Monday, August 12, 2024

03 Works, August 12th. is Abbott Handerson Thayer's day, his story, illustrated with footnotes

Abbott Handerson Thayer
Stevenson Memorial, c. 1903
Oil on canvas
81 5⁄8 x 60 1⁄8 in. (207.2 x 152.6 cm)
Smithsonian American Art Museum

Abbott Handerson Thayer (August 12, 1849 – May 29, 1921) was an American artist, naturalist, and teacher. As a painter of portraits, figures, animals, and landscapes, he enjoyed a certain prominence during his lifetime, and his paintings are represented in major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.

Abbott Handerson Thayer  (1849–1921)
A Virgin, c. between 1892 and 1893
Depicts the artist's daughter and sons
Oil on canvas
height: 229.7 cm (90.4 in); width: 182.5 cm (71.8 in)
Freer Gallery of Art

During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book about protective coloration in nature, titled Concealing-Coloration in the Animal Kingdom. First published by Macmillan in 1909, then reissued in 1918, it may have had an effect on military camouflage during World War I. However it was roundly mocked by Theodore Roosevelt and others for its assumption that all animal coloration is cryptic.

After Abbott Handerson Thayer  (1849–1921)
Angle Over the Destroyed City of Gaza
AI Generated
freepik

Thayer also influenced American art through his efforts as a teacher, training apprentices in his New Hampshire studio. More on Abbott Handerson Thayer




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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Friday, October 27, 2023

06 Works, October 27h. is Sigrid Hjertén's day, her story, illustrated with footnotes #259

Sigrid Hjertén
The blue boat, c. 1934
Oil on canvas,
Private collection

Estimated for kr600,000 SEK - kr800,000 SEK in April 2012

Sigrid Hjertén
By the sea
Watercolor on paper
21 x 28.5 cm. 
Private collection

Estimate for 1,755 USD in Oct 2021

Sigrid Hjertén
Seated woman
Watercolor on paper
33 x 23.5 cm. 
Private collection

Sold for 75 000 SEK in May 2022

Sigrid Hjertén
Music group on summer meadow , c. 1927
Oil on canvas
92 x 73 cm
Private collection

Estimated for kr600,000 SEK - kr800,000 SEK in April 2012

Born to a middle-class family in Sundsvall, Sigrid Hjertén lost her mother at a very young age. She studied to be a drawing teacher at the Konstfack University College of Arts, Crafts and Design in Stockholm, and in 1908 became a tapestry card designer for Giöbels, a decorative arts company. Encouraged by the young painter Isaac Grünewald, she joined the Matisse Academy in Paris, where she was able to enjoy the freedom that her situation as a young foreign artist gave her. Upon returning to Sweden in 1911, she married Grünewald. In 1912, her exhibition with the group De Atta (“the eight”) marked her official entry into the art world. She moved into a studio in Stockholm in 1913 with her husband, where caring for her young son restricted her to painting still lifes, figures, and outdoor views she saw from the window. Nevertheless, she tried her hand at a free form, between allegory and reality. Despite her involvement in numerous exhibitions throughout Europe between 1910 and 1920, most often with expressionist painters, she was lambasted by the critics who failed to understand her work on colour and stylised forms.

Sigrid Hjertén
Den gröna toquen
Oil on canvas
46 x 55.5 cm
Private collection

Sold for 180 000 SEK in May 2022

Sigrid Hjertén
Female act
Oil on canvas
55 x 45,5 cm
Private collection

Sold for 150 000 SEK in May 2022

In the 1920s the couple returned to Paris. As Hjertén’s paintings began to change and became more and more emotionally charged; some of them expressed the inner conflict she felt at being at once a wife, a mother, and an artist. Indeed, her husband’s career and raising her child left her with very little energy and time for her own work. Furthermore, Grünewald’s absence, due to organising his own exhibitions, left her very isolated. In 1932, the weakened painter returned to Sweden, where she made several stays at a psychiatric hospital. However, her pictorial production increased, as she reworked patterns from her previous paintings. She exhibited several times in the 1930s, and the Academy of Fine Arts in Stockholm eventually held a retrospective exhibition of her work in 1936. The couple divorced in 1937, and Hjertén stopped painting a year later. After spending eleven years in a mental institution, she died from the consequences of a lobotomy. Hjertén is now considered one of the most innovative Swedish artists of the early 20th century. More on Sigrid Hjertén




