Lest We Forget Our Trench Art

ANZAC (Australian and New Zealand Army Corps) Day has been celebrated annually in Australia on 25 April. since 1916. ANZAC Day commemorates the combined participation of all soldiers and those associated with the military forces throughout all wars since 1914 including its casualties, trials and tribulations.

As a consequence, when soldiers were assigned  duty overseas, they sometimes had time on their hands to make souvenirs or decorative articles to send back home.

Examples above were created during World War One (WW1) and  lent the name for this activity into “Trench Art” where items were made from brass shell cases and other sources or raw material.

(The above items are on view at Anzac House, Collins Street, Melbourne, Australia).



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The honour of being William Cresswell – Father of the Australian Navy

Vice Admiral Sir William Rooke Creswell  was born on 20 July 1852 in Gibraltar. He was educated at Gibraltar and Eastman’s Royal Naval Academy, Southsea. He began his naval career at the age of 13 as a cadet on the Royal Navy’s training ship Britannia.

  • Having already served in the Channel Fleet, Creswell was transferred to the China Station.
  • His next seagoing appointment, was to the East India Station, followed by a period in Zanzibar.

Creswell retired from the Royal Navy in 1878 and, seeking to become a pastoralist, he emigrated to Australia in 1879. In 1885 he took up an appointment as First Lieutenant on South Australia’s only naval vessel, HMS Protector.

Creswell soon began agitating for the establishment of an Australian naval force to supplement the Royal Navy squadron based in Sydney. On 1 May 1900, he was appointed Commandant of the Queensland Maritime Defence Force, but was soon released to command Protector on its deployment to China to assist in suppressing the Boxer Rebellion.

After Federation, Creswell’s lobbying for an Australian navy gained momentum and in February 1904 he was appointed to the new position of Naval Officer Commanding the Commonwealth Naval Forces.

In 1909, Australia’s admiralty sought to dramatically increase its naval strength. The Naval Defence Act (1910) was passed, which created the Australian navy. In 1911, Creswell was promoted to Rear Admiral in the service of the Royal Australian Navy (RAN). As part of his coronation honours, the King made him Knight Commander of the order of St Michael and St George.

  • Considered the father of the RAN, Creswell retired in 1919 and took up farming in Victoria. He was promoted to Vice Admiral in 1922.
  •  Creswell has been honoured with the naming of the naval base, HMAS Creswell, the site of the Royal Australian Naval College at Jervis Bay, NSW.
  • He died on 20 April 1933 and was survived by his wife Adelaide Elizabeth (née Stow) and two sons and a daughter.

This bust appears at the front entrance of the Royal Melbourne Yacht Squadron, St.Kilda, Victoria.

It was erected as a token of appreciation of his services to Australia by the Victorian Branch of the Navy League, assisted by the St.Kilda Shore Committee, the Royal St.Kilda Yacht Club and many other Australian admirers.

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Galatea – For She is the One with the Milk White Skin

Above: Gustave Moreau’s Galatea (ca.1880)

Galatea (Trans: “She who is milk-white“) is a name popularly applied to the statue carved of ivory by Pygmalion of Cyprus, which then came to life in Greek mythology. Galatea is also the name of Polyphemus’ object of desire in Theocritus’s Idylls VI and XI and is linked with Polyphemus again in the myth of Acis and Galatea in Ovid’s Metamorphoses.

French Symbolist painter Gustave Moreau was born on 6 April 1826 in Paris, to a middle class family living at 6 Rue des Saints-Peres. Having encountered an early sheltered life, by the age of 15, he began his love for art.

By the age of 18, he began art studies at the Ecole des Beaux-Arts under the guidance of François-Édouard Picot until 1850. He then moved to a new mentor Théodore Chassériau, whose work strongly influenced his own. Moreau showed his first works in 1852.

