quickly achieved a fine reputation and was elected an associate of the Royal Academy. In 1802, when he was only 27, Turner became a full member. He then began traveling widely in Europe.
      Venice was the inspiration of some of Turner's finest work. Wherever he visited he studied the effects of sea and sky in every kind of weather. His early training had been as a topographic draftsman. With the years, however, he developed a painting technique all his own. Instead of merely recording factually what he saw, Turner translated scenes into a light-filled expression of his own romantic feelings.
      As he grew older Turner became an eccentric. Except for his father, with whom he lived for 30 years, he had no close friends. He allowed no one to watch him while he painted. He gave up attending the meetings of the academy. None of his acquaintances saw him for months at a time. Turner continued to travel but always alone. He still held exhibitions, but he usually refused to sell his paintings. When he was persuaded to sell one, he was dejected for days. In 1850 he exhibited for the last time. One day Turner disappeared from his house. His housekeeper, after a search of many months, found him hiding in a house in Chelsea. He had been ill for a long time. He died the following day.
      Turner left a large fortune that he hoped would be used to support what he called “decaying artists.” His collection of paintings was bequeathed to his country. At his request he was buried in St. Paul's Cathedral.
      Although known for his oils, Turner is regarded as one of the founders of English watercolor landscape painting. Some of his most famous works are Calais Pier, Dido Building Carthage, Rain, Steam and Speed, Burial at Sea, and The Grand Canal, Venice.
— Turner is renowned especially for his dynamic treatment of natural light effects in land and marine subjects. His work is of direct importance in the development of impressionism.
      Turner was born in London and educated at the Royal Academy of Arts. At the age of 15 he exhibited his paintings at the academy and continued to show his work there until 1850. He was elected an associate of the academy in 1799 and a full member three years later. He traveled widely throughout his career, extensively touring England and Scotland and later France, Switzerland, and Italy. In 1807 he became professor of perspective at the Royal Academy and in 1845 was appointed deputy professor. Turner's early paintings were predominantly watercolors and his subjects mostly landscapes. By the late 1790s he had started exhibiting his first oil paintings, eventually transferring to the oils the same vibrance of color that had proved so successful in his watercolors. His mature work falls into three periods.
      During the first period (1800-20) Turner painted many picturesque mythological and historical scenes in which the coloring was subdued and details and contours were emphasized. He was influenced by the 17th-century French landscape painter Claude Lorrain, notably in the use of atmospheric effects, as in The Sun Rising Through Vapor (1807), and in the treatment of architectural forms, as in Dido Building Carthage (The Rise of the Carthaginian Empire) (1815). Turner also produced numerous engravings for his unfinished collection Liber Studiorum (1806-19).
      The paintings of the artist's second period (1820-35) are characterized by more brilliant coloring and by diffusion of light. In two of Turner's best works, Bay of Baiae with Apollo and the Sibyl (1823) and Ulysses Deriding Polyphemus (1829), his use of light lends radiance to the colors and softens architectural and topographical forms and shadows. During this period he also executed a number of illustrations for books on topography and a collection of watercolors depicting Venetian scenes.
      Turner's artistic genius reached its culmination during his third period (1835-45). In such works as Snow Storm: Steam Boat Off a Harbor's Mouth (1842), Peace – Burial at Sea (1842), and Rain, Steam and Speed - The Great Western Railway (1844), he achieved a vibrant sense of force by presenting objects as indistinct masses within a glowing haze of color. Some of the forces represented are the strength of the sea and the rhythm of rain. Other famous works of this period include The Fighting Téméraire (1839), The Sun of Venice Going to Sea (1843), and The Approach to Venice (1844). Turner died in London.