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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Tuesday, October 17, 2023

07 Works, October 17th. is Childe Hassam's day, his story, illustrated with footnotes #258

Childe Hassam (American, 1859–1935)
The Water Garden, c. 1909
Oil on canvas
24 x 36 in. (61 x 91.4 cm)
The Metropolitan Museum of Art

This landscape, with its strong rhythmic composition, flattened space, and tapestry-like application of paint, illustrates the modification of Hassam's style at the turn of the century when he absorbed Post-Impressionist developments. The painting is thought to have been executed on the property of a friend in East Hampton who had a beautiful lily pond surrounded by irises. More on this painting

Childe Hassam (American, 1859–1935)
Avenue of the Allies, Great Britain, c. 1918
Oil on canvas
36 x 28 3/8 in. (91.4 x 72.1 cm)
The Metropolitan Museum of Art

The only major American Impressionist to depict the home front during World War I, Hassam produced his Flag series, some thirty canvases representing Manhattan’s Fifth Avenue and adjacent streets decorated with patriotic emblems, from 1916 to 1919. For Liberty Loan drives, organized by the United States government to promote the sale of savings bonds, stretches of Fifth Avenue were draped with flags and red-and-white Liberty Loan banners. Here, Hassam looked north from Fifty-Third Street and compressed into a vibrant pattern three blocks of the avenue bearing flags of the Allies Great Britain, Brazil, and Belgium in addition to the Stars and Stripes. More on this painting

Childe Hassam, 1859 - 1935
Flags on 57th Street, Winter 1918
Oil on canvas
36 ¼ by 24 inches (92.1 by 61 cm)
Private collection

Sold for 12,328,500 USD in May 2021

“There was that Preparedness Day, and I looked up the avenue and saw these wonderful flags, waving, and I painted the series of Flag Pictures after that.” Childe Hassam.

the flag paintings—including Flags on 57th Street, Winter 1918—were critically and popularly acclaimed during Hassam’s lifetime, recognized as brilliant portrayals of a rapidly modernizing country and its entry into its first World War. More on this painting

Childe Hassam, 1859 - 1935
The Fourth of July, c. 1916
Oil on canvas
36 × 26 1/4 in. (91.4 × 66.7 cm)
New-York Historical Society

This painting by Childe Hassam depicts Fifth Avenue bedecked with dozens of American flags in celebration of Independence Day in 1916. The artist was a committed supporter of the Preparedness Movement, which advocated for a strengthened national defense after the outbreak of war in Europe in July 1914. Proponents of the cause staged parades in cities across the country for the next two years. Witnessing one such parade in May 1916, Hassam commented: “. . . I looked up the Avenue and saw those wonderful flags waving, and I painted a series of flag pictures after that.” More on this painting

Childe Hassam
Quai St. Michel, c. 1888
Oil on canvas
21 3/4 by 28 in., (55.3 by 71.1 cm)
Private collection

At center we see a young woman in elegant attire examining volumes in one of a half-dozen or so portable book stalls, watched over by a matronly proprietress who absent-mindedly tends to her knitting. The background is enlivened by groups of passers-by, including those crossing a bridge, and what appears to be a pair of workers leaning over a parapet to watch the steam barges on the river below. Street and sidewalk glisten as if in the aftermath of a passing downpour and, indeed, the figures of father and child seem dressed for rain, while the elegant young lady appears to carry a furled umbrella. Beyond the bridge to the right appears a group of tall buildings, and what may be a low, metal-roofed street market with the added details of colorful banners and an advertising kiosk. More on this painting