Above: The Unicorns (1885)

He was a major figure in the illustration of biblical and mythological figures. His first painting was a Pietà which is now located in the cathedral at Angoulême. He showed A Scene from the Song of Songs and The Death of Darius in the Salon of 1853. In 1853, he contributed Athenians with the Minotaur and Moses Putting Off his Sandals within Sight of the Promised Land to the Great Exhibition.

  • Moreau appealed to the imaginations of some Symbolist writers and artists. Oedipus and the Sphinx, one of his first symbolist paintings, was exhibited at the Paris Salon of 1864.
  • He is recognized for his works that are influenced by the Italian Renaissance and exoticism.
  • Moreau became a professor at the École des Beaux-Arts in Paris in October 1891. Among his many students were fauvist painters Henri Matisse and Georges Rouault. Jules Flandrin, Theodor Pallady and Léon Printemps also studied with Moreau.

Moreau had a 25-year personal (and possibly romantic) relationship, with Adelaide-Alexandrine Dureux; a woman whom he drew several times. On March 28, 1890, Dureux died. Her death affected Moreau greatly, and his work after this point contained a more melancholic edge.

  • During his lifetime, Moreau produced more than 8,000 paintings, watercolors and drawings, many of which are in the Musée Gustave Moreau in Paris.

Moreau died of stomach cancer on 18 April 1898 and was buried at the Cimetière de Montmartre in Paris in his parent’s tomb. Dureux is also buried at the same cemetery.

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Behold the Art of Emil Nolde

Above: Emil NoldePuppan und Papagai (Dolls & Parrot) c. 1919 oil on canvas 46.5×59.5cm Bayerische Staatsgemaldesammiungen, Munich Straatsgalier Moderne Kunst

German-Danish painter and print-maker Emil Nolde was born Emil Hansen  on 7 August 1867 near the village of Nolde (in Southern Jutland, Denmark), in the Prussian Duchy of Schleswig. His parents, devout Protestants, were Frisian and Danish peasants.

He did not like farm life so from 1884-1891, he studied wood carving and illustration in Flensburg.  In 1889, he gained entrance into the School of Applied Arts in Karlsruhe. From 1892 to 1898 he was a drawing instructor at the School of the Museum of Industrial and Applied Arts (Industrie- und Gewerbemuseum) in St. Gallen, Switzerland.  When he was rejected by the Munich Academy of Fine Arts in 1898, he spent the next three years taking private painting classes, visiting Paris, and becoming familiar with the contemporary Impressionist scene that was popular at this time.

  • He married Danish actress Ada Vilstrup and from 1902 changed his name to Emil Nolde, after his birthplace.

Above: Frau in Blumgarten (1907) oil on canvas 63x785cm Karl Ernst Osthaus Museum, Hagen

He became a member of the Dresden revolutionary Expressionist group Die Brücke (The Bridge), in 1906. As one of the first Expressionists, his oil paintings and watercolours demonstrated his exploration with colour; using golden yellows and deep reds. This gave  his work a luminous quality to otherwise sombre tones. His watercolours highlight vivid, storm-scapes and brilliant florals. Die Brücke  lasted only until the end of the following year.

From 1908 to 1910 he was a member of the Berlin Secession, before being excluded in 1910 due to a disagreement with the leadership. In 1912 he exhibited with Kandinsky’s Munich-based group Der Blaue Reiter (The Blue Rider).

  • Nolde was a supporter of the Nazi party from the early 1920s, having become a member of its Danish section. He expressed anti-Semitic, negative opinions about Jewish artists, and considered Expressionism to be a distinctively Germanic style. This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
  • However Hitler rejected all forms of modernism as “degenerate art“, and the Nazi regime officially condemned Nolde’s work. Until that time Nolde had been held in great prestige in Germany.
  • A total of 1,052 of his works were removed from museums, more than those of any other artist. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolours, which he hid. He called them the “Unpainted Pictures“.

After WW2, Nolde was once again honoured, receiving the German Order of Merit, West Germany’s highest civilian decoration.

