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ART “4”
“2”-DAY 03 June |
| BURIAL:
1679 MILLET — DEATHS: 1592 PASSEROTTI |
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Born on 03 June 1819: Johan
Barthold Jongkind, Dutch Realist painter and printmaker
who died on 09 February 1891. — 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, 45x73cm) — Notre-Dame de Paris, Seen from the Pont de L'Archéveche (1849; 601x1056pix) — Clair de Lune (1853) — Harbor Scene (1865, 14x23cm) — Sortie du Port de Honfleur (1864, 24x31cm) — La Jetée en bois dans le port de Honfleur (1865, 24x32cm) — Moulins en Hollande (1867, 15x20cm) — Vue du Port à Chemin de Fer à Honfleur (1866, eau-forte 27x34cm) — Vues de Hollande: Les deux Barques a voile (18x21cm) — Vues de Hollande: La Barque amarrée, (18x21cm) — 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. — 38 images at Webshots |
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Buried on 03 June 1679: Jean-François
“Francisque” Millet (or Millé), French
painter baptized as an infant on 27 April 1642. — Not to be confused
with the better known Jean-François
Millet [04 Oct 1814 – 20 Jan 1875], much less with Francis
Davis Millet [03 Nov 1846 – 15 Apr
1912]. — Jean François Millet, called Francisque, was born in Antwerp, where his French father was in the service of the Prince de Condé, and where Francisque was apprenticed to a painter whose daughter he married. The couple settled in Paris in 1660, Francisque painting Italianate and Arcadian landscapes in the style of Gaspard Dughet. He was received into the Académie Royale de Peinture et de Sculpture in 1763, after having worked in the Low Countries and in England. He was perhaps the best imitator of Nicolas Poussin's classical landscapes, retaining the formality and dignity of his models without loss of subtlety. Like those of Gaspard Dughet, his pictures are largely attributions on purely stylistic grounds, there being no sure documentation. He had relatives of the same name, and it is not clear what is by him. Three etchings are also now attributed to him. — Little is known about his life. His oeuvre remains ill-defined, in part because he seems never to have signed his paintings and in part because, after his death (by poisoning), both his son Jean Millet [1666–1723] and later his grandson Joseph Millet [1688–1777] took the name Francisque and continued to paint landscapes in his style. The firmest point of reference for attributions to Millet is a series of 28 engravings after his works made by one Théodore, possibly a student. They are all landscapes, some with religious, mythological or heroic genre subjects, and have been identified with a number of surviving paintings that can therefore be attributed to Millet on this evidence. — LINKS — Imaginary Landscape (1665, 57x66cm) _ Under Louis XIV, the two main landscape painter of the time were Pierre Patel and Francisque Millet. They were largely derivative in their styles, but this was the secret of their success. Both of them are relatively little known today. Francisque Millet was more talented than Patel, though his present reputation is also obscure. Flemish in origin like Philippe de Champaigne, he worked mainly in Paris, specializing in classical landscapes inspired by the works of Dughet and Poussin. Millet had imagination and good powers of observation, but he never painted anything without a classical format. Millet preferred an intense blue for his landscapes (as did Poussin), which gives then an unnatural air. This Imaginary Landscape is typical of Francisque's style. — Paysage avec ruines (1715, 58x71cm) — The Flight into Egypt (etching 20x30cm) |
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Born on 03 June (22 May Julian) 1881:
Mikhail Fyodorovich Larionov, Moldovan~Russian
French Cubist
painter, stage designer, printmaker, illustrator, draftsman, and writer,
