October 18 in Art History
4 real events recorded on October 18, the earliest from 1634. 2 artists were born , 1 died on this date.
The day's biggest moments
Born on this day 2
- 1634 Born
Born this day: Luca Giordano
Luca Giordano, born on October 18, 1634, was a prominent Italian late-Baroque painter and printmaker, celebrated for his vast output of altarpieces, mythological paintings, and decorative fresco cycles. He introduced a new sense of light and color to Neapolitan art, moving away from the dark manner of his predecessors. Giordano's work had a significant impact on the development of Baroque art, with notable works including The Flight into Egypt and The Annunciation.
He remains one of the most important figures of the Neapolitan Baroque, influencing generations of artists with his innovative use of light and color.
- 1858 Born
Born this day: Charles Frederick Ulrich
American artist Charles Frederick Ulrich was born on October 18, 1858. He is known for his captivating depictions of glassblowing scenes, such as Glass Blowers of Murano, which showcase his unique ability to capture light and texture. Ulrich's work is characterized by smooth surfaces and intimate portrayals of industry.
Ulrich's legacy lies in his ability to convey the beauty and intimacy of industrial scenes through his captivating and quietly powerful paintings.
Died on this day 1
- 1678 Died
Died this day: Jacob Jordaens
Jacob Jordaens, a Flemish painter, draughtsman, and designer, created a wide range of compositions, from biblical and mythological scenes to genre scenes and portraits. He became the leading Flemish Baroque painter after the death of Rubens and Anthony van Dyck, known for his non-idealistic treatment of subjects. Jordaens spent his life in Antwerp, rarely traveling and focusing on art for the wealthy bourgeoisie.
He remains a significant figure in Flemish Baroque painting, notable for his unique approach and contributions to the art of his time.
Exhibitions & salons 1
- 1905 Exhibition Landmark
Salon d'Automne 1905 — the Cage aux Fauves
In Room VII of the 1905 Salon d'Automne, canvases by Matisse, Derain and Vlaminck blazed with arbitrary, violent color around a conventional Renaissance-style torso — prompting the critic Louis Vauxcelles to write of 'Donatello chez les fauves': Donatello among the wild beasts. The name Fauvism stuck.
The first of the twentieth century's named avant-gardes: color freed from description, a precedent every Expressionist current built on.