  • He died in Seebüll (now part of Neukirchen) on 13 April, 1956.
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Hail Fair Guinevere

Above: Guinevere by John Collier (1900) Bradford Museums and Galleries, Bradford, U.K.

Leading English artist John Maler Collier  was born on 27 January 1850.  He was a painter in the Pre-Raphaelite style; and was one of the most prominent portrait painters of his generation. In April 1875, at the age of 25, Collier enrolled at the Munich Academy where he studied painting.

  • Both his marriages were to daughters of Thomas Henry Huxley.
  • Collier married his first wife Marian (Mady) Huxley, in 1879. She was an artist who exhibited at the Royal Academy and elsewhere. After the birth of their only child, a daughter, Joyce; Mady suffered severe post-natal depression and was taken to Paris for treatment where, she contracted pneumonia and died in 1887.
  • In 1889 Collier married Mady’s younger sister Ethel Huxley in Norway.
  • By his second wife he had a daughter and a son, Sir Laurence Collier, who was the British Ambassador to Norway from 1941–1951.
  • Collier’s daughter Joyce, was a portrait miniaturist and became a member of the Royal Society of Miniature Painters.

  John Collier died on 11 April, 1934.

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Something Tells Me I’m Into Something Good

 Swiss-born artist and one of Australia’s Official War Artists for WW2,  Sali Herman, was born on 12 February 1898. He arrived in Melbourne in 1937 and enlisted in the Australian Army in 1941. In 1945, he was appointed an Official War Artist, painting at several places in the Pacific. such as Rabaul.

  • He submitted 26 paintings to the Australian War Memorial.

Above: Crashed Fighter Plane (oil on hardboard) painted in Bougainville, 1945 (Australian War Memorial, Canberra).

Sali Herman is mostly known for paintings of inner city streets and slums in Sydney. He was awarded the Sulman Prize in 1946 for Natives carrying wounded soldiers, and also in 1948 for The Drovers. He won the Wynne Prize four times; in 1944 for McElhone Stairs; in 1962 for The Devil’s Bridge, Rottnest; again in 1965 for The Red House; and in 1967 for Ravenswood I.

  • He died on 3rd April 1993.

The success of Herman’s art reaffirms it, that:
…”Something Tells Me I’m into Something Good“.

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There’s a Bear Out There… and What The Steiff Would I Know!

Above: Teddy Bear by Steiff (ca 1912) 48cm.

German designer  Richard Steiff  was born on February 7, 1877 in the German city of Giengen. In 1897 at the age of 20, Steiff joined his aunt Margarete’s toy making enterprise. While attending the School of Arts and Crafts (Kunstgewerbeschule) in Stuttgart, he would regularly visit the nearby Nill’scher Zoo and spend much of his time drawing the residents of the bear enclosure. His sketches of the bears were incorporated into the prototype of the toy bear he created in 1902 and code named Steiff Bär.

At its debut at the Leipzig Toy Fair in 1903, Steiff’s bear initially attracted little attention; but its fortunes were saved when an American buyer snapped up the entire lot of 100 bears and ordered another 3,000 just before the exhibition finished.

  • The heyday of the Steiff company thus began.

At the St. Louis World’s Fair in 1904, the Steiff’s sold 12,000 bears and received the Gold Medal, which was the highest honour at the event. The kind of toy bear they pioneered acquired the appellation “Teddy” from several legends about Theodore Roosevelt.

  • Steiff bears, are identifiable because of a small metal “Steiff” clip which is sewn into the ear. Steiff bears are now very collectable and valuable.

Above: Dual-plush Teddy (ca 1920 – 62cm high).

In 1923, Richard Steiff left his wife Else in Giengen Benz, Germany and boarded the SS President Arthur bound for New York City and arrived on March 20, 1923. He continued his manufacture of the Steiff bears until his death.

  • Steiff died on March 30, 1939 at the age 62 in Jackson, Michigan, United States.

By the way, How do you start a Teddy Bear race?
… Ready, Teddy, Go!

