My Latest drawing on Ibis Paint X. Currently under overhaul LNER A2 Pacific locomotive 60532 “Blue Peter” passes Goodrington Sands on the South Devon Railway
German painter, engraver, mathematician printmaker, and theorist Albrecht Dürer sadly Died 6 April 1528. He was Born 21 May 1472, and is regarded as one of the greatest artist of the Northern Renaissance. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known prints include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I(1514). His watercolours also mark him as one of the first European landscape artists, and his ambitious woodcuts were revolutionary. Dürer’s introduction of classical motifs into Northern art, secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.
Dürer’s worked as an apprentice with his godfather Anton Koberger, who was one of the most successful publisher in Germany, eventually owning twenty-four printing-presses and having many offices in Germany and abroad. Koberger’s most famous publication was the Nuremberg Chronicles, published in 1493 containing 1,809 woodcut illustrations. In 1492 Dürer travelled to Basel to stay with another brother of Martin Schongauer, the goldsmith Georg. Upon his return to Nuremberg, on 7 July 1494, Dürer married Agnes Frey and opened his own workshop. Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Dürer’s father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his religious woodcut prints, and scenes such as The Men’s Bath House (ca. 1496). These were larger and more finely-cut than the great majority of German woodcuts and far more complex and balanced in composition. During an outbreak of plague in Nurenburg Dürer left for Italy and painted watercolour sketches as he traveled over the Alps.
He also travelled to Venice to study its more advanced artistic world and learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Martin Schongauer and the Housebook Master. He was also influenced by Giovanni Bellini. In 1496 he produced his famous series of sixteen great designs for the Apocalypse, the engraving of St. Michael Fighting the Dragon and the first seven scenes of the Great Passion. A little later, he also produced a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496. Around 1503–1505 he produced the first seventeen of a set illustrating the Life of the Virgin, which he did not finish for some years. Dürer made large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hände, a study for an apostle in the Heller altarpiece. He also continued to produce watercolours, including a number of still lifes of meadow sections or animals, including his Young Hare (1502) and the Great Piece of Turf (1503,The Venetian artist Jacopo de’ Barbari, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in perspective,anatomy, and proportion from him.
A series of extant drawings show Dürer’s experiments in human proportion, leading to the famous engraving of Adam and Eve (1504), which shows his subtlety while using the burin in the texturing of flesh surfaces.Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artistsIn Italy, he returned to painting, at first producing a series of works executed in tempera on linen. These include portraits and altarpieces, notably, the Paumgartner altarpiece and the Adoration of the Magi. In early 1506, he returned to Venice and stayed there until the spring of 1507. By this time Dürer’s engravings had attained great popularity and were being copied. In Venice he was given a valuable commission from the emigrant German community for the church of San Bartolomeo. This was the altar-piece known as the Adoration of the Virgin or the Feast of Rose Garlands. It includes portraits of members of Venice’s German community, but shows a strong Italian influence. It was subsequently acquired by the Emperor Rudolf II and take to Prague. Other paintings Dürer produced in Venice include The Virgin and Child with the Goldfinch, Christ Disputing with the DoctorsFrom 1512, Maximilian I became Dürer’s major patron. His commissions included The Triumphal Arch.
Dürer produced some of his most celebrated paintings: Adam and Eve(1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris(1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), andAdoration of the Trinity (1511, for Matthaeus Landauer). he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Dürer’s development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted. He also printed thirty-seven woodcut subjects of the Little Passion, in 1511, and a set of fifteen small engravings on the same theme in 1512. He decided that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Dürer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus’s treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). In 1515, he created a woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century.
In 1515 he produced woodblocks for the first western printed star charts and portraits in tempera on linen in 1516.On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and aSacra Conversazione, though neither was completed. This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and fortification.Having secured his pension, Dürer finally returned home in July 1521, having caught an undetermined illness—perhaps malaria. As for engravings, Dürer’s work was restricted to portraits and illustrations for his treatise. However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of Hieronymus Holtzschuher, a Madonna and Child (1526), Salvator Mundi (1526), and two panels showing St. John with St. Peter in background and St. Paul with St. Mark in thebackground. This last great work, the Four Apostles
Dürer sadly died in Nuremberg at the age of 56, leaving an estate and workshop where his widow lived until her death in 1539 this is a prominent Nuremberg landmark and is now a museum. He is buried in the Johannisfriedhof cemetery. Dürer’s final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck. Dürer’s intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style and has never fallen from critical favour, and has exerted a huge influence on the artists of succeeding generations, especially in printmaking, His success in spreading his reputation across Europe through prints was an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers in order to promote and distribute their work.
