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Helen M. Hills

Italian architect, writer and painter. He trained as a priest in Palermo and entered the Padri Ministri degl’Infermi. Another member of this Order was Giacomo Amato, with whom he worked, although they were not related. While serving as a chaplain Amato studied geometry, architecture, optics and engraving. His earliest known artistic work is a painting on copper of the ...

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Spanish architect, painter and writer. He was trained in architecture by the Jesuits and in painting by Claudio Coello and worked mainly as an architect. Two overdoors showing multiple allegorical scenes of the Battle of Lepanto (1721; Madrid, Pal. Arzobisp.) and a St Barbara...

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Baroque  

Gauvin Bailey and Jillian Lanthier

Term used to describe one of the first genuinely global styles of art and architecture in the Western canon, extending from its birthplace in Bologna and Rome to places as far-flung as France, Sweden, Russia, Latin America, colonial Asia (Goa, Macao), and Africa (Mozambique, Angola), even manifesting itself in hybrid forms in non-European cultures such as Qing China (the Yuanming yuan pleasure gardens of the Qianlong Emperor) or Ottoman Turkey (in a style often called ...

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W. Georg Rizzi

Italian architect, decorative artist, stage designer and painter, active also in Austria. He trained as a quadratura painter in Bologna, where he was a pupil of Giovanni Gioseffo dal Sole. He was recorded as working as a figure and quadratura painter in Vienna for Prince Montecuccoli in ...

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German painter, teacher, draughtsman and printmaker. His frescoes and altarpieces and his teaching established him as the dominant figure in the art life of Augsburg in the earlier 18th century. He came from a family of well-known Swabian sculptors, cabinetmakers and painters, with whom he probably initially trained. The Bavarian Duke ...

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Alfonso Rodríguez Ceballos

Italian architect, painter, urban planner and stage designer, active in Spain. He was a pupil in Piacenza of the painters Bartolomeo Rusca (1680–1745), Andrea Galluzzi (fl 1700–1743) and Giovanni Battista Galluzzi (fl c. 1730–40). In 1728 he was one of a number of artists summoned to Spain by the Marchese ...

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German painter, draughtsman and etcher. Trained by Johann Georg Dathan (1703–c. 1748) in Speyer, he was a court painter in Mannheim from 1733 until his death, from 1755 gallery director and from 1757 a privy councillor. Of the religious works that, as a court painter, he was obliged to produce, the only ones that survive are frescoes (spandrel paintings) depicting the ...

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Maria Teresa Caracciolo

Italian painter and draughtsman. He was an important history painter and decorator, whose paintings and drawings vary in manner from the Baroque to Neo-classical, and who anticipated Romantic historicism. His subjects are taken from Greek and Roman literature, 16th- and 17th-century religious history and Italian literature of the early and High Renaissance; his many drawings include preparatory studies, caricatures, genre scenes and portraits. He trained under ...

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Dieter Graf

Italian painter and draughtsman. He was trained in Rome, where he was first a pupil of the painter and engraver Pietro del Pò (1610–92), who also came from Palermo. At an unknown date he moved to the studio of Carlo Maratti and, with Giuseppe Passeri, became a favourite pupil. He was clearly linked to Maratti’s workshop for a long period and perfectly assimilated his teacher’s idiom, though without attaining his elegance and precision. In the 1680s Calandrucci executed various decorative frescoes in Roman palazzi: the ...

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Luisa Arruda

Portuguese painter. The chief follower of Vicenzo Baccarelli (1682–1745), who introduced the Italian tradition of trompe l’oeil architectural perspectives to ceiling painting in Portugal, he absorbed Italian Baroque models and passed them on to his own pupils, creating a school that continued into the 19th century. Lobo’s only certainly attributable work, the ceiling (after ...

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José Fernandes Pereira

Italian architect, painter and designer, active in Portugal. He was one of the most influential figures of the Portuguese Baroque. Immensely productive and imaginative, he was essentially a decorator who revealed in his buildings the decorative vocabulary of Tuscan Baroque. He was called ‘Dom Nicolau’ by the people of Oporto as a tribute to his inventiveness and originality and to his transformation of Oporto, which he found a medieval town and converted into one of the most Baroque of Portuguese cities. He endowed it with churches and houses based on the formula of a literal translation into granite of the complex ornament in his painting. Nasoni was theatrical in his designs for staircases and portals as well as in the realism of his decorative motifs, and he established in Oporto architecture and wood-carving a tradition of extremely dramatic effects combined with the richest ornamentation seen in Portugal since the Manueline style....

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Richard Bösel

Italian painter, architect and stage designer. He was a brilliant quadratura painter, whose most celebrated works, such as the decoration of the church of S Ignazio in Rome, unite painting, architecture and sculpture in effects of overwhelming illusionism and are among the high-points of Baroque church art. He was a Jesuit lay brother and produced his most significant work for the Society of Jesus. This affiliation was fundamental to his conception of art and to his heightened awareness of the artist’s role as instrumental in proclaiming the faith and stimulating religious fervour. The methods he used were those of Counter-Reformation rhetoric, as represented in Ignatius Loyola’s ...

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Antonio Vannugli

Italian painter, draughtsman and architect. A pupil of Carlo Maratti, he is first documented in 1702, among the restorers of Raphael’s fresco decorations (1511–14) in the Vatican. His Tarquinius and Lucretia (c. 1705; Holkham Hall, Norfolk) has cold colours and unnatural gestures that recall Guido Reni. Appointed by Pope ...

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Portuguese painter. He specialized in ceiling paintings, in which the figures were derived from conventional poses, rather than truly di sotto in sù, and held within a strong architectural framework, a practice introduced into Portugal by the Italian painter Vincenzo Bacherelli (1672–1739). Rolim was a follower of Antonio Lobo, a pupil of ...

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Klára Garas

Austrian architect and painter. In 1695 he became a lay brother of the Jesuit Order in Vienna. Between 1702 and 1709 he was the pupil of Andrea Pozzo, with whom he collaborated on the interior decoration of the Liechtenstein summer palace in Vienna (1705...

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Spanish architect, sculptor and painter. He came from a family of architects and sculptors, which included his father Antonio Tomé (1664–1730) and his two brothers, Andrés Tomé (1688–1761) and Diego Tomé (1696–1732). The family was active in Castile at the beginning of the 18th century; they are first recorded in ...

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Jörg Garms

Italian architect, draughtsman and painter. His work represents the transition from Baroque to Neo-classicism, and his correspondence and the number of his extant drawings make him perhaps the best-documented Italian architect of the 18th century. Vanvitelli’s father was the Dutch vedute painter Gaspar van Wittel...

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N. A. Yevsina

Russian architect and painter . He worked first in the Ukraine, and in 1701 he was invited to Moscow to enter the service of Peter I, Tsar and Emperor of Russia. He also superintended icon painting in Russia (from 1707). His principal work is the ...