French, 20th century, male.
Born in Bordeaux.
Painter. Landscapes.
Chateau studied under French Victorian Neo-Classicist painter Paul Quinsac, Henri-Marcel Magne and William Didier-Pouget. From 1929, he exhibited at the Salon des Artistes Français in Paris. Primarily, he painted landscapes of the Bassin d'Arcachon in the Gironde, South-West France....
Italian, 20th century, male.
Born 1895 or 1898, in Turin; died 1935.
Painter. Figure compositions, nudes.
Gigi Chessa is a representative of a kind of synthetic Neo-Classicism, common to some artists of the generation born around 1900.
Florence (Gal. d'Arte Moderna): Figure
Rome (Gal. Nazionale d'Arte Moderna)...
French, 20th century, male.
Born 14 August 1902, in Nancy.
Painter. Figure compositions, landscapes.
Marcel Derulle painted compositions in a neo-classical style as well as circus scenes and landscapes of Montmartre and the Sarthe region. He exhibited in Paris from 1924 at the Salon des Artistes Indépendants, of which he was a member. From ...
(b Abeltoft, Sept 6, 1856; d Frederiksberg, June 27, 1920).
Danish architect, painter and teacher. After technical school and apprenticeship to a bricklayer, he attended the School of Architecture of the Kongelige Danske Kunstakademi in Copenhagen in 1873. He was taught by Hans Jørgen Holm, an advocate of a national style based on the free use of historically associative elements, and Ferdinand Meldahl, who espoused a more ‘correct’ and thus more international architecture. After leaving the Kunstakademi in 1878, Kampmann worked for Holm and Meldahl before going to Paris, where, at the Ecole des Beaux-Arts, he learnt the ‘wet’ watercolour technique that he later passed on to his pupils Edvard Thomsen, Aage Rafn, Kay Fisker and his sons Hans Jørgen Kampmann and Christian Kampmann. He was awarded the large gold medal in 1884 and then embarked on a Grand Tour on which he executed travel sketches of Germany, Italy and Greece, capturing in watercolour textures and atmospheres.
In his buildings, logic and legibility informed Kampmann’s approach throughout. For his home town of Hjørring he built a hospital (...
Spanish family of artists, teachers, critics and museum directors. Its members included some of the most important artists in 19th-century Spain. José de Madrazo y Agudo was a Neo-classical painter who had trained under David in Paris and also in Rome. He remained faithful to the tenets of Neo-classicism in subject-matter and style and became director of both the Real Academia de S Fernando and the Museo del Prado in Madrid. Two of his sons, Federico de Madrazo y Küntz and Luis de Madrazo y Küntz (b Madrid, 27 Feb 1825; d Madrid, 9 Feb 1897), were also painters. Federico became the foremost portrait painter in Spain as well as holding all the significant posts in the art establishment. José’s other sons were the art historian and critic Pedro de Madrazo y Küntz, whose work includes studies of the Prado collection, and the architect Juan de Madrazo y Küntz (...
(b Rome, Feb 15, 1902; d Rome, March 31, 1965).
Italian painter. Mafai was the central figure of a group of artists called the Scuola Romana. His preference for lyrical, intimate subject-matter contrasted with the monumental neo-classicism of the Novecento Italiano. From 1922 until 1925 he attended the Accademia di Belle Arti in Rome. There he met his future wife, the artist Antonietta Raphael, who introduced him to the work of the Ecole de Paris. By 1927 the painter Scipione and the sculptor Marino Mazzacurati (1907–1969) gathered regularly in Mafai’s studio, giving rise to an association known as the ‘Scuola di Via Cavour’. During this period Mafai painted views of the River Tiber in a deliberately unschooled manner, self-portraits and still-lifes such as Quartered Bullock (1930; Milan, Brera), reminiscent of Chaïm Soutine. His series of still-lifes called Dried Flowers was begun after a year in Paris in 1930.
While Scipione went on to develop an increasingly expressionist style, Mafai responded to the formal research of Giorgio Morandi by stressing the tonal qualities in his paintings. This concentration on the subtle gradation of values endowed the commonplace objects of his still-lifes with a heightened, magical reality. After ...
Italian, 20th century, male.
Born 19 July 1896, in Porto San Elpidio.
Painter.
Dante Montanari was a self-taught artist who began painting after the end of World War I. Identified by Italian art historians and critics as Neo-Classicist, his work combines a pristine simplicity with an economy of geometric form; a typical example is ...
Term coined in the 1880s to denote the last stage of the classical tradition in architecture, sculpture, painting and the decorative arts. Neo-classicism was the successor to Rococo in the second half of the 18th century and was itself superseded by various historicist styles in the first half of the 19th century. It formed an integral part of Enlightenment, the in its radical questioning of received notions of human endeavour. It was also deeply involved with the emergence of new historical attitudes towards the past—non-Classical as well as Classical—that were stimulated by an unprecedented range of archaeological discoveries, extending from southern Italy and the eastern Mediterranean to Egypt and the Near East, during the second half of the 18th century. The new awareness of the plurality of historical styles prompted the search for consciously new and contemporary forms of expression. This concept of modernity set Neo-classicism apart from past revivals of antiquity, to which it was, nevertheless, closely related. Almost paradoxically, the quest for a timeless mode of expression (the ‘true style’, as it was then called) involved strongly divergent approaches towards design that were strikingly focused on the Greco-Roman debate. On the one hand, there was a commitment to a radical severity of expression, associated with the Platonic Ideal, as well as to such criteria as the functional and the primitive, which were particularly identified with early Greek art and architecture. On the other hand, there were highly innovative exercises in eclecticism, inspired by late Imperial Rome, as well as subsequent periods of stylistic experiment with Mannerism and the Italian Baroque....
(b Biala, Galicia [now Bialsko-Biala, Poland], Oct 14, 1846; d Budapest, July 11, 1915).
Hungarian architect, painter and interior designer of German descent. He studied in Karlsruhe and Vienna, and in 1868 he went to Budapest where he worked first in the offices of Antal Szkalnitzky and Miklós Ybl. His designs included the sepulchral monument (1871–2) of Count Lajos Batthyány in the Kerepesi cemetery, Budapest, and other monuments and pedestals for statues. In 1894 he entered into partnership with Fülöp Herzog (1860–1925), with whom he designed the neo-classical architectural ensemble of Heroes’ Square, which terminates the 2.5 km long Radial Avenue (Sugár út, now Andrássy út). In the middle stands the Millenary Monument (1894–1900), a semicircular double colonnade with bronze figures of Hungarian sovereigns and a single, tall Corinthian column with sculpture by György Zala, which commemorates the 1000th anniversary of the Magyar conquest. On opposite sides of the square they built the Art Hall (1895–6), a porticoed red-brick structure with multicoloured terracotta decoration, and the ...
Italian, 20th century, male.
Born 9 October 1889, in Verona.
Painter. Portraits, nudes, landscapes.
A pupil of Alfredo Savini, Guido Trentini worked first in a realist style and then moved to neo-Classicism.
Athens (GMA): Nude
Brussels: Reading
Rome (Gal. Nazionale d'Arte Moderna): Maternity
Verona (Galleria Civica D'Arte Moderna e Contemporanea): ...
