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1853 PYLE |
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Died on 05 March 1534: Antonio
Allegri “Correggio”, Italian Mannerist
painter born in some year between 1489 and 1494. [Mai perdeva la correggia?
Sempre era uno dei allegri?] — Antonio Allegri, "Correggio", pintor italiano. — Correggio, whose real name was Antonio Allegri, was a Renaissance painter whose innovations in depicting space and movement anticipated the baroque style. Born in Correggio, Allegri studied painting reputedly with an uncle and with Francesco Bianchi-Ferrari in Modena. His work was influenced by Andrea Mantegna and Leonardo da Vinci. Settling in Parma in 1518, Correggio painted his first set of frescoes in the Abbess's Salon of the Convent of San Paolo; they are known collectively as Diana Returning from the Chase. This work is notable for the extreme foreshortening of the cherubs placed in many small panels around the room. From 1520 to 1524, Correggio worked on the fresco The Ascension of Christ in the cupola of the Church of San Giovanni Evangelista, in Parma. The skillful use of light and shadow and luminous colors enhance the illusionistic technique, which makes the scene seem to extend beyond the physical limits of the dome. Similar but more complex effects can be observed in The Assumption of the Virgin (1526-1530) in the Cathedral of Parma. He returned to Correggio about 1530, after the death of his wife, before completing other decorations in the cathedral. Correggio's paintings are characterized by sensuous nude figures, colors that have a cool, silvery sheen, great skill in foreshortening, and originality of perspective. About 40 of his canvases exist. All represent religious and mythological subjects. The religious paintings, such as the Madonna and Saint Jerome, also called Day (1527) and Holy Night (1530), are distinguished usually by a pearly tonality. The nudes in his mythological scenes, notably Jupiter and Io (1532) and Jupiter and Antiope (1532), express spiritual ecstasy similar to that of his religious figures. The painters of the Carracci family, the 16th-century Bolognese founders of the eclectic school, and Correggio's pupil Il Parmigianino incorporated Correggio's style into their work. — LINKS — Deposition from the Cross (1525, 158x184cm) _ This painting, together with its companion piece the Martyrdom of Four Saints, was painted for the Del Bono chapel in San Giovanni, Parma. The unusual shape of the figures, which never fit into the scene, are probably due to the original dimensions of the chapel (which was later enlarged). — Noli me Tangere (1525, 130x103cm) _ Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb. — The Mystic Marriage of St Catherine (1520, 105x102cm) _ This panel belongs to a large group of Madonna painnting where Correggio expressed his feminine ideal. He painted this subject previously in several small paintings and later it was copied or imitated in the 19th century. — Ecce Homo |
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Born on 05 March 1853: Howard
Pyle, US painter, author, and Golden
Age illustrator who died on 09 November 1911. Originator of the "Brandywine School" of illustration, Pyle had many students, including N.C. Wyeth, Maxfield Parrish, Violet Oakley, Jessie Willcox Smith and Frank Schoonover. Pyle is best known for the children's books that he wrote and illustrated. Pyle wrote original children's stories as well as retelling old fairy tales. Many of Pyle's children's stories, illustrated by the author with vividness and historical accuracy, have become classics — most notably The Merry Adventures of Robin Hood (1883); Otto of the Silver Hand (1888); Jack Ballister's Fortunes (1895); and his own folktales, Pepper & Salt (1885), The Wonder Clock (1888), and The Garden Behind the Moon (1895). He also wrote and illustrated Men of Iron (1892 — historical fiction: 1400 England under King Henry IV) — The Champions of the Round Table (1905) — The Story of the Grail and the Passing of Arthur (1910) — The Story of King Arthur and His Knights (1903) — Howard Pyle's Book of Pirates (1921) — A Modern Aladdin, — The Ruby of Kishmoor — Stolen Treasure — The Rose of Paradise: Being a detailed account of certain adventures that happened to Captain John Mackra, in connection with the famous pirate, Edward England, in the year 1720, off the island of Juanna in the Mozambique Channel; writ by himself, and now for the first time published (1894) — Within the Capes (1885 — the story of Captain Tom Granger, a Quaker, and his adventures in 1812, a combination of Robinson Crusoe, pirates, Quaker romance, and seafaring adventure) — Some Merry Adventures of Robin Hood, of Great Renown in Nottinghamshire (1902) — Sir Launcelot and his Companions (1907) — Twilight Land — PYLE ART LINKS — Joan of Arc in prison — The Poet and the King — The Pirate was a Picturesque Fellow (1905) — The Mermaid (1910) — Lancelot — 3 illustrations (1881) for Tennyson's The Lady of Shalott: Lancelot (a different one) _ The Lady of Shalott Weaving _ The Lady of Shalott dead — Links to The Lady of Shalott pictures by other artists. — Commentary on The Lady of Shalott illustrations. — Links to The Lady of Shalott text: http://www.lib.rochester.edu/camelot/shalcomb.htm (1833 and 1842 versions) — The next 4 with the 1842 version only: http://charon.sfsu.edu/TENNYSON/TENNLADY.HTML — http://www.geocities.com/EnchantedForest/1106/shalott.html — http://65.107.211.206/victorian/tennyson/los1.html — http://www.artmagick.com/poetry/poem73.asp WRITINGS BY PYLE ONLINE: |
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Died on 05 March 1958: Giacomo
Balla, Italian Futurist