—      Turner was only fourteen years old when he was admitted to the Royal Academy Schools. He started his career by painting watercolors and producing mezzotints under the strong influence of John Robert Cozen's work. Then, in 1796, he launched into oil painting, working in the neoclassical manner of Richard Wilson and Nicolas Poussin, with results that found wide acclaim. He exhibited his first picture Fishermen at Sea (1796) in the Royal Academy exhibition in 1796. He was elected an Associate in 1799 and in 1802 a full member of the Royal Academy. Turner was one of the most prolific painters of his time. He traveled extensively in England, Scotland and Ireland, and also on the Continent (France, Belgium, Holland, Germany, Italy).
      In 1802, he visited Paris for the first time, where he studied the Old Masters in the Louvre, above all Dutch seascapes and Claude Lorrain's compositions, which lastingly influenced him. Turner's first private showing, at his own house, took place in 1804. During this period, thanks to the increasing concentration on the atmospheric effects of light, his original style began to evolve, a process that culminated during trips to Italy between 1819 and 1829.
      Like the works of Constable, Turner's seemingly effortless watercolors and oil sketches were based on impressions of nature. But his perception of the world differed vastly from Constable's. Turner's pictures transcend ordinary appearances, conveying a visionary sense of the forces at work in the universe.
     In his atmospheric depictions of shipwrecks and natural disasters such as The Shipwreck (1805), Snow Storm: Hannibal and His Army Crossing the Alps (1812), A Storm (Shipwreck) (1823), Shipwreck off Hastings (1825), Fire at Sea (1835), Snow Storm - Steam-Boat off a Harbour's Mouth (1842) reality and fantasy merge and color is used to metaphorically evoke the power of natural phenomena. By abandoning form or merely outlining it, Turner lent color autonomy and endowed it with a power of its own. This achievement was to be especially influential on XX century art. Turner's other best works are The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory (1808), The Decline of the Carthaginian Empire (1817), Childe Harold's Pilgrimage (1823), A Ship Aground (1828), The Fighting Téméraire Tugged to Her Last Berth to Be Broken up (1838), Peace - Burial at Sea (1842), The Dogana, San Giorgio, Citella, From the Steps of the Europa (1842), Light and Color (Goethe's Theory) - The Morning after the Deluge - Moses Writing the Book of Genesis (1843), Rain, Steam and Speed - The Great Western Railway (1844).
— MORE — and yet MORE — 28~page biography

— LINKS
— Self-Portrait (1799) _ This is a Romantic self-image. Turner's eyes are rock-steady, piercing, almost like a bird's. All about him are shadows and mystery. With his unkempt hair, his white neckerchief and silver waistcoat, he paints himself as a hero, staring us down unblinkingly. By painting himself head-on, however, Turner also does his best to minimize the effect of his huge nose. This feature was captured far more cruelly in a profile portrait of him at the age of 17 by George Dance, in which, with his long hair and homely features, Turner looks like a French revolutionary hooligan. He is a revolutionary in this painting, too, but an intellectual and aesthetic one. By depicting himself in tenebrous, intense isolation, he sets himself apart as an artist with a mission.
      It is superbly dramatic. The unlit background sets him off and seems empty, as if it were deep space and he were a star. He is all light: his blond hair, ruddy cheeks, scarf and waistcoat glow. As a self-portrait, it is also distinctive in what it leaves out. Painters tended to depict themselves in the act of painting. That is how we see Sir Joshua Reynolds in his Self-Portrait (1749) or William Hogarth in his from 1757. Yet Turner does not even hold a brush. In this painting, like Rembrandt in many of his self-portraits, Turner shows himself as just a face and a mind, without any social or professional attributes. The comparison with Rembrandt is surely intended. The shadowiness around Turner and his glowing flesh seem to emulate the Dutch master. By painting himself in this way, Turner asserts that art takes place in the head. His art is one not of appearance but of imagination. He does not show you something, but provokes you to imagine it. This portrait is a manifesto for the way his works try to awaken the inner eye.
