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(b San José, June 1, 1907; d 1998).

Costa Rican engraver, painter, illustrator, draughtsman, writer and critic. He studied for a year from 1931 at the Escuela Nacional de Bellas Artes but was otherwise initially self-taught, using Louis Gonse’s L’Art japonais (Paris, 1883) as a source. He produced a series of caricature drawings, influenced by Cubism, in the Album de dibujos de 1926. During 1929 he met the sculptors Juan Manuel Sánchez and Francisco Zúñiga (the latter was also a printmaker), and through his interest in German and Mexican Expressionist printmakers, he developed a passion for wood-engraving. His first wood-engravings were published in the periodical Repertorio Americano (1929). He went on to contribute wood-engravings and drawings to collections of short stories and poetry, educational books, periodicals and newspapers. In 1931 he taught drawing and wood-engraving at the Escuela Normal in Heredia. He exhibited at the Salones Anuales de Artes Plásticas in San José (1931–6...

American, 20th century, male.

Born 1909, in Baltimore; died 1993.

Painter, draughtsman, print artist, illustrator, art historian, writer. Figures, portraits, genre scenes, scenes with figures, landscapes. Comic strips.

Elton Clay Fax studied at Clafin University, Orangeburg, South Carolina, and Syracuse University, Syracuse, New York. He was taught by Augusta Savage....

[Nicos]

(b Athens, Feb 26, 1906; d Athens, Sept 3, 1994).

Greek painter, printmaker, illustrator, stage designer and theorist. While still a schoolboy he studied drawing under Konstantinos Parthenis. In 1922 he enrolled at the Sorbonne in Paris for a course in French and Greek literature, but soon moved to the Académie Ranson where he studied painting under Roger Bissière and printmaking under Demetrios Galanis. He first exhibited at the Salon des Indépendants at the age of 17. His first one-man exhibition, at the Galerie Percier, Paris (1927), was enthusiastically reviewed by Tériade in Cahiers d’art. His first one-man exhibition in Athens was at the Galerie Strategopoulos in 1928.

Ghika returned to Athens in 1934 and became closely involved with aesthetic and educational issues, specifically the popular art movement and the search for Greekness in art. In 1936–7 he edited the Third Eye, an avant-garde magazine in which he was able to introduce new aesthetic trends into Greek cultural life. In collaboration with the leading architects in Greece, he became actively concerned with the problem of urbanism and the restoration of traditional architecture. As a leading member of several cultural and artistic societies and a theoretician of art, he wrote and lectured extensively on art and education. From ...

British, 18th century, male.

Born 4 June 1724, in Scaleby Castle, near Carlisle; died 5 April 1804, in Boldre (Hampshire).

Painter, draughtsman, engraver, illustrator, theorist. Landscapes, topographical views.

William Gilpin was the brother of Sawrey Gilpin and studied at Queen's College, Oxford. He taught at Cheam School near Sutton ...

(b Amsterdam, Dec 4, 1868; d Bloemendaal, Dec 31, 1938).

Dutch painter, printmaker, illustrator, writer and stained-glass artist. He trained at the Rijksakademie in Amsterdam (1886–90), under the directorship of August Allebé. Having initially painted and drawn Impressionistic landscapes, he started working in the ’t Gooi region in 1892, where, influenced by Vincent van Gogh and Jan Toorop, he made a number of Symbolist drawings and lithographs. In 1896 he married the Dutch writer Henriette van der Schalk. They both devoted themselves to the recently founded Sociaal Democratische Arbeiders Partij. In the years up to c. 1900 Holst produced among other things a series of lithographs of political cartoons with socialist content, as well as serene landscapes and paintings of girls from the village of Huizen. His allegorical murals (1902; in situ), on topics such as ‘Industry’ or ‘Commerce’, in the new Koopmansbeurs in Amsterdam by H. P. Berlage (1876–1903), marked an important point in his career as his first opportunity to construct a monumental piece of work. Partly inspired by the murals in the town hall at ’s Hertogenbosch by Antoon Derkinderen, he developed a tight, stylized type of design, which he believed to be ideal for visually representing idealistic and exalted thoughts. In his murals (...

(b Valencia, 1757; d Madrid, after 1807).

Spanish illustrator, printmaker and painter. He was nominated Miembro de Mérito of the Real Academia de S Fernando, Madrid, in 1781. He made reproductive engravings of paintings and illustrated such books as Juan Antonio Pellicer’s (1738–1806) annotated edition of Don Quixote (1797), the Fábulas morales (1781–4) by Félix María de Samaniego (1745–1801) and the 1803 edition of the short stories Novelas ejemplares by Miguel de Cervantes Saavedra (1547–1616). In his depiction (1790) of the fire in the Plaza Mayor in Madrid and in his interiors of prisons and barracks he pioneered the use of aquatint. He produced the series Caprichos y bombachadas and illustrated the title-page of Ideas y caprichos pintorescos (Madrid, 1807). He had two sons: Laureano (1802–58), an engraver, and Vicente (1796–1857), a history painter.