Childe Hassam (American, 1859–1935)
Mrs. Hassam and Her Sister, c. 1889
Oil on canvas
9 13/16 x 6 1/8 in. (24.9 x 15.6 cm)
Terra Foundation for American Art

The artist’s wife, born Kathleen Maude Doane, and her sister Cora, Mrs. George H. Cotton, are the subjects of Childe Hassam’s image of leisure life in his Parisian studio-residence. Mrs. Hassam is absorbed in reading while her sister, her back to the viewer, plays an upright piano in a bare-floored space cluttered with chairs, paintings, and vases of flowers. To underscore the private informality of the scene, Hassam posed the women in semi-undress, clad in evening undergarments incongruously mixed, in Mrs. Hassam’s case, with long yellow evening gloves and the black shoes and stockings of daytime wear. The casual nature of this image, together with its somewhat tipped-up perspective and broken brushstrokes, document Hassam’s gradual absorption in the late 1880s of the strategies of impressionism, which championed the painting of modern subjects with a rapid, evident technique to capture the transient effects of light and movement. The personal nature of this work may explain why it remained in the artist’s possession throughout his life. More on this painting

Childe Hassam  (1859–1935)
Lillie (Lillie Langtry), circa 1898
Watercolor and gouache on paperboard
24 1/4 x 19 3/4 in. (61.7 x 50.2 cm)
Smithsonian American Art Museum

Emilie Charlotte, Lady de Bathe (née Le Breton, formerly Langtry; 13 October 1853 – 12 February 1929), known as Lillie (or Lily) Langtry and nicknamed "The Jersey Lily", was a British socialite, stage actress and producer.

Born on the island of Jersey, upon marrying she moved to London in 1876. Her looks and personality attracted interest, commentary, and invitations from artists and society hostesses, and she was celebrated as a young woman of great beauty and charm. During the aesthetic movement in England she was painted by aesthete artists, and in 1882 she became the poster-girl for Pears Soap, becoming the first celebrity to endorse a commercial product.

In 1881, Langtry became an actress and made her West End debut in the comedy She Stoops to Conquer, causing a sensation in London by becoming the first socialite to appear on stage. She would go on to star in many plays in both the United Kingdom and the United States. From the mid-1890s until 1919 Langtry lived at Regal Lodge at Newmarket in Suffolk, England, where she maintained a successful horse racing stable; the Lillie Langtry Stakes horse race is named after her.

One of the most glamorous British women of her era, Langtry was the subject of widespread public and media interest. Her acquaintances in London included Oscar Wilde, who encouraged Langtry to pursue acting. She was known for her relationships with royal figures and noblemen, including the future King Edward VII, Lord Shrewsbury, and Prince Louis of Battenberg. More on Lillie (Lillie Langtry). More on Lillie (Lillie Langtry)

Childe Hassam (1859–1935), was born in Dorchester, Massachusetts. Equally adept at capturing the excitement of modern cities and the charms of country retreats, Hassam became the foremost chronicler of New York City at the turn of the century. In our day, he is perhaps best known for his depictions of flag-draped Fifth Avenue during World War I. His finest works manifest his brilliant handling of color and light.

After establishing his reputation in Boston between 1882 and 1886, Hassam studied from 1886 to 1889 in Paris. There he was unusual among his American contemporaries in his attraction to French Impressionism, which was just beginning to find favor with American collectors. Hassam returned to the United States late in 1889 and took up lifelong residence in New York. His signature images include views of Boston, Paris, and New York, three urban centers whose places and pleasures he captured with affection and originality. 