who died on 10 May 1964. — Pioneer of pure abstraction in painting, he founded the avant~garde Rayonist movement (1910) with Natal'ya Sergeyevna Goncharova [16 Jun 1881 – 17 Oct 1962], whom he later married. Early work was influenced by Impressionism and Symbolism, but he later introduced a nonrepresentational style conceived as a synthesis of Cubism, Futurism, and Orphism. In the Rayonist manifesto (1913), he espoused the principle of the reduction of form in figure and landscape compositions into rays of reflected light. Both Larionov and Goncharova exhibited in the first Jack of Diamonds exhibition of avant-garde Russian art in Moscow (1910). In 1914 they went to Paris, where both achieved renown as designers for Sergey Diaghilev's Ballets Russes. During the 1920s they played a significant role within the École de Paris and continued to live and work in France until their deaths. — Larionov was born in Tiraspol, Moldova on June 3, 1881 and died in Fontenay-aux-Roses, near Paris, on May 10, 1964. He was the son of Fiodor Mikhailovich Larionov, a doctor and a pharmacist, and Aleksandra Fiodorovna Petrovskaia, but he grew up in his grandparents' home in Tiraspol. He attended the Voskresenskii Technical High School in Moscow and in 1898 entered the Moscow School of Painting, Sculpture and Architecture. Here he met Natal'ia Goncharova, who remained his lifelong companion. His imaginative work soon caught the attention of colleagues and critics and in1906 he was invited to exhibit with the Union of Russian Artists and to participate in the Russian Art exhibition at the Salon d'Automne in Paris. When Larionov met Nikolai Riabushinskii, editor of the "Zolotoe runo" (the Golden Fleece), the famous art mecenas became the artist's chief patron and in 1908 helped him organize the "Golden Fleece" exhibition of the modern French painting in Moscow. As a result of this exhibition, many artists, including Larionov, turned away from Symbolism and started to experiment with Post-Impressionism. In 1910, Larionov was expelled by the Moscow School of Painting for organizing a demonstration against the school's teaching methods. Larionov was the founder of the "Jack of Diamond" group, and with them he exhibited a remarkable series of paintings, among them the Soldiers (1910), created during his military service. Larionov soon deserted the "Jack of Diamond" for the more radical "Donkey's Tail", which held an exhibition in 1912. In 1912 he initiated two very important movements: Rayonism (Rayism) and Neo-primitivism. Rayonism was inspired by Italian Futurism and Neo-primitivism and represented a development of the artist's Fauvist and Expressionist interests. Rayonism was officially launched at the "Target" exhibition of 1913. In 1914 he traveled with Goncharova to Paris. They held an exhibition at the Gallerie Paul Guillaume. When the war began, they returned to Russia and Larionov was drafted into the army. He was injured in the battle of the Masurian Lakes and spent three months in a hospital. The injury affected his ability to concentrate and resulted in the decline of his artistic energy. In 1915 he traveled with Goncharova to Switzerland, at the request of Diaghilev. There he designed for the ballet and gained success. While travelling through Spain and Italy he designed three more ballets, all equally successful. In 1919 he settled permanently in Paris, where he acted as Goncharova's manager. Throughout the decade he worked with Diaghilev as a designer and artistic adviser. Following Diaghilev's death in 1929, he resumed painting and also worked occasionally for the ballet. He and Goncharova were granted French citizenship in 1938. In 1950 he suffered a stroke that seriously handicapped his activity and he spent the last 14 years of his life in poverty. — LINKS — Le Renard: costume sketch for Le Coq (1922, 49x32cm; 2/5 size) — Le Renard: Decor with three figures (32x43cm) — Curtain design for the dance Le Soleil de Nuit (1915) — Soldier at Rest (1911; 731x800pix, 168kb) — The Cockerel. Rayonist Study (645x668pix, 107kb) — Blue Rayonism (561x536pix, 85kb) _ Rayonism (in Russian: Luchism) was the Russian art movement founded by Larionov, representing one of the first steps toward the development of abstract art in Russia. Larionov exhibited one of the first Rayonist works, Glass, in 1912 and wrote the movement's manifesto that same year. Explaining the new style, which was a synthesis of Cubism, Futurism, and Orphism, Larionov said that it “is concerned with spatial forms which are obtained through the crossing of reflected rays from various objects.” The raylike lines appearing in the works of Larionov and Natalya Goncharova bear strong similarities to the lines of force in Futurist paintings. Rayonism apparently ended after 1914, when Larionov and Goncharova departed for Paris. — Rain (947x550pix, 125kb) — Fish at Sunset (1904; 538x544pix, 115kb) — The Fish (1906, 89x127cm; 417x585pix, 96kb) _ The Fish (often called