1-3 of 3 results  for:

  • Nineteenth-Century Art x
  • Neo-classicism and Greek Revival x
  • Industrial and Commercial Art x
Clear all

Article

Barbara Mazza

(b Venice, May 14, 1783; d Venice, May 8, 1852).

Italian architect, engineer and landscape designer. He was a prominent Neo-classical architect but was also a noted eclectic, much admired, for example, by Pietro Selvatico, and he introduced the taste for the romantic garden to Italy. He attended courses in architecture and figure drawing at the Accademia Clementina, Bologna (1789–9). This school, which was in the forefront of theatre design and technique, provided a stimulating and enlightened cultural environment; his teachers included Angelo Venturoli (1749–1821) and Francesco Tadolini (1723–1805). After obtaining his diploma in 1800, he moved to Padua, and in 1803 he entered the studio of Giovanni Valle, a mapmaker, where he became a qualified surveyor. He collaborated with the engineer Paolo Artico between 1804 and 1806 on defence works on the River Piave, and in 1807, with the architect Daniele Danieletti (1756–1822), he restored the old prison in Carrara Castle. The same year he was also appointed as an engineer in the Regio Corpo di Acque e Strade in the Brenta region. His works of this period included decorating the town hall (...

Article

Gordon Campbell

(b 1748; d 1810).

Franco-Swedish furniture designer and decorative painter. From 1784 he was decorator to King Gustav III (reg 1771–92) and the Swedish nobility and introduced his sophisticated brand of Neo-classicism, which has become associated with the Gustavian style. Masreliez, sometimes in collaboration with his brother Jean-Baptiste (1753–1801), designed furniture and interiors that marry, in a style analogous to the work of Robert Adam, decorated panelling, carpets, built-in and free-standing furniture, and inset frames, which are intended to bind certain set-piece paintings to the rooms containing them. Examples can be seen in Gustav's bedroom at Haga, where Masreliez was commissioned to incorporate the painting of Sully at the Feet of Henry IV (in situ) by Alexander Roslin (1718–93) into the decoration; and in Prince Karl's Audience Chamber (1792) in the Royal Palace, Stockholm. In the latter, the whole room is a ‘frame’ for a series of pictures showing Swedish historical battles. The Roslin frame is in a chaste, fluted Neo-classical style subservient to the drama of the painting; but it is also ‘framed’ by the wall panels of gold on white, which use strong vertebrate scrolling ornaments between multiple bands of husks and beading. The latter are echoed by the carved husks and beading of the Neo-classical chairs and canape....

Article

Nancy Halverson Schless

(b Philadelphia, PA, 1788; d Nashville, TN, April 6, 1854).

American architect, engineer and painter. Among the first generation of native-born architects, he was an influential designer in the Greek Revival style. Over a period of almost 50 years he executed more than 70 commissions, many of them in Philadelphia. His last major building was the Tennessee State Capitol in Nashville, built from 1845.

Through his father, a master carpenter who had worked on Latrobe’s Bank of Pennsylvania, Strickland was apprenticed to Benjamin Henry Latrobe in 1803, remaining in his office for about four years. During his apprenticeship he studied Latrobe’s folios of Greek antiquities, including James Stuart’s and Nicholas Revett’s Antiquities of Athens, 4 vols (1762–1816), as well as publications by the Society of Dilettanti. By 1807 he was in New York with his father, working as a painter of stage scenery. The following year he returned to Philadelphia, where he received his first major commission: a design for the city’s Masonic Hall (...