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....
Natalia Marinho Ferreira Alves
Italian, 17th – 18th century, male.
Active in Florence.
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)....
See Churriguera family
Natália Marinho Ferreira Alves
Portuguese sculptor and carver. He was one of the most gifted of the wood-carvers who created Portuguese Baroque church interiors in the 18th century, lined with carved, gilt wood and glittering with gold. He used vigorous and imaginative ornament, in which plume-like displays of acanthus foliage, shells, dolphins and tritons mingle with angels, nude children, vases of flowers, bearded faces and masks with exotic coiffures, all framed and supported by distinctive carved brackets. Many of these motifs are enlarged versions of those in the engravings by Jean Berain I, known to have been in circulation at this time in Portugal....
Françoise de la Moureyre
French sculptor. He trained in Toulouse, where he received his first official commission in 1677. This was for 30 terracotta busts representing famous men of Toulouse, together with a bust of Louis XIV for the Galerie des Illustres of the Capitole (Hôtel de Ville; 21 still ...
Austrian sculptor. From 1666 to 1671 he was an apprentice in the workshop of Michael Lechleitner (c. 1611–69), whose daughter he married. From 1671 to 1673 he probably worked in Otztal, Tyrol: the high altar in the church at Zwieselstein may be an early work of his. In ...
J. J. Martín González
Spanish sculptor . He was the son of the sculptor Juan de Ávila (fl 1678–c. 1700) and a collaborator of Juan Antonio de la Peña (fl 1674–96), whose daughter he married in 1700. In his early works, such as Pietà (Valladolid, Colegio de los Ingleses), the folds are smoothly carved, like those of his father, but he subsequently developed towards a more Baroque style of great masses and sharply cut folds. In ...
Swiss sculptor of German birth. He was apprenticed to the sculptor Peter Heel (1696–1767), but in 1732, after his father died, Babel became an itinerant journeyman sculptor. He appears to have moved gradually southwards, possibly drawn by the chance to study at the Akademie der Bildenden Künste in Vienna and by the far greater number of commissions to be found there, from both secular and ecclesiastical patrons. In collaborating on large-scale decorative commissions, Babel would not only have acquired a solid training as a sculptor in stone and stucco but would also have learnt the stylistic vocabulary of international Baroque. A particularly strong early influence was the stuccowork of ...
Maria Concepción García Sáiz
Spanish architect and sculptor, active in Mexico. Between 1702 and 1703 he worked in Madrid as a designer of stage machinery, later moving to Andalusia, where he produced the principal altar of the sacristy of Seville Cathedral in the Rococo style, completed in 1709 (destr. ...
He was the son of the sculptor Johann Christian Bendl, with whom he trained. Having become a journeyman, he travelled for six years, probably to Bohemia and Venice. On his return he entered in 1684 the workshop in Augsburg of Johann Jakob Rill (fl...