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Natalia Marinho Ferreira Alves

Portuguese family of wood-carvers. Manuel Abreu do Ó and his brother Sebastião Abreu do Ó (both fl Évora c. 1728–c. 1770) worked in collaboration, carving some of the finest and most influential Joanine and Rococo altarpieces in southern Portugal. They carved in delicate flat relief using patterns similar to those found in Spain, a style contrasting with the dramatic plastic effects seen in contemporary wood-carving in northern Portugal....

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Italian, 17th – 18th century, male.

Active in Florence.

Sculptor, medallist.

Cited by Zani. Alberghetti would appear to come from a well-known family of artists of the same name who worked from the Renaissance to the end of the 18th century as both casters and sculptors in Ferrara, Florence and Venice (where several were in charge of casting operations at the Artillery)....

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See Churriguera family

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Natália Marinho Ferreira Alves

Portuguese sculptor and carver. He was one of the most gifted of the wood-carvers who created Portuguese Baroque church interiors in the 18th century, lined with carved, gilt wood and glittering with gold. He used vigorous and imaginative ornament, in which plume-like displays of acanthus foliage, shells, dolphins and tritons mingle with angels, nude children, vases of flowers, bearded faces and masks with exotic coiffures, all framed and supported by distinctive carved brackets. Many of these motifs are enlarged versions of those in the engravings by Jean Berain I, known to have been in circulation at this time in Portugal....

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Françoise de la Moureyre

French sculptor. He trained in Toulouse, where he received his first official commission in 1677. This was for 30 terracotta busts representing famous men of Toulouse, together with a bust of Louis XIV for the Galerie des Illustres of the Capitole (Hôtel de Ville; 21 still ...

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A. Gerhardt

Austrian sculptor. From 1666 to 1671 he was an apprentice in the workshop of Michael Lechleitner (c. 1611–69), whose daughter he married. From 1671 to 1673 he probably worked in Otztal, Tyrol: the high altar in the church at Zwieselstein may be an early work of his. In ...

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J. J. Martín González

Spanish sculptor . He was the son of the sculptor Juan de Ávila (fl 1678–c. 1700) and a collaborator of Juan Antonio de la Peña (fl 1674–96), whose daughter he married in 1700. In his early works, such as Pietà (Valladolid, Colegio de los Ingleses), the folds are smoothly carved, like those of his father, but he subsequently developed towards a more Baroque style of great masses and sharply cut folds. In ...

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Matthias Frehner

Swiss sculptor of German birth. He was apprenticed to the sculptor Peter Heel (1696–1767), but in 1732, after his father died, Babel became an itinerant journeyman sculptor. He appears to have moved gradually southwards, possibly drawn by the chance to study at the Akademie der Bildenden Künste in Vienna and by the far greater number of commissions to be found there, from both secular and ecclesiastical patrons. In collaborating on large-scale decorative commissions, Babel would not only have acquired a solid training as a sculptor in stone and stucco but would also have learnt the stylistic vocabulary of international Baroque. A particularly strong early influence was the stuccowork of ...

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Maria Concepción García Sáiz

Spanish architect and sculptor, active in Mexico. Between 1702 and 1703 he worked in Madrid as a designer of stage machinery, later moving to Andalusia, where he produced the principal altar of the sacristy of Seville Cathedral in the Rococo style, completed in 1709 (destr. ...

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Baroque  

Gauvin Bailey and Jillian Lanthier

Term used to describe one of the first genuinely global styles of art and architecture in the Western canon, extending from its birthplace in Bologna and Rome to places as far-flung as France, Sweden, Russia, Latin America, colonial Asia (Goa, Macao), and Africa (Mozambique, Angola), even manifesting itself in hybrid forms in non-European cultures such as Qing China (the Yuanming yuan pleasure gardens of the Qianlong Emperor) or Ottoman Turkey (in a style often called ...

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Hannelore Hägele

He was the son of the sculptor Johann Christian Bendl, with whom he trained. Having become a journeyman, he travelled for six years, probably to Bohemia and Venice. On his return he entered in 1684 the workshop in Augsburg of Johann Jakob Rill (fl...

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In 1714 he entered the Guild of the Quatre Couronnés (the corporation of masons, stonecutters, sculptors and slate-quarrymen) in Brussels and served his apprenticeship with the sculptor François Delpier. In 1715 he entered the studio of Nicolas Coustou in Paris. This stay in the French capital and a subsequent period in Rome (...

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A royal subsidy provided by Charles-Emanuel III of Savoy, King of Sardinia, enabled him to attend the school of Claudio Francesco Beaumont in Turin. Bernero showed an early preference for papier-mâché as a medium, producing papier-mâché works for popular devotional dramas. In 1765 a second royal stipend supported a four-year continuation of his studies in Rome. There he trained with ...

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Françoise de la Moureyre

He came of a Comtat Venaissin family of sculptors of varying degrees of talent and was trained by his father, Noël Bernus (d 1702), and later by Nicolas Levray, director of the sculpture workshop at the Arsenal, in Toulon. Refusing Levray’s offer to appoint him as his successor, Bernus preferred instead to settle in his native province. He likewise declined an offer from Laurent Buty, bishop of Carpentras from ...

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Italian sculptor. Documents record him as working in Rome in 1693 and in Venice in 1710. Records of his activity cease after 1733, the year in which he received a commission for two candlesticks for the basilica of S Antonio (il Santo) in Padua. He produced distinctive, small-scale sculptural groups, usually in bronze, sometimes in marble. These decorative pieces, purchased avidly by 18th-century Italians and tourists to Italy, made their way into various collections in Europe and North America. Typical of his bronze groups are the ...

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Françoise de la Moureyre

French sculptor. He was the son of the sculptor David Bertrand (d 1697), who is best known for a series of elaborate plaster overmantels, probably dating from the 1690s, of which two survive at the château of Dampierre, Seine-et-Oise. In 1694 Philippe Bertrand supplied four circular stone allegorical medallions for the Arc de Triomphe in the Place du Peyrou in Montpellier (...

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John Physick

English sculptor. He was born in the parish of St Martin-in-the-Fields and was sent to Flanders to the studio of a sculptor named Cozins (perhaps a member of the family of sculptors named Cosyns) and later to Rome. Back in England by c. 1689, he was employed by both ...

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Cynthia Lawrence

Flemish sculptor and architect. He was a pupil of Lucas Faydherbe, from whom he absorbed the influence of Rubens. Boeckstuyns became a master in the Mechelen Guild of St Luke in 1680 but may have continued to collaborate with Faydherbe. Among his commissions for Mechelen churches are three wooden confessionals with allegorical figures (...

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Germán Ramello Asensio

Catalan sculptor. His great-grandfather and grandfather, respectively Luis Bonifás (fl 1676; d 1697) and Luis Bonifás y Sastre (1683–1765), settled in Valls and founded an academy of architecture and sculpture. His younger brother, Francisco Bonifás y Masó (1735–1806), was also a sculptor. Luis Bonifás y Masó himself worked in a Baroque style for both the architecture of his retables and for his sculptural compositions, as can be seen in the high altar at Cubells (...

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Joaquín Bérchez

Spanish sculptor and architect. In 1733 he was appointed city and diocesan architect for Cuenca, where he designed the town hall in 1734. He was subsequently summoned by the chapter of Murcia Cathedral in 1736 and appointed surveyor to the fabric and city architect. He directed works on the new façade of the cathedral (...