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Article

Andrzej Rottermund

(b Puławy, June 1756; d Florence, Feb 8, 1841).

Polish architect and writer, also active in Italy. He probably studied in Rome in the late 1770s and returned to Italy in 1785–6 under the aegis of Stanisław Kostka Potocki, a collector and amateur architect with whom he collaborated throughout his life. In 1786 Aigner and Potocki refronted the church of St Anna, Warsaw, using a giant composite order on high pedestals. The political turmoil of the 1790s disrupted Aigner’s career, but during his second phase of creativity (1797–1816) he won fame through his work on the great estate of the Czartoryski family at Puławy, on the Vistula west of Lublin, the most important centre of cultural life in Poland during the Enlightenment. Aigner had already erected the Marynka Palace there in 1790, a variation on the Petit Trianon at Versailles, France, and from 1798 he began to add ornamental buildings to go with the new Picturesque layout of the Puławy gardens: a Chinese pavilion, a Gothick house and a peripheral Temple of the Sibyl with a shallow dome. In ...

Article

Patrick Conner

(b Maidstone, Kent, April 10, 1767; d Maidstone, July 23, 1816).

English painter, engraver, draughtsman and museum official. The son of a coachbuilder, he was apprenticed to Julius Caesar Ibbetson before enrolling in 1784 at the Royal Academy Schools, London. In 1792 he accepted the post (previously declined by Ibbetson) of draughtsman to George, 1st Earl Macartney, on his embassy to China. As the embassy returned by inland waterway from Beijing to Canton, Alexander made detailed sketches of the Chinese hinterland—something achieved by no British artist previously and by very few subsequently. These sketches formed the basis for finished watercolours (e.g. Ping-tze Muen, the Western Gate of Peking, 1799; London, BM) and for numerous engravings by both himself and others. For over fifty years his images of China were widely borrowed by book illustrators and by interior decorators in search of exotic themes.

Alexander was also a keen student of British medieval antiquities, undertaking several tours in order to make drawings of churches and monuments; many of these were reproduced in the antiquarian publications of ...

Article

Gianni Mezzanotte

(b Monza, Aug 22, 1776; d Milan, May 23, 1852).

Italian architect and writer. He studied architecture at the Accademia di Brera, Milan, under Giuseppe Zanoia (1752–1817), the Accademia’s secretary, and later taught there himself. At the beginning of his career he was involved in the hurried completion (1806–13) of the façade of Milan Cathedral, which was carried out under the direction and with the collaboration of Zanoia. Napoleon’s order that the façade should be completed economically determined the execution of the work, which was carried out in a simple Gothic style derived from the cathedral’s aisles, and it was later judged to be deficient on a number of counts, including its workmanship. The church of S Carlo al Corso (1838–47) in Milan was Amati’s most significant building. Here he grafted 16th-century motifs on to a centralized Roman plan in such a way as to recall both the Pantheon in Rome and the circular Milanese church of S Sebastiano, as well as Bramantesque models and the buildings frequently seen in the backgrounds of Renaissance paintings. The design for the church was part of a proposal (largely unexecuted) to reorder the entire centre of the city. Amati proposed that a vast arcaded square be opened up around the cathedral and that the Corsia dei Servi (now Corso Vittorio Emanuele) should be straightened to lead up to S Carlo, where another piazza, relating architecturally to the church, was proposed. At the time when eclecticism was spreading in Italy and overturning accepted criteria of artistic quality, Amati advocated a return to Vitruvian principles. To this end he produced a series of publications devoted to Vignola, Vitruvius, Roman antiquities in Milan, and on archaeology. The completion of the church of S Carlo and Amati’s death, however, marked the end of the Neo-classical movement in Italy....

Article

(b Montrouge, Paris, April 4, 1806; d Paris, April 29, 1885).

