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Arcabas  

French, 20th century, male.

Born 1926, in Frémery (Moselle).

Painter, sculptor, decorative designer. Figure compositions, religious subjects, landscapes. Murals, church decoration, designs for mosaics and stained-glass windows, stage sets, stage costumes.

Arcabas studied at the École des Beaux-Arts in Paris and also had a degree. He was a friend of the painter Dimitri Varbanesco. He exhibited in numerous towns in France and abroad. From ...

Article

French, 20th century, male.

Born 10 June 1880, in Chatou; died 10 September 1954, in Garches, as the result of an accident.

Painter (including gouache), watercolourist, pastellist, draughtsman (red chalk/charcoal/ink), sculptor (including bronze), engraver (wood/metal), lithographer, illustrator. Religious subjects, figures, portraits, nudes, hunting scenes, scenes with figures, horse racing scenes, landscapes, waterscapes, landscapes with figures, urban landscapes, seascapes, architectural views, still-lifes, flowers, fruit...

Article

American, 20th century, male.

Born 1924, in Bald Knob (Arkansas).

Painter, sculptor (including bronze), ceramicist, jeweller. Religious subjects, figures, animals. Murals, designs for stained glass, mosaics.

Starting in 1944, Carroll Harris Simms studied at Hampton Institute, Hampton, Virginia, the University of Toledo, and the Toledo Museum School of Art. He was the first African-American to graduate from the Cranbrook Academy of Art, Bloomfield Hills, Michigan. He went on to study at the Slade School of Art of the University of London, the Royal College of Art, London, the Swedish Institute, Stockholm, and the Institute of African Studies of the University of Ibadan, Nigeria. From ...

Article

In its most general sense, spolia (pl., from Lat. spolium: ‘plunder’) denotes all artifacts re-employed in secondary contexts, from building blocks reused in a wall to pagan gems mounted on a Christian reliquary. It is a matter of debate whether this broad application of the term is justified, or whether it should be restricted to the relatively small subset of reused objects that were taken or ‘stripped’ (like spoils) from their original context, rather than found, purchased, inherited or otherwise acquired by non-violent means. It is likewise debated when the use of spolia should be considered meaningful, if at all. Arnold Esch defined five possible motives for using spolia: convenience, profanation, Christianization, political legitimation and aesthetic attraction. Michael Greenhalgh has argued for reducing the motives to three (at least with regard to marble): pragmatism, aesthetics and ideology; while Finbarr Barry Flood cautioned against reductive interpretations generated by any taxonomy, insisting that reused objects are mutable in meaning and capable of multiple interpretations during their life cycle....