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Fantasy That – It’s Hansson’s Magician’s Hat

Jan Ternald’s cover art for Bo Hansson’s album “Magician’s Hat”.

Swedish musician Bo Hansson was born on 10 April 1943. He was best known for his four instrumental albums released in the 1970s. Hansson spent his early life in a remote village in the pine forests of northern Sweden, but a change in his parents’ fortunes forced them to move to Stockholm without him. He remained in the care of family friends until his teenage years when he was reunited with his parents in Stockholm. With a fascination with rock and roll music, Hansson taught himself to play the guitar, before joining the band Rock-Olga.

  • After the rock and roll craze gave way to jazz and blues in the late ’50s he joined ‘Slim’ Notini’s Blues Gang as a guitarist. Hansson then formed his own blues group The Merrymen, who supported The Rolling Stones on an early Scandinavian tour.
  • In 1966, he left The Merrymen to expand his musical horizons and bought a Hammond organ. He formed a new group who were signed by Polydor under the band name Hansson & Karlsson. The band became popular within Sweden and they released three albums between 1967 and 1969.
  • They even reached the ear of Jimi Hendrix, who took time out from his tour to jam with the duo, along with George Clemons on drums and Georg Wadenius on guitar, at the Klub Filips in Stockholm in late 1967.
  • Hendrix went on to record a Hansson song, “Tax Free”.

In 1969, Hansson became entranced by J.R.R. Tolkien’s The Lord of the Rings, and moved into a friend’s vacant apartment and started writing a musical score, based on the novel. Music Inspired by Lord of the Rings, was released in December, 1970.

  • Magician’s Hat was his second solo album. It was originally released in Sweden by Silence Records in 1972 and internationally through Charisma, the following year.

Hansson’s  recording of Magician’s Hat took place at Studio Decibel in Stockholm. Like its predecessor, the album was partly influenced by fairy tales and fantasy themes, with the song “Elidor” being inspired by Alan Garner’s 1965 fantasy novel Elidor. Although the album had a similar progressive rock sound to his previous album, it was not as commercially successful and failed to reach the charts in the U.K. and the U.S.

In 1976, Hansson began work on recordings that were inspired by another book – Richard Adams’ Watership Down. Another disappointing chart performance led to his withdrawal from music and he fell into obscurity. Bo Hansson died in Stockholm on 23 April 2010.

About the cover artist:

Born in Gothenburg Sweden, in 1952, Jan Ternald is active as a painter, illustrator and musician. He has been exhibiting in art galleries and museums since 1970 and also has been working as a book & record illustrator. Very recently, Ternald started working with computer art. This will hopefully result in 3-D and animation adventures taking him into new dimensions.

Contact Jan Ternald by email ternald@lls.se or visit his website.

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Compare the Pair #15: Compare the Chair

4anish-kapoor-hollowLeft: “Hollow“(2012) fibreglass & paint by Anish KapoorNational Gallery of Australia, Canberra.

British-Indian sculptor Anish Kapoor was born on 12 March 1954, in Bombay. Kapoor lived and worked in London during the 1970s studying art at the Hornsey College of Art and then at the Chelsea School of Art and Design. Kapoor went on to teach at Wolverhampton Polytechnic in 1979; and in 1982 was Artist in Residence at the Walker Art Gallery, in Liverpool.

  • In 1990, Kapoor represented Britain in the XLIV Venice Biennale and was awarded the Premio Duemila Prize.
  • In 2013, he received a Knighthood for services to visual arts; and in 2014, Kapoor was awarded an honorary doctorate degree from the University of Oxford.  


The Ball Chair – or Globe Chair (right) as its alternative name, was designed by using one of the most simple geometric forms – the ball. It was designed by Eero Aarnio in 1963.

The Ball Chair is a “room within a room” with a cozy and calm atmosphere, protecting outside noises and giving a private space for relaxing or having a phone call. Turning around its own axis on the base; the view to the outer space is variable for the user and thus not completely excluded from world outside.