Fishes) was exhibited for the first time in 1909 as a part of the second Franco-Russian exhibition sponsored by the Golden Fleece. The painting shares particular qualities of color, light, and rhythm with many other works by painters of the Blue Rose group (Kuznetsov, Iakulov, Sar'ian, Goncharova, and brothers Miliuti). The blue-gray tones, characteristic of this period, are intermingled with light pinks, greens, and yellows to create a harmonious color scheme, held together by the dappling technique reminiscent of the French impressionists. An almost dancing rhythm seems to unify the shapes within one spatial plane. The hidden light source and liquid, fluid atmosphere employed in the works of the Blue Rose artists combine agreeably with Larionov's brushstrokes; in fact, on the left side of the painting the brushstrokes even imitate the scales on the fish, adding to the visual unity of the composition. Unlike the darker, more pessimistic or melancholy works of Borisov-Musatov, Larionov's work imparts a light, almost exuberant feeling of ease and freedom. The nonspecific background adds a subtle sense of mystery to the harmony of the scene. Is the fish on someone's kitchen table, ready to be prepared as a meal, or is it depicted a few moments after it has been caught, when the net of a fisherman opens and reveals the wonderful variety of underwater life? The painting seems to be a whimsical still life with fish, a turtle, an eel , and a lemon; perhaps the lemon is there as a jocular reminder that fish and other frutti di mare usually go well with lemon. A simple comparison of The Fish and Fish at Sunset could be the proof that the shiny, shimmering, and highly reflective scales of the fish attracted the artist because he was fascinated with the phenomenon of light, which seven years later would lead him to the announcement of his rayonist theory and the abandonment of objective art (at least for a while). The earlier painting also shows a variety of sea creatures -- several large fish, a crab, and a few lobsters. However, the light in both pictures is quite different. In the earlier painting, the light of the sunset casts orangy and reddish tint on the entire left side of the canvas, while the far right side, hidden in the shadow, compliments those warm tones with the blue and green. The choice of such "violent" colors links this painting of Larionov to Russian Neo-primitivism. The later painting, with the light illuminating the entire scene evenly, with a more subdued color scheme and with freer painterly technique, shows Larionov progressive departure from Neo-primitivism and advancement towards Rayonism. — Soldier in the Woods (1909, 627x695pix, 150kb) risking lung cancer for himself and for his horse. This painting is an example of Neo-Primitivism. It deliberately violates the laws of perspective by making the surface of the canvas flat and decorative. The proportions of the composition are distorted -- the horse is small and the head and hands of the soldier are unusually large. Moreover, Larionov employs a limited number of primary colors, applied without shading and blending. All these artistic devices find parallels in the art of the Russian folk, particularly in icons, street signs, wooden toys, decorated distaffs, and popular prints (lubok) usually hand colored in red, green, purple, and yellow. In the West, Neo-primitivism was an aftermath of the exhibition of the folk arts of Africa, Australia, and Oceania in Paris. The world of art was surprised by the boldness of colors, originality of designs, and the expressiveness of these "unschooled," spontaneous creations of the "primitives." In Russia, flourishing between 1907 and 1912 and officially launched at the 3rd Golden Fleece Exhibition in 1909, Neo-primitivism was championed by Goncharova and Larionov, although many other artists went through a Neo-primitivist stage. The genesis of the style can be found in the folk art of Russia -- such as the lubok and peasant applied art (distaffs, spoons, embroideries), but even more in icon painting. Goncharova, Larionov, Malevich, Tatlin, even Chagall and Kandinskii incorporated into their works ideas and compositions common in icon painting. Neo-primitivist canvasses share with icons a pronounced flatness, lack of depth and perspective, distortions of reality, as well as a bold, striking colors. Although the forms are intentionally distorted and resemble children's pictures, the paintings' rhythm and harmony come from the music of color and line. |