While Hassam was unusual among the American Impressionists for his frequent depictions of burgeoning cities, he spent long periods in the countryside. There he found respite from urban pressures and inspiration for numerous important works of art. Hassam’s many portrayals of the old-fashioned gardens, rocky coast, and radiant sunlight of the Isles of Shoals, Maine. Among them is the 1901 view Coast Scene, Isles of Shoals, the first canvas by the artist to enter the collection of the Metropolitan Museum. Hassam’s images of Newport, Portsmouth, Old Lyme, Gloucester, and other New England locales also exemplify the late nineteenth-century appreciation of the picturesque region redolent of early American settlement and colonial growth. In 1919, Hassam and his wife purchased a colonial-period house in East Hampton, on the south fork of Long Island, New York, and made it their summer headquarters.

Hassam created more than 2,000 oils, watercolors, pastels, and illustrations, and—after 1912—more than 400 etchings and other prints. With these works he achieved critical acclaim and commercial success, riding the great wave of enthusiasm for American Impressionism to fame and fortune. More on Childe Hassam



Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.


Thursday, September 28, 2023

10 Works, September 27th. is Jean-Baptiste Nattier's day, his story, illustrated with footnotes #212

Jean-Baptiste Nattier (27 September 1678, Paris - 23 May 1726, Paris) was a French history painter.

His father was the portrait painter, Marc Nattier and his mother was the miniaturist, Marie Courtois. His brother, Jean-Marc Nattier, also became a painter. Both brothers received their first art lessons from their father.

Jean-Baptiste Nattier  (1678–1726)
Joseph and Potiphar’s wife, c. 1711
Oil on canvas
73,5x92 cm
Hermitage Museum, St. Petersburg

Joseph was taken to Egypt by the Ishmaelite traders, he was purchased by Potiphar, an Egyptian officer. Potiphar was captain of the guard for Pharaoh, the king of Egypt. Joseph works hard for his master, Potʹi·phar. So when Joseph grows older, Potʹi·phar puts him in charge of his whole house. 

Joseph was a very handsome and well-built young man, and Potiphar’s wife soon began to look at him lustfully. “Come and sleep with me,” she demanded. Joseph refused. “Look,” he told her, “my master trusts me with everything in his entire household. No one here has more authority than I do. He has held back nothing from me except you, because you are his wife. How could I do such a wicked thing? It would be a great sin against God.”

So when her husband comes home, she lies to him and says: ‘Joseph tried to lie down with me!’ Potʹi·phar believes his wife, and he is very angry with Joseph. So he has him thrown into prison. More on Joseph and Potiphar

Attributed to Jean Baptiste Nattier (French, 1678–1726)
Cimon and Pero
Oil on Canvas
95.5 x 74.5 cm. (37.6 x 29.3 in.)
Private collection

Roman Charity is the exemplary story of a woman, Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by starvation. She is found out by a jailer, but her act of selflessness impresses officials and wins her father's release.

The story is recorded by the ancient Roman historian Valerius Maximus, and was presented as a great act of filial piety and Roman honour. A painting in the Temple of Pietas depicted the scene. Among Romans, the theme had mythological echoes in Juno's breastfeeding of the adult Hercules, an Etruscan myth. More on Roman Charity

From 1704 to 1709, he studied at the Académie de France à Rome and, in 1712, was received as a member of the Académie royale de peinture et de sculpture upon presentation of his painting, Joseph sollicité par la femme de Putiphar (See above). 

Jean-Baptiste Nattier (1678-1726)
The Death of Adonis, c. 1718
Oil on shaped canvas made up to a rectangle
34 x 41in. (87.6 x 106cm.)
Private collection

Sold for USD 30,000 in Jun 2020

In Greek mythology, Adonis was the god of beauty and desire. Originally, he was a god worshipped in the area of Phoenicia (modern – day Lebanon), but was later adopted by the Greeks. According to the most popular belief, he was the son of Theias, king of Syria, and Myrrha (also known as Smyrna), Theias’ daughter.