Italian high Renaissance painter and architect Raffaello Sanzio da Urbino was born on either March 28 or April 6, 1483 (depending on the Julian or Gregorian calender) in Urbino in the Marche region. His father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope but died the year before Raphael was born. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, Under them, the court continued as a centre for literary culture .Court life in Urbino was depicted by Baldassare Castiglione’s The Book of the Courtier, Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. Raphael mixed inthe highest circles throughout his life. His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest. Raphael had already shown talent, according to Vasari, His father’s workshop continued and, probably together with his stepmother. In Urbino, he also came into contact with the works of Paolo Uccello, previously the court painter and Luca Signorelli.VAccording to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice he may have Also received training from Timoteo Viti, who acted as court painter in Urbino from 1495. Raphael is described as a “master”, (fully trained) in December 1500.
His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, halfway between Perugia and Urbino. Evangelista da Pian di Meleto, was also named in the commission. It was commissioned in 1500 and finished in 1501; sadly only some cut sections and a preparatory drawing remain. He also painted works for other churches including the Mond Crucifixion, the Brera Wedding of the Virgin and the Oddi Altarpiece ar Perugia. He also painted many small and exquisite cabinet paintings like the Three Graces and St. Michael, he also began to paint Madonnas and portraits. In 1502 he was invited to Siena by Pinturicchio, who was a friend of Raphael and considered him to be a draughtsman of the highest quality, to help with the cartoons, and designs, for a fresco series in the Piccolomini Library in Siena Cathedral. Although Raphael mainly worked in Northern Italy, he also spent a good deal of time in Florence. Raphael was influenced by Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. Another major influence was Leonardo da Vinci,
Raphael’s figures became more dynamic and complex and he made drawn studies of fighting nude men, And portraits of young women that using the three-quarter length pyramidal composition of the just-completed Mona Lisa. Another of Leonardo’s compositional inventions, is the pyramidal Holy Family, . There is a drawing by Raphael in the Royal Collection of Leonardo’s lost Leda and the Swan, from which he adapted the contrapposto pose of his own Saint Catherine of Alexandria. He also perfected his own version of Leonardo’s sfumato modelling, to give subtlety to his painting of flesh, However these are much less enigmatic than Leonardo’s But retain the soft clear light of Perugino. Raphael’s Deposition of Christ draws on classical sarcophagi to spread the figures across the front of the picture space in a complex and not wholly successful arrangement. There is an influence of the Madonna in Michelangelo’s Doni Tondo in the kneeling figure on the right, but the rest of the composition is far removed from his style, or that of Leonardo. in 1508, Raphael had moved to Rome, where he lived for the rest of his life. He was invited by the new Pope Julius II, at the suggestion of his architect Donato Bramante, then engaged on St. Peter’s Basilica, who came from just outside Urbino and was distantly related to Raphael. Unlike Michelangelo, Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope’s private library at the Vatican Palace. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius’s loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling.
This first of the famous “Stanze” or “Raphael Rooms” to be painted, now known as the Stanza della Segnatura after its use in Vasari’s time, influenced Roman art, and remains generally regarded as his greatest masterpiece, containing The School of Athens, The Parnassus and the Disputa. Raphael was given two more rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael’s last Pope, the Medici Pope Leo X, with whom Raphael formed an even closer relationship, and who continued to commission him. Raphael’s friend Cardinal Bibbiena was also one of Leo’s old tutors, and a close friend and advisor. Raphael was clearly influenced by Michelangelo’s Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly. The first section was completed in 1511 and the reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades. Raphael, had already shown his gift for absorbing influences into his own personal style and One of the first and clearest instances was the portrait in The School of Athens of Michelangelo himself, as Heraclitus, which were influenced by the Sybils and ignudi of the Sistine ceiling. Other figures in that and later paintings in the room show the same influences, but still demonstrate Raphael’s own style this led Michelangelo to accuse Raphael of plagiarism. However These very large and complex compositions have since become regarded as among the supreme works of the grand manner of the High Renaissance, and the “classic art” of the post-antique West which give a highly idealised depiction of the forms represented.
