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| DEATH:
1660 FLINCK |
BIRTH:
1859 SEURAT |
| ^
Born on 02 December 1859: Georges Pierre
Seurat, French Pointillist
painter who died on 29 March 1891.— [Quand il était petit, à
l'école les méchants disaient-ils: “Est-ce que Sara saura
ce que ce rat Seurat sera?”?] Georges Seurat was a French painter who with fellow artist Paul Signac originated the influential theory and practice of neoimpressionism. Seurat was born in Paris and trained at the École des Beaux-Arts. He rejected the soft, irregular brushstrokes of impressionism in favor of pointillism, a technique he developed whereby solid forms are constructed by applying small, close-packed dots of unmixed color to a white background. Many artists imitated Seurat's method, but, except in the work of Signac, his technique remained unequaled in its perfect blending of colors. Seurat derived many of his theories about painting from his study of contemporary treatises on optics. His scientific bent was also evident in his work habits, which included fixed hours and the meticulous systematization of his technique. In 1884 Seurat completed Une Baignade, a scene of boys in the Seine River at Asnières and the first of six large canvases that would constitute the bulk of his life's work. In this and subsequent paintings, he continued the impressionist tradition of depicting holiday outings and entertainments. He departed from impressionist style, however, in his precise application of paint and in the suggestion of depth and volume in his scenes. His masterpiece, Un dimanche après-midi à l'Ile de la Grande Jatte (1886), achieves an atmosphere of monumental dignity through the balanced arrangement of its elements and the contours of its figures. Seurat's other large-scale works are Les Poseuses (1888), La Parade (1889), Le Chahut (1891), and Le Cirque (1890). — LINKS — La Tour Eiffel (1889, 24x15cm) — Un dimanche après-midi à l'Ile de la Grande Jatte — Temps Gris à la Grande Jatte — Le Chahut (1891) — Le Cirque (1890) — 106 images at Webshots |
| ^
Died on 02 December 1660: Govaert (or
Govert) Flinck, Dutch Baroque painter of portraits, genre, and
narrative subjects, one of Rembrandt's
most accomplished followers, born on 16 December 1615 or 1616. — Flinck first studied in Leeuwarden and later entered Rembrandt's studio. As a painter of biblical and allegorical subjects, he at first modeled his style closely on Rembrandt's, as, for example, in his Crucifixion (1643). Later he developed a more florid and oratorical manner, in which he appears to have been influenced by Rubens, as in the Allegory in Memory of Prince Frederick Henry (1654). Flinck's most successful works were portraits, and he was especially successful in his group portraits -- e.g., A Goldsmith and His Family, and Celebration of the Civic Guard at the Signing of the Peace of Münster (1648). — LINKS — Four Governors of the Arquebusiers Civic Guard (1642) — Isaac Blessing Jacob (1638) _ Flinck, a pupil of Rembrandt, was influenced by his master's style. However, like other pupils, he was unable to follow him, he took only the motives, types of composition or the arrangement of colors. In general, he borrowed these quite eclectically. The Isaac Blessing Jacob is a typical example of Flinck's works in this period. The subject of the painting comes from the Bible (from the Genesis): In his old age Isaac, son of Abraham, went blind, enabling Rebecca, his wife, to obtain fraudulently his blessing for their second son, Jacob, rather than for his rightful heir, Esau. — Rembrandt as Shepherd with Staff and Flute (1636) — The Company of Captain Albert Bas and Lieutenant Lucas Conijn (1645) — Portrait of Rembrandt (1634, 57x46cm) _ Earlier this painting was catalogued as a self-portrait of Rembrandt. — Curius Dentatus Preferring Turnips to Gold (1656, 480x370cm) _ Flinck received the lion's share of commissions to decorate Amsterdam's new town hall. In 1656 he completed Curius Dentatus Preferring Turnips to Gold for the burgomasters' council chamber in the building. In the same year Rembrandt's sometime follower Ferdinand Bol painted Gaius Lucinus Fabritius in the Camp of King Pyrrhus for the same room. The huge pictures show the incorruptibility of Denatus and the intrepidity of Fabritius. The former is seen indicating that he would rather live on turnips than accept a bribe of precocious gifts, and the latter is shown fearless even when an elephant, intended to frighten him out of his wits, was produced. The pair of paintings were done to remind the burgomasters of two virtues city officials should possess. — Landscape (1637, 49x75cm) _ This signed and dated painting was rediscovered in the 1980s. This painting is comparable in style and technique to the Landscape with Obelisk (stolen in 1990) which was almost universally accepted as an autograph Rembrandt until it was discovered that it too bore the remnants of Flinck's signature that had been faked into his master's. The rediscovery of the landscape now in the Louvre helped clinch the attribution of the Obelisk painting to Flinck. |
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