French painter and writer. A student of Ingres, he first exhibited at the Salon in 1830 with a portrait of a child. He continued exhibiting portraits until 1868. Such entries as M. Geoffroy as Don Juan (1852; untraced), Rachel, or Tragedy (1855; Paris, Mus. Comédie-Fr.) and Emma Fleury (1861; untraced) from the Comédie-Française indicate an extended pattern of commissions from that institution. His travels in Greece and Italy encouraged the Néo-Grec style that his work exemplifies. Such words as refinement, delicacy, restraint, elegance and charm pepper critiques of both his painting and his sedate, respectable life as an artist, cultural figure and writer in Paris. In contrast to Ingres’s success with mature sitters, Amaury-Duval’s portraits of young women are his most compelling. In them, clear outlines and cool colours evoke innocence and purity. Though the portraits of both artists were influenced by classical norms, Amaury-Duval’s have control and civility in contrast to the mystery and sensuousness of Ingres’s....

Article

Pilar Benito

(b Barcelona, 1755; d Barcelona, Sept 7, 1822).

Spanish writer and painter. He was a member of the Real Escuela de la Junta de Comercio in Barcelona, where he was primarily active in a political capacity rather than as an artist and professor in its Escuela de Nobles Artes. He was expelled from the Junta in 1814 because he had taken the oath of loyalty to the usurper King Joseph Bonaparte, and as a result of accusations of favouring the French he spent his last years in total isolation from public life. His work as a writer on art is of considerable interest. He strongly defended French Neo-classicism and, in particular, the artists François Gérard and Jacques-Louis David. In a lecture he gave to the Junta de Comercio in 1810 he proclaimed the absolute validity of academic classicism, and this belief also pervades such manuscript pamphlets as the Discurso sobre la enseñanza del dibujo, Máximas generales para la pintura...

Article

Lucio Franchini

(b Castel Bolognese, Ravenna, 1756; d Bologna, March 11, 1841).

Italian architect, engineer and theorist. He graduated from the University of Bologna in engineering and architecture. From 1775 to 1796 he was in Rome, where his design for the new sacristy of St Peter’s (1775) was admired by Pius VI, although the commission was awarded to Carlo Marchionni. Antolini took part in the scheme to drain the Pontine Marshes (1776–7), but caught malaria and resigned his appointment. Devoting himself to the study and practice of architecture, he became involved in the artistic controversies of the day, including the debate on the use of the Doric order (see Piranesi, Giovanni Battista) and the changing attitudes towards the restoration of ancient monuments, his own position becoming progressively more conservative. He published his first important archaeological work on the Temple of Hercules at Cori in 1785 and began his studies on the Temple of Minerva at Assisi. During this period he also produced schemes for palaces, chapels and other buildings for noble foreign clients, including a design for the façade of the palace and court chapel of the Duke of Courland at Mitau (now Jelgava, Latvia). During the French intervention in Italy (...

Article

Fransje Kuyvenhoven

(b Amsterdam, Aug 6, 1762; d Amsterdam, Feb 10, 1844).

Dutch museum director and painter. He was a student at the Tekeningen Akademie in Amsterdam from 1784 to 1786. His teacher was the landscape painter Hendrik Meijer (1738–93), with whom he travelled to England in 1786. Between 1790 and 1795 Apostool produced some 80 aquatints after other masters. From 1796 he occupied a number of posts that once again took him to England, and to New York in 1806. The pen drawing made there, Flatland on Long Island (1806; Amsterdam, Hist. Mus.), is a valuable document within his sparse oeuvre.

Apostool’s career in artistic politics began in 1807. He was appointed secretary to the Legation to Naples, from where he travelled to Paris to report on the Dutch Prix de Rome artists working there. In Italy he made one of his few oil paintings, still entirely in the heroic 18th-century mode: the Anio Valley with the Waterfalls of Tivoli...

Article

Laura Suffield

(b Vienna, Aug 17, 1757; d Vienna, Aug 21, 1821).

