2000: SENSATIONAL ART THEFT !
BIRTH: 1768 CROME
2000 One Rembrand and 2 Renoirs stolen.
Three raiders entered Stockholm’s National Museum, on the waterfront, at about 17:15. local time, while it was still open, and seized pictures worth some $39 million.
The stolen works are a self-portrait by the Dutch master Rembrandt [< the one shown here is safe at the Mauritshuis in The Hague] and two works by the French impressionist Pierre-Auguste Renoir — A Young Parisian Woman and Conversation [not those shown here: Young Women talking 1878 >, and < Young Girl Seated 1909].
While one of the robbers, armed with a submachine gun, threatened people in the museum lobby, the other two, one or both also armed, ran upstairs to grab the paintings from different rooms. An unarmed museum guard alerted the police, but the raiders were able to escape in a small boat. The boat was later found near one of Stockholm’s ports.
Died on 22 December 1918: Charles
Edward Perugini, British artist born Italian in 1839.
Genre and portait painter. Born in Naples, Italy, he was encouraged by Leighton
to come to England in 1863. Under his influence Perugini painted one or
two very fine classical pictures, such as The Loom. He exhibited
at the Royal Academy from 1863. His pictures are mostly of elegant ladies
in interiors, sometimes with a romantic or humourous theme. He married Kate
Dickens, daughter of Charles Dickens and widow of the Pre-Raphaelite painter
Before the Mirror Dressing Up Flower Worship Hero (Iseult) Peonies The Lizard Charmer
Girl Reading (1878) _ Also known as In the Orangerie. Although High-Renaissance in style this work may be thought of as medieval in content. The orange has often been used as symbol of the Fall. It was a woman who plucked this fruit from the tree of knowledge, causing the expulsion from the Garden of Eden. In the medieval period her only path to redemption was thought to be the development of a mystical relationship with God through the reading of illuminated books such as the one featured in this painting.
Born on 22 December 1768: John Crome
Old Crome, British etcher and painter of landscapes who
founded the Norwich
Society of artists. He died on 22 April 1821.
The landscape painter John Crome was the founder of the Norwich School of painters. He was born in Norwich, the son of a weaver, and remained in that town for his whole life, making one trip to Wales, one to Paris, and otherwise contenting himself with a yearly visit to London to see the Academy Exhibition. He was first apprenticed to a coach-painter, but spent his leisure time painting in oils, being largely self-taught. He was influenced somewhat by various Dutch painters whose work he had the opportunity to study, and also was inspired by Richard Wilson in his early work. From 1807-1818 he sent a dozen pictures to the Royal Academy, but otherwise showed his works in Norwich. Crome's major works were realist landscapes in oil, but he also helped to revive etching in England, producing a series of plates from about 1809-13. His oil paintings numbered about 300, quite impressive given that he spent so much time teaching. Crome had a strong influence on his many pupils, and among his followers may be mentioned James Stark, George Vincent, and his own son, John Berney Crome (08 Dec 1794 15 Sep 1842), who produced scenes of shipping and landscapes in moonlight. [Are chrome-plated frames suitable for Crome-painted landscapes?]
21 prints at FAMSF Yarmouth Beach Looking North - Morning
Died on 22 December 1915: Arthur Hughes,
English Pre-Raphaelite painter born on 27 January 1832.
Pre-Raphaelite painter and illustrator. Studied under Alfred Stevens. In about 1850 he converted to Pre-Raphaelitism. Met Holman Hunt, Rossetti, Madox Brown, and later Millais. In 1852 he exhibited his first major Pre-Raphaelite picture Ophelia. Throughout the 1850s and 1860s Hughes continued to produce a series of delicately poetic pictures, which hover on the knife-edge between sentiment and sentimentality but are always redeemed by their brilliant color and microscopic detail. Some of the best known are Home from the Sea, The Long Engagement, Aurora Leigh's Dismissal of Romney and April Love which Ruskin thought "exquisite in every way". In 1857 he worked with other Pre-Raphaelites on the frescoes in the Oxford Union. About 1858, Hughes retired to live with his family in the suburbs of London. He lived at 284 London Rd, Wallington, Sutton, and at Eastside House, 22 Kew Green, Richmond. Hughes being of a quiet and retiring nature, very little is known of his later career. After about 1870 his work lost its impetus. Hughes was the original illustrator of Tom Brown's Schooldays, and George MacDonald's At the Back of the North Wind and The Princess and the Goblin. He also illustrated Allingham's Music Master and many other novels, children's books and periodicals. He worked with Christina Rossetti on Sing Song in 1871. He died on 22 December 1915. A sale of his works took place at Christie's after his death on 21 November 1921. . Arthur Hughes and his daughter Agnes, photographed by Lewis Carroll. Drawing portrait by the artist's son, Arthur Foord Hughes)
Ophelia (1853; 68x124cm) _ The writing on the frame of this painting reads: 'There is a willow grows aslant the brook, That shows his hoar leaves in the glassy stream; There with fantastic garlands did she come. Of crow-flowers, nettles, daisies, and long purples. There on the pendant boughs her coronet weeds Clambering to hang an envious sliver broke. When down the weedy trophies and herself Fell in the weeping brook.' Buy print from art.com Buy print from AllPosters Buy print from Easyart (UK)
Home From the Sea (1857, 51x65cm) _ A sailor boy has come back from the sea to find that his mother has died. With his sister he is mourning at her grave. Hughes began the picture in 1856, in the old churchyard at Chingford in Essex. At first the picture contained only the figure of the boy, and was entitled A Mother's Grave; later the sister was added, and the title was changed. The model for the boy may have been Hughes' nephew, Edward Robert Hughes.