      Although Rembrandt provided plenty of models of self-portraits as a young man, it is his late Self-Portrait at the Age of 63 (1669), of which this portrait's sombre intensity reminds you. James Barry's Self-Portrait (1802) and Goya's Self-Portrait (1815), are equally brooding. But the closest analogy for the heroic presence Turner lends himself is in contemporary portraits of Napoleon — for whom Turner had a certain sympathy, as can be seen in War: The Exile and the Rock Limpet..
— War. The Exile and the Rock Limpet (1842, octagon 79x79cm) This painting is a pair to Peace - Burial at Sea. Here, Turner embodies the idea of war in the figure of Napoleon, seen in exile and under guard on Saint-Helena against an apocalyptic sunset. He is watching, and thinking about, the limpet which, in spite of its tiny size and enforced habit of attachment, is at least free to live its natural existence. Much derided when first exhibited, Turner’s painting is best seen as an attempt to come to terms with the dominant forces of his time: war itself, and the flawed genius who had waged it so widely and destructively.
— Peace - Burial at Sea (1842, 87x87cm; 733x705pix, 90kb _ ZOOM) This painting is the companion to War – The Exile and the Rock Limpet. Whereas War is epitomized by Napoleon, Peace shows the deep and solemn calm of the funeral of Turner's friend and colleague, the painter David Wilkie. He had died on board ship while returning from the Middle East in 1841, and was buried at sea off Gibraltar. Critics disliked the harsh blackness of the ship's sails, but Turner defiantly said “I only wish I had any color to make them blacker”.
— The Unpaid Bill (The Dentist Reproving his Son's Prodigality) (1808, 59x80cm) _ In the manner of David Teniers. It is the earliest known British picture of the interior of a dentist's surgery at the start of the 19th century. It is a scene that few people at the time are likely to have seen, for there were only some 40 dentists in London and 20 in the rest of England. It was auctioned on 27 November 2002 at Christie's in London, having been estimated at about £250'000.
— The Grand Canal, Venice (1830, 77x127cm; 1/6 size, 86kb _ ZOOM to 1/3 size, 322kb _ ZOOM++ to 2/3 size, 1149kb) _ This could have been titled Impression, Sunshine; but then, what would Monet in 1872 have called this?
— The Lagoon in Venice (24x34cm; full size)
— View of Kenilworth Castle (1830, 29x45cm; half~size _ ZOOM to full size)
— Landscape (23x29cm)
— A Canal Tunnel Near Leeds (25x41cm) — Mountain Stream, Coniston (26x36cm)
— Fishermen at Sea (1796, 91x122cm) _ Turner made his debut as an oil painter with this picture, in the Royal Academy Exhibition of 1796. In the work we look southwards towards the Needles, the group of rocks that extends along an east-west axis off the western end of the Isle of Wight. Yet we would not be able to see the southern coast of the Isle of Wight in the far distance if we looked from the selfsame viewpoint in reality, for it would stretch away to the left. Clearly Turner has ignored the constraints of literalism and brought Freshwater Bay and St. Catherine's Point into the picture so as to intensify our understanding of the relationship of the Needles to the adjacent island, as well as to create a more interesting background. In doing so he was probably following the injunctions of Reynolds to synthesize his landscape from the best features of several viewpoints, thus transcending the 'Accidents of Nature'. Such an interpretation is supported by the generalized title which does not specify a particular place.
      The depiction of the sea demonstrates a mystery of both particularities and generalities. The understanding of the first can be seen in the way that the turbulent waters of the Solent are contrasted with the calmer waters of the English Channel beyond, while the comprehension of universals can be witnessed in Turner's projection of the underlying swell of the sea. And artistically a number of influences are apparent here. For example, the way the sea is painted shows the influence of the French marine painter Joseph Vernet, while the night effect has been influenced by Wright of Derby's moonlight scenes, and the shaping of the clouds demonstrates the influence of Philippe Jacques de Loutherbourg. But the brilliance of lighting and the sense of bobbing movement are completely Turner's own.
