German sculptor, painter and architect. He was the son of a court gardener who worked first in Gotha and then in Württemberg. He was originally intended to become an architect; in 1747 Duke Charles-Eugene of Württemberg sent him to train in Paris where, under the influence of painters such as Charles-Joseph Natoire and François Boucher, he turned to painting. The eight-year period of study in Rome that followed prompted Beyer to devote himself to sculpture, as he was impressed by antique works of sculpture and was also influenced by his close contacts with Johann Joachim Winckelmann and his circle. He also served an apprenticeship with ...
Ingrid Sattel Bernardini
French painter, draughtsman and etcher. Arguably it was he, more than any other artist, who set his stamp on both the fine arts and the decorative arts of the 18th century. Facilitated by the extraordinary proliferation of engravings, Boucher successfully fed the demand for imitable imagery at a time when most of Europe sought to follow what was done at the French court and in Paris. He did so both as a prolific painter and draughtsman (he claimed to have produced some 10,000 drawings during his career) and through engravings after his works, the commercial potential of which he seems to have been one of the first artists to exploit. He reinvented the genre of the pastoral, creating an imagery of shepherds and shepherdesses as sentimental lovers that was taken up in every medium, from porcelain to toile de Jouy, and that still survives in a debased form. At the same time, his manner of painting introduced the virtuosity and freedom of the sketch into the finished work, promoting painterliness as an end in itself. This approach dominated French painting until the emergence of Neo-classicism, when criticism was heaped on Boucher and his followers. His work never wholly escaped this condemnation, even after the taste for French 18th-century art started to revive in the second half of the 19th century. In his own day, the fact that he worked for both collectors and the market, while retaining the prestige of a history painter, had been both Boucher’s strength and a cause of his decline....
German, 18th century, male.
Born 1683, in Dresden; died December 1753, in Meissen.
The son of H.C. Fehling, Carl Fehling taught at the school of drawing at the Meissen porcelain factory. His drawings and the engravings he made from them were held in the Dresden print collection....
Danish, 18th century, male.
Born 23 December 1711, of German origin; died 16 July 1761, in Kastrup.
Sculptor, potter, architect.
Jakob Fortling was a court sculptor in Copenhagen, where he founded a porcelain factory in 1760.
Danish, 18th century, male.
Active in Copenhagen.
Between 1775 and 1787, Ondrup worked at the royal porcelain factory in Copenhagen. Two miniature portraits by this artist dated from 1783 are in the Museum der Arbeit in Hamburg.
Flemish sculptor, architect and potter. He was probably first trained in his father’s carpenter’s workshop; in 1715 he was registered in Bruges as a master carpenter. He then worked with the Ghent sculptor Jan Boecksent (1660–1727), who had been assigned to decorate the Récolets church in Bruges and who was involved in the creation of the academy of Bruges. In ...