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Died on 03 June 1592: Bartolomeo
Passerotti (or Passarotti, Passarotto), Bolognese painter
born on 28 June 1529. — Except for some years in Rome (about 1551 to. 1565) Passerotti worked in his native Bologna. There he had a large studio, which became the focal point of the city's artistic life. He was a student of Girolamo Vignola and Taddeo Zuccaro (or Zuccari), in Rome. Here, he also came into contact with the works of Correggio and Parmigianino. The religious paintings that were the basis of his success were fairly conventional and undistinguished, and he is now remembered for his pioneering genre scenes of butchers' shops. They reflect the influence of northern painters such as Aertsen and in their lively observations broke free from prevailing Mannerism. Annibale Carracci (whose brother Agostino Carracci studied with Passarotti) was influenced by these genre scenes in his early career. In addition to his religious and genre works, Passarotti painted excellent portraits throughout his career. His son Tiburzio (d. c. 1612) imitated his style, and he in turn had two artist sons, Gaspare and Archangelo. — LINKS — Holy Family with the Infant St John the Baptist and St Catherine of Alexandria (111x92cm) _ The composition follows the example of Raphael, but there are some details characteristic for Passerotti, e.g. the hand of St Catherine and the portrait-like position of St Joseph. — The Butcher's Shop (1580, 112x152cm) _ This and The Fishmonger's Shop were originally part of a series of four, which are among the best examples of Italian genre painting. There are close stylistic connections between these canvases and the works of the Dutch masters Aertsen and Beuckelaer, as well as with The Butcher's Shop by Annibale Carracci. Passerotti describes the butcher's shop with a combination of realistic precision in the rendering of details and irony in the characterization of the people. In late sixteenth century art the theme of the butcher shop was moralistically interpreted as an allegorical warning about the temptations of flesh and of indulgence in erotic passions without caution. According to the counter-reformation precepts laid down by Gabriele Paleotti (1582), veiled moral messages could be transmitted through comical pictures. In both pictures the sparrow appears: as this bird's Italian name is passerotto, the artist used it as a type of pictorial signature. — The Fishmonger's Shop (1585, 112x152cm) _ This painting is rich with the most minute naturalistic description, with the woman holding up the blowfish and with various types of sea shells on display reflecting Passerotti's interest in naturalistic study. A participant in the scientific culture of Bologna, of which Ulisse Aldovrandi was a protagonist, Passerotti created his own varied collection of curiosities and monstrosities. |
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Born on 03 June 1877: Raoul
Dufy, French Fauvist
painter, printmaker, and decorative artist, who died on 23 March 1953. — From the age of 14 he was employed as a book-keeper, but at the same time he developed his innate gift for drawing, at the École des Beaux-Arts in Le Havre in evening classes given by the Neo-classical painter Charles Lhuillier [1824–1898]. Dufy discovered the work of Eugène Boudin, Poussin, and Delacroix, whose Justice of Trajan (1840) was a revelation to him. In 1900, with a grant from Le Havre, he joined his friend Othon Friesz in Paris and enrolled at the École Nationale Supérieure des Beaux-Arts in the studio of Léon Bonnat. At the Musée du Louvre he studied the art of Claude Lorrain, to whom he painted several Homages between 1927 and 1947. His encounter with works by van Gogh at the Galerie Bernheim-Jeune and with Impressionism at Durand-Ruel is reflected in such early works as Beach at St Adresse (1904) — Georges Braque was a student of Dufy. — LINKS — Regatta at Cowes (1935; 600x1420pix _ ZOOM to 1400x3313pix) — Regatta at Cowes (1934) _ very similar to the right half of the above. — Nice Open Window *_ Nice Window (1928) * — The Nice Casino (1927; 823x1000pix, 172kb) * (Nice, the nice city on the French Riviera) — Flags — Deauville Basin (1935) — Three Umbrellas (1906) — La Place d'Hyères |
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Born on 03 June 1852: Theodore