  • In 1966, the Ball Chair was presented at the International Furniture Fair in Cologne. It was the sensation of the fair, and the breakthrough for Eero Aarnio and the start for a whole line of fibreglass Aarnio designs.

So, to compare the pair: we need to look at each chair up there and to celebrate both with great fanfare!

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Poseidon’s Adventures are de Gheyn For

Poseidon and Amphitrite (1610) , Wallraf Museum, Cologne (Köln).  – Poseidon was the Greek god of the sea who married the nereid Amphitrite and fathered the merman Triton.

Jacob de Gheyn II (aka Jacques de Gheyn II) (c. 1565 – March 29, 1629) was a Dutch painter and engraver, whose work transitioned from the Northern Mannerism style to the Dutch Realism movement over the course of his career. De Gheyn was born in Antwerp and received his first artistic training from his father, Jacob de Gheyn I, a glass painter, engraver, and draftsman.

Around 1600, de Gheyn abandoned engraving, and focused on painting and etching. Moving to The Hague in 1605, he was employed by the Dutch royalty, designing a garden in the Buitenhof for Prince Maurice of Orange which featured the two first grottoes in the Netherlands.

  • De Gheyn is also renowned for painting some of the earliest female nudes and floral still lifes in Dutch art.
  • He is credited with creating over 1,500 drawings, including landscapes and natural history illustrations.

De Gheyn married Eva Stalpaert van der Wiele of Mechelen in 1595. His son, Jacob de Gheyn III, was born in 1596, and became an engraver in his own right, as well as the subject of a portrait by Rembrandt.

De Gheyn II died in The Hague on March 29, 1629.

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This bird in hand is no burden had- Long Live the King!

37charles-bird-king-history-of-indian-tribes-of-north-america-1836Charles Bird King Nesouaquoit (Trans. “Bear in the Fork of a Tree”) A Fox Chief – 1837 (90.2 x7 4.9cm).

Charles Bird King (1785–1862) was an American portrait artist, best known for his portrayals of significant Native American leaders and tribesmen. He was born in Newport, Rhode Island as the only child of Deborah Bird and American Revolutionary veteran Captain Zebulon King. The family traveled west, but when King was four years old, his father was killed and scalped by Native Americans near Marietta, Ohio. His mother took her son to return to Newport, where they lived with her mother.

  • King went to New York to study under the portrait painter Edward Savage.
  • At age twenty he moved to London to study under Benjamin West at the Royal Academy.
  • King returned to the U.S. in 1812 after a seven-year stay in London.
  • He settled in Washington, and earned a reputation as a portraitist among politicians, whilst maintaining his own studio and gallery.

King’s success in the field of portraiture can be attributed to his ability to socialize with the wealthy celebrities and relate to the well-educated politicians of the time.

  • In 1827 he was elected into the National Academy of Design as an Honorary Academician.
  • Despite his wealth and societal standing, he never married, and lived in Washington until his death on March 18, 1862.
  • Bird King bequeathed his collection of paintings, books and prints to the Redwood Library and Athenaeum.

His legacy proves that this bird in hand – is no burden had!

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When Art Imitates Art

German neoclassical painter Johan Joseph Zoffany (aka Johannes Josephus Zaufallij, Zoffani or Zauffelij) was born in the Bohemian town of Frankfurt on 13 March 1733.

  • He undertook study in a sculptor’s workshop in Ellwangen in the 1740s (possibly at the workshop of sculptor Melchior Paulus) and later at Regensburg with the artist Martin Speer.
  • By 1750, he had travelled to Rome, entering the studio of Agostino Masucci.
  • In autumn 1760, he arrived in England, initially finding work with the clock-maker Stephen Rimbault, painting vignettes for his clocks.

A founding member of the new Royal Academy in 1768, Zoffany enjoyed great popularity for his society and theatrical portraits, painting many prominent actors and actresses from that period. In the later part of his life, Zoffany produced huge paintings with large casts of people and works of art all readily recognizable by their contemporaries.

Zoffany lived in Lucknow for a time; but often travelled to Europe and even to India. During his return to England, he was shipwrecked off the Andaman Islands. As one of the survivors, the group held a lottery in which the loser was eaten (in this case, one of the ship’s crew). It was later noted that Zoffany became “the first and last Royal Academician to have become a cannibal“.

  • In paintings like The Tribuna of the Uffizi (see both examples) Zoffany displayed art in the cluttered 18th-century manner (i.e. with many objects hanging in a small area stacked  on the wall), however in this example, the clutter includes other works brought into the small octagonal gallery space from various parts of the Uffizi Gallery.

Though Zoffany made several visits to continental Europe and India in his lifetime, he remained in Britain, dying at his home at Strand-on-the-Green on 11 November, 1810. He is buried in the churchyard of St Anne’s Church, Kew, with the painter Thomas Gainsborough buried nearby. His works appear in many prominent British National galleries including the National Gallery and in the Tate Gallery as well as being represented in the Royal Collection.

It might not be so ‘oftenly’ that we might see a Zoffany – however his art can; and most definitely does; imitate  art.

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Time to Dapple with the Apple this Weekend

Harcourt is the home of Victoria’s best growing apples and one of Australia’s major apple growing districts. The township is situated in the Central District within the State of Victoria.

  • In March each year, Harcourt runs its annual Applefest which celebrates the commencement of the annual apple harvest.
  • The main event and street festival for the  2017 Harcourt Applefest will be celebrated on Saturday 11th March, 2017 at Harcourt, in central Victoria, Australia.

This year celebrates the 25th year for Applefest with an increased focus on great local food and produce. There are lots of activities and the grand parade featuring the Thompson’s Foundry Band and the Castlemaine Pipe Band ensure a great day for family and friends.

At Applefest you can find everything – from fresh food, produce, crafts and gifts and over 60 stalls including the best of the region’s artisan wares, renowned local produce, award-winning local wines, craft ciders and beer.If that is not enough, there will be plenty of food vans, gourmet ice creams and boutique tea products as well.

A major component of the Applefest each year is the  Annual Harcourt Applefest Art Show Exhibition in the ANA Hall. The Art Show will run from 10th-13th March, 2017.

This show presents paintings in the ‘small works format’. Artist Rick Amor has commented that by ‘restricting the works to a modest size allows the viewer an intimate experience of each drawing or painting without the distraction of competing scale’.

  • The Art Show is also unique for having a large Junior section.
  • There is also a popular vote category as chosen by the public who view the exhibition.

The examples shown here exemplify the wonderful quality of entries to be enjoyed when visiting the art show.

Kristine Browning – “Sitting Pretty” and Viven Pells – “A Meeting of Chooks“.

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There is Nothing Superficial About the Art of Eric Fischl

eric-fischl-bad-boyAmerican painter, sculptor and print-maker Eric Fischl was born in New York City on March 9, 1948. Fischl grew up in suburban Long Island until his family moved to Phoenix, Arizona, in 1967.

  • His artistic education began at Phoenix College, followed by a year at the Arizona State University with further studies at the California Institute of the Arts in Valencia, California, where he earned his Bachelor of Fine Arts in 1972.
  • Fischl then moved to Chicago, taking a job as a guard at the Museum of Contemporary Art. His own website recounts, “It was in Chicago that [he] was exposed to the non-mainstream art of the Hairy Who [along with] the underbelly, carnie world of Ed Paschke and the hilarious sexual vulgarity of Jim Nutt”.
  • In 1974, Fischl accepted a teaching position at the Nova Scotia College of Art and Design, where he met fellow artist April Gornik, with whom he moved back to New York City in 1978 and later married. (The couple now live in Sag Harbor, in New York).

His first New York City solo show was at Edward Thorp Gallery in 1979, during a time when suburbia was not considered a legitimate genre for art. His early work focused on the rift between what was experienced and what could not be said. Fischl’s website describes his later influences developing “against a backdrop of alcoholism and a country club culture obsessed with image over content.

eric-fischl-sleepwalkerHe has received critical attention for depicting the dark, disturbing undercurrents of mainstream American life; including themes of adolescent sexuality and voyeurism; such as Sleepwalker (1979) [see above] which depicts an adolescent boy masturbating into a children’s pool and Bad Boy (1981) [main picture for article] which depicts young boys looking at older women shown in provocative poses on a bed.

Fischl’s works are represented in many galleries and museums including The Metropolitan Museum of Art, The Whitney Museum of American Art, The Museum of Modem Art in New York City, The Museum of Contemporary Art in Los Angeles, St. Louis Art Museum, Louisiana Museum of Art in Denmark, Musee Beaubourg in Paris, The Paine Weber Collection, and many others.

Fischl is a senior critic at the New York Academy of Art. He is also the founder, President and lead curator for America: Now and Here, a multi-disciplinary exhibition of 150 of America’s most celebrated visual artists, musicians, poets, playwrights, and filmmakers who have focused on American identity through the arts.

‘Bad Boy‘ he may be, ‘Sleepwalker‘ – who knows; but I will never wish ill of the art of Fischl for his contribution to modern art is most certainly beneficial!

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The pictures below are by Tiepolo

tiepolo - finding of moses1Giovanni Battista  aka Gianbattista or Giambattista Tiepolo  was a prolific Venetian painter and print-maker, born on March 5, 1696.  Tiepolo began his artistic career at the age of 14, in 1710. Nine years later, in 1719, Tiepolo married Maria Cecilia Guardi and they had 7 children. (Left: Finding of Moses).

During his career he decorated a large reception room of Ca’ Dolfin on the Grand Canal of Venice (ca. 1726–1729) and canvases for churches including many others such as:  Verolanuova (1735–1740), for the Scuola dei Carmini (1740–1747), a ceiling for the Palazzi Archinto and Casati-Dugnani in Milan (1731), the Colleoni Chapel in Bergamo (1732–1733), a ceiling for the Gesuati (Santa Maria del Rosario) in Venice of St. Dominic Instituting the Rosary (1737–1739), Palazzo Clerici, Milan (1740),  and for the ballroom of the Palazzo Labia in Venice (now a television studio), showing the Story of Cleopatra (1745–1750) to mention but a few.

Tiepolo returned to Venice in 1753. He was now in demand locally, as well as abroad where he was elected President of the Academy of Padua. He went on to complete theatrical frescoes for churches; the Triumph of Faith for the Chiesa della Pietà; panel frescoes for Ca’ Rezzonico (which now also houses his ceiling fresco from the Palazzo Barbarigo); and paintings for patrician villas in the Venetian countryside, such as Villa Valmarana in Vicenza and an elaborate panegyric ceiling for the Villa Pisani in Stra.

He collaborated with Girolamo Mengozzi Colonna, who also designed sets for opera. Highlights from this collaboration showed the increasing tendency towards composition as a staged fiction in Tiepolo’s frescoes.

The architecture of the Banquet fresco also recalls that of Veronese’s Wedding at Cana. In 1757, he painted an altar piece for the Thiene family, representing the apotheosis of Saint Cajetan.

86tiepoloIn 1761, Charles III commissioned Tiepolo to create a ceiling fresco to decorate the throne room of the Royal Palace of Madrid. The panegyric theme is the Apotheosis of Spain and has allegorical depictions recalling the dominance of Spain in the Americas and across the globe.

Tiepolo also painted two other ceilings in the palace and carried out many private commissions in Spain. However he suffered from the jealousy and the bitter opposition of the rising champion of Neo-Classicism, Anton Raphael Mengs.

  • Tiepolo died in Madrid on March 27, 1770.


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