Austrian museum administrator and writer . He studied at the University of Vienna and under Jacob Schmuzer (1733–1811) at the Viennese Academy of Arts, where he learnt printmaking and drawing. From 1777 he worked in the Imperial Library, cataloguing the contents. He expanded his knowledge of prints by travel in Europe: in 1784 he went to Paris to try to acquire the print collection of the miniaturist Johann Anton de Peters; he also studied Parisian collections and purchased 21 Rembrandt prints from Pierre-François Basan. At this time Bartsch began to formulate his approach to the study and classification of prints; as a model to his approach, he undoubtedly looked to the extensive lists and annotations made by Pierre Mariette (ii) of the albums of prints that formed the core of the imperial print collection. In June 1784 Bartsch visited Brussels, where he met the art dealer Domenico Artaria. He travelled in the Netherlands and built up an extensive knowledge of Rembrandt’s etchings, which he later put to use in his catalogue raisonné. In ...

Article

Martin Postle

(b Fenny Compton, Warwicks, Aug 25, 1745; d Cheltenham, Feb 1, 1824).

English writer, collector and clergyman. The son of a clergyman, Bate-Dudley (he added ‘Dudley’ to his name in 1784 in order to inherit a legacy) succeeded his father as rector of the parish of North Farmbridge, Essex; by his mid-twenties, however, he preferred to spend his time in London, where his ebullient behaviour earned him the nickname of ‘the fighting parson’. In 1772 he became editor of the Morning Post; six years later he left to found the rival Morning Herald. The following year he was imprisoned for 12 months for libelling Charles Lennox, 3rd Duke of Richmond.

Bate-Dudley was a close friend of the actors David Garrick and Sarah Siddons as well as a leading supporter of Thomas Gainsborough. He mounted spirited defences in his newspapers of Gainsborough’s art, often at the expense of Joshua Reynolds, the Royal Academy’s president, whose pretensions towards high art Bate-Dudley felt militated against the interests of his own favourite. ...

Article

British, 18th – 19th century, male.

Born 6 November 1753, in Dunmow (Essex); died 7 February 1827, in Cole Orton.

Painter, watercolourist, poet. Landscapes.

Sir George Beaumont was an early 19th century English art patron; he counts among the founders of the National gallery for which he had actively campaigned and to which he donated 16 of his major paintings. He proved a discerning friend of the arts and artists. Friend and protector of Richard Wilson, and a close friend of Sir Joshua Reynolds, he supported young Constable in his early efforts, providing advice and contacts. Sir George's own work consists of sound classical landscapes. The National Gallery owns two of those donated by his widow shortly after his death. He exhibited at the Royal Academy ...

Article

David Rodgers

(b London, Sept 29, 1760; d Bath, May 2, 1844).

English patron, collector and writer. He was the only son of Alderman William Beckford, MP (1709–70). Orphaned at the age of nine, he inherited a fabulous fortune derived from his family’s Jamaican plantations. He was a precocious child, brought up in a puritanical atmosphere only relieved, after 1775, by the appointment of Alexander Cozens as his drawing-master. An ardent Orientalist, Beckford studied Arabic from 1778 until his departure in June 1780 on the Grand Tour.

In 1781 Beckford returned to England, where he celebrated his majority with a spectacular party; he followed this with scandalous Christmas festivities in a setting devised by the theatrical painter Philippe Jacques de Loutherbourg and embarked on a princely career of collecting and patronage by commissioning silver from John Schofield and the partnership of Daniel Smith and Robert Sharp. In early 1782 he wrote his celebrated Gothic Orientalist romance, Vathek (pubd 1786). His descriptions in it of tombs and ruins have been thought to reflect his familiarity with the fantastic landscapes of Piranesi’s etchings, such as the ...

Article

Jack Quinan

(b Hartland, CT, June 15, 1773; d Springfield, MA, July 26, 1845).

