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Ingeborg Wikborg

(Sigurd)

(b Inderøy, Nord-Trøndelag, April 21, 1933).

Norwegian sculptor, designer and medallist. He became familiar with handicraft in his father’s furniture workshop. In 1954 he began five years’ study as a commercial artist at the Håndverks- og Kunstindustriskole in Oslo and from 1957 to 1963 he worked as an illustrator for a newspaper. He studied at the Kunstakademi in Oslo from 1959 to 1962 under the sculptor Per Palle Storm (1910–94) who advocated naturalism in sculpture. As an assistant to Arnold Haukeland from 1961 to 1964, Aas lost his apprehension of the untried and cultivated his sense of daring, as he gained experience with welding techniques. Highly imaginative and versatile, Aas worked in both abstract and figurative modes and is reckoned one of the foremost sculptors in Norway; in 1990 he was honoured with St Olav.

Aas’s first sculpture was an equestrian monument in snow, made in Inderøy while he was a schoolboy. His first public project was the abstract steel figure ...

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Philip Attwood

(b Amsterdam, 1608; d Amsterdam, 1684).

Dutch medallist. One of the foremost Dutch medallists of the 17th century, he was influential in developing a style that was more sculptural than before. Most of his medals consist of two silver plates of repoussé work, chased and joined together at the rim to create a hollow medal. This novel technique allowed the artist to create portraits in very high relief. His medals date from 1650 to 1678. One of the earliest, portrays on one side Prince Frederick Henry of Orange and on the other Prince Maurice of Orange. More usually, the reverses of his medals bear a coat of arms, as for example the medal commemorating the settlement of the disputes between William II of Orange and the States of Holland (1650). Here the reverse bears William’s armorial shield, a crown, and the English garter. The ground of the obverse is covered with orange branches in the manner typical of van Abeele and demonstrates his mastery of chasing. On his medal of ...

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French, 16th century, male.

Active in Metz in 1596.

Sculptor, founder, metal worker.

School of Lorraine.

Working with four founders, Hutinet, Dubois, Sonois and Voitié, François Abel cast the bell of the cathedral of Metz in eastern France.

Article

Swiss, 19th century, male.

Born 24 September 1800, in Winterthur; died 19 December 1872, in Winterthur.

Engraver, sculptor, medallist.

Son and pupil of the engraver Johann Aberli. His name crops up in Lyons in 1821 and Paris in 1823. Around 1825 to 1828 he worked in Winterthur. From ...

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Italian, 16th century, male.

Born 1538; died 22 May 1591, in Vienna.

Sculptor, medallist.

Prague School.

Antonio Abondio appears to have been the great 16th-century master in his field. He worked first in Munich at the court of Duke Maximilian of Bavaria, then in Prague, where he was employed at the court of Emperor Rudolph II. In ...

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Filipino, 20th century, male.

Born 1930, in Bohol, Philippines.

Sculptor. Figures, historical subjects, religious subjects, allegory, myths.

Napoleon Veloso Abueva graduated in 1953 from the University of the Philippines College of Fine Arts (UPCFA), where he was mentored by the first National Artist for Sculpture, Guillermo Tolentino. He received another scholarship from the Fulbright/Smith–Mundt Foundation and in ...

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

British, 19th century, male.

Born 21 April 1821, in Staines; died 4 March 1898, in Chiswick.

Sculptor, medallist.

George Adams studied at the Royal Mint under William Wyon and made his name with a sculpture based on a miniature of Queen Victoria. Adams then embarked on a major series of works, including eight portrait statues in Trafalgar Square....

Article

Jeffrey Chipps Smith

(b ?Munich, fl 1535; d Munich, 1567).

German sculptor, mason and medallist. In 1536 he became a master sculptor in Munich and shortly afterwards entered the service of Ludwig X, Duke of Bavaria. He moved to Landshut in 1537 to work on the construction of the Italian wing of the ducal Stadtresidenz. In 1555 he travelled to Neuburg an der Donau to oversee the shipment of stone for the palace’s chimneys. He was influenced by and may have assisted Thomas Hering, the sculptor of these chimneys (See under Hering, Loy). Also in 1555 he reverted to Munich citizenship.

The few surviving examples of his sculpture show him to have been an accomplished if somewhat derivative artist. Many seem to have been commissioned by Duke Albrecht V of Bavaria, who paid him an annual salary from 1558 (and perhaps as early as 1551) to 1567. Aesslinger’s limestone reliefs (both 1550) of the Massacre of the Innocents...

Article

Hannelore Hägele

(b Nuremberg, May 6, 1813; d Nuremberg, Dec 25, 1882).

