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Article

French, 20th century, male.

Born 1904, in Paris; died 27 August 1967, in Perros-Guirec (Côtes-d'Armor).

Sculptor (including bronze), engraver (burin). Monuments, designs for tapestries, stage costumes and sets.

Henri Adam's father, a goldsmith and jeweller, taught him the rudiments of the trade while he was studying at the Collège Lavoisier. He also took classes in drawing, first at the École Germain-Pillon and subsequently at the Atelier de la Ville de Paris in Montparnasse, before moving to the École des Beaux-Arts. He exhibited various paintings between ...

Article

French, 20th century, male.

Born 1 May 1916, in Hanoi, Vietnam; died 1988.

Painter, engraver (wood/copper), illustrator. Murals, designs for mosaics, stage costumes and sets, posters, comic strips, decorative designs, medals, postage stamps.

After studying at the school of fine arts in Hanoi in 1935...

Article

Austrian, 20th century, female.

Active in Belgium.

Born 1917, in Vienna.

Designer, illustrator, graphic designer, scenographer. Stage costumes and sets, wall decorations, medals, postage stamps.

From 1932 to 1939 May Néama was a pupil at the studios for publicity and décor of the theatre of the Instituut voor Sierkunsten en Ambachten in Antwerp, where she taught between ...

Article

Maria Leonor d’Orey

(b Guimarães, c. 1465–70; d Lisbon, c. 1536–7).

Portuguese writer, designer and goldsmith. He was active from 1502 to 1536 in the service of Queen Eleanor, Manuel I and John III as a playwright, goldsmith, musician, stage designer and actor. It is known, on the evidence of the King’s will, that in 1503 Manuel I entrusted to Vicente the gold from Quiloa that Vasco da Gama (c. 1460–1524) had brought as tribute from his second voyage to India and commissioned Vicente to make the Belém Monstrance (1506; Lisbon, Mus. N. A. Ant.) for the monastery of the Jerónimos at Belém. It is the only surviving example of his work as goldsmith and is one of the best examples of gold- and silverwork in the Manueline style.

At the end of the 19th century, however, there was controversy as to whether the playwright could be identified as the creator of the Belém Monstrance. Documents of the period refer to a ‘Gil Vicente’ without further identification, and biographical details of the poet are not easy to establish. Analysis of the work of the dramatist, however, reveals a profound knowledge of the goldsmith’s craft in the use of over 150 technical terms that would probably not have been familiar to a layman....