After Bramante’s death in 1514, Raphael was named architect of the new St Peter’s. Most of his work there was altered or demolished after his death and the acceptance of Michelangelo’s design, but a few drawings have survived. He also designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces. An important building, the Palazzo Branconio dell’Aquila for Leo’s Papal Chamberlain Giovanni Battista Branconio, was completely destroyed to make way for Bernini’s piazza for St. Peter’s, however drawings of the richly decorated façade and courtyard remain. The main designs for the Villa Farnesina were not by Raphael, but he did design, and decorated with mosaics, the Chigi Chapel for the same patron, Agostino Chigi, the Papal Treasurer. Another building, for Pope Leo’s doctor, the Palazzo di Jacobo da Brescia, was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time. The Villa Madama, a lavish hillside retreat for Cardinal Giulio de’ Medici, later Pope Clement VII, was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by Antonio da Sangallo the Younger. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which Palladio made a measured drawing.
In 1515 he was made “Prefect” over all antiquities unearthed entrusted within the city, or a mile outside. Raphael wrote a letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The Pope’s concerns were not exactly the same; he intended to continue to re-use ancient masonry in the building of St Peter’s, but wanted to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused. The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor Leo X, the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. Other rulers pressed for work, and King Francis I of France was sent two paintings as diplomatic gifts from the Pope. For Agostino Chigi, the hugely rich banker and Papal Treasurer, he painted the Triumph of Galatea and designed further decorative frescoes for his Villa Farnesina, a chapel in the church of Santa Maria della Pace and mosaics in the funerary chapel in Santa Maria del Popolo. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.
One of his most important papal commissions was the Raphael Cartoons (now in the Victoria and Albert Museum), a series of 10 cartoons, of which seven survive, for tapestries with scenes of the lives of Saint Paul and Saint Peter, for the Sistine Chapel. The cartoons were sent to Brussels to be woven in the workshop of Pier van Aelst. He also designed and painted the Loggie at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style grottesche. He produced a number of significant altarpieces, including The Ecstasy of St. Cecilia and the Sistine Madonna. His last work, on which he was working up to his death, was a large Transfiguration, which together with Il Spasimo shows the direction his art was taking in his final years—more proto-Baroque than Mannerist.
Raphael also collaborated with Marcantonio Raimondi to produce engravings, Raimondi created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had alao worked with Raimondi. A total of about fifty prints were made; some were copies of Raphael’s paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving. The most famous original prints to result from the collaboration were Lucretia, the Judgement of Paris and The Massacre of the Innocents (of which two virtually identical versions were engraved), The Parnassus (with considerable differences) and Galatea. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael’s art was experienced until the twentieth century. Baviero Carocci, an assistant who Raphael evidently trusted ended up in control of most of the copper plates after Raphael’s death, and had a successful career in the new occupation of a publisher of prints.
Raphael was also an excellent draftsmen and used drawings extensively to plan his compositions. Over forty sketches survive for the Disputa in the Stanze. He used different drawings to refine his poses and compositions. For final compositions scaled-up full-size cartoons were made, He also made unusually extensive use, on both paper and plaster, of a “blind stylus”, scratching lines which leave only an indentation, but no mark. These can be seen on the wall in The School of Athens, The “Raphael Cartoons”, as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers. Most Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo’s and Michelangelo’s sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use metalpoint extensively, although he also made superb use of the freer medium of red or black chalk In his final years he was one of the first artists to use female models for preparatory drawings—male pupils (“garzoni”) were normally used for studies of both sexes.
Between 1517 and 1520, Raphael lived in the Palazzo Caprini in the Borgo, in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena’s niece. He is said to have had many affairs, but his deepest love was “La Fornarina”, Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio. He was made a “Groom of the Chamber” of the Pope, and a knight of the Papal Order of the Golden Spur. According to Vasari, Raphael’s premature death on Good Friday (April 6, 1520), which was possibly his 37th birthday, was caused by a night of excessive sex with Luti, after which he fell into a fever. Vasari also says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28. During his acute illness, which lasted fifteen days, Raphael confessed his sins, receive the last rites, and to put his affairs in order, he left sufficient funds for his mistress’s care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. Raphael was buried in the Pantheon. His funeral was extremely grand, attended by large crowds. The inscription in his marble sarcophagus, an elegiac distich was written by Pietro Bembo.