American architect and writer. Benjamin was one of the most influential architect–writers of the first half of the 19th century in the USA and was trained as a housewright in rural Connecticut between 1787 and 1794. Two of his earliest commissions, the carving of Ionic capitals (1794) for the Oliver Phelps House in Suffield, CT, and the construction of an elliptical staircase (1795) in Charles Bulfinch’s Connecticut State Capitol at Hartford, reveal an exceptional ability with architectural geometry that was to help to determine the direction of his career. Benjamin worked as a housewright in a succession of towns along the Connecticut River during the 1790s. In 1797, dissatisfied with the publications of William Pain, an English popularizer of the Neo-classical style of Robert Adam, Benjamin wrote The Country Builder’s Assistant, a modest handbook for carpenters that was the first such work by an American writer. In ...

Article

Italian, 18th – 19th century, male.

Born 18th century, in Parma; died 1829.

Painter, engraver, architect, writer.

Giuseppe Bertoluzzi's watercolours and etchings are on display in the academy and royal library in Parma.

Parma (Accademia)

Parma (Royal Library)

Paris, 12 May 1919...

Article

British, 18th – 19th century, male.

Born 28 November 1757, in London, United Kingdom; died 12 August 1827, in London.

Painter, draughtsman, engraver, illustrator, poet. Religious subjects, figure compositions.

William Blake was the son of a draper. He showed a strong artistic tendency from an early age and, at the age of 10, started to study drawing at Henry Par’s Academy in the Strand. He learnt engraving under Ryland and was then apprenticed to James Basire. During his seven years with Basire (1772–1779), Blake was made to copy the sculptures of Westminster Abbey and of London’s old churches, thus stimulating his fascination with Gothic art. He studied briefly at the Royal Academy in 1779, where he made friends with Barry, Fuseli, Mortimer, Flaxman, and Stodhart. While there, his studies concentrated on Michelangelo....

Article

David Bindman

(b London, Nov 28, 1757; d London, Aug 12, 1827).

English printmaker, painter and poet. His reputation as a visual artist increased during the 20th century to the extent that his art is as well known as his poetry (see fig.). Yet in his own mind Blake never completely separated the two, and his most original work is to be found in hand-printed books of prophecy, which developed a personal mythology of limitless intellectual ambition. In these books, text and design are completely integrated in what he called ‘illuminated’ printing. He also made many pen and watercolour drawings, prints in various media and a small number of tempera paintings, but even in these his broader aims were primarily theological and philosophical: he saw the arts in all their forms as offering insights into the metaphysical world and therefore potentially redemptive of a humanity he believed to have fallen into materialism and doubt.

Article

Efrem Gisella Calingaert

(b Bologna, Feb 7, 1767; d Bologna, June 18, 1845).

Italian art historian. He studied art and architecture independently and in 1786 and 1789 travelled around Italy recording his impressions of monuments and works of art. Concerned about the artistic patrimony of Bologna during the French occupation, he executed drawings and descriptions of the works of art and architecture in risk of removal or destruction and in 1816 celebrated the restitution by the French of 18 paintings with the booklet Descrizione de’ quadri restituiti a Bologna. He was appointed an honorary member of the Accademia di Belle Arti, Bologna, in 1805, academician in 1818 and acting president in 1824, with the title of Propresidente in 1831. Elogio di Sebastiano Serlio: Architetto bolognese (1823) was the first of 15 biographical studies written by Bolognini. These formed the basis of his principal achievement: Vite dei pittori ed artefici bolognesi. The work describes 184 painters, sculptors, architects and engravers who lived in or originated from Bologna between ...

Article

Stephen Addiss

[Kameda Chōkō; Kameda Hōsai]

(b Edo [now Tokyo], 1752; d Edo, 1826).