Robinson, US Impressionist
painter who died on 01 (02?) April 1896. He studied under Claude
Monet. — {OK, he was from the US. But did he have a Swiss
family? or anything else to do with Der Schweizerische Robinson,
Oder der Schriffbruchige Schweizerprediger und Seine Familie (1812)
or Johann David Wyss [1743-1818]?} — Brought up in Evansville Wisconsin, Robinson studied art briefly in Chicago at the end of the 1860s, and in New York at the National Academy of Design (1874–1876). His early work, for example Haying (1882), was in the US genre tradition of Winslow Homer. From 1876 to 1878 Robinson studied in Paris under Carolus-Duran, alongside John Singer Sargent, and under Jean-Léon Gerôme. In 1879 Robinson returned to the USA and lived mainly in New York and Boston; he made a living by teaching and by assisting John La Farge and Prentice Treadwell with mosaic and stained-glass decorations for the Metropolitan Opera House in New York. In 1881 Robinson was elected to the Society of American Artists, a group in revolt against the conservatism of the National Academy. Returning to France in 1884, Robinson worked in Paris and Barbizon and was strongly influenced for a time by the Barbizon School. A crucial event was his meeting with Monet at Giverny, near Rouen, in 1887. By 1888 they were close friends and Robinson began to develop his own Impressionist style, which was never as extreme in its use of broken color as that of Monet. His aim, as he wrote in his journal, was to combine Impressionism’s ‘brilliancy and light of real outdoors’ with ‘the austerity, the sobriety, that has always characterized good painting’. Cézanne seems to have influenced the strong compositional structure of his paintings, and his best work was done mostly in France during the next four years. He also painted in Italy for several months in 1890 and 1891. His favorite subjects were landscapes and intimate vignettes of farm and village life, such as The Watering Pots (1890), In The Grove (1888) and Wedding March (1892). Since models were expensive and Robinson was poor, he often took photographs as studies for his figure compositions. — Photo of Robinson painting — LINKS — Woman in a White Cap (1884) — House in Virginia (1893, 46x56cm) — In the Orchard (1895, 46x56cm) — Girl Sewing (1891, 46x55cm) — Country Road (35x25cm) — Girl with Puppies (1881, 53x30cm; 1074x588pix, 165kb) — 27 images at Webshots |
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Born on 03 June (January?) 1887: August
Robert Ludwig Macke, German expresssionist
painter who died on 26 September 1914 — {It is not true that he was
run over by a Mack truck.} — He began his artistic training in autumn 1904 at the Kunstakademie in Düsseldorf, but he was far more interested by the instruction at the Kunstgewerbeschule, run by Peter Behrens, where he attended evening courses given by the German printmaker Fritz Helmuth Ehmcke [1878–1965]. Friendship with the playwrights of the Düsseldorfer Theater, Wilhelm Schmidtbonn and Herbert Eulenberg, awakened Macke’s interest in the stage. With the German sculptor Claus Cito, he developed designs for stage sets, including those for a production of Macbeth, which led to an offer by the theater to employ him, but Macke turned it down. In April 1905 Macke travelled with Walter Gerhardt, his future wife Elizabeth Gerhardt’s brother, to northern Italy and Florence. His drawings of this period reveal freshness and a receptive sensibility. In July 1906 he went to the Netherlands and Belgium with Schmidtbonn, Eulenberg and Cito, continuing on with Schmidtbonn to London, where he visited the city’s museums. In November 1906 he broke off his studies at the academy. After encountering French Impressionism on a trip to Paris in summer 1907, Macke began to paint in this manner; in autumn of that year he went to Berlin to join the studio of the German painter Lovis Corinth. However, work in the studio, and Corinth’s way of suggesting corrections, did not suit Macke’s temperament, nor did the city’s oppressive atmosphere. He returned to Bonn in early 1908. His future wife’s family provided him with the means for further travel, first to Italy and then together with his wife and her uncle Bernhard Koehler, who later became his patron, to Paris. Through Koehler he gained an insight into the art market in Paris and became acquainted with Ambroise Vollard. In 1908–1909 Macke served his one-year of compulsory military