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Isabelle Denis

French painter. He was the natural son of Alexandre de Pujol de Mortry, a nobleman and provost of Valenciennes, but did not use his father’s name until after 1814. He trained first at the Académie de Valenciennes (1799–1803), then at the Ecole des Beaux-Arts, Paris, and in the studio of ...

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Jens Peter Munk

Danish painter, designer and architect. His paintings reveal both Neo-classical and Romantic interests and include history paintings as well as literary and mythological works. The variety of his subject-matter reflects his wide learning, a feature further evidenced by the broad range of his creative output. In addition to painting, he produced decorative work, sculpture and furniture designs, as well as being engaged as an architect. Successfully combining both intellectual and imaginative powers, he came to be fully appreciated only in the 1980s....

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French painter and writer. A student of Ingres, he first exhibited at the Salon in 1830 with a portrait of a child. He continued exhibiting portraits until 1868. Such entries as M. Geoffroy as Don Juan (1852; untraced), Rachel, or Tragedy (1855; Paris, Mus. Comédie-Fr.) and ...

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Rosanna Cioffi

Italian draughtsman and painter. He trained in Rome under Marco Caprinozzi and was a pupil of Domenico Corvi at the Accademia di San Luca. The greatest influence on his work, however, was the style of Jacques-Louis David. Angelini soon distinguished himself as a skilled draughtsman and collaborated with the engravers ...

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Jesús Gutiérrez Burón

Spanish painter. He studied at the Real Academia de S Fernando in Madrid (1792–8) and then completed his training as a pensionnaire in Paris with David (until 1807) and in Rome until 1815. Though having didactic and moralizing pretensions, his paintings are, in fact, rhetorical, theatrical and sycophantic, factors that explain his constant success in official circles. His works include his scholarship submission, ...

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Fernando Mazzocca

Italian painter and designer. He had been intended to follow his father’s career in medicine but instead entered the private academy of the painter Carlo Maria Giudici (1723–1804). He received instruction in drawing, copying mainly from sculpture and prints. He studied Raphael through the engravings of Marcantonio Raimondi, as well as the work of Giulio, Anton Raphael Mengs and, again from prints, the compositions in Trajan’s Column. He then joined the class of the fresco painter ...

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Andreas Kreul

German architect, draughtsman, landscape designer and painter. He studied from 1778 to 1783 at the University of Göttingen and the Royal Danish Academy in Copenhagen, where he was awarded four prizes. His early designs included drawings for the hothouse of the botanic gardens in Copenhagen and a lecture room at Schloss Charlottenburg, Berlin. While visiting Paris in ...

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In 1781 he began his studies at the Accademia di Belle Arti in Florence, where he was taught by such Neo-classical painters as Giuseppe Piattoli (c. 1743–1823) and Sante Pacini (fl 1762–90). He went to Rome in 1792 to continue his studies and while there painted the ...

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Linda Jansma

He was the son of René Théodore Berthon (1776–1859), court painter to Napoleon I, who was in Vienna at the time of George Theodore’s birth to paint a portrait of Francis I (Vienna, Hofburg-Schauräume). The elder Berthon had been a student of Jacques-Louis David, and he trained his son in the French Neo-classical style....

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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 ...

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A. Daguerre de Hureaux

French painter. He was apprenticed in Lyon for six years with his brother Jean-Pierre-Xavier Bidauld (1745–1813), a landscape and still-life painter. Subsequently, they left Lyon to travel together in Switzerland and Provence. In 1783 he moved to Paris, where he met Joseph Vernet (from whom he received valuable advice), Joseph-Siffred Duplessis and Jean-Honoré Fragonard. In ...

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Philippe Sorel

French sculptor, draughtsman and painter. He probably first trained in Chalon, under the sculptor Pierre Colasson (c. 1724–70); later he studied in Paris at the school of the Académie Royale, under Simon Challes. In 1766 he travelled to Italy, remaining there until 1770...

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Simonetta Prosperi Valenti Rodinò

Italian painter, collector and writer. He studied painting at the Accademia di Brera in Milan. Between 1785 and 1801 he lived in Rome, where he met such Neo-classical artists as Angelica Kauffman and Marianna Dionigi (1756–1826) as well as writers, scholars and archaeologists, notably Jean-Baptiste Séroux d’Agincourt, Giovanni Gherardo de Rossi (...

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Nadia Tscherny

French painter and designer. He came from a family of shopkeepers and tailors and he served in the Republican army during the wars of the Vendée. By 1798 he was a student of Jacques-Louis David, who provided a small apartment in the Louvre where Broc often lived. With a group of David’s students and some writers, Broc formed a dissenting sect called ...

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Krystyna Sroczyńska

Polish painter and teacher. He studied for a short time under Jean-Baptiste Augustin in Paris between 1805 and 1808, returning later to Paris at the end of 1809 and remaining until the autumn of 1814 as a bursar of the Chamber of Public Education of the Duchy of Warsaw. He wished to study under ...

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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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Charles R. Morscheck jr

Italian painter and art historian. He was trained as a painter in the Neo-classical school of Giuseppe Bossi, and by Vincenzo Camuccini and Pietro Benvenuti. He was the author of Notizie sulla vita…e degli Sforza, the first great history of Milanese art of the 14th to the 16th century, which largely established the canon of early Milanese artists. Calvi’s book was founded on his perceptive connoisseurship of painting and sculpture, and a good understanding of secondary literature. He made a thorough, intelligent use of primary sources including lapidary inscriptions, documents from the archives of Milan and Pavia, and also the then unpublished manuscript (compiled ...

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Giuseppe Pavanello

Italian sculptor, painter, draughtsman, and architect. He became the most innovative and widely acclaimed Neo-classical sculptor. His development during the 1780s of a new style of revolutionary severity and idealistic purity led many of his contemporaries to prefer his ideal sculptures to such previously universally admired antique statues as the Medici ...

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Peter Walch

Danish–German painter and draughtsman. Both Denmark and Germany claim him as their own in their national histories of art, but his greatest impact was on the international group of artists gathered in the last decade of the 18th century in Rome, where Carstens spent his last and most productive years. His severe Neo-classical drawing style and, to an even greater extent, his romantically charged commitment to art influenced such younger artists as Bertel Thorvaldsen and Joseph Anton Koch. Carstens’s life is excellently documented by Karl Ludwig Fernow, who knew the artist as a young man in Germany and was his closest friend during his mature years in Rome....

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Ksenija Rozman

Slovenian painter. He was trained in Vienna (1775–9), at the Accademia in Bologna (1779–81) and in Rome (1781–7). Here he lived and worked with Josef Bergler and Felice Giani, among others, drawing nudes, motifs after antique, Etruscan and Egyptian sculptures, reliefs and objects after models including Raphael, Annibale Carracci, Domenichino, Guido Reni and Guercino. He also drew views in bistre of Rome and its outskirts (Ljubljana, N.G.; Vienna, Akad. Bild. Kst., Kupferstichkab.). He returned to Vienna and stayed there until ...