Togolese painter, sculptor, engraver, stained glass designer, potter and textile designer. Beginning in 1946, he received his secondary education in Dakar, where he also worked in an architecture firm. He travelled to France and received his diplôme supérieur from the Ecole des Beaux-Arts, Paris. A versatile artist, Ahyi is best known for his murals and for monumental stone, marble and cement public sculptures. His work reflects the fusion of his Togolese roots, European training and an international outlook, and he counts among his influences Moore, Braque, Modigliani, Tamayo, Siqueiros and Tall. His work combines ancient and modern themes and materials, maternity being a prominent topic. The messages of his larger, public pieces operate on a broad level to appeal to the general populace, while smaller works often reflect his private engagement with challenges confronting the human condition. His compositions are both abstract and figurative and evoke the heroism and hope of the two world wars, Togo's colonial period and the struggle for independence from France, as well as the political efforts of the peoples of Vietnam, South Africa and Palestine. Ahyi has won numerous international prizes, including the prize of the city of Lyon (...
Christine Mullen Kreamer
French, 20th century, male.
Born 27 January 1922, in Aix-en-Provence; died October 1995.
Sculptor, ceramicist. Architectural integration, monuments.
Jean Amado studied drawing and painting from 1940-1941. He then joined the Resistance against the German occupation until 1944 - first in Aix, then in the department of Drôme. In ...
Descriptive term applied to a style of decorative arts that was widely disseminated in Europe and the USA during the 1920s and 1930s. Derived from the style made popular by the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925, the term has been used only since the late 1960s, when there was a revival of interest in the decorative arts of the early 20th century. Since then the term ‘Art Deco’ has been applied to a wide variety of works produced during the inter-war years, and even to those of the German Bauhaus. But Art Deco was essentially of French origin, and the term should, therefore, be applied only to French works and those from countries directly influenced by France....
Decorative style of the late 19th century and the early 20th that flourished principally in Europe and the USA. Although it influenced painting and sculpture, its chief manifestations were in architecture and the decorative and graphic arts, the aspects on which this survey concentrates. It is characterized by sinuous, asymmetrical lines based on organic forms; in a broader sense it encompasses the geometrical and more abstract patterns and rhythms that were evolved as part of the general reaction to 19th-century historicism. There are wide variations in the style according to where it appeared and the materials that were employed....
Material most commonly used as a cheaper alternative to stone. Occasionally, its special properties make it a preferred but more expensive choice to stone. In its simplest form, artificial stone is an ashlar covering for buildings (e.g. 18th-century terraced houses by John Nash). It is found in its most sophisticated form as the component of numerous 19th-century terracotta or cement-based sculptures....
Informal movement in architecture and the decorative arts that championed the unity of the arts, the experience of the individual craftsman, and the qualities of materials and construction in the work itself.
The Arts and Crafts Movement developed in the second half of the 19th century and lasted well into the 20th, drawing its support from progressive artists, architects and designers, philanthropists, amateurs, and middle-class women seeking work in the home. They set up small workshops apart from the world of industry, revived old techniques, and revered the humble household objects of pre-industrial times. The movement was strongest in the industrializing countries of northern Europe and in the USA, and it can best be understood as an unfocused reaction against industrialization. Although quixotic in its anti-industrialism, it was not unique; indeed it was only one among several late 19th-century reform movements, such as the Garden City movement, vegetarianism, and folksong revivals, that set the Romantic values of nature and folk culture against the artificiality of modern life....
Hungarian, 20th century, male.
Active in Belgium.
Born in Budapest.
Sculptor, ceramicist. Architectural integration.
Ildiko Balas studied at the academies in Budapest and in Brussels.
German, 20th century, male.
Born 1900, in Neuss.
Barthelmess was a student at the Bauhaus from 1920 to 1923 and he subsequently ran a pottery studio there. From 1927 he worked as an architectural ceramicist and potter in Düsseldorf where he taught at the Academy from ...
Rainer K. Wick
German school of art, design and architecture, founded by Walter Gropius. It was active in Weimar from 1919 to 1925, in Dessau from 1925 to 1932 and in Berlin from 1932 to 1933, when it was closed down by the Nazi authorities. The Bauhaus’s name referred to the medieval Bauhütten or ...
He attended the Ecole des Arts Décoratifs, Paris, from 1911, until he joined the army in 1915. After World War I he devoted himself primarily to painting. In 1922 he met Juan Gris with whose encouragement his early Matisse-influenced rhythmical compositions acquired greater stability. In the late 1920s he was promoted by Tériade as a successor to the Cubists, with such works as ...
Italian engraver, designer, painter and architect, active in Aquila. He worked as a designer of maiolica for Carlantonio Grue, and published sets of engraved ornaments.H. Coutts: ‘Francesco Bedeschini Designer of Maiolica’ Apollo, 6 (1987), pp. 401–3
German, 19th – 20th century, male.
Born 14 April 1868, in Hamburg; died 27 February 1940, in Berlin.
Painter, draughtsman, engraver, architect, designer, decorative artist, graphic designer. Posters, furniture, wallpaper, carpets, glassware, ceramics, table services, jewellery, silverwork, objets d'art, typefaces.
Jugendstil, functional school.
Die Sieben (Group of Seven), Deutscher Werkbund...
Belgian, 20th century, male.
Born 1928, in Bruges.
Beirens was a student at the school of St Luke in Shaerbeek. He practises direct carving and works with metal and terracotta. He was a professor at the provincial institute of architecture and applied arts in Hasselt....
Swiss, 19th – 20th century, male.
Active in Germany.
Born 31 December 1849, in St Gall; died 1921, in Planegg.
Architect, painter, decorative designer, theorist. Designs (furniture/fabrics/metal objects/ceramics).
From 1868 to 1871 Hans Eduard von Berlepsch-Valendas was a student of architecture with Gottfried Sempers in Zurich. After graduating he abandoned architecture while he was living in Frankfurt, to go and train as a painter in Munich (...
French, 20th century, male.
Born 4 January 1914, in Paris.
Painter, fresco artist, potter.
Maurice Claude Bertrand showed work at the Salons d'Automne, the Réalités Nouvelles and the Artistes Décorateurs. He worked with architects, incorporating his painted ceramic panels into their buildings. His mural decorative work tended to abstract geometric form, reminiscent of the orphic movement inspired by the Delaunays....
Swiss, 20th – 21st century, male.
Active in Fontanello, near Parma, Italy.
Born 1956, in Neuchâtel.
Engraver (copper/etching/line-engraving). Figures, landscapes, architectural views.
André Beuchat has lived in Italy since 1980 and opened a ceramics studio in Fidenza. He had his first experience of line-engraving at the school of the International Centre for Engraving in Venice in ...
Ingrid Sattel Bernardini
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 ...
French, 17th century, male.
Born 4 November 1608, in Le Mans; died 1671, in Angers.
Sculptor (terracotta), architect. Religious subjects, figures. Statues, groups.
Pierre Biardeau was the son of René II Biardeau. He went to live in Angers in 1638. He was in Luçon in ...
German, 19th – 20th century, male.
Potter, sculptor, architect. Jewellery.
Hermann Robert Bichweiler was active between 1872 and 1893 in Hamburg, where he had his own studio. His ornaments are characteristic of a specific style peculiar to Hamburg.
Hamburg (Mus. für Kunst und Gewerbe)
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....