Adonis was a great hunter and Artemis got jealous of his hunting skills. So Artemis sent a wild boar which eventually killed Adonis in one of his hunting expeditions. A different version of the myth has it that the boar was sent by Ares, as he was the lover of Aphrodite. Adonis bled to death in Aphrodite’s arms. Anemones sprang out of the tears of Aphrodite while she was mourning the death of her lover.  More on the Death of Adonis

Jean Baptiste Nattier
Boreas Abducting Oreithyia
Oil on canvas
100 x 90 cm
Private collection

Estimate for 26,000 - 35,000 EUR in November 2021

Failing to win the hand of the lovely Athenian princess Orethyia, one of the daughters of King Erechtheus, by gentle means, Boreas, the cold wind god of the North, decided to revert to his true nature of wildness and cold rage. The story is told by Ovid in the sixth book of the Metamorphoses, and Nattier admirably evokes the passion and fury of the tale. Boreas swoops down, concealed by dark and stormy clouds, and forcibly snatches up Oreithyia. Boreas carried her back to his northern realm, where she later bore him twin sons. More on Boreas Abducting Oreithyia

Jean-Baptiste Nattier  (1678–1726)
Romulus being taken up to Olympus by Mars
Oil on canvas
99 × 96.5 cm (38.9 × 37.9 in)
Museum of John Paul II Collection

The time came for Romulus to hand on the new Roman state to his successor; Mars therefore called a council of the gods, and proposed that the founder of Rome should be transformed into a god, which Jupiter approved.

With Romulus now the Roman god Quirinus, Hersilia, his queen, mourned his loss. Juno therefore instructed Iris to descend and invite Hersilia to join Romulus/Quirinus on Olympus.

Only Jean-Baptiste Nattier painted the apotheosis of the founder of Rome, in his Romulus being taken up to Olympus by Mars from about 1700. Mars is embracing Romulus, with the standard of Rome being borne at the lower left, and the divine chariot ready to take Romulus up to the upper right corner, where the rest of the gods await him. More on this painting

With this and training from his father and uncle he became an award-winning artist. He became well know for depicting his woman subjects in portraits as mythological goddesses. Examples of such can be seen in the Uffizi Gallery in his works, Henriette of France as Flora and, Marie Adelaide of France as Diana. Henriette (1727 – 1752) was the first daughter of King Louis XV and Queen Maria Leczinska of France and Marie Adelaide (1732 – 1800) their third. Both portraits show near perfect depictions of his subjects’ likeness, while still rendering a mythological ambience in the work. He also completed more straight-forward portraits of the Queen of France, Maria Leczinska (See below).

French School, 18th Century, Circle Jean Baptiste Nattier
Cleopatra
Oval canvas
87.5 x 77 cm
Private collection

Cleopatra VII Philopator (69 – August 12, 30 BC), was the last active pharaoh of Ptolemaic Egypt, briefly survived as pharaoh by her son Caesarion. After her reign, Egypt became a province of the recently established Roman Empire.

Cleopatra was a member of the Ptolemaic dynasty, a family of Macedonian Greek origin that ruled Egypt after Alexander the Great's death. The Ptolemies spoke Greek throughout their dynasty, and refused to speak Egyptian, which is the reason that Greek as well as Egyptian languages were used on official court documents such as the Rosetta Stone. By contrast, Cleopatra did learn to speak Egyptian and represented herself as the reincarnation of the Egyptian goddess Isis.

Cleopatra originally ruled jointly with her father Ptolemy XII Auletes, and later with her brothers Ptolemy XIII and Ptolemy XIV, whom she married as per Egyptian custom, but eventually she became sole ruler. As pharaoh, she consummated a liaison with Julius Caesar that solidified her grip on the throne.

After Caesar's assassination in 44 BC, she aligned with Mark Antony in opposition to Caesar's legal heir Gaius Julius Caesar Octavianus (later known as Augustus). With Antony, she bore the twins Cleopatra Selene II and Alexander Helio. Antony committed suicide after losing the Battle of Actium to Octavian's forces, and Cleopatra followed suit. According to tradition, she killed herself by means of an asp bite on August 12, 30 BC. More on Cleopatra

Nattier rose to prominence after executing engravings of Peter Paul Rebuns’, Marie de Medicis Cycle, and also in painting portraits of  Peter the Great, The Russian Tsar (1672 – 1725) (See below) and his wife the Empress Catherine (1684 – 1727) in Amsterdam (Encyclopedia Britannica). He was also commissioned by Peter the Great to paint historical works such as, Battle of Pultawa and The Battle of Lesnaya.

