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(b Salzburg, May 1, 1753; d Prague, June 25, 1829).

Austrian painter, printmaker, draughtsman, illustrator and teacher, active in Bohemia. He was taught by his father, the sculptor and painter Josef Bergler the elder (1718–88), and, during his stay in Italy, by Martin Knoller in Milan and Anton von Maron in Rome. An accomplished portrait painter, he was employed as official painter by bishops and cardinals at Passau and painted a number of altarpieces in Austria and especially in Bohemia. He helped establish the Academy of Fine Arts, Prague (1800), which placed a new emphasis on draughtsmanship, composition and Classical subjects and models. As the first Director of the Academy, Bergler won new academic prestige for art in Bohemia and, for himself, a privileged position in obtaining commissions such as the Curtain at the Estates Theatre (sketches, 1803–4; Prague, N.G., Convent of St Agnes). He also published albums of engravings intended as models (Compositions and Sketches...

Article

Deborah Cullen

[Bob] (Hamilton)

(b Summit, NJ, Dec 10, 1920; d New York, NY, April 21, 2003).

African American printmaker and educator. Robert Blackburn’s family moved to Harlem when he was six years old. Blackburn attended meetings at “306” and learned lithography in 1938 at the Harlem Community Art Center. He earned a scholarship to the Art Students League from 1940 to 1943 and worked for the Harmon Foundation in the mid 1940s. In 1948, he opened the Printmaking Workshop (PMW) in Chelsea, a cooperative where he and his friends could pursue experimental fine art lithography. By 1955, students from S. W. Hayter’s Atelier 17, an experimental intaglio workshop, were in attendance. Blackburn earned his living by teaching lithography and printing editions for artists. He became one of the first black technicians at Cooper Union. From 1952 to 1953, Blackburn went to Paris on a John Hay Whitney traveling fellowship, where he worked at the Jacques Desjobert Workshop and then traveled around Europe. He returned to New York and his Printmaking Workshop in ...

Article

Carolyn Kinder Carr

(b Williamsburg, IN, Nov 1, 1849; d New York, Oct 25, 1916).

American painter and printmaker. Chase received his early training in Indianapolis from the portrait painter Barton S. Hays (1826–75). In 1869 he went to New York to study at the National Academy of Design where he exhibited in 1871. That year he joined his family in St Louis, where John Mulvaney (1844–1906) encouraged him to study in Munich. With the support of several local patrons, enabling him to live abroad for the next six years, Chase entered the Königliche Akademie in Munich in 1872. Among his teachers were Alexander von Wagner (1838–1919), Karl Theodor von Piloty and Wilhelm von Diez (1839–1907). Chase also admired the work of Wilhelm Leibl. The school emphasized bravura brushwork, a technique that became integral to Chase’s style, favoured a dark palette and encouraged the study of Old Master painters, particularly Diego Velázquez and Frans Hals. Among Chase’s friends in Munich were the American artists Walter Shirlaw, J. Frank Currier and Frederick Dielman (...

Article

British, 20th century, male.

Born December 1886, in London.

Painter, lithographer, art teacher.

Article

Sharon Matt Atkins

(b Oakland, CA, Aug 26, 1925; d Tucson, AZ, June 4, 2009).

American painter, printmaker and teacher. Colescott produced highly expressive and gestural paintings that addressed a wide range of social and cultural themes and challenged stereotypes. Interested in issues of race, gender and power, his work critiqued the representation of minorities in literature, history, art and popular culture. Stylistically, his work is indebted to European modernism, particularly Cubism and Expressionism, but also makes references to African sculpture, African American art and post–World War II American styles.

Colescott was introduced to art at an early age. His mother was a pianist and his father was a classically-trained violinist and jazz musician. Through his parents’ social circles, he often found himself surrounded by creative individuals as he was growing up, like his artistic mentor, the sculptor Sargent Johnson (1888–1967). Colescott received his BA in 1949 and later his MFA in 1952 from the University of California, Berkeley. He also studied with ...

Article

Nancy E. Green

(b Ipswich, MA, April 6, 1857; d New York, NY, Dec 13, 1922).

