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Article

Elizabeth Ashman Rowe

Illuminated 14th-century deluxe Icelandic manuscript (420×290 mm, 202 fols; Reykjavík, Árni Magnússon Institute, GKS 1005 fol.) of King Sverrir’s Saga. It was compiled by the priests Jón Þórðarson and Magnús Þórhallsson for Jón Hákonarson (1350–before 1416), a wealthy landowner in northern Iceland who collected sagas of the kings of Norway. A note on folio 4...

Article

Katrin Kogman-Appel

Richly illuminated manuscript of the Passover liturgy together with a series of liturgical poems to be read during the Passover week (London, BL, Add. MS. 27210), possibly made in Barcelona, c. 1320. This text was to be recited during the seder ceremony at the eve of the Passover holiday. Like most medieval Haggadot (...

Article

Dennis Radford

German architect, builder, painter and photographer, active in South Africa. He showed a talent for drawing at an early age. In 1825 he entered the Akademie der Künste, Dresden, to study architecture, qualifying in 1829. He emigrated to Cape Town in 1838. His first commission in ...

Article

Cinzia Maria Sicca

English architect, painter, landscape gardener and designer. He was the most exuberant and innovative architect and designer active in England in the first half of the 18th century. He was trained as a painter but was not particularly successful or remarkable in this work, showing greater skill as a draughtsman. As an architect he was highly versatile, practising in both the Palladian and Gothick styles, and this versatility extended to his work as a designer, which included interior decoration, furniture and silverware, book illustration, stage sets and gardens....

Article

David Walker

Scottish architect and painter. He was apprenticed to Charles Wilson’s pupils James Boucher (1832–1906) and James Cousland (c. 1832–66) in 1855. In 1860 he went to London, where he worked in turn for J. L. Pearson and William White and entered the circle of William Burges, who in ...

Article

German sculptor, painter and architect. He was the grandson of the painter Egidius Mengelberg (1770–1849) and received his training in the art school founded by the latter in Cologne, where his tutors included the architect Friedrich von Schmidt and the sculptor Christoph Stefan (...

Article

Daniel H. Weiss

Extensively illustrated Old Testament manuscript (390×300 mm; New York, Morgan Lib., MS. M.638) produced in France. Containing more than 340 narrative episodes distributed across the recto and verso sides of 46 parchment leaves, the Old Testament cycle begins with the first chapters of Genesis and concludes with scenes from the life of King David from 2 Samuel. No longer in its original binding, three leaves are now separated from the Morgan volume; two being in the Bibliothèque Nationale in Paris (Ms. nouv. acq. lat. ...

Article

Teresa S. Watts

Swiss architect, painter, draughtsman and writer. He served as an engineer in the French army (1748–54) and drew Gothic monuments in Spain (1748) and copied ancient vases and painted idyllic landscapes in Rome (1749–54). He then stayed from 1755 to 1759...

Article

Roberta J. M. Olson

Italian painter, architect, designer and collector. At the age of 12 he began to frequent the house in Bologna of his patron Conte Carlo Filippo Aldrovandi Marescotti (1763–1823), whose collections and library provided his early artistic education and engendered his taste for collecting. From ...

Article

Dinah Birch

English writer, draughtsman, painter and collector. He was one of the most influential voices in the art world of the 19th century. His early writings, eloquent in their advocation of J(oseph) M(allord) W(illiam) Turner and Pre-Raphaelitism and their enthusiasm for medieval Gothic, had a major impact on contemporary views of painting and architecture. His later and more controversial works focused attention on the relation between art and politics and were bitter in their condemnation of what he saw as the mechanistic materialism of his age....

Article

Rand Carter

German architect, painter and stage designer. He was the greatest architect in 19th-century Germany, and his most important surviving buildings in Berlin (see Berlin, §I, 3) and Potsdam (see Potsdam, §1) show his sense of German idealism and technical mastery. He became Geheimer Oberlandesbaudirektor of the Prussian state and influenced many architects in Germany and abroad....

Article

German, 19th century, male.

Born 12 February 1833, in Hamburg; died 5 October 1889, in Hamburg.

Painter, decorative designer, draughtsman. Landscapes.

Hermann Schmidt had his own studio for decorative painting whose speciality was Neo-Gothic. He won a gold medal at the Exhibition of Trades and Industry in Hamburg in ...

Article

English painter, printmaker and writer. After being educated at a school for the sons of Methodist ministers, he was articled to the Gothic Revival architect Edward James Willson (1787–1854) in Lincoln. Willson allowed him to spend much of his time drawing the paintings and sculptures in Lincoln Cathedral and after three years let him leave to become a painter. Smetham then worked as a portrait painter in Shropshire before moving to London (...

Article

German, 19th century, male.

Born 9 April 1819, in Cologne; died 21 August 1898, in Cologne.

Painter, architect. Landscapes, architectural views.

He engraved gothic-style architectural views in particular.

Cologne, 14 Nov 1974: Landscape with Chapel, DEM 4,800

New York, 25 Oct 2000: Portrait of Charles VI and Maria Theresia with Members of the Royal Family...

Article

Colin Cunningham

English architect, furniture designer and painter. In financial terms he was probably the most successful architect of the 19th century, and his office, of a dozen or so full-time staff, was able to produce large quantities of high-quality drawings with speed and efficiency. His skill in planning was recognized at an early stage, but appreciation of his stylistic achievement has been slower. He was influenced by Ruskin and A. W. N. Pugin, as well as by the more practical approach of George Gilbert Scott, but he developed his own approach to the composition of forms and a preference for bold simple ornament to match the increasing scale of his buildings. He did not confine himself to a single style but was adept in Gothic and, later, free Renaissance styles, and he developed a preference for the neo-Romanesque. He distinguished between carved or moulded ornament on plain stone and decorative materials such as veined marble, which he generally left unornamented. His concern for hard-wearing surface materials led him to adopt terracotta as a facing material, in which he was both a pioneer and protagonist. His sensitive handling of materials approached the aims of the Arts and Crafts Movement, but he always accepted that building was an industrial process. His buildings are characterized by sound planning and bold and picturesque outline, with particular attention given to the skyline in urban buildings....