Attributed to Jean-Marc Nattier  (1685–1766)
Portrait of Peter I (1672–1725)
Oil on canvas Edit this at Wikidata
Height: 142.5 cm (56.1 in); Width: 110 cm (43.3 in)
Hermitage Museum  

Peter the Great , Peter I, ruled the Tsardom of Russia and later the Russian Empire from 7 May 1682 until his death in 1725, jointly ruling before 1696 with his elder half-brother, Ivan V.

Through a number of successful wars, he expanded the Tsardom into a much larger empire that became a major European power, that also laid the groundwork for the Imperial Russian Navy after capturing ports at Azov and the Baltic Sea. More on Peter I.

Jean Marc Nattier
The Battle of the Forest/ Battle of Lesnaya, 1717 
Pushkin Museum

The Battle of Lesnaya was one of the major battles of the Great Northern War. It took place between a Russian army commanded by Peter I of Russia, and a Swedish army commanded by Adam Ludwig Lewenhaupt and Berndt Otto Stackelberg.. The Swedes were escorting a supply column of more than 4,500 wagons for their main army in Ukraine. More on The Battle of Lesnaya 



Jean-Baptiste Nattier (1678-1726)
Portrait of Marie Rose Larlan de Rochefort, Marquise de Nétumières, c. 1748
Oil on canvas
39 ½ x 31 ½ in. (100.2 x 80.6 cm.)
Private collection

Nattier’s portrait of the Marquise de Nétumières was painted when the sitter was about 30 years old, and many of its delights are particular to the artist’s sumptuous yet modest portrayal of her. Despite the agitated excitement of the little black hound barking on her lap, her expression conveys a calm and direct openness and intelligence, and an inviting warmth of personality that accounts for much of the painting’s appeal. The beautiful, nuanced rendering of fabrics, subtle palette of various dark blues – including ‘Nattier Blue’, the color that still carries the artist’s name – and chocolate browns, and the gently rendered fall of natural light all contribute to its allure. The warm sfumato that envelops the marquise heightens the creaminess of her complexion, creating soft atmospheric effects that emphasize her refined beauty and function as a metaphor for the sweet charm of the sitter’s character that her contemporaries often cited. More on this painting

He painted many portraits, another of which is in the Uffizi Gallery; Marie Zephirine of France (See below), a granddaughter of King Louis XV, who died at only five years old. Nattier was an official portraitist for the King’s daughters and their children.

Jean-Baptiste Nattier (1678-1726)
Portrait of Princess Marie Zéphyrine of France (1750-1755), c. 1751
Oil on canvas
Height: 70.0 cm; Width: 82.0 cm
Uffizi Gallery

Marie Zéphyrine of France was a Daughter of France, the daughter of Louis, Dauphin of France, and Maria Josepha of Saxony.

Marie Zéphyrine died at Versailles due to an attack of convulsions, in the early hours of the morning of 2 September, having been baptised just days before by the Abbot of Chabannes. She was not officially mourned; a Daughter of France could only be mourned if she was over the age of 7. She was buried at the Royal Basilica of Saint Denis outside the capital of Paris. More on Marie Zéphyrine

He became involved the sexual scandals surrounding Benjamin Deschauffour, who was convicted for operating a pederastic network and executed. Nattier was imprisoned in the Bastille and his membership in the Académie was rescinded. Rather than suffer the fate of Deschauffour (whose corpse was publicly burned in the Place de Grève), he committed suicide by cutting his throat with an oyster knife.

His professional belongings at the Acadėmie were returned to his family. 
More on Jean-Baptiste Nattier




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.


