(b Cologne, 1552; d Prague, March 4, 1615).
German painter and draughtsman, active also in Italy and Bohemia. One of the foremost painters of the circle gathered at the Prague court of Emperor Rudolf II (see Habsburg, House of family, §I, (10)), he synthesized Italian and Netherlandish influences in his portraits and erudite allegories.
Hans’s surname is derived from his father’s native town. According to Karel van Mander, he probably studied c. 1567–73 with the portrait painter Georg Jerrigh, who had trained in Antwerp. Von Aachen subsequently became a member of the Cologne guild of painters. He travelled to Italy c. 1574, first working in Venice as a copyist and for the painter Gaspar Rem (1542–1615/17), before going in 1575 to Rome, where he copied antique sculptures and the works of Italian masters; he also painted an Adoration of the Shepherds for the church of Il Gesù in Rome (1580s; untraced, but known from an engraving (...
Finnish, 20th century, male.
Born 3 February 1898, in Kuortane; died 11 May 1976, in Helsinki.
Architect, designer, painter, draughtsman, watercolourist. Figures, landscapes, landscapes with figures, urban landscapes, still-lifes. Models (furniture/glass).
Alvar Aalto was adamant that his experience as a painter was an indispensable adjunct to his profession as an architect, noting repeatedly that modern architecture had its roots in painting. As an architecture student, he took private lessons with the Finnish painter Eero Järnefelt. He moved in artistic circles and was frequently to be found in the company of the sculptor Wäinö Altonen and the painters Henry Ericsson and Eemu Myntti. For a period, he also worked as an art critic....
(b Kuortane, Feb 3, 1898; d Helsinki, May 11, 1976).
Finnish architect and designer, active also in America. His success as an architect lay in the individual nature of his buildings, which were always designed with their surrounding environment in mind and with great attention to their practical demands. He never used forms that were merely aesthetic or conditioned by technical factors but looked to the more permanent models of nature and natural forms. He was not anti-technology but believed that technology could be humanized to become the servant of human beings and the promoter of cultural values. One of his important maxims was that architects have an absolutely clear mission: to humanize mechanical forms.
His father was a government surveyor working in the lake district of central Finland and became a counterforce to his son’s strong artistic calling. Instead of becoming a painter, which tempted him for a long time, Alvar chose the career of architect as a possible compromise. He never became a planner dominated by technological thinking, however, but always gave his creations an artistic, humanistic character. He studied at the Technical College in Helsinki (...
(b Budapest, March 15, 1894; d Budapest, Sept 29, 1941).
Hungarian painter, draughtsman and etcher. He trained as a drawing teacher at the College of Fine Arts, Budapest (1912–14). In 1913 he worked at the Szolnok colony and he served in World War I. He taught drawing for a while at the Technical University, Budapest. In 1922 he learnt etching from Viktor Olgyay at the College of Fine Arts. His early works show an affinity with the Group of Eight; later he moved closer to the work of the Activists, especially József Nemes Lampérth and Béla Uitz. He instinctively sought a dynamic and powerful form of expression. His pen-drawings and etchings are frequently based on biblical subjects and are characterized by a heroic conception, an illusory atmosphere and romantic associations. The etching Savonarola (1925; Budapest, N.G.) reveals his extraordinary compositional abilities, especially in the rendering of crowds, and his use of strong chiaroscuro. His landscapes are dominated by carefully composed, naturalist details and the exploitation of the dramatic effect of reflections. In his drawings, Cubist arrangements gradually gave way to a more diffuse composition. His nudes in the landscape (e.g. ...
Italian, 16th century, male.
Born c. 1495, in Vercelli.
A pupil of the distinguished Roman architect Antonio da Sangallo, Antonio dell'Abacco soon gained a reputation to rival that of his teacher. In 1558 he published an important work entitled: Libro d'Antonio d'Abacco, appartenante a l'architectura...
Italian, 16th century, male.
Active at the end of the 16th and at the beginning of the 17th centuries.