— The Fighting Téméraire Tugged to Her Last Berth to Be Broken up (1838, 91x122cm) _ To this painting have been applied hese words from Thomas Campbell's Ye Mariners of England: “The flag which braved the battle and the breeze, no longer owns her.” Turner was seen on board a Margate steamer sketching the passage of the Téméraire upriver to Beatson's shipbreaking yard at Rotherhithe on 06 September 1838, although what he saw and what he painted are two different things. Thus we know from contemporary newspaper reports that the Téméraire was towed by two tugs, and another observer of the towing later testified that the painter invented the spectacular sunset. He also altered the Téméraire. It is certain that a few years earlier she had no yards — the cross-masts from which the sails were hung — and indeed when she was towed upriver in 1838 she had had all her masts removed. Turner also compressed the scene topographically, so that we are looking eastwards towards the Thames estuary on the left, and westwards towards London on the right. Yet it is easy to see why he made these changes. The Téméraire has had all her masts and sails restored to denote what she had been in her heyday, and she glides above rather than in the water, somewhat like a ghost ship. In one of Turner's loveliest matchings of timing to dramatic subject, we see the day coming to its end, with a moonrise signifying the proximity of night. In the case of the doomed vessel that night will be a long one. The Téméraire was famous as one of the most valiant ships in Nelson's fleet in his death and victory at Trafalgar on 21 October 1805
      Téméraire was launched in 1798, but in 1803 was decomissioned at Plymouth. She was commissioned in October 1803 by Capt E. Harvey.
       At the battle of Trafalgar Téméraire was directed to take station astern of Nelson's flagship Victory. Because of the damaged state of the latter, station keeping was very difficult and Téméraire suffered from the enemy's heavy raking fire. She opened fire at Neptune and Redoutable losing her mizen-top-mast to the latter. Téméraire hauled up to avoid being raked by the Neptune, and discoved Redoutable coming out of the smoke and nearly on board her; meanwhile Neptune wore and opened such a heavy raking fire from her broadside that Téméraire lost her fore-yard and main-top-mast and her fore-mast and bowsprit were damaged. Although unmanageable she continued to bombard Redoutable with her larboard guns killing or wounding more than 20O of her crew as the Frenchman's bowsprit passed over Téméraire's gangway. Hand grenades from the French fighting tops set fire to Téméraire's foresail but this was soon extinguished.
      The British crew of 660 was now reduced to about 550 effectives and since these had mostly been sent below by Capt. Harvey for shelter from the hand grenades it must have seemed to Fougueux, approaching on her starboard side, that she was completely disabled. However, as the French ship approached within 10O meters, Téméraire's broadside opened and crippled her. She ran foul of the British ship and was immediately boarded by Lieut. Thomas Fortescue Kennedy; Mr James Aarscott, master; Mr Robert Holgate, midshipman, with 20 seamen and 6 marines. Within ten minutes the French had been driven off the quarter-deck and Lieut. Kennedy and his 28 followers had taken complete possession of her. The main-mast of Redoutable fell across the afterpart of Téméraire and formed a bridge onto the French ship and a party under Lieut. John Wallace went over to take possession.
      Téméraire's losses were heavy: — 47 officers and men were killed and 76 wounded and 43 more were lost on board her two prizes in the gale that followed the battle. Two-and-a-half meters of her lower deck on the starboard side had been stove in and her masts and rigging badly damaged so she refitted at Gibraltar before returning to England with Royal Sovereign, Tonnant, Colossus, and Leviathan. Capt. Harvey was made a rear admiral and all the lieutenants were promoted to commander. Capt. Lamour took command of Téméraire.
      In 1807 Téméraire was refitted at Portsmouth, then, under Capt. Sir Charles Hamilton, was part of the Channel fleet and, in 1808, went along the coast of Spain. On 11 March 1811 Capt. Joseph Spear took command. Téméraire became the flagship of Rear Ad. Pickmore, third in command in the Mediterranean.