Thursday, September 21, 2023

10 Works, September 21st. is Kurt Jackson day, his story, illustrated with footnotes #207

Kurt Jackson (born 21 September 1961)
Punching through, c. 2022
RNLI Cornwall 
Mixed media on canvas.
91 x 91cm.
Jackson foundation

For sales at £24,000 in September 2023

RNLI Cornwall features over 75 paintings varying in scale from postcard sized pieces to large canvasses measured in metres that capture the familiar sight of the blue and orange of the charity’s lifeboats nestled into Cornish harbours and coastlines, and lifeguards at the centre of Cornish beaches scenes. features over 75 paintings varying in scale from postcard sized pieces to large canvasses measured in metres that capture the familiar sight of the blue and orange of the charity’s lifeboats nestled into Cornish harbours and coastlines, and lifeguards at the centre of Cornish beaches scenes. More on the RNLI Cornwall 

Kurt Jackson (born 21 September 1961) 
Dark river, Fowey lifeboat, c. 2022
Mixed media on museum board.
22 x 22cm.
Jackson foundation

For sale at £3,500 in September 2023

Kurt Jackson (born 21 September 1961) 
Newlyn Lifeboat in the fishing fleet, c. 2020
Mixed media on museum board.
22 x 22cm.
Private collection

Descending from one of Cornwall’s first lifeboat stations, in nearby Penzance, the Penlee Lifeboat Station in Newlyn has a rich and proud heritage of saving lives at sea.

Today, two lifeboats are based in port – The Ivan Ellen is an All-Weather Severn Class and The Mollie & Ivor Dent is an Inshore B-Class Atlantic 85. More on Penlee Lifeboat Station

Kurt Jackson (born 21 September 1961) is a British painter whose large canvases reflect a concern with natural history, ecology and environmental issues.

Kurt Jackson (born 21 September 1961) 
Sun and Rain, Strong Winds, Drilling Carnsew Mine, c. 1998–1999
Acrylic on paper
H 58 x W 77.5 cm
University of Exeter

Carnsew Quarry, based on the edge of the Carnmenellis Granite intrusion, produces a silver grey granite in a full range of sizes. Colas Ltd has shipped aggregates and armour stone from this quarry via the nearby Port of Falmouth and Carnsew Granite has been used in several rock armour projects along the south coast. More on the Carnsew Mine

Kurt Jackson (born 21 September 1961) 
Washing in the Sunshine, c. 2018
From Clay Country Series
Mixed media on paper
H 57 x W 61 cm
Worcester City Art Gallery & Museum (Museums Worcestershire)

Kurt Jackson's Clay Country is a body of work centred around Cornwall’s industrial clay mines. Jackson captures the essence of this hidden part of the Cornish landscape, where for centuries clay mining has shaped the culture, heritage and landscape. For Clay Country, Jackson worked in situ at the Littlejohns clay works, an enormous pit that covers over 500 acres with a circumference of around 15 miles. He observed workers in the pit using massive machines to extract and transport china clay, set in an extraordinary man-made landscape. More on Kurt Jackson's Clay Country

Born in Blandford, Dorset, the son of two painters, he developed an early interest in natural history and landscape. He studied zoology at St Peter's College, Oxford, but spent most of his time attending classes at The Ruskin School of Drawing and Fine Art or painting in the countryside around Oxford. In 1984 he and his wife Caroline Jackson moved to Cornwall; currently (2014), he lives and works near St Just, Penwith.