(Fyodorovich)

(b Tiraspol, Moldova, June 3, 1881; d Fontenay-aux-Roses, nr Paris, May 10, 1964).

Russian painter, stage designer, printmaker, illustrator, draughtsman and writer of Moldovan birth. He was a leader of the Russian avant-garde before World War I but came to prominence in the West through his work for Serge Diaghilev and the Ballets Russes. During the 1920s he played a significant role within the Ecole de Paris and continued to live and work in France until his death.

He was the son of Fyodor Mikhailovich Larionov, a doctor and pharmacist, and Aleksandra Fyodorovna Petrovskaya, but he grew up in his grandparents’ home in Tiraspol. He completed his secondary education at the Voskresensky Technical High School in Moscow and in 1898 entered the Moscow School of Painting, Sculpture and Architecture. Here he studied under Valentin Serov and Konstantin Korovin, and he also became friendly with Natal’ya Goncharova who was to remain his lifelong companion and colleague. Larionov’s work soon caught the imagination of collectors and critics. In ...

[Lisitsky, El’ ; Lisitsky, Lazar’ (Markovich )]

(b Pochinok, Smolensk province, Nov 23, 1890; d Moscow, Dec 30, 1941).

Russian draughtsman, architect, printmaker, painter, illustrator, designer, photographer, teacher, and theorist.

After attending school in Smolensk, he enrolled in 1909 at the Technische Hochschule, Darmstadt, to study architecture and engineering. He also travelled extensively in Europe, however, and he made a tour of Italy to study art and architecture. He frequently made drawings of the architectural monuments he encountered on his travels. These early graphic works were executed in a restrained, decorative style reminiscent of Russian Art Nouveau book illustration. His drawings of Vitebsk and Smolensk (1910; Eindhoven, Stedel. Van Abbemus.), for example, show a professional interest in recording specific architectural structures and motifs, but they are simultaneously decorative graphic works in their own right and highly suitable for publication. This innate awareness of the importance of controlling the design of the page was to remain a feature of Lissitzky’s work throughout radical stylistic transformations. He also recorded buildings in Ravenna, Venice, and elsewhere in Italy in ...

French, 19th–20th century, male.

Born 31 December 1869, in Le Cateau-Cambrésis (Nord); died 3 November 1954, in Nice.

Painter, draughtsman, engraver, lithographer, sculptor, illustrator, theorist. Artists’ books.

Fauvism.

Henri Matisse was born to parents who owned a grocery shop in Bohain, a small town in northern France. After his schooling in St Quentin, he began his law studies in Paris in 1887–1888. In 1889, he returned to St Quentin, where he worked as a clerk in a law firm but was soon taken ill. It was during his lengthy convalescence that he decided to turn to painting. In 1891, he returned to Paris and enrolled at the Académie Julian, where he studied under the painter William Bouguereau. In 1893, Matisse left the Académie and joined Albert Marquet, Georges Rouault, Charles Camoin, and Henri Manguin at the École des Beaux-Arts in Paris, where he studied with Gustave Moreau. From 1895, he lived at 19 Quai St Michel in Paris, an address that he kept for the rest of his life....

(b Kessarevo, nr Veliko Turnovo, Jan 1, 1889; d Sofia, May 2, 1954).

Bulgarian writer, teacher, art historian, critic, administrator, illustrator, painter, designer and printmaker. He graduated from the Ecclesiastical Seminary in Sofia and in 1909 from the University of Sofia with a degree in philosophy. In 1919 he graduated from the Academy of Art in Sofia and in 1922 had his first one-man exhibition in Plovdiv, where he showed landscapes in oils, gouache and watercolour. His best paintings, such as Poppies, A Fairy-tale and Cloister, are from this early period. In 1926–7 he studied art history in Paris and established himself there as a designer and printmaker, executing linocuts and wood-engravings in a decorative linear fashion and with allegorical and mythical content. From 1932 to 1951 he was a professor of Art History at the Academy of Art in Sofia, in 1934 became a chairman of the Society of Applied Artists and in 1944, a chairman of the Union of Bulgarian Artists. As an art historian and critic he wrote more than 40 volumes of works, among them a book about Bulgarian portrait painting (...

(b Florence, Aug 18, 1835; d Florence, Feb 11, 1901).

Italian painter, writer, critic, illustrator, etcher and teacher. He was a major figure of the Macchiaioli group, painting primarily landscapes, seascapes and street scenes in towns and villages in Tuscany and Liguria. As with many of the Macchiaioli, he did not always date his paintings, and their chronology must be deduced from exhibition catalogues and other contemporary sources. As a writer and critic he was the most ardent spokesman for, and promoter of, the Macchiaioli and wrote with insight and cutting wit about the art world of the second half of the 19th century.

He and his brothers Edoardo (c. 1830–51) and Egisto studied under their father, Giovanni Signorini (1808–62), an artist employed by the Austrian Grand Dukes of Florence to paint topographical views and scenes of local festivals. Telemaco Signorini’s first preference, however, was for literature, and he spent four years at the prestigious Scuola degli Scolopi in Florence, leaving in ...