My latest painting done using Ibis Paint X
English comic book artist, designer, and director Jamie Hewlett was born 3 April 1968. He is best known for being the co-creator of the comic Tank Girl and the virtual band Gorillaz. He was Brought up in Horsham, West Sussex, and was a pupil at Tanbridge House School. He contributed to the art work of a road safety campaign that ended up runner-up in a national television competition. He then attended Northbrook College, Worthing. Where alongside Alan Martin and fellow student Philip Bond he created a fanzine called Atomtan. This brought him to the attention of Brett Ewins. After leaving college Hewlett and Martin were invited by Ewins to create material for a new magazine he was setting up with Steve Dillon in 1988.
The magazine was called Deadline and featured a mixture of comic strips produced by British creators, and articles on music and culture. Martin and Hewlett created Tank Girl, an anarchic strip about a teenage punk girl who drove a tank and had a mutant kangaroo for a boyfriend. The strip proved instantly popular and quickly became the most talked about part of Deadline. Hewlett’s eccentric style proved popular and he started to work with bands such as Senseless Things and Cud providing covers for record releases; he also contributed artwork sporadically to Commodore User magazine. He also designed decor for a nightclub called The Factory in Chatsworth Road, Worthing, this features red and green stripes, a wall of blown-up panels from Tank Girl set against 1970s wallpaper, a Ford Escort hung from the ceiling and toilets pasted with pages from old comic book annuals. The Factory has since been refurbished and renamed several times.
By 1992, Hewlett had become a major creator in the comics industry, and one of the few to break into mainstream media. He had worked with writer Peter Milligan on Hewligan’s Haircut in 2000 AD issues 700 to 707. He provided covers and art for Shade, the Changing Man, also written by Milligan for DC Comics. Tank Girl was made into a film in 1995 by MGM featuring Lori Petty as Tank Girl. He also drew a Tank Girl mini-series for the Vertigo imprint of DC Comics written by Peter Milligan.
He also opened a secondhand clothing store, 49. The shop, at 49 Rowlands Road, Worthing, was managed by girlfriend Jane Oliver, originally a member of Elastica, Hewlett is also involved with British bands and illustrated a comic strip version of Pulp’s song “Common People”. Deadline was eventually cancelled in 1996 due to falling sales in a changed market and Hewlett concentrated on working in advertising and designs for television, most notably the children’s series SMTV Live, featuring Ant & Dec. He also created the strip ‘Get The Freebies’ published monthly in British fashion magazine The Face. The stories, followed the exploits of Terry Phoo, a gay, Buddhist kung-fu law enforcement officer and his sidekick Whitey Action, an enigmatic young anarchist with a bad attitude, as they tackle their primary adversaries The Freebies Gang of the title.
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett’s work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett’s comic strip, Tank Girl. Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica.
The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, “If you watch MTV for too long, it’s a bit like hell – there’s nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that.” The band originally identified themselves as “Gorilla” and the first song they recorded was “Ghost Train” which was later released as a B-side on their single “Rock the House” and the B-side compilation G Sides. The musicians behind Gorillaz’ first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track “Time Keeps on Slipping” for Deltron 3030’s eponymous debut album. Although not released under the Gorillaz name, Albarn has said that ‘one of the first ever Gorillaz tunes’ was Blur’s 1997 single “On Your Own”, which was released for their self-titled studio album Blur. Albarn worked on the music, while Hewlett came up with character designs, and both came up with ideas for the members of the band.
The first Gorillaz EP was released in 2000 followed by the first album, Gorillaz in 2001. In 2005, their second full studio album, Demon Days was released. In January 2006, Hewlett’s artwork for Gorillaz was shortlisted for the Design Museum’s ‘Designer of the Year’ award. In May 2006, Jamie Hewlett was named the Designer of the Year 2006. On 25 May 2006, both Hewlett and Albarn won the joint award for “Songwriters of the Year” at the Ivor Novello Awards. In 2007, Hewlett and Albarn premiered their first major work since Gorillaz. Entitled Monkey: Journey to the West, a re-working of the ancient Chinese legend Journey to the West. Albarn wrote the score whilst Hewlett designed the set, animations and costumes. Written and adapted by Chen Shi-zheng, the show featured 45 Chinese circus acrobats, Shaolin monks and Chinese vocalists. The ‘Get the Freebies’ strip was also adapted by BBC Three for a pilot entitled Phoo Action, broadcast in February 2008. Hewlett and Albarn also created the animation sequence the BBC used to introduce coverage of the Beijing 2008 Olympics. The sequence titled Journey to the East uses the Monkey character from Monkey: Journey to the West.
