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Vaughan, Richard; Philip the Bold, The Formation of the Burgundian State, Boydell Press, 2002, ISBN 0-85115-915-X |
== External links == |
Meliore di Jacopo (fl. 1255-1285) was a Medieval Italian painter from Florence. |
Biography |
The first certain reference to him is from 1260, when he appears as "Megliore dipintore" in a list of Florentine citizens who participated in the Battle of Montaperti. |
His youthful works date from c.125o to 1260. They include a "Madonna and Child" from a church in Panzano (Greve in Chianti), the "Stoclet Madonna" in the Adolphe Stoclet collection and the "Madonna and Child" at the Art Institute of Chicago. Most of his works are influenced by the geometric stylization of the Master of the Bigallo Crucifix. |
His later works are grouped around a key work that was signed and dated in 1271; an altarpiece, preserved in the Uffizi, which depicts Christ, the Virgin, Saint Peter, Saint Paul and Saint John the Evangelist. It represents a stylistic departure that is reminiscent of Cimabue. |
Dated sometime between 1270 and 1275 is a "Madonna and Child with Two Angels"; originally at the church of Santa Maria, previously located in Bagnaldo, a district in Certaldo and now preserved at the nearby Museum of Religious Art. |
His "Madonna and Child" in Montefioralle (Greve in Chianti) is one of his last works, after 1280, and shows the influence of novelties introduced by Giotto. |
There is another "Madonna and Child" at the Museum of Religious Art in Tavarnelle Val di Pesa that has tentatively been attributed to him. It was apparently painted in imitation of Coppo di Marcovaldo, a companion of his from the Battle of Montaperti. Part of the mosaic decorations in the dome at the Church of Santa Maria Maggiore, created between 1260 and 1275, may also be his. |
Many of his works were once attributed to an artist with the notname, "Master of Bagnano". Some were reassigned to Meliore by Roberto Longhi and the remainder are now assumed to have been the work of one or more of his apprentices. |
References |
Further reading |
Miklós Boskovits, The Origins of Florentine Painting: 1100-1270 (A Critical and Historical Corpus of Florentine Painting), Florence, Giunti, 1993 ISBN 978-88-09-20401-0 |
External links |
Media related to Meliore di Jacopo at Wikimedia Commons |
Merry-Joseph Blondel (French pronunciation: [mɛʁi ʒozɛf blɔ̃dɛl]; 25 July 1781 – 12 June 1853) was a French history painter of the Neoclassical school. He was a winner of the prestigious Prix de Rome in 1803. After the salon of 1824, he was bestowed with the rank of Knight in the order of the Legion d'Honneur by Charles X of France and offered a professorship at the École nationale supérieure des Beaux-Arts: a position in which he remained until his death in 1853. In 1832, he was elected to a seat at the Académie des Beaux-Arts in Paris. |
Blondel was a student of the Neoclassical master Baron Jean-Baptiste Regnault and from 1809, a lifelong friend of the painter Ingres. |
For much of Blondel's painting career, he was occupied with public commissions for paintings and frescoes in important buildings, including palaces, museums and churches. Blondel completed major commissions for the Palace of Fontainebleau, the Palace of Versailles, the Louvre Museum, the Brongniart Palace (also known as the Bourse de Paris), the Luxembourg Palace, and the churches of St.Thomas Aquinas and Notre-Dame-de-Lorette. |
Blondel's 1814 painting La Circassienne au Bain became infamous during the early part of the 20th century for being the subject of the largest claim for financial compensation made against the White Star Line, for a single item of luggage lost by a passenger on the RMS Titanic. |
Early life |
Merry-Joseph was born on 25 July 1781 to Joseph-Armand Blondel (1740–1805), a painter and expert in stucco decoration, and his second wife Marie-Geneviève Marchand (died 1819). Merry-Joseph had two brothers and a sister, including Charles-Francois Armand Blondel, an architect. Several generations of the Blondel family had become associated with architecture and the design and decoration of buildings. Blondel's great uncle, Jacques-Francois Blondel (1705–1774) wrote a treatise on the subject and opened the first dedicated school of architecture in Paris. |
Career |
Dihl & Guerhard |
At the age of fourteen, on the advice of his maternal uncle, Merry-Joseph went to work in the office of a Notary, an experience which he would later describe as "excruciating". After two years of complaining to his father, in 1797, a place was secured for him as an apprentice at the Dihl and Guerhard porcelain factory, where young apprentices received figure drawing lessons from the celebrated Charles-Etienne Leguay for five out of every ten working days. By 1801, however, demand for Dihl and Guerhard porcelain had increased so much that the drawing department was eliminated and apprentices were expected to focus on decorative techniques more suited to the demands of mass-production, directly on the factory floor. |
