1-20 of 609 results  for:

  • Renaissance/Baroque Art x
  • 1700–1800 x
Clear all

Article

Natalia Marinho Ferreira Alves

Portuguese family of wood-carvers. Manuel Abreu do Ó and his brother Sebastião Abreu do Ó (both fl Évora c. 1728–c. 1770) worked in collaboration, carving some of the finest and most influential Joanine and Rococo altarpieces in southern Portugal. They carved in delicate flat relief using patterns similar to those found in Spain, a style contrasting with the dramatic plastic effects seen in contemporary wood-carving in northern Portugal....

Article

José Fernandes Pereira

Portuguese architect and master builder. His earliest known works are the six side altars (black-veined marble, 1753) in the small 15th-century chapel of S Bento in Vila Viçosa, where all his work is to be found. They are carved in a characteristic Late Baroque manner. In ...

Article

A. Gerhardt

Benedictine abbey on the River Enns in Styria, Austria. It was founded in the mid-11th century by Bishop Gebhard from Salzburg, endowed by St Henna von Gurk, Gräfin von Friessach (d 1045), and settled by Benedictine monks from St Peter’s, Salzburg under Abbot Isingrin. The Romanesque minster (consecrated ...

Article

Hana Seifertová

German painter. He travelled to England, the Netherlands, France and Italy, working for longer periods in Rome, Naples and Augsburg. He was strongly influenced by French landscape painters active in Italy, such as Gaspard Dughet and Claude Lorrain. In Agricola’s paintings the balanced arrangement of the picturesque landscape elements creates a lucid pictorial structure, and unusual light effects, such as twilight or the darkness before a storm, are used to convey a particular mood. The small scale of his figures expresses the contrast between human frailty and the forces of nature. He painted with lively local colours, especially ochres and deep greens for the rich tones of earth and vegetation. The multicoloured costumes of his figural staffage provide pictorial accents and reveal the romantic orientation of his paintings. Scenes of country people at work, for example ...

Article

Hugh Belsey

Scottish painter. He came from a professional background, and his maternal uncle, Sir John Clerk of Penicuik, may have provided Aikman with an introduction to Sir John Baptist Medina, under whom he studied painting in London from 1704. In 1707 Aikman set out on travels to Italy, Constantinople (now Istanbul) and Smyrna, on the proceeds made from the sale of his estate at Cairnie. When he returned to Edinburgh in ...

Article

Italian, 17th – 18th century, male.

Active in Florence.

Sculptor, medallist.

Cited by Zani. Alberghetti would appear to come from a well-known family of artists of the same name who worked from the Renaissance to the end of the 18th century as both casters and sculptors in Ferrara, Florence and Venice (where several were in charge of casting operations at the Artillery)....

Article

See Churriguera family

Article

Luciana Arbace

Italian centre of ceramic production. The town, situated near Savona in Liguria, was a flourishing centre of maiolica production during the Renaissance. It was, however, only during the 17th and 18th centuries that a distinctive style developed. Important families in the pottery business included the ...

Article

Rüdiger an der Heiden

German painter and administrator. He was the son of Augustin Albrecht, a carpenter, and he was probably taught in Munich by his uncle, the painter Benedikt Albrecht (d 1730), before he went to Italy, where he is thought to have stayed in Rome and Venice. Albrecht returned to Munich in ...

Article

Lucília Verdelho da Costa

Cistercian abbey in Portugal. The abbey, dedicated to S Maria, was founded as part of the policy of repopulation and territorial improvement of the first king of Portugal, Alfonso I (reg 1139–85), who in 1152 granted a large area of land to St Bernard of Clairvaux by a charter known as the ...

Article

See González Velázquez family

Article

Italian architect. Descended from an impoverished ducal family of Asti, Piedmont, Alfieri spent his first 16 years in Rome. A papal stipend enabled him to study law at the Collegio dei Nobili in Turin, after which he settled as a lawyer in Asti. Even as a successful architect in public office, he continued to make use of his legal knowledge, and in Asti and later Turin he served as mayor intermittently. Alfieri was extraordinarily versatile, with no single personal style. He worked simultaneously in three separate styles: Roman high and late Baroque; French Rococo (for decoration); and early classicism. His attitude to these styles was functional rather than historical, and his choice of which one to use usually depended on the nature of the project and the wishes of his client. Thus Alfieri built Catholic churches in Roman Baroque and Protestant churches in a puristic classicism. Piedmontese State commissions were executed in the severe manner of the Turin State style as practised by Amadeo di Castellamonte and Filippo Juvarra before him. For the royal court and the aristocracy French Rococo was appropriate. Façades of palaces were decorated in the idiom of a restrained Baroque classicism, like that which Gianlorenzo Bernini and Carlo Fontana had developed in Rome. Whatever the style, Alfieri worked with facility and elegance, blending disparate elements into ingenious, harmonious creations. He was not a great innovator, but his work anticipates in certain respects the purpose-built functional architecture of the 20th century. With his flexible use of existing architectural vocabulary, he was a first-class architect of the second rank....

Article

Věra Naňková

Italian architect, active in Bohemia. The son of Lorenzo Alliprandi (d c. 1712), a stucco artist who worked in Vienna, he served his apprenticeship with the master builder Francesco Martinelli (1651–1708) in Vienna from 1685 to 1688 and is recorded as working in Bohemia in ...

Article

José Meco

Portuguese decorative artist. His apprenticeship was probably undertaken with Master PMP, the painter of glazed tiles. His most important commission between 1729 and 1731 was for the panels of blue and white tiles, made in Lisbon, that cover the lower storey of the cloister of Oporto Cathedral, which represent scenes from the Song of Solomon. These panels are characteristic of the High Baroque phase of tile-making and show an appreciation of theatre and stage design in the deepening landscape backgrounds of the figurative panels, in the bold outlines and in the enlarged ornamental framing. The spectacular arched frames of the Oporto panels were influenced by Roman Baroque architectural ornament....

Article

Humberto Rodríguez-Camilloni

Spanish architect, engineer, and administrator, active in Peru. He was the second son of the Marquis de Castellbell and received military training at an early age. He served as Spanish governor in Chile (1755–61), acquiring a reputation there as a fortifications expert. In ...

Article

Italian architect. He was called to Rome in the 1670s by his Order, the Padri Ministri degl’Infermi, to work first as an assistant to Carlo Bizzaccheri then as supervisor on the enlargement of the convent of the Crociferi. Returning to Palermo by 1685, he produced work that showed Roman influences. His studies for the façade of the monumental church of ...

Article

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 ...

Article

An antiquary (Lat. antiquarius) is a lover, collector and student of ancient learning, traditions and remains. Antiquarianism originated from the revived interest in Classical antiquity during the Renaissance and became a scientific and historical method in the 17th century. The difference between literary and non-literary sources distinguishes humanism from antiquarianism, the latter being based on those tangible remains of antiquity (inscriptions, coins and ruins) related to literary sources. From the 16th century new attitudes towards antiquity were discussed in antiquarian circles, later giving rise to antiquarian societies. Thereafter, antiquarianism was firmly linked to archaeological excavations and to the study and collecting of ancient art. It was also linked to the search for a national identity in the arts and for the origins of Western culture and was sustained by a curiosity about civilizations outside Europe. Antiquarianism, in fact, was associated with the ...

Article

See González Velázquez family

Article

G. Komelova

Russian painter. He trained at the Construction Office in St Petersburg, where his teachers included Ivan Vishnyakov, in whose team of painters Antropov later worked. He participated in the decorative painting of the Winter Palace and other imperial residences in St Petersburg and its environs. In ...