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Article

Robert Enggass

(b Lugano, June 13, 1648; d after July 6, 1709).

Italian painter and theorist. He went to Milan about 1665 to study painting under Francesco Cairo. A decade later he moved to Venice, where for the Lombard chapel of S Maria dei Frari he painted St Carlo Borromeo Distributing Alms to the Poor (in situ) in the dark, dramatic, fully Baroque manner of his teacher. David’s other documented works in Venice are in S Maria del Carmelo and the Palazzo Albizzi a Sant’Aponal. While in Venice he also operated a highly successful art academy, remarkably, in competition with Pietro della Vecchia, a far more successful painter. Contemporary reports indicate that ‘he contradicted della Vecchia at every turn’, and that he played down the importance of drawing, making it secondary to the painter’s own ideas. This attitude was highly radical, given that drawing was then considered the basis of an artist’s education. By May 1686 David was in Rome, where he remained for the rest of his life. His two large canvases for S Andrea al Quirinale, the ...

Article

Ismael Gutiérrez Pastor

(b Villena, Alicante, c. 1645; d Madrid, June 28, 1717).

Spanish painter, engraver and writer. He began his training in Murcia with Nicolás de Villacis (c. 1618–94) and Mateo Gilarte (c. 1620–after 1680), who both worked in a naturalist and tenebrist style. He travelled to Rome in the 1660s and came into contact with the Italian Baroque, especially the work of Pietro da Cortona and Carlo Maratti. On his return he was first in Valencia, where the work of Jerónimo Jacinto Espinosa became a strong influence. Towards 1674 he established himself in Madrid, where he entered the circle of Juan Carreño de Miranda.

García Hidalgo’s numerous paintings were frequently signed, and he painted a good many for the Augustinian Order in Madrid, Madrigal de las Altas Torres, Santiago de Compostela and Sigüenza (e.g the Vision of St Augustine, 1680; Sigüenza Cathedral), and for the Carmelite Order in Alba de Tormes, Peñaranda de Bracamonte and Segovia (e.g. the ...

Article

David Cast

[Kniller, Gottfried]

(b Lübeck, ?Aug 8, 1646; d London, Oct 19, 1723).

English painter and draughtsman of German birth. He was the leading portrait painter in England during the late 17th century and the early 18th, and, as such, the chief recorder of court society for almost 40 years. He popularized the kit-cat format for portraits and was also the founding governor in 1711 of the first proper academy of art in England. His older brother Johann [John] Zachary Kneller (b Lübeck, 1642; d London, 1702), with whom he was close, was also a painter; his works include watercolour miniatures and still-lifes, as well as copies of his more famous brother’s works.

Kneller came from a distinguished family in Lübeck. His father was the city’s chief surveyor, and Kneller was first prepared for a career in the army, studying mathematics at the University of Leyden (now Leiden). However, it seems he had always been attracted to painting, and in 1662...

Article

Claire Constans

(b Paris, bapt Feb 24, 1619; d Paris, Feb 12, 1690).

French painter and designer. He dominated 17th-century French painting as no other artist; it was not until over a century later, during the predominance of Jacques-Louis David, that artistic authority was again so concentrated in one man. Under the protection of a succession of important political figures, including Chancellor Pierre Séguier (see fig.), Cardinal Richelieu and Nicolas Fouquet, Le Brun created a series of masterpieces of history and religious painting. For Louis XIV and his chief minister Jean-Baptiste Colbert he executed his greatest work, the royal palace of Versailles: an almost perfect ensemble of architecture, decoration and landscape. After Colbert’s death in 1683, he was no longer able to count on prestigious commissions and, apart from finishing the decoration of Versailles, he concentrated on smaller-scale religious painting.

Le Brun was the son of Nicolas Le Brun (d 1648), a master sculptor, and Julienne Le Bé, several members of whose family were writing-masters to Louis XIII, to the children of Chancellor Séguier and subsequently to Louis XIV. While still a child, Le Brun apparently produced a number of small sculptures, and, in his adolescence, he spent a short time in the studio of the painter ...

Article

Bernard Aikema

[Giannantonio]

(b Venice, April 29, 1675; d Venice, Nov 5, 1741).

Italian painter. With Sebastiano Ricci and Jacopo Amigoni he was the most important Venetian history painter of the early 18th century. By uniting the High Renaissance style of Paolo Veronese with the Baroque of Pietro da Cortona and Luca Giordano, he created graceful decorations that were particularly successful with the aristocracy of central and northern Europe. He travelled widely, working in Austria, England, the Netherlands, Germany and France.

His father, a glover, came from Padua. At an early age Pellegrini was apprenticed to the Milanese Paolo Pagani (1661–1716), with whom he travelled to Moravia and Vienna in 1690. In 1696 Pellegrini was back in Venice, where he painted his first surviving work, a fresco cycle in the Palazzetto Corner on Murano, with scenes from the life of Alexander the Great and allegorical themes on the ceiling. Here his figure style is clearly derived from Pagani, but the effects of light and the free handling suggest the art of Giordano or even Cortona, whose work Pellegrini could not then have known. By contrast, brushwork in a series of paintings of the ...

Article

Christian Klemm

(b Frankfurt am Main, May 12, 1606; d Nuremberg, Oct 14, 1688).

German painter and writer. A leading figure in 17th-century German painting, he is chiefly famed for his biographical writings in the Teutsche Academie. His great-nephew, an engraver who died young in London, also bore the name Joachim von Sandrart (1668–91).

Sandrart came from a family of Calvinist refugees from Wallonia. After initial lessons in drawing with Georg Keller and Sebastian Stoskopff (1597–1657), he began an apprenticeship in engraving in 1620 with Peter Isselburg in Nuremberg. In 1622 he went to Prague for more advanced tuition with Aegidius Sadeler II, who advised him to turn to painting. He accordingly apprenticed himself to Gerrit van Honthorst in Utrecht. Here, in 1627, he met Peter Paul Rubens, whom he accompanied on a journey through Holland. In 1628 he went with Honthorst to the English court. In 1629 Sandrart travelled via Venice and Florence to Rome. Here he initially became friendly with Domenichino; his acquaintance included both northerners—Claude Lorrain, Nicolas Poussin, François Du Quesnoy, Pieter van Laer—and Italians—Pietro da Cortona, Andrea Sacchi and Pietro Testa. From ...

Article

Alan Fausel

(b ?Woolland, Dorset, July 25, 1675; d Stalbridge, Dorset, May 13, 1734).

English painter. The great English exponent of Baroque decorative painting, he was the only one to compete successfully with foreigners for the relatively few large-scale decorative commissions available in England during the first quarter of the 18th century. His skill in this field was remarkable, since his training was irregular and his trips abroad (the Low Countries in 1711 and Paris in 1717) came only after he had reached maturity as an artist.

Thornhill was born into an old Dorset family, and his father, a grocer, probably abandoned both wife and children while Thornhill was still young. Their subsequent move to London meant he grew up in the house of his uncle, the physician Thomas Sydenham. In 1689, aged 14, he was apprenticed to Thomas Highmore (1660–1720), a distant relative and specialist in non-figural decorative painting, which included wainscots and balustrades as well as trompe l’oeil effects. While working for Highmore in great houses such as Chatsworth, Derbys, in the 1690s, Thornhill was exposed to the work of foreign decorative painters, in particular Louis Laguerre, Louis Chéron and Antonio Verrio, all of whom exerted a great influence on his subsequent work....