Kurt Jackson (born 21 September 1961) 
Caroline & Zinzi in front of Nornour, St Martins, Scilly, c. 1999
Mixed media
18 x 18cm
Private collection

Sold for £1,250 in Jun 2023

The Eastern Isles are a group of twelve small uninhabited islands within the Isles of Scilly Area of Outstanding Natural Beauty, part of the Scilly Heritage Coast and a Site of Special Scientific Interest (SSSI) first designated in 1971 for its flora and fauna. They have a long period of occupation from the Bronze Age with cairns and entrance graves through to Iron Age field systems and a Roman shrine on Nornour. Before the 19th century, the islands were known by their Cornish name, which had also become the name of the largest island in the group after the submergence of the connecting lands. More on The Eastern Isles

He has been Artist in Residence on the Greenpeace ship Esperanza, at the Eden Project and at Glastonbury Festival since 1999. He has an Honorary Doctorate (DLitt) from Exeter University and is an Honorary Fellow of St Peter's College, Oxford University. He is an ambassador for Survival International and frequently works with Friends of the Earth, Greenpeace, WaterAid, Oxfam, Surfers Against Sewage and Cornwall Wildlife Trust.[citation needed] He is an academician of the Royal West of England Academy.

Kurt Jackson (born 21 September 1961) 
Above Gwenver lifeguards’ hut, hottest day of the year, c.  2022
Mixed media on museum board.
60 x 60cm.
Private collection

Gwenver's name is derived from Gwynevere of Authurian legend. Situated at the base of a grassy cliff the beach is just about secluded and in-accessible enough to not get really crowded.

The beach itself is sandy and around 150 metres long. At high tide the beach slopes steeply into the sea and can be dangerous, at low tide Gwenver joins up with Sennen beach

On a clear day the Scilly Isles can be easily made out from the beach as can the nearby Brisons rocks 1 mile off the coast of Cape Cornwall. More on Gwenver

Kurt Jackson (born 21 September 1961) 
Catch the Light
Oil & mixed media on canvas
H 152.4 x W 152.4 cm
University of Exeter

Jackson's work is a contemporary manifestation of this tradition, exceptional in its all-around scope, its variety, richness, quality and, on occasions, sheer scale. His oeuvre as a whole is an immense, consistent achievement. More on Jackson's work

Kurt Jackson (born 21 September 1961) 
There is Only Me and a Crow on this Beach, Below Tangy, Evening, Distant Jura and Ireland, c. 2012-2022
Mixed media on museum board
H:60cm W:60cm
Private collection

For sale at £9,600 in September 2023

Jura is an island in the Inner Hebrides of Scotland, adjacent to and northeast of Islay. Jura is more sparsely populated than Islay, and is one of the least densely populated islands of Scotland: in a list of the islands of Scotland ranked by size, Jura comes eighth, whereas by population it comes 31st. The island is mountainous, bare and largely infertile, covered by extensive areas of blanket bog. More on Jura

Kurt Jackson (born 21 September 1961) 
Sennen Cove, late afternoon, 1989
Watercolour
10.75 x 11.75 in.
Private collection

Sold for £850 GBP in September 2013

Sennen Cove is a small coastal village in the parish of Sennen in Cornwall, England, United Kingdom. According to the Penwith District Council, the population of this settlement was estimated at 180 persons in 2000. The South West Coast Path passes through Sennen Cove. More on Sennen Cove

The majority of Jackson's work reflects his commitment to the environment and the natural world within Cornwall, although he also works elsewhere in Britain and mainland Europe; recent projects include bodies of work on the Thames, the Avon, the Forth, Ardnamurchan and the Glastonbury Festival series. His paintings frequently carry small commentaries on the scene depicted and show a fascination particularly with the detail of plants and animals within an overall ecology and evoke a calm, spiritual and warm relationship with the landscape, even of apparently bleak scenes. His work has been described as "uplifting" and "transporting". To quote Robert Macfarlane "the bristling of landscape is Kurt Jackson's subject as an artist, and his brilliance as an artist lies in the success with which he represents his subject. More on Kurt Jackson




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03 Works, August 12th. is Abbott Handerson Thayer's day, his story, illustrated with footnotes

Abbott Handerson Thayer Stevenson Memorial, c. 1903 Oil on canvas 81 5⁄8 x 60 1⁄8 in. (207.2 x 152.6 cm) Smithsonian American Art Museum Abb...