      On 07 August 1811 the British fleet anchored in Hyeres Bay. When they were getting under weigh on the 13 August the wind fell and Téméraire drifted close to a battery of 36 pounders on the Cap des Medes at the N.E. end of the island of Porquerolles. The second shot struck the master, Mr. Robert Duncan, while he was talking to Capt. Spear at the gangway, took off one of his legs and badly wounded the other, then passed though the quarter deck and dismounted one of the main deck guns. Five seamen were wounded by splinters. The Téméraire immediately opened a heavy fire on the enemy battery which prevented any other shots hitting her while she was towed out of range. Mr. Duncan would not allow the surgeon to operate until a miniature of his wife had been hung around his neck. He went on to make a good recovery and was still alive 16 years later.
      Téméraire's main mast had been sprung for some considerable time so she took the opportunity of going to Port Mahon to refit it. While there fever broke out in the ship and soon nearly half the officers and crew, including Capt. Spear were in hospital. The rear admiral and his captain would have removed to Royal George, which had been sent out to relieve Téméraire, but, due to Capt. Spear's bad health, Sir Edward Pellew decided to send him home in command of his own ship and by the time Téméraire got as far north as Cape St. Vincent everyone's health improved.
      In 1812 Téméraire was out of commission at Plymouth. She was first laid up in the Hamoaze and then removed to Sheerness where she was used as a receiving ship from 1824. Finally, in 1838, she was sold to be broken up.
     This painting is Turner's lament for the passing of the age of the great sailing ships. The Téméraire was a grand ship who now suffered the indignity of being towed away to a ship breaking yard by a modern steam tug bellowing smoke. The novelist W.M. Thackeray described the painting as 'as grand a painting as ever figured on the walls of any Academy, or came from the easel of any painter. The old Téméraire is dragged to her last home by a little, spiteful, diabolical steamer. A mighty red sun, amidst a host of flaring clouds, sinks to rest on one side of the picture, and illumines a river that seems interminable, and a countless navy that fades away into such a wonderful distance as never was painted before. The little demon of a steamer is belching out a volume … of foul, lurid, red-hot, malignant smoke, paddling furiously, and lashing up the water round about it; while behind it (a cold grey moon looking down on it), slow, sad, and majestic, follows the brave old ship, with death, as it were, written on her.'
^
Died on a 23 April:

1880 Radeaa Saleh (or Sarief Bastaman), Indonesian artist born in 1814.

1876 Otto Grashof, German artist born in 1812.

1864 Claude-Marie Dubufe, French painter, best known for portraits, born in 1790. His father, a chef d'institution, educated him for a career in the diplomatic service. At the age of 19 he was nominated vice-consul and was on the point of leaving for America when David (who had given Dubufe some instruction) persuaded his father to allow him to train as a painter. Dubufe received no further support from his father and paid for his lessons from David by playing the violin in an orchestra. Dubufe's Salon paintings A Roman Allowing his Family to Die of Hunger rather than Touch a Sum of Money Entrusted to his Keeping; like Achilles Protecting Iphigenia (1812) and Christ Calming the Tempest (1819) have disappeared. His earliest surviving composition, Apollo and Cyparissus (1821), is elegantly mannered in a style inspired by Girodet but did not appeal much to the critics. He then painted the first of a number of sentimental genre pictures in the manner of The Surprise (1828), of which the most famous, Souvenirs and Regrets (Pasadena, CA, Norton Simon Mus.), were widely known through many engraved versions. He was the father of Louis-Edouard Dubufe [31 Mar 1819 (1820?) – 11 Aug 1883]

1793 Henri Horace Roland de la Porte, French artist born in 1724. — [Est-ce que ses visiteurs craignaient que la servante leur montre la Porte?]

