French architect, archaeologist and painter. He was an important if controversial figure associated with the development of the Neo-classical style of architecture and interior design and its dissemination throughout Europe and the USA. He studied at the Académie Royale d’Architecture, Paris, under Germain Boffrand and won the Grand Prix in ...
Thomas J. McCormick
English painter, archaeologist and dealer, of Irish origin. A Roman Catholic, he was the son of a prosperous London baker, originally from Cork. He entered the Royal Academy Schools in 1781; two years later he travelled to Italy via Flanders and Paris, reaching Rome in ...
Scottish painter, archaeologist and dealer, active in Italy. He was educated at Glasgow University and in 1748 arrived in Rome to study portrait painting under Agostino Masucci. He lodged with the architects James Stuart and Nicholas Revett; they probably encouraged him to visit Herculaneum and the recently discovered archaeological site of Pompeii, which had a profound effect on his subsequent career. Convinced that ‘the ancients have surpassed the moderns, both in painting and sculpture’, Hamilton undertook a systematic study of Classical antiquities during the 1750s and 1760s. In ...
Mark D. Fullerton
Greek sculptor and writer from South Italy. He is generally regarded as the head of a school producing eclectic, neo-classical statuary related to
Italian etcher, engraver, designer, architect, archaeologist and theorist. He is considered one of the supreme exponents of topographical engraving, but his lifelong preoccupation with architecture was fundamental to his art. Although few of his architectural designs were executed, he had a seminal influence on European ...
French painter and draughtsman. Prud’hon is best known for his allegorical paintings and portraits, most of which were done during the turbulent years of the Revolution (1789–99) and the heroic years of the First Empire (1804–15). It is paradoxical that, while actively supporting the rigorous social reforms of the Jacobins and seeking approval in Napoleonic circles, Prud’hon should have produced work that generally shows great charm and sentimental appeal; these qualities distinguish his oeuvre from the more austere Neo-classicism of David and his school and place him historically in close relation to an earlier 18th-century European tradition of ...