In 2011 Hewlett married French presenter and actress Emma de Caunes at St Paul de Vence and a new Tank Girl book 21st Century Tank Girl was released, featuring co-creators Hewlett, and Martin as well as other artists including Brett Parson, Warwick Johnson-Cadwell, Philip Bond, Jim Mahfood, Craig Knowles, and Jonathan Edwards. In 2015, Hewlett debuted his first art exhibition called ‘The Suggestionists’ at the Saatchi Gallery in London. The exhibition then made its American debut at the Woodward Gallery in Manhattan in May 2016.
The Gorillaz latest album Humanz, was released in 2017 Featuring the songs “Saturnz Barz”, with vocals from Jamaican dancehall artist Popcaan, “Andromeda”, featuring American rapper D.R.A.M, “Ascension” (featuring American rapper Vince Staples) and “We’ve Got the Power” (featuring Jehnny Beth of the English rock band Savages and Noel Gallagher of Oasis).
English Romantic painter John Constable sadly passed away on 31st March 1837. Born 11th June in 1776 in East Bergholt, Suffolk, He is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as “Constable Country”—which he invested with an intensity of affection. “I should paint my own places best”, he wrote to his friend John Fisher in 1821, “painting is but another word for feeling”. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside that was to become the subject of a large proportion of his art.
In 1799, Constable persuaded his father to let him pursue art, and Golding even granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections as well as studying and copying Old Masters. Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. He also read widely among poetry and sermons, and later proved a notably articulate artist. By 1803, he was exhibiting paintings at the Royal Academy. In 1802 he refused the position of drawing master at Great Marlow Military College, a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter. His early style has many of the qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the Old Masters he had studied, notably of Claude Lorrain.
Constable’s usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. Although Constable produced paintings throughout his life for the “finished” picture market of patrons and R.A. exhibitions, constant refreshment in the form of on-the-spot studies was essential to his working method, and he never satisfied himself with following a formula. “The world is wide”, he wrote, “no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other.”
Constable painted many full-scale preliminary sketches of his landscapes in order to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. The oil sketches of The Leaping Horse and The Hay Wain, for example, convey a vigour and expressiveness missing from Constable’s finished paintings of the same subjects. Possibly more than any other aspect of Constable’s work, the oil sketches reveal him in retrospect to have been an avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction.
Constable’s watercolours were also remarkably free for their time: the almost mystical Stonehenge, 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted. When he exhibited it in 1836, Constable appended a text to the title: “The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period.”
Some of Constable’s most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England. He could never have imagined how influential his honest techniques would turn out to be. Constable’s art inspired not only contemporaries like Géricault and Delacroix, but the Barbizon School, and the French impressionists of the late nineteenth century
Spanish romantic painter and Printmaker Francisco José de Goya y Lucientes sadly died April 1828. He was born 30 March 1746 in the village of Fuendetodos in Aragon. He studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773; the couple’s life together was characterised by an almost constant series of pregnancies and miscarriages. He became a court painter to the Spanish Crown in 1786 and this early portion of his career is marked by portraits of the Spanish aristocracy and royalty, and Rococo style tapestry cartoons designed for the royal palace.
Goya was a guarded man and little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him completely deaf. After 1793 his work became progressively darker and more pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, and contrast with his social climbing. He was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, the then-highest rank for a Spanish court painter. In the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted Charles IV of Spain and His Family.
In 1807 Napoleon led the French army into Spain. Goya remained in Madrid during the Peninsular War, which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his “Disasters of War” series of prints (although published 35 years after his death) and his 1814 paintings The Second of May 1808 and The Third of May 1808. Other works from his mid period include the “Caprichos” and Los Disparates etching series, and a wide variety of paintings concerned with insanity, mental asylums, witches, fantastical creatures and religious and political corruption, all of which suggest that he feared for both his country’s fate and his own mental and physical health.
His late period culminates with the “Black Paintings” of 1819–1823, applied on oil on the plaster walls of his house the “Quinta del Sordo” (house of the deaf man) where, disillusioned by political and social developments in Spain he lived in near isolation. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, who may or may not have been his lover. There he completed his “La Tauromaquia” series and a number of other, major, canvases. Following a stroke which left him paralyzed on his right side, and suffering failing eyesight and poor access to painting materials, following his untimely death His body was later re-interred in Spain. Goya is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his long career was a commentator and chronicler of his era. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns. He was also one of the great portraitists of modern times.