German sculptor. After an apprenticeship as a metal worker, having spent seven years as a journeyman in a silver-plating factory and having taught himself drawing and sculpting, he received a scholarship that allowed him to attend art school. In 1840 he met Christian Daniel Rauch who invited him to Berlin as his pupil, and there he was influenced by the prevalent Neo-classical style. However, his early works, such as the colossal figure of Christ that he carved in 1842 for the church in Dinkelsbühl, Mittelfranken, owe much to the tradition of the medieval sculptors of Nuremberg. In 1846 he founded his own workshop and in 1850 sculpted the much admired marble statuette of the actress Elisa Rachel (Berlin, Pfaueninsel). At the Great Exhibition in London in 1851 he won a commendation for his two medallions of the Prince and Princess of Prussia. During his long career Afinger produced 116 portraits in the form of medallions, busts and statuettes. He also carved a series of saints in sandstone for the ...

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Polish, 19th – 20th century, female.

Active in France.

Born in Lopatynka.

Sculptor, medallist. Busts.

A student of Falguière and of the medal engraver Daniel Dupuis, Iza Albazzi exhibited at the Salon des Artistes Français in Paris from 1896 to 1923 and was honoured for medal engraving in ...

Article

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)....

Article

Alcon  

male.

Sculptor in bronze.

Ancient Greek.

According to Pliny, Alcon made a metal statue of Heracles for Rhodes.

Article

Italian, 20th century, male.

Born 1932, in Naples.

Sculptor.

Minimal Art.

Carlo Alfano participated in the Biennale in Venice in 1967. His sculptures are Abstract and are linked to the Minimalist movement. They are formed from metal tubes arranged on the same plane.

Milan, 6 Nov 1973...

Article

Alexander Nagel

[Fr. postautel, retable; Ger. Altar, Altaraufsatz, Altarbild, Altarretabel, Altarrückwand, Retabel; It. ancona, dossale, pala (d’altare); Sp. retablo]

An image-bearing structure set on the rear part of the altar (see Altar, §II), abutting the back of the altarblock, or set behind the altar in such a way as to be visually joined with the altar when viewed from a distance. It is also sometimes called a retable, following the medieval term retrotabulum [retabulum, retrotabularium].

The altarpiece was never officially prescribed by the Church, but it did perform a prescribed function alternatively carried out by a simple inscription on the altarblock: to declare to which saint or mystery the altar was dedicated. In fact, the altarpiece did more than merely identify the altar; its form and content evoked the mystery or personage whose cult was celebrated at the altar. This original and lasting function influenced the many forms taken by the altarpiece throughout its history. Since the altarpiece was not prescribed by the Church, its form varied enormously. For this reason, it is often impossible, and historically inaccurate, to draw neat distinctions between the altarpiece and other elements occasionally associated with the altar apparatus. For example, movable statues, often of the Virgin and Child, were occasionally placed on altars according to ritual needs, and at those times fulfilled the function of the altarpiece....

Article

German, 19th – 20th century, male.

Born 1874, in Hanau; died 1913, in Berlin.

Sculptor, worker in precious metals. Figures. Designs (ceramics/metal objects).

Jugendstil.

Adolf Amberg trained at the academy of fine arts in Berlin. He went to Paris and worked at the Académie Julian, exhibiting at the Salon of ...

Article

Freya Probst

(b Hanau, July 1874; d Berlin, July 3, 1913).

German silversmith, sculptor and painter. He attended the Zeichenakademie and the Kunstgewerbeschule in Hanau then studied at the Kunstgewerbeschule, Berlin, and the Académie Julian in Paris, before finally becoming a student of the sculptor Louis Tuaillon at the Kunstakademie, Berlin. From 1894 to 1903 he worked at the renowned silverware factory of Bruckmann & Söhne in Heilbronn, modelling goblets, cutlery, sports prizes and medals etc. In collaboration with Otto Rieth, professor at the Kunstgewerbeschule in Berlin, Amberg made a silver fountain (h. 3.2 m) for the Exposition Universelle, Paris, in 1900.

After designing the silver for the Town Hall of Aachen (1903) and spending a year in Rome (1903–4), Amberg completed his most important work, the design of the Hochzeitszug (Berlin, Tiergarten, Kstgewmus.), a table centre for the wedding of Wilhelm (1882–1951), Crown Prince of Germany and Prussia and Herzogin Cecilie von Mecklenburg-Schwerin (...

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Lisa M. Binder

(b Anyako, Ghana, June 13, 1944).

Ghanaian sculptor, active in Nigeria. He earned a bachelor’s degree in sculpture (1968) and a postgraduate diploma in art education from the University of Science and Technology, Kumasi, Ghana (1969). After graduation he taught at the Specialist Training College (now University of Winneba), Ghana, in a position vacated by the eminent sculptor Vincent Kofi. From 1975 he was Professor of Sculpture at the University of Nigeria, Nsukka. Anatsui’s practice often makes use of found objects including bottle caps, milk-tins and cassava graters. However, he is not concerned with recycling or salvaging; instead he seeks meaning in the ways materials can be transformed to make statements about history, culture and memory.

His early work consists of ceramic sculptures manipulated to reconfigure pieces of memory. In 1978 he began his Broken Pots series, which was exhibited the following year at the British Council in Enugu, Nigeria. Several of the ceramic works were made of sherds that were fused together by a grog-like cement of broken pieces. Making art historical references to ...

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