Japanese painter, poet, calligrapher and book illustrator. The son of an Edo merchant, he studied calligraphy from a very early age under the noted Chinese-style calligrapher Mitsui Shinna (1700–82). He also received a Confucian education, unusual at that time for a merchant’s son. From about 1765 to 1774 Bōsai trained under Inoue Kinga (1732–84), an influential Confucian scholar of eclectic doctrines as well as a painter and calligrapher, at the Seijūkan, a private academy near Yokohama. Bōsai opened a Confucian academy in Edo in 1774. In 1790, however, the Tokugawa shogunate issued an edict aimed at curtailing the popularity of such schools as Bōsai’s, where students were encouraged to develop their own moral philosophy rather than accept the government-sponsored Confucianism of the Chinese Song-period (ad 960–1279) philosopher Zhu Xi. Bōsai gradually lost his pupils and in 1797 closed his school.

Bōsai’s artistic activity increased from ...

Article

Simonetta Prosperi Valenti Rodinò

(b Busto Arsizio, Nov 11, 1777; d Milan, Dec 15, 1815).

Italian painter, collector and writer. He studied painting at the Accademia di Brera in Milan. Between 1785 and 1801 he lived in Rome, where he met such Neo-classical artists as Angelica Kauffman and Marianna Dionigi (1756–1826) as well as writers, scholars and archaeologists, notably Jean-Baptiste Séroux d’Agincourt, Giovanni Gherardo de Rossi (1754–1827) and Ennio Quirino Visconti. While in Rome he studied Antique and Renaissance works, making copies of the statues in the Museo Pio-Clementino and the frescoes by Raphael and Michelangelo in the Vatican, also furthering his studies of the nude in the Accademia di Domenico Conti and making anatomical drawings of corpses in the Ospedale della Consolazione. On his return to Milan in 1801 he became secretary to the Accademia di Brera, a post he held until 1807. During this period he devoted all his efforts to the restructuring of the Brera, providing it with new statutes and a major library and also founding the adjoining art gallery. He prevented numerous works from being smuggled abroad or dispersed and was responsible for their inclusion in the ...

Article

Werner Szambien

(b Lyon, March 19, 1758; d Dec 31, 1831).

French architect, engineer, writer and painter. He worked from an early age in the office of an architect called Maigre, who was a relative of Antoine-Michel Perrache (1726–79), the leading architect and engineer in Lyon of his day. In 1783 Bruyère entered the Ecole des Ponts et Chaussées, Paris, and in 1784 worked on the foundations of the bridge across the Moselle at Frouart. In 1785 he was involved in the design of several bridges in Lyon under the direction of Jean-François Lallié, and the following year became Sous-Ingénieur in Le Mans, where he laid out the Promenade du Greffier and the Promenade des Jacobins (after 1789) and built the grain market.

Bruyère left the Service des Ponts et Chaussées in 1793 to dedicate himself to painting and building. Nothing is known of his painted work, but his buildings include the Maison Boissy on the edge of the Forêt de Montmorency, and in Paris his own house on Rue Chauchat (...

Article

Charles R. Morscheck jr

(b Milan, 1791; d Milan, March 28, 1872).

Italian painter and art historian. He was trained as a painter in the Neo-classical school of Giuseppe Bossi, and by Vincenzo Camuccini and Pietro Benvenuti. He was the author of Notizie sulla vita…e degli Sforza, the first great history of Milanese art of the 14th to the 16th century, which largely established the canon of early Milanese artists. Calvi’s book was founded on his perceptive connoisseurship of painting and sculpture, and a good understanding of secondary literature. He made a thorough, intelligent use of primary sources including lapidary inscriptions, documents from the archives of Milan and Pavia, and also the then unpublished manuscript (compiled c. 1775) of Antonio Francesco Albuzzi. This work consisted of a collection of notes on the lives of Milanese artists, its author being the first secretary of the Accademia Braidense, where Giuseppe Bossi taught. Both Bossi and Calvi possessed copies of Albuzzi’s manuscript.

Notizie sulla vita e sulle opere dei principali architetti, scultori e pittori che fiorirono in Milano durante il governo dei Visconti e degli Sforza...