Regnault's studio and the Prix de Rome |
In 1801, once again, Blondel convinced his father to break his apprenticeship contract as his drawing talent secured him a place in the studio of Baron Jean-Baptiste Regnault. Within a year, Blondel had acquired the nickname Monsieur Cinq-Prix (Mr Five-prizes) among his peers at the studio, on account of the number of medals and prizes he had won for his drawing. Another year on and Blondel's entry to the 1803 salon, a painting depicting Aeneas rescuing his father from the burning city of Troy, won him the Grand Prix de Rome. However, due to a change in the system and the temporary suspension of scholarships, no students were sent to the French Academy in Rome that year and Blondel would have to wait until 1809 before he could take his place at the Villa Medici. |
Rome and Ingres |
On arrival at the Villa Medici in Rome in 1809, Blondel struck up a friendship with fellow student Jean Auguste Dominique Ingres which, as correspondence between the two artists demonstrated, lasted for the rest of their lives. In 1835, Ingres returned as the director of the French Academy in Rome and Blondel appeared to be the favourite to succeed him in 1840. Together with his second wife, Louise Emilie Delafontaine, Blondel stayed at the Villa Medici as a guest of Ingres for four months in 1839, during which time the three of them undertook a lengthy sketching tour of the Marches and Umbria. When Blondel was unexpectedly overlooked for the position of director of the academy in 1840, Ingres sent him a "lengthy and heartfelt" letter of condolence. |
Further Awards |
After three years in Rome, Blondel returned to Paris and became a regular exhibitor at the Louvre salon exhibitions. At the salon of 1817, Blondel won a gold medal for his painting depicting the Death of Louis XII. After the salon of 1824, the rank of Chevalier (Knight) in the order of the Legion d'Honneur, was bestowed upon both Blondel and Ingres by the French King, Charles X. |
Académie and École |
In 1824, the year of his knighthood, Blondel was awarded a professorship at the École nationale supérieure des Beaux-Arts, a position which he occupied until his death in 1853. In that same year, Blondel also competed for a vacant seat at the Académie des beaux-arts but lost out to Ingres. He was eventually elected to a seat at the Académie in 1832. |
Public commissions |
By the mid-1820s, his many notable achievements had firmly established Blondel as a history painter of great renown and he was accordingly rewarded with many public commissions for paintings and frescoes in important buildings, including museums, palaces and churches. Most notable among these commissions were: |
at the palace of Fontainebleau - Salon and Gallery of Diana, a fresco series of 21 paintings of scenes related to the goddess Diana. |
the Palace of Versailles - a series of full sized portraits depicting all the known kings and queens of France. |
the Louvre Museum - frescoes in the Grand staircase (Personification of France receiving the constitutional charter), the Salle Henri II (scene depicting Minerva and Neptune), Rooms of the state counsel (La France victorieuse à Bouvines to commemorate the victory at the Battle of Bouvines). |
the Brongniart Palace (also known as the Bourse de Paris) - Ceiling painting and several cameos. |
the Luxembourg Palace - ceiling fresco in the Salle des Séances. |
the church of Notre-Dame-de-Lorette. |
the church of St.Thomas Aquinas - fresco cycle. |
Blondel was working on his fresco cycle at the church of St. Thomas Aquinas, in the 7e arronsissement when he fell ill and died in 1853. |
La Circassienne au Bain |
Louvre exhibition |
Blondel's entry for the salon exhibition in November 1814 was a full-sized figure painting, in oil on canvas, depicting a standing female figure, bathing in an idealised setting from classical antiquity. In typically simplistic fashion, the exhibition catalogue described the painting as painting no.108, Une Baigneuse (a bather). Critical references to the painting would later confirm Blondel's given title for the picture as La Circassienne au Bain. |
Loss on the RMS Titanic |
In January 1913, a claim was filed in New York against the White Star Line, by RMS Titanic survivor Mauritz Håkan Björnström-Steffansson, for financial compensation resulting from the loss of the painting. The amount of the claim was $100,000 ($2.4 million equivalent in 2014); a valuation which reflected Blondel's significant artistic status at that time and making it by far the most highly valued single item of luggage or cargo lost as a result of the sinking. |
Gallery |
References |
External links |
Media related to Merry-Joseph Blondel at Wikimedia Commons |