Born in Rome.
Son of the line engraver Mario dell'Abacco, and grandson of the architect Antonio dell'Abacco, Antonio di Mario dell'Abacco's work is not known but his name appears, followed by the title of painter, in records of ...
(b Paris, Nov 9, 1812; d Chatou, Aug 2, 1884).
French architect and restorer. He was the son of a Neo-classical architect of the same name (1783–1868), who was a pupil of Charles Percier and architect to the département of Charente. The younger Paul Abadie began studying architecture in 1832 by joining the atelier of Achille Leclère and then entered the Ecole des Beaux-Arts in 1835. While he was following this classical training, he participated in the rediscovery of the Middle Ages by going on archaeological trips and then, from 1844, in his capacity as attaché to the Commission des Monuments Historiques. He undertook his first restoration work at Notre-Dame de Paris, under the direction of Jean-Baptiste-Antoine Lassus and Viollet-le-Duc. Abadie was appointed deputy inspector at Notre-Dame in 1845, and in 1848, when the department responsible for diocesan buildings was created, he was appointed architect to the dioceses of Périgueux, Angoulême and Cahors. He subsequently completed about 40 restoration projects, mainly on Romanesque churches in Charente, in the Dordogne and the Gironde, and as a diocesan architect he was put in charge of two large cathedrals in his district: St Pierre d’Angoulême and St Front de Périgueux. In the former he undertook a huge programme of ‘completion’, returning to a stylistic unity that was in line with current episcopal policy (...
[Abbate, Niccolò dell’]
(b Modena, 1509–12; d ?Fontainebleau, 1571).
Italian painter and draughtsman. He was one of the most important artists of the first Fontainebleau school, which was developed at the French court by Rosso Fiorentino and Francesco Primaticcio, and he introduced the Italian Mannerist landscape into France.
He was almost certainly trained by his father, Giovanni dell’Abate (d 1559), a stuccoist, and by the sculptor Antonio Begarelli. Apparently after a period as a soldier, by 1537 he was working in Modena as a painter under Alberto Fontana (fl 1518–58). There the two artists decorated the façade of the Beccherie (Slaughterhouse) from which certain paintings survive (e.g. St Geminian and an allegory of the Wine Harvest; both Modena, Galleria e Museo Estense). His early paintings clearly show the influence of Correggio and of such Ferrarese artists as Dosso Dossi. They also display a love of the picturesque and the pastoral, with frequent variations on the theme of the concert, as in the fragment of a concert scene (Reggio Emilia, Mus. Civ. & Gal. A.) from the façade decorations of the Palazzo Pratonieri in Reggio Emilia. Around ...
Italian, 19th century, male.
Born 1836, in Naples; died 1868, in Florence.
Painter. Genre scenes, portraits, church interiors, architectural views, landscapes, seascapes.
Giuseppe Abbati was one of the interesting figures of the new Italian School. He trained under his father Vincenzo Abatti, a Neapolitan painter. He then went to work at the school of fine arts in Venice. In ...
(b Ashton-upon-Mersey, June 6, 1879; d Aston Tirrold, Oxon, March 23, 1957).
English urban planner, architect and writer. He was educated at Uppingham, Leics, and was an apprentice in architectural offices, first in Manchester and then in Liverpool. In 1907 Charles H. Reilly appointed him to the School of Architecture at the University of Liverpool, and in 1909, following the foundation of the School of Civic Design, the first urban planning school in Britain, he became deputy to its professor, S. D. Adshead. He helped found its publication, the Town Planning Review, and became a major contributor; he wrote a series of articles on American and European cities, giving a detailed account of his conception of history, architectural styles and the analysis of urban planning. In 1915 he became Professor of Civic Design and was nominated Librarian for the Town Planning Institute. He was active as an editor and conference organizer as well as a teacher and practising architect, involved in work stimulated by the Housing and Town Planning Act of ...
(b Winterthur, Nov 14, 1723; d Berne, Oct 17, 1786).