painter born on 24 July 1871. — Balla was one of the founders of Futurism, signing the Futurist Manifesto which was published in 1910. In this document Balla, along with artists including Umberto Boccioni and Carlo Carrà, outlined their primary objective to depict movement, which they saw as symbolic of their commitment to the dynamic forward thrust of the twentieth century. Futurism celebrated the machine - the racing car was heralded as the triumph of the age - and early futurist paintings were concerned with capturing figures and objects in motion. In his Girl Running on the Balcony, Balla attempted to realize movement by showing the girl's running legs in repeated sequence. Other paintings, such as Dog on a Leash, got to grips with the problem of recreating speed and flight by superimposing several images on top of each other. Inevitably, the advances that were made by this short-lived movement were eventually to be overtaken by the art of cinematography. Futurism was finished by the First World War, after which Futurist ideals became increasingly associated with Fascism. Balla began to plough an independent path, at first toward abstraction and, after 1931, toward figuration. — Nato a Torino, Balla si trasferisce in gioventù a Roma dove morirà nel 1958. Aderisce al Futurismo nel 1910, quando sottoscrive il Manifesto dei pittori futuristi (11 Feb 1910) e il Manifesto tecnico della pittura futurista. (11 Apr 1910). Gli esordi di Balla sono caratterizzati da una pittura influenzata dal divisionismo di Pellizza da Volpedo e Giovanni Segantini e dal postimpressionismo francese, interesse approfondito dall'artista durante un soggiorno a Parigi nel 1900. È nel 1912 con opere come il celebre Dinamismo di un cane al guinzaglio, che l'arte di Balla si delinea con caratteristiche decisamente futuriste, già affermando la sua peculiare attenzione all'analisi oggettiva del particolare, sicuramente legata al forte interesse dell'artista per la fotografia. L'idea del moto e il senso moderno della velocità, centrali nella poetica del Futurismo, sono resi da Balla mediante un linguaggio di dettagli ripetuti e dissociazioni cromatiche. Successivamente, la sua pittura si fa più astratta, per costruirsi su una rete di "linee andamentali", traiettorie che tracciano il movimento di corpi nello spazio a partire da un punto di vista mobile. Con le Compenetrazioni iridescenti, dipinte tra la fine del 1912 e il 1914, l'artista realizza una serie di composizioni liricamente astratte, scandite da forme triangolari pure e armonie di colori che aspirano ad un'idea di totalità. Nel 1916 firma insieme a Depero il manifesto Ricostruzione futurista dell'universo che delinea un programma di ricreazione del reale attraverso gli equivalenti astratti di tutte le forme pensati come complessi plastici mobili. In questo ambito si collocano l'ideazione e la creazione di congegni meccanici, musicali e rumoristici e poi di giocattoli, vestiti, concerti, edifici, secondo una logica che ispira anche la creazione di mobili ed interi arredamenti. A partire dagli anni Venti Balla si indirizza nuovamente verso una pittura figurativa, che conserva sfondi con motivi astratti di impianto dinamico, per affrancarsi definitivamente dal Futurismo intorno alla metà degli anni Trenta, con una serie di opere caratterizzate da una intensa ricerca luminosa ai limiti del misticismo. — LINKS — Il Sole e Mercurio — Velocità — Dinamismo di un cane al guinzaglio (1912, 91x110cm) — Form~Spirit Transformation (1918, 3 divergent rays reflected convergent) — The Flight of the Swallows (1913) — Young Girl Running on a Balcony _ (1912, somewhat like a photo multiple-exposure [but with partial superimposition] in Animal Locomotion- An Electro-photographic Investigation of Consecutive Phases of Animal Movements. by Muybridge [09 Apr 1830 – 1904]. — Feu d'Artifice (telai, acrilico su tela, plexiglas, lampade colorate, sonoro, 500x550x550cm) _ Gli elementi che compongono la scena di Feu d'artifice sono stati ricostruiti al Castello di Rivoli in occasione della mostra Sipario del 1997, dedicata allo stretto rapporto tra teatro e arti visive. Feu d'artifice, unico spettacolo realizzato, tra quelli progettati da Balla, andò in scena al Teatro Costanzi a Roma il 30 aprile 1917. Sulle note di Stravinsky per tre minuti Balla presentò il suo teatro del futuro, in linea con quanto proclamato nel 1915 da Filippo Tommaso Marinetti che promuoveva un teatro "Atecnico, Dinamico, Simultaneo", cioè brevissimo e capace in pochi minuti di condensare molteplici situazioni e idee (manifesto Il Teatro Futurista Sintetico, 11 gennaio 1915). Balla concepì Feu d'artifice come una serie di forme dall'architettura non-logica e dinamica destinate ad interagire con un gioco di luci in rapporto con gli accordi musicali. Al Museo della Scala di Milano sono conservati oltre venti fogli che recano i progetti per ciascun elemento dello scenario. Balla realizzò anche un autoritratto (perduto) nel cui sfondo erano riportate alcune delle forme di Feu d'artifice. — Ritratto del sindaco Onorato Caetani (75x62cm) _ Firmato in alto a destra: Balla. Il dipinto, quasi sconosciuto agli studiosi di Balla, è stato segnalato soltanto in due occasioni: nella scheda comparsa negli Archivi del Divisionismo e nella monografia di Maurizio Fagiolo dell'Arco, che menziona il ritratto del duca Caetani, sindaco di Roma tra il 1890 e il 1892, senza riprodurlo e ne segnala anche l'abbozzo, dipinto su tela, nella collezione Balla. Il modo di segnare il fondo del dipinto, con tratti non omogenei, e l'impostazione della figura, che sembra esorbitare dai margini del quadro, avvicina l'opera ai ritratti della signora Ida Maini e di Bice Morselli, datati entrambi 1910, nella fase che precede di qualche anno il periodo futurista dell'artista. — Street Light (1909) — Alberi spogli (1902) |
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