Michael Peter Ancher (9 June 1849 – 19 September 1927) was a Danish realist artist, widely known for his paintings of fishermen, the Skagerak and the North Sea, and other scenes from the Danish fishing community in Skagen. |
Early life and education |
Michael Peter Ancher was born at Rutsker on the island of Bornholm in the Baltic. The son of a local merchant, he attended school in Rønne but was unable to complete his secondary education as his father ran into financial difficulties, forcing him to fend for himself. In 1865, he found work as an apprentice clerk at Kalø Manor near Rønde in eastern Jutland. The following year, he met the painters Theodor Philipsen and Vilhelm Groth who had arrived in the area to paint. Impressed with his own early work, they encouraged him to take up painting as a profession. In 1871, he spent a short period at C.V Nielsen's art school as a preliminary to joining the Royal Danish Academy of Art in Copenhagen later in the year. Although he spent some time at the academy, he left in 1875 without graduating. |
One of his student companions was Karl Madsen who invited him to travel to Skagen, a small fishing village in the far north of Jutland where Skagerak and North Sea converge. From the mid-1870s, he and Madsen became key members of a group of artists who congregated there each summer, known as the Skagen Painters. |
After Ancher first visited Skagen in 1874, he settled there joining the growing society of artists. The colony of painters regularly met in the Brøndums Hotel in Skagen in order to exchange ideas. In 1880 Ancher married fellow painter and Skagen native Anna Brøndum, whose father owned the Brøndums Hotel. In the first years of their marriage, the couple had a home and studio in the "Garden House", which is now in the garden of the Skagens Museum. After the birth of their daughter Helga in 1883, the family moved to Markvej in Skagen. |
Career |
He achieved his artistic breakthrough in 1879 with the painting Vil han klare pynten (Will He Round the Point?). Michael Ancher's works depict Skagen's heroic fishermen and their dramatic experiences at sea, combining realism and classical composition. Key works include The Lifeboat is Carried Through The Dunes (1883), The Crew Are Saved (1894) and The Drowned Man (1896). |
Michael Ancher was influenced by his traditional training at the Royal Danish Academy of Fine Arts in the 1870s which imposed strict rules for composition. His marriage to Anna Ancher did, however, introduce him to the naturalistic concept of undecorated reproduction of reality and its colours. By combining the pictorial composition of his youth with the teachings of naturalism, Michael Ancher created what has been called modern monumental figurative art, such as A Baptism. |
Among other places, the works of Anna and Michael Ancher can be seen at the Skagens Museum, Statens Museum for Kunst, the Frederiksborg Museum, The Hirschsprung Collection, and Ribe Art Museum. Michael Ancher received the Eckersberg Medal in 1889 and in 1894 the Order of the Dannebrog. Originally many of Ancher's paintings hung in the dining room of the Brøndums Hotel. The painter P.S. Krøyer conceived the idea of placing paintings by different artists in the wall panels. In 1946 the dining hall was moved to Skagens Museum. |
Michael and Anna Ancher's home |
The Skagen residence of Anna and Michael Ancher was purchased in 1884. In 1913, a large studio annex was added to the property and this also forms part of what is on display today. Upon her death in 1935, their daughter, Helga Ancher, left the house and all of its contents to the Helga Ancher Foundation. |
In 1967 the home was turned into a museum, the Anchers Hus. The original furniture and paintings created by the Anchers and other Skagen artists are shown in the restored home and studio. Temporary art exhibitions are arranged in Saxilds Gaard, another building on the property. This house is filled with displays of paintings by Michael and Anna Ancher as well as those by many other Skagen painters who made up their circle of friends. Today the house is a part of Skagens Kunstmuseer. |
Danish thousand-kroner bill |
Anna and Michael Ancher were featured on the front of the previous series DKK1000 bill. The first version of the bill came into circulation on 18 September 1998, and was then updated on 25 November 2004, adding more security features. The front of the banknote featured a double portrait of Anna and Michael Ancher, derived from two 1884 paintings by Peder Severin Krøyer |
which originally hung on the walls in the dining room at Brøndums Hotel. |
Correspondance |
A collection of almost 4,000 letters between Michael and Anna Ancher and their friends, with comments by the art historian Elisabeth Fabritius, was published as Anna og Mchael Ancher. Breve og fotografier 1866-1935 I-VI was published by Forlaget Historika. in 2020. |
Paintings |
See also |
Skagen Painters |
Lars Kruse |
References |
Bibliography |
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