1681 Justus (Josse) Susterman (or Soetermans), Flemish artist born on 28 September 1597.

^ 1625 Juan de las Roelas “El Clérigo Roelas” “Doctor Pablo”, Spanish painter born in 1559. He was the leading painter of his period in Seville. He was a priest and almost all his work was done for churches and religious houses in and around Seville. Roelas has been called the Spanish Tintoretto and the Spanish Veronese, and the painterly richness of his large multi-figure compositions suggests he had studied in Italy. His work, however, has a religious fervor that is typically Spanish rather than Italian, and his blending of mysticism with naturalism was deeply influential in Seville.
— He is one of the most important Spanish painters of the early 17th century; his work was extremely popular in his own time. His innovative style introduced the spirit of the early Baroque into painting in Seville at the beginning of the 17th century. His paintings are naturalistic but have a transcendental quality, and his figures are endowed with an expressive vitality that contrasts with the physical and spiritual immobility of contemporary painting. Roelas used light, loose brushstrokes, with heavy, warm tonalities that contrast with the cool, chromatic tones, derived from Mannerism, that were favored by his colleagues.
     Roelas came from an aristocratic family, and his father was an admiral in the Spanish Navy. Juan Roelas held the office of chaplain throughout his life. He began his artistic training in Seville but may have completed it in Italy, as his work suggests an Italian influence. His paintings are in some cases derived directly from the late 16th-century Venetian school, in particular the work of the Bassano family. Roelas is documented in 1597 in Valladolid and worked in the city again when Philip III’s court was there. In 1603 he moved to Olivares, near Seville, acting as chaplain in the collegiate church. He must soon have left Olivares for Seville, where he was a priest in the church of El Salvador. Between 1604 and 1606 he made part of the paintings for the main reredos of the Jesuit church (now the university church) in Seville. He painted The Circumcision in the central canvas of this reredos, filled with large figures and a celestial scene, as well as the right-hand panel, The Adoration by the Shepherds, which is a more naturalistic work; he also painted a Saint John the Baptist and a Saint John the Evangelist, both situated in the upper part of the reredos. In 1608 Roelas contracted to paint the Triumph of Saint Gregory for the English Jesuits in Seville, also a Saint James at the Battle of Clavijo and a Pietà (both 1609). Two important works are known to date from 1612: the Vision of Saint Bernard and Saint Peter Released from Prison.
— La fecha de nacimiento de Juan de Roelas se pueden situar en torno a 1558 o 1560 siguiendo a Ceán Bermúdez, aunque no existe ningún dato que asegure esta hipótesis. Hijo del general de la Armada Pedro de Roelas compatibilizó su actividad pictórica con su cargo eclesiástico de capellán. De los orígenes italianos de su formación apenas se conocen datos, aunque las características técnicas y estilísticas permitan asegurarlos. Los primeros datos fiables que se conservan de Juan de las Roelas lo sitúan en Valladolid en 1598 participando en el túmulo levantado en la Universidad de Valladolid con motivo de las honras funebres de Felipe III. Poco más tarde, en 1601, se encontrará trabajando para el duque de Lerma en la iglesia de San Pablo de Valladolid. En esa ciudad debió permanecer hasta que en 1603 ocupó la capellanía de Olivares en Sevilla. Su trabajo como religioso no le retiró de su labor pictórica, así, en 1604 se encargaba de las pinturas del retablo mayor de la Casa Profesa de los jesuitas de Sevilla. En 1611 lo encontramos ya establecido en Sevilla desde donde habría de pasar a la corte madrileña. En ella contactó con el duque de Medina Sidonia para quien realizará el retablo mayor de la iglesia de la Merced en Sanlúcar de Barrameda. Más tarde, dejará Madrid para trasladarse de nuevo a Olivares desde donde, en 1624, realizará las pinturas de los retablos laterales de la iglesia de la Merced de Sanlúcar. Poco después, en mayo de 1625 moría, siendo enterrado en la iglesia colegial de Olivares. Dos de sus obras más conocidas son El martirio de San Andrés y La venida del Espíritu Santo. Fundamental fue la participación de Roelas en el ambiente sevillano del primer tercio del siglo XVII pues introdujo en el los nuevos gustos estéticos que tantos clientes le posibilitaría durante su periodo creativo sevillano. — El martirio de San Andrés (1610,. 