service. Once again in Paris on his honeymoon in 1909, he met Louis Moilliet and, through him, Karl Hofer. — August Macke was born in Meschede, Germany, and during his childhood he spent time in Basle where he came into contact with the work of Böcklin (1827 – 16 Jan 1901). He was taught by Corinth (21 Aug 1858 – 1925), and travelled widely throughout Europe. He married the beautiful Elisabeth Gerhardt in 1909. He met Franz Marc (08 Feb 1880 – 04 Mar 1916) in 1910 in Munich, and with him established the Blaue Reiter the following year. In 1912 they both journeyed to Paris, where they discovered Cubism and the work of Delaunay (12 Apr 1885 – 25 Oct 1941). In 1914 he visited North Africa with Paul Klee (18 Dec 1879 – 29 Jun 1940). Macke was killed in battle, at the age of 27, that same year in the stupid World War I. His early Impressionist style developed into a use of strong, sunlit color applied in painterly facets of light. His preferred subject matter remained urban scenes of shopping and leisure. His North African work had a more structured appearance, and in 1913 he experimented with pure abstraction and also produced many watercolors. Upon Macke's death, Franz Marc, who was later to also be killed in the same hellish war, wrote him this obituary: August Macke- "Young Macke"- is dead. Those who have followed the course of German art during these last, eventful years, those who sensed what the future held in store for the development of that art, also knew Macke. And those of us who worked with him- we, his friends, we knew what promise this man of genius secretly bore in him. His life described one of the boldest and most beautiful curves in the development of German art; and with his death that curve has been rudely broken. There is not one among us who can take it further. Each of us goes his own way; wherever our paths meet, we shall feel his absence. We painters know that without his harmonies whole octaves of color will disappear from German art, and the sounds of the colors remaining will become duller and sharper. He gave a brighter and purer sound to color than any of us; he gave it the clarity and brightness of his whole being. — LINKS — Selbstbildnis (1906) — Selbstporträt mit Hut (1909) — Three Girls in a Barque (1911; 632x1000pix, 120kb) — Garden Gate (1914; 1000x809pix, 180kb) — Hat Shop (1914) — Girls and Trees (1914) — Lady in the Green Coat (1913) — Lady in a Green Jacket — Tegernseer Bauernjunge (1910) — Der Sturm (1911) — Helle Frauen vor dem Hutladen (1913; 800x539pix, 101kb) —Elisabeth Gerhardt Nähend (1909) — Frau des Künstlers mit Hut (1909) — Porträt mit Äpfeln: Frau des Künstlers (1909) — Bildnis Franz Marc (1910) — Der Mackesche Garten in Bonn (1911) — Farewell — Man Reading in the Park — Kinder mit Ziege (1913) — Zoologischer Garten I (1912) — Clown (2362x1392pix, 1111kb) — In the Park (620x967pix, 109kb) |
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Born on 03 (02?) June 1662: Willem van Mieris,
Leiden painter and draftsman who died on 27 (26?) January
1747. — Willem van Mieris was the younger son of Frans van Mieris the Elder [16 Apr 1635 – 12 Mar 1681]. Together with his brother Jan van Mieris [1660-1690] he continued his father's tradition. His paintings are similar to his father's, and his scrupulous attention to detail makes them fascinating. Willem's son and student Frans van Mieris the Younger [24 Dec 1689 – 22 Oct 1763] painted in a watered-down version of his grandfather's style. — Willem van Mieris was trained by his father and probably contributed to several of his later works. It is almost certain, for example, that he finished his father’s signed painting of the Holy Family (1681). The earliest examples signed and dated by Willem himself are from 1682, after which there is a large oeuvre of dated works up to the 1730s, when he became partly blind. In 1693 he joined the Leiden Guild of Saint Luke, for which he served as headman several times and once as dean. Around 1694, with the painters Jacob Toorenvliet [1635–1719) and Karel de Moor, he founded a drawing academy in Leiden, which he and de Moor directed until 1736. — LINKS — The Peepshow (1718; 1600x1346pix, 191kb) — The Death of Cleopatra (1694, 23x20cm; 1205x1000pix, 606kb) — The Greengrocer (1731, 40x34cm; 900x756pix, 138kb) — The Spinner (1014x824pix, 131kb) — Portrait of a Widow (oval 17x15cm; 600x460pix, 55kb) |
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