Italian–Swiss family of stuccoists, builders and architects active in Bavaria . The first important member of the family was Giovanni Battista Zuccalli (d 1678), a stuccoist recorded as working in Kempten (Allgäu) in 1661. His son-in-law Gaspare [Kaspar] Zuccalli (1629–78) and a cousin Domenico Christoforus Zuccalli ( fl 1651; d 1702) worked together (until c. 1666), designing and building churches and conventual buildings in Upper Bavaria and the Innviertel district. Gaspare, following his appointment (1668) as master mason to the Bavarian electoral court, brought (1) Enrico Zuccalli, son of Giovanni Battista, to Munich. Enrico, who had previously trained in Paris in the circle of Gianlorenzo Bernini, became the most important architect in the family and one of the most prominent architects in the circle of Italian-influenced builders from the Grisons. In later years he trained his young cousin Giovanni Gaspare Zuccalli (...
39,541-39,560 of 39,578 Results
(b Pitigliano, Umbria, Aug 15, 1702; d Florence, Dec 30, 1788).
Italian painter and draughtsman, active in England.
Zuccarelli’s training began in Florence, where he engraved the frescoes by Andrea del Sarto in SS Annunziata. He then studied in Rome under Paolo Anesi and learnt figure drawing from Giovanni Maria Morandi (1622–1717), although in this he never acquired any great skill. His earliest recorded paintings were Mary Magdalene and St Jerome (both untraced), which he contributed to the exhibition of the feast of St Luke in Florence in 1729. He also painted portraits. Around 1730 he moved to Venice and began painting landscapes exclusively. His interest in this field may have led to his becoming acquainted with the Welsh landscape painter Richard Wilson in 1750–51. Wilson painted a lively portrait of him (1751; London, Tate) in exchange for one of Zuccarelli’s landscapes. Zuccarelli avoided both the topographical type of Venetian view developed by Canaletto and the stormier landscapes of Marco Ricci, adopting instead a decