Thursday, May 30, 2013

Finnish Painter Elin Kleopatra Danielson-Gambogi 1861-1919

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Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Self-Portrait

Elin Danielson was born in 1861 in Norrmark, a small village near Pori in the Gulf of Bothnia. Her father, Karl, & amp; mother, Amalia Rosa Gestrin. Their families were of Swedish origin but settled Had Been in Finland for several generations. Elin spent her childhood on her family's farm in the country.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Aiti Ja Lapsi

From an early age, Elin Showed a natural talent for art, so in 1876, the young woman moved to Helsinki. Living with her uncle & amp; aunt Mauritz & amp; Clara, she Entered the School of Design of the Finnish Society of Arts, where she Studied classical drawing, landscape & amp; perspective.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Portrait of a Lady

At the same time, she soon started work to help support herself. Elin Studied porcelain decoration under Fanny Sundblad, who had trained in the Sevres & amp; Copenhagen factories. Starting in 1878, Danielson attended courses at Adolf Von Becker's Academy, where she learned to paint in oils, figures Studied painting & amp; still life painting in detail & amp; learned how to transpose the qualities of various materials - glass, fabrics, porcelain, metals - onto canvas.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Cards Balda-Tadin Ajanviete 1886

Elin earned a teaching degree to teach drawing in high schools. At that time it was easier to Obtain the financial independence through teaching than by the complex & amp; rarely profitable path of a career as an "artist."

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Self Portrait

Elin Danielson-Gambogi belonged to the 1st generation of Finnish women artists who received professional education in art. Having Studied together in Helsinki at the Art School of the Finnish Art Society, These artists are collectively Often Referred to in Finnish art history as the "painter sisters' generation."

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) In the Vineyard 1898

Besides Danielson-Gambogi, the group included anche Finnish artists Anna Sahlsten, Helene Schjerfbeck, & amp; Maria Wiik. The 1880s marked the era When a number of Finnish women artists Began Their career.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Omakuva, 1899.

Professional art education Became possible for women in Finland, When the Art School of the Finnish Art Society in Helsinki was established in 1848. The Art School in Turku Began admitting women as students in 1852. Only a small percentage of the women, who had received training in art in Finland, were portatili carve a career for Themselves as artists in the late 1880s.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Summer Evening in the Archipelago

In 1883, she received a scholarship from the Finnish Senate to go to Paris. There she quickly fit into the flourishing community of Northern European artists in Paris (Edelfelt, Gallén, Schjerfbeck, Rönnberg, Westermarck, Järnefelt, etc.).

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Omakuva, 1900

In the summer of 1884, she Traveled to Brittany, where she stayed until the spring of 1885. She worked in Pont-Aven & amp; met Jules Bastien-Lepage. In Brittany she concentrated on plein-air painting.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Two Children

In 1886, Danielson returned to her home country, living in Norrmark, Helsinki & amp; Önningeby, a small district on the Island of Mariehamn on the Aland archipelago. That it was here the artist Victor Westerholm had Gathered together Finnish & amp; Swedish artists into a community.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Under the Apple Tree

By 1888, she returned once more to Paris with a scholarship, where she Widened her circle of acquaintances art. And she married a younger art student Raphael Gambogi in 1888. By 1890, she was once again in Finland. She still taught drawing in order to earn a living; but she anche worked intensely producing Finnish style landscapes & amp; genre paintings.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Hilma Westerholmista, 1888

Between 1891 & amp; 1895 Elin divided her time between Paris & amp; Finland, traveling Often & amp; visiting European cities & amp; museums in Copenhagen, Berlin, Petersburg, Venice, Florence.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Child

The artist's visit to Italy in 1895 Aroused her interest in the area. She won a scholarship to return to Florence in January 1896 to study the great masters.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Sisters 1891

Many women artists in the 19th century Remained unmarried. Many who did marry, concentrated on Their family & amp; home, Which Often resulted in Their ABANDONING Their artistic careers. In this respect, too, Elin Danielson-Gambogi's marriage did not mark the end of her career as an artist.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Valkopaitainen Nainen

While art as a hobby was ENCOURAGED as being suitable training for the duties of a housewife, earning a living by making art was something That was usually you Exclusively reserved for men.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Walborg Jakobsson

Elin married comparatively late in her life, at the age of 36, & amp; was 13 years older than her husband, Raphael Gambogi. Danielson-Gambogi continued painting after she married, & amp; the couple had no children.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) AITI, 1893.

By the end of the 1880s, Elin Danielson-Gambogi had earned a prominent status in Finnish art circles, Which was exceptional for artists of her gender. "The fluency & amp; sureness of her brush is at times astonishing to have come from a woman's hand," praised the newspaper Hufvudstadsbladet.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Woman with Cats

As an artist, Elin Danielson-Gambogi received praise in her homeland, but as a teacher even she was unable to avoid conflict. Disagreements with the administration of the Finnish Art Society's School & amp; but she was determined to concentrate on her own artistic work.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Omakuva

In the summer of 1901, the Gambogi's went on a trip across Europe to Finland. They took with them the paintings they had done in Italy & amp; in October they Showed them at an exhibition at Helsinki, where the exhibition was a great success. On this trip, her husband Gambogi Began to show symptoms of mental illness, shortly after he had an affair with One of their friends.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) In the Sun 1900

At the end of 1902, she DECIDED to leave her husband, going first from London & amp; then from Stockholm, she finally Reached Finland.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Aidin Huoli 1891

In October 1903, she Exhibited at the Turku, & amp; then at the end of the year, she DECIDED to return to Italy in an attempt to repair her marriage. In 1905, the couple DECIDED to move to Volterra to try to cure Raffaello's worsening mental condition. The couple lived in Volterra, until the end of the 1st decade of the century.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919)

During this period, Elin Often returned to Finland (1907, 1909, 1911) & amp; was portatili keep in contact with her family & amp; the artists she had known. The outbreak of the war meant she could no longer return to Finland from Italy. In 1914, the artist took part in the Venice Biennial. & Amp; she anche Exhibited in many other Italian shows. Unexpectedly struck down by a fatal attack of pneumonia, Elin died in December, 1919.

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Knitting


Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Nainen Valkoisessa Hilkassa - Dam The vit Hatta

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) On the Beach 1904

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Nuori AITI, 1885

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919) Päättynyt aamiainenTeepöydän ääressä 1890

Kleopatra Elin Danielson-Gambogi (Finnish painter, 1861-1919)

Much of the biography from 2008 Exhibition The Golden Age of Finnish Art at the Art Museum of Estonia.

Monday, May 20, 2013

Paintings of Berthe Morisot 1841-1895 by Édouard Manet 1832–1883




1868 Édouard Manet (French artist, 1832–1883) The Balcony.  Berthe Morisot, seated. Standing is the violinist Fanny Claus, with the painter Antonin Guillemet, who exhibited at the 1869 Paris Salon.


Berthe Morisot became the sister-in-law of her friend & colleague, Édouard Manet, when she married his brother, Eugene.



1868 Édouard Manet (French artist, 1832–1883) Detail from the painting The Balcony



1868-69  Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895) with a Muff



1869 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895)



1870 Édouard Manet (French artist, 1832–1883)  Portrait of Berthe Morisot (French artist, 1841-1895)



1870 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895) with a pink shoe



1872 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895) con ramillete de violetas



1872 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895) con un abanico (Same pink shoe?)



1872-3 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895) on a divan



1873 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895)



1874 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895) t à l’éventail



1874 Édouard Manet (French artist, 1832–1883) Portrait of Berthe Morisot (French artist, 1841-1895) with Hat, in mourning



Bertha Morisot, 1875


Sunday, May 5, 2013

Walkways in Early American Public Spaces


Public Walks in Early America

Detail of Walk on John Street in New York City near the United Methodist Church. 1768. Joseph Beekman.

Often growing towns, as well as established cities, would plan walkways for public gathering & promenading around a square, riverside, or shoreline. Placing walks along the side of a roadway offered a clean pedestrian path away from messy horse & carriage roads, which could certainly ruin one of those elegant long dresses. Walkways were constructed of gravel, dirt, shells, grass, and occasionally bricks. Walkways separated the pedestrians from often muddy roads, where horse-drawn carriages transported people & goods and from herds of animals being transported to market. On pleasant days walkways served as promenades to see and be seen by strolling contemporaries. City walkways presented the possiblities for healthy exercise, beauty, and catching up on the local news with neighbors.

As early as 1724, Hugh Jones wrote of the walkways for the public at the Governor's Palace in Williamsburg, Virginia, "beautified with Gates, fine Gardens, Offices, Walks, a fine Canal, Orchards..."

College of William & Mary. Detail of Bodleian Plate.  England. 1740. Three early buildings at the College of William and Mary—the Brafferton, the Wren Building, and the President's House—are seen in the full size of this copy of a mid-18th-century copperplate.

When Ebenezer Hazard visited in 1777 the College of William and Mary at Williamsburg, he wrote in his journal, "At this Front of the College is a large Court Yard, ornamented with Walks, Trees cut into different Forms, & Grass."

Landscape Plan of the Governor's Palace in Williamsburg, Virginia, as restore by Perry, Shaw, and Hepburn & Arthur A Shurcliff, Landscape Architect.

Yale in 1786

At Yale in 1792, John Trumbull suggested, "The ground in front of the Buildings to be divided by two broad walks leading up to the Chapel and Lecture Rooms, and the sides of the walks to be planted with Elms or other Forest Trees..."

Boston 1768 Sidney L. Smith after Christian Remick A Prospective View of Part of the Commons 1902 after a drawing from 1768 Engraving Concord Museum MA

Lt. John Enys reported on Boston's Mall in the winter of 1787 & 1789, "After Dinner we took a walk on the Mall as it is called which is a very excellent Gravel walk about half a Mile in Length with Trees on each side which is kept in very good order and is by far the best thing of the kind I have yet seen in America...On the west side of the town is the mall, a very beautiful public walk, adorned with rows of trees, and in view of the common, which is always open to refreshing breezes."

In 1794, Henry Wansey also reported on the Mall in Boston, "On the south west side of the town, there is a pleasant promenade, called the Mall, adjoining to Boston Common, consisting of a long walk shaded by trees, about half the length of the Mall in St. James's Park. At one end you have a fine view of the sea. The Common itself is a pleasant green field, with a gradual ascent from the sea shore, till it ends in Beacon Hill, a high point of land, commanding a very fine view of the country."

John Drayton also visited Boston's Mall in 1794, "There is a public walk in Boston, called the mall; which is very beautiful. It is upwards of half a mile long; and offers to your choice both a gravel and turf walk; shaded by beautiful elm trees. A street runs parallel with it on one side; and on the other a large common; where hundreds of cattle feed during the day."

Walks on State Street in Boston in 1801. James Brown Marston.

Enys also visited New York City in 1789, reporting that, "Water-street and Queen-street, which occupy the banks of East River, are very conveniently situated for business, but they are low and too narrow; not admitting, in some places, of walks on the sides for foot passengers."

Battery Park in New York City in 1793

John Drayton described Battery Park in New York City in 1793, "Between the guns and the water is a public walk; made by a gentle decline from the platform...Some little distance behind the guns, two rows of elm trees are planted; which in a short time will afford an agreeable shade."

Lydia Medford described walking to the Battery in 1800, We went on toward the Battery. This is a large promenade by the shore of the North River: there are rows and clusters of trees in every part, and a large walk along the shore, almost over the water, gives you such a fresh delightful air, that every evening in summer it is crowded with company.

1790s Walk in Front of President George Washington's House in Philadelphia.

Lord Adam Gordon wrote in 1765, of Philadelphia, "...everyone of note has a residence in Town, which is all built of brick, and well paved, with flat foot walks in each side the streets."

In his 1789 Geography, Jedidiah Morse reported on Philadelphia, "The state house yard, is a neat elegant and spacious public walk, ornamented with rows of trees; but a high brick wall, which encloses it, limits the prospect."

Moreau de St. Mery noted in the 1790s Philadelphia, "Several streets have trees, usually elms, planted on the outer edge of the sidewalk...Some persons considered them helpful in hot weather; others believed they prevented the free circulation of air and attracted insects, especially mosquitoes. Since then Italian poplars have been put at both ends of each street, as well as on all sides of the city's principal square on Market Street between the Delaware and the Schuylkill...Trees have been planted on both sides of every street, the Italian poplar being the one most in favor."

William Russell Birch (1755-1834) Philadelphia State House Garden with serpentine walks

At Philadelphia in 1787, Rev Manasseh Cutler described the State House Yard in Philadelphia, "The numerous walks are well graveled and rolled hard; they are all in a serpentine direction, which heightens the beauty, and affords constant variety.  The painful sameness, commonly to be met with in garden-alleys...is happily avoided here, for there are no two parts of the Mall that are alike."

Difficult walking on narrow streets in New York City c 1798. Francis Guy. Tontine Coffee House.

Walk in Front of Bridewell & Charity School at Broadway Opposite Chamber Street in New York City. Baroness Hyde de Neuville. 1808.

Walk at a Corner of Greenwich in New York City. 1810. Baroness Hyde de Neuville.\

Smaller towns and institutions were also developing public promenades.  In 1787, Rev Manasseh Cutler described the town walk in Middletown, Connecticut "At the northern end of the city is a walk of two rows of buttonwood trees, from the front gate of a gentleman's house down to a summer-house on the bank of the river, by far the most beautiful I ever saw.  He permits the people of the city to improve it as a mall."

Luigi Castiglioni wrote of Albany, New York in 1785, "The streets...are very wide...some of them furnished with a sidewalk."


In 1800, John Cosens Ogden described a walk in Bethlehem, Pennsylvania, "a pleasant walk on the banks of the river Lehigh.  Nature has furnished a shade,  by means of the trees, which grow near the margin.  But it is improved by a row of locust trees between them and the road or walk..."


Walks at Market Square in Germantown, Pennsylvania, in 1820, Detail. William Britton.

In 1744, Francis Moore had described the Trustees' Gardens in Savannah, Georgia, "The Garden is laid out with Cross-walks planted with Orange-trees, but last winter, a good deal of Snow having fallen, had killed those upon the Top of the Hill."

In Savannah, Georgia in 1803, according to the Columbian Museum and Savannah Advertiser, an ordinace was passed in that city for "the effectual protecting and preserving the trees in this City, and the turf, pavements, and other means which have been used to render the ground firm, and the walks pleasant to the Citizens, a number of posts have been erected and set up...for the purpose of preventing persons with carriages and horses from riding or driving within, or between the posts and trees so planted...and over the turf, pavements, or ways intended for foot passages."


J. L. Bouqueto de Woiseri, Detail of New Orleans "Under My Wings, Everything Prospers," Louisiana Purchase, 1803.

In 1796, Francis Baily wrote of New Orleans, "When I was at New Orleans...The levee which formed its boundary was a handsome raised gravel walk planted with orange trees, and in the summer time served as a mall...and in the evening was always a fashionable resort for the beaux and belles of the place."

However, when John Pintard visited New Orleans in 1801, he wrote back to his daughter, "The only public walk is the leeve, which is externally thronged with all sorts and conditions of people.  It is far from an eligible promenade for the ladies-who are obliged to frequent it for exercise-It is about 8 feet wide, the slope towards the river presents all the shipping in the harbour with their usual concomitants of noisey drunken labourers & sailors."  Pintard was so displeased with the city, that he decided no to settle there.


After George Washington's death, his home became a shrine visited by travelers from at home and abroad. Benjamin Henry Latrobe visited Mount Vernon, noting, "The ground on the West front is laid out in a level lawn bounded on each side with a wide but extremel formal serpentine walk, shaded by weeping Willows."

Nearby, Washington DC was developing as the new nation's capitol.  Here, too, walks were being planned for future generations.  In 1791, Pierre-Charles L'Enfant designed a walk between the White House (he called this the Palace) and the Congress, "a publique walk and avenue."


The 1806 Washington Expositor reported a visitor's views about the building of walkways around the mall open space in Washington, "so as to afford ample walks open at seasonable hours and under proper regulations to the public, it will give to the city, much earlier than there is otherwise reasonable cause to hope for, agreeable promenades, as conducive to the health of the inhabitants, as to the beauty of the places."


Walks in Front of the White House. August Kollner (1813-1906).

Elbridge Gerry Jr noted in his diary in 1813 that at the White House in Washington, D. C., "Lengthways of the house, and thro' the hall, is a walk, which extends on a terrace at each end for some way...The terrace was to communicate to each building connecting the three."


View of the Capitol, by Charles Burton, Watercolor on Paper 1824

This watercolor view of the Capitol was a gift to the Marquis de Lafayette to commemorate his speech delivered in the Hall of the House in 1824. Here workmen are constructing the earthen terraces along the western front, while in the foreground lining the roadway & the walks are the maturing Lombardy poplars planted during Thomas Jefferson’s administration. 

Walk in Front of The Bank of Columbia in Georgetown near Washington, DC August Kollner (1813-1906)