Knight of the Sun (1861, 22x32cm) _ An aged warrior mortally wounded, being carried by his men-at-arms to the shelter of a religious house.
La Belle Dame Sans Merci (1863, 152x122cm) _ This painting is based on La Belle Dame Sans Merci by John Keats _ See another painting on the same subject: La Belle Dame Sans Merci (by Cowper) _
Ophelia and He Will Not Come Again (1864, 95x60cm) _ described this painting as Ophelia 'approaching the water and looking back at us, singing her last song.' Inscribed on the back is the following verse: 'Ophelia (sings) And will he not come again? And will he not come again? No, no he is dead Go to thy death-bed He never will come again. His beard was as white as snow, All flaxen was his poll: He is gone, he is gone, And we cast away moan; Gramercy on his soul! And of all Christian souls, I pray God - God be wi' you. Exit'.
A Music Party (1864) _ When exhibited at the Royal Academy in 1864, the accompanying lines from John Keats' Ode on a Grecian Urn were included in the catalogue: 'Heard melodies are sweet, but those unheard are sweeter Not to the sensual ear, but more endear'd Pipe to the spirit ditties of no tone.'
Good Night (1866, 99x65cm) _ 'Day's turn is over: now arrives the Night's.' from Robert Browning, Pippa Passes.
Sir Galahad (1869, 113x168cm) _ Inscribed on the back: 'The clouds are broken in the sky, And thro' the mountain-walls, A rolling organ-harmony Swells up, and shakes and falls, Then move the trees, the copses nod, Wings flutter, voices hover clear: Oh just and faithful knight of God! Ride on: the prize is near. So pass I hostel, hall, and grange; By bridge and ford, by park and pale, All-arm'd I ride, whate'er betide, Until I find the holy Grail'. .... A gentle sound, an awful sight! Three angels bear the holy grail: With folded feet, in stoles of white, On sleeping wings they sail.'
Endymion (1870, 76x106cm) _ 'Brain-sick shepherd prince, What promise hast thou faithful guarded since The day of sacrifice? or have new sorrows Come with the constant dawn upon thy morrows? Alas! 't is his old grief. For many days Has he been wandering in uncertain ways, Through wilderness and woods of mossed oaks'
The Heavenly Stair (1888, 178x88cm) _ Little one who straight has come down the heavenly stair. Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere its setting, And cometh from afar: Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home.
Wonderland (1912) The Annunciation (1858) The Nativity (1858) The Mower (1865)
Love (1856, 89x50cm) _ The painting was exhibited at the Royal Academy
in 1856 with lines from Tennyson's The
Miller's Daughter Love is hurt with jar and fret. Love is
made a vague regret; Eyes with idle tears are wet, Idle habit links us yet.
What is love? for we forget: Ah, no! no! Exquisite in every
way; lovely in color; most subtle in the quivering expression of the lips,
and sweetness of the tender face, shaken, like a leaf by winds upon its
dew, and hesitating back into peace. Hughes used several young women
as models, but his favorite was Tryphena Foord whom he married. The model
for the lover in the background was Hughes' friend, Alexander Munro, in
whose Pimlico studio Hughes completed the painting. April Love was
Morris' favorite Pre-Raphaelite painting and he purchased it soon after
seeing it for the first time.
Mariana at the window (1856, 44x23cm) _ The subject is taken from Tennyson's poem, Mariana: "She drew the casement-curtain by, And glanced athwart the glooming flats. She only said, The night is dreary, He cometh not, she said; She said, I am aweary, aweary, I would that I were dead! .
Overthrowing of the Rusty Knight (1908, 52x43cm) _ The subject was likely inspired by Tennyson's Gareth and Lynette, in which the young knight grapples with Evening and heaves him over a bridge (while no rust is mentioned, Evening is clad in 'old arms' and bears a tarnished shield). The landscape was painted at Ashness Bridge near Derwentwater.
The Lady of Shalott (1873, 95x160cm) _ Illustrates The Lady of Shalott by Alfred Lord Tennyson: Out upon the wharfs they came, Knight and burgher, lord and dame, And round the prow they read her name, The Lady of Shalott [links to The Lady of Shalott by other artists].
Enoch Arden, &c., Enoch Arden, &c., Idylls of the King, The Princess: A Medley, The Princess: A Medley
Music Party (1864) _ When exhibited at the Royal Academy in 1864, the
accompanying lines from John Keats' Ode on a Grecian Urn were included
in the catalogue: 'Heard melodies are sweet, but those unheard are sweeter
Not to the sensual ear, but more endear'd Pipe to the spirit ditties of
The Eve of St. Agnes, Lamia, The Poetical Works of John Keats, Selected Poetry
ODE ON A GRECIAN URN.
Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
| Ah, happy, happy
boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,that is all
Ye know on earth, and all ye need to know."