520x346cm; 432x291pix, 107kb gif _ ZOOM to 864x582pix, 100kb) _ detail (880x662pix, 118kb) _ This is perhaps the greatest masterpiece of Roelas, in which the his interest in naturalism and his rejection of formalistic representation are revealed in the vitality of the details. The figures in the lower part of the picture are especially fine. The spatial values are rendered with visual fidelity. La elección de este santo entre otros muchos se debe a que la escena debía adornar una capilla a la que acudían los flamencos afincados en Sevilla durante el siglo XVII. San Andrés era patrón de borgoñones y flamencos. Roelas traduce un momento de transición en el arte sevillano, que evoluciona desde el Manierismo hasta el Barroco. Los rasgos predominantes en este lienzo así lo confirman, pues combina una serie de personajes de rostros crispados y movimientos agitados, que muy bien recuerdan lienzos de medio siglo anterior. Pero por otro lado, la luz dorada y uniforme, los colores cálidos de matices dorados, el rompimiento de ángeles en el cielo y el naturalismo de las expresiones están hablando del nuevo estilo que se impone entre los artistas españoles del momento. — Pentecostés (1615, 363x329cm; 443x393pix, 143kb gif _ ZOOM to 886x786pix, 82kb)


Born on a 23 April:

1927 Manuel Rivera, Spanish artist who died in 1994. He studied drawing and painting at the Escuela de Artes y Oficios in Granada in 1941 and from 1944 at the Escuela de Bellas Artes in Seville. In 1951 he moved to Madrid, where he painted a succession of murals that were to have a decisive influence on his subsequent work. He turned to abstraction c. 1953 and soon after abandoned traditional materials in favour of metallic surfaces to identify his work. In 1957 he joined the El Paso group. In the following year he began to use open frames, over which he stretched wires and wire mesh to create different spatial levels and the appearance of a spider’s web, as in Metamorphosis (Self-portrait) (1961; London, Tate); critics began to refer to these works as ‘transparent sculptures’, although Rivera continued to think of them as paintings. From 1965 he introduced a wide range of colors and began to use reflective surfaces for works, to which he gave the generic title of Mirrors.

^ 1861 Carl Moll, Austrian painter who died on 12 April 1945.— [Moll did not have a moll?] [Heureusement que ses parents ont décidé de ne pas l'appeller Bernard, Bertrand, Blaise, Barnabé, Barthélémy, ou Baudoin: il aurait été B. Moll et serait peut-être devenu musicien.] — Moll studied (1880–1881) at the Akademie der Bildenden Künste in Vienna but had to abandon his course because of ill-health. Subsequently he studied privately with the Austrian painter Emil Jakob Schindler [1842–1892], and in 1895 he married Schindler’s widow and became the stepfather of her daughter, later Alma Mahler. From 1888 he exhibited in the Künstlerhaus in Vienna but did not become a member until 1892. In 1897 he joined the Vienna Secession. He became one of its leading organizers, working on the magazine Ver sacrum and taking responsibility for most of the exhibitions of foreign artists, including the French Impressionist exhibition of 1903. In 1900–1901 he was president of the Secession, leaving it along with the Klimt group in 1905. In 1908–1909 he took part in the Vienna Kunstschau, and until 1912 he was an adviser at the Galerie Miethke in Vienna. He was active in helping the young painters Oskar Kokoschka, Anton Kolig and Franz Wiegele. In 1930 he published a monograph on Schindler. — Aus meinem Atelier (1906, 100x100cm)

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