American painter, printmaker, photographer, writer and teacher. Dow took art classes in the Boston studio of James M. Stone, where he met Frank Duveneck, who would remain a lifelong friend. He went to Paris in 1884 to study at the Académie Julian with Jules(-Joseph) Lefebvre and Gustave(-Clarence-Rodolphe) Boulanger. Dow also took evening classes at the Ecole des Arts Décoratifs, where the American artist Francis D. Millet (1846–1912) offered critiques of the students’ work. Dow then spent some time in Pont-Aven, where he met Paul Gauguin and Emile Bernard, and in Concarneau where he sought out the advice of American painter Alexander Harrison (1853–1930). Dow’s painting Au Soir won an honorable mention at the Universal Exposition in 1889 and two of his paintings were accepted that same year for the Paris Salon and were hung on the line (i.e. at eye-level).

Dow returned to Boston where he began independent studies at the Boston Public Library that led him to the work of Japanese artists ...

Article

Angelo Dragone

(b Reggio Emilia, Feb 23, 1818; d Turin, April 17, 1882).

Italian painter, draughtsman and printmaker.

In 1832, at the age of 14, he began attending the local Scuola di Belle Arti where he was a pupil of Prospero Minghetti (1786–1853). Fontanesi’s early work revealed his versatility: in the 1830s he produced tempera murals for several houses in Reggio Emilia, such as the Casa Zanichelli, Via S Filippo (in situ), and the Casa Ghinizzini, Via Emilia Santo Stefano (in situ), combining townscapes and architectural perspectives with friezes and medallions in an 18th-century manner. For the 1841–2 and 1845–6 theatre seasons he designed stage sets for performances of operas, including Verdi’s Nebuchadnezzar, performed in the Teatro Comunale. Although he was appreciated in Reggio Emilia, Fontanesi resented the limited cultural climate, and shortly after his mother’s death in 1845, he left for Turin. Probably stirred by the ideals of the contemporary Italian revolt against the Austrians, he then moved on to Milan, where he joined the forces of Garibaldi....

Article

Siegfried Salzmann

(b Pless, Upper Silesia, June 21, 1912; d Paris, 1992).

German etcher and painter. He studied under Otto Mueller at the Kunstakademie, Breslau (now Wrocław, Poland), and then moved to Dresden, where he was a member of the Assoziation Revolutionärer Bildender Künstler Deutschlands (ASSO). In 1935 he went to Ostrava, Czechoslovakia [now Czech Republic], to escape the Nazis. In 1937 he moved to The Hague, where he held his first exhibition of prints and watercolours, before settling in Paris. His etchings of the 1930s combine an intensely worked line, drawing on the German printmaking tradition, with realistic subject-matter, as in Dead Horse (1933; see 1987 exh. cat., no. 50). During World War II he lived in Marseille and worked with the French resistance movement. After the war an atmosphere of mystery, similar to the automatist Surrealism of André Masson, became more marked in his etchings, for example Fish and Birds I (1947; see 1987 exh. cat., no. 53). Animals and human figures remained his principal subjects until the mid-1950s, when they gave way to more elegant, abstract colour compositions that, in their combination of delicate forms and symbols, maintain landscape associations. In the 1960s he began producing works that suggested musical modes of organization in their tonality, rhythmic structures and harmonization of colours. The titles of many of the etchings suggest musical associations, such as ...

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

Sonia de Laforcade

(b Rio de Janeiro, April 4, 1933).

Brazilian printmaker, multimedia and video artist, and teacher. The daughter of Jewish immigrants from Poland, Geiger initiated her artistic career studying drawing, painting, and engraving with the artist Fayga Ostrower (1920–2001) in Rio de Janeiro between 1949 and 1953. She began to participate in group exhibitions in 1950, displaying an early focus on informal abstraction inspired by Ostrower’s legacy. In 1954 she left Brazil to spend a year studying with the art historian Hannah Levy Deinhard (1912–84) at New York University, interrupting her studies in Anglo-Germanic linguistics and literature at the Faculdade Nacional de Filosofia (now Universidade Federal do Rio de Janeiro). She resumed her course of study upon her return to Rio de Janeiro in 1955, graduating in 1957. Throughout the 1950s Geiger received a robust education in pedagogy, both in her classes with Ostrower and at the Faculdade, where she studied with the influential theorist of education Anísio Teixeira (...