Swiss painter, draughtsman and engraver. In 1741 he moved to Berne, where he took drawing lessons with Johann Grimm (1675–1747), whose school of drawing he took over in 1747. He visited the Bernese Oberland with Emanuel Handmann, Christian Georg Schütz (1718–91) and Friedrich Wilhelm Hirt (1721–72) in 1759 and in the same year travelled to Paris with Adrian Zingg (1734–86). This was his only trip abroad, but it determined him to work exclusively as a landscape painter. After nine months he returned to Berne, where his landscape views became popular, particularly with foreign travellers, enamoured of ‘Nature’ and keen to retain souvenirs of their travels. He was one of the first artists to portray the beauties of the Swiss countryside; his favourite subjects were the Aare Valley and views of Swiss lakes (e.g. View of Erlach on the Lake of Biel; Berne, Kstmus.). He invented a technique known as the ...
Jens Peter Munk
(b Copenhagen, Sept 11, 1743; d Frederiksdal, Copenhagen, June 4, 1809).
Danish painter, designer and architect. His paintings reveal both Neo-classical and Romantic interests and include history paintings as well as literary and mythological works. The variety of his subject-matter reflects his wide learning, a feature further evidenced by the broad range of his creative output. In addition to painting, he produced decorative work, sculpture and furniture designs, as well as being engaged as an architect. Successfully combining both intellectual and imaginative powers, he came to be fully appreciated only in the 1980s.
He studied at the Kongelige Danske Kunstakademi in Copenhagen (1764–72), and in 1767 he assisted Johan Edvard Mandelberg (1730–86) in painting the domed hall of the Fredensborg Slot with scenes from the Homeric epic the Iliad. In 1772 he was granted a five-year travelling scholarship from the Kunstakademi to study in Rome. During his Roman sojourn he extensively copied works of art from the period of antiquity up to that of the Carracci family. His friendships with the Danish painter Jens Juel, the Swedish sculptor Johan Tobias Sergel and the Swiss painter Johann Heinrich Fuseli placed him among artists who were in the mainstream of a widespread upheaval in European art. In these years Abildgaard developed both Neo-classical and Romantic tastes; his masterpiece of the period is ...
C. J. A. Wansink
British, 19th century, male.
Born 1790, in Doncaster; died 1845.
Draughtsman, architect. Architectural interiors.
Frederick Abraham exhibited at London's Royal Academy in 1833 and 1834.
British, 19th century, male.
Active in London between 1827 and 1840.
Painter. Architectural views.
Henry Robert Abraham specialised in architectural subjects; he exhibited at the Royal Academy and at the Suffolk Street Gallery.
Daniel Le Couédic
(b Nantes, March 19, 1891; d Paris, Jan 20, 1966).
French architect and teacher. A student of Alfred-Henri Recoura (1864–1939), he graduated from the Ecole des Beaux-Arts, Paris, in 1920. He settled in Paris, and his first works were influenced by Art Deco. In 1923 he became one of the two architects of the new seaside resort of Sables-d’Or-les-Pins (Côtes-du-Nord). There, and in the nearby village of Val-André, Abraham began his analysis and rejection of the picturesque in such buildings as Villa Miramar (1928) and Villa Ramona (1929). In 1929, in partnership with Henry-Jacques Le Même (b 1897), he made his first design for a sanatorium, later executing three examples at Passy (Haute-Savoie), which are among his best works: Roc-de-Fiz (1931), Guébriant (1933) and Geoffroy de Martel de Janville (1939). Two blocks of flats built in Paris in 1931 (at 28 Boulevard Raspail and Square Albinoni) characterize the peak of his production in their precision and sobriety of composition, moderate use of the modernist vocabulary and use of new techniques and materials....
British, 19th century, male.
Active during the first half of the 19th century, active in London between 1819 and 1840.
Painter. Architectural views.
School of London.
Robert Abraham exhibited architecture-based compositions at the Royal Academy.