Greek, 20th century, male.
Born 1910, in Athens; died 1985.
Painter, illustrator, decorative designer, poet. Mythological subjects, genre scenes, urban landscapes. Stage sets, stage costumes, icons.
Nico Engonopoulos spent his childhood in Istanbul, then known as Constantinople. After an aimless stay in Paris, he studied at the school of fine art in Athens ...
(John)
(b Vienna, Sept 22, 1890; d New York, Dec 27, 1965).
American architect, stage designer, furniture designer and writer of Austrian birth. In 1920 he worked with Adolf Loos in Vienna. He was also in contact with the artists associated with De Stijl and began experimenting with innovative theatre designs. In 1924 he produced the Endless Theatre design. The ‘Endless’ was a double-curved shell of reinforced concrete that could enclose any irregularly traditional divisions into floor, wall, and ceiling but offered the inhabitant an open interior that could be modified at will. For the theatre he adapted the ‘Endless’ by devising a double-spiral stage interconnected by ramps and rings of spectator seats. Kiesler believed that the Endless Theatre, without proscenium or curtain, projecting out into the audience, with perpetually moving walls bathed in light of ever changing colour, would promote greater interaction between actors and audience.
For the celebrated Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925...
(b nr Cēsis, April 28, 1896; d Tbilisi, Georgia, July 14, 1944).
Latvian painter, printmaker, ceramicist, interior designer, tage and film set designer and theorist. He was the foremost ideologue for modernism in Latvia and was one of its greatest innovators. His militant defence of avant-garde principles befitted his experience as a soldier and as one of the artists who, after World War I, was denied a studio by the city officials and staged an armed occupation of the former premises of the Riga Art School. At the end of the war he painted in an Expressionist manner: In Church (1917; Riga, priv. col., see Suta, 1975, p. 19), for example, is an exaltation of Gothic form and primitivist rendering. Unlike his peers Jāzeps Grosvalds and Jēkabs Kazaks, he was extremely interested in Cubism and Constructivism, the theories of which informed his paintings, drawings, prints and occasional architectural projects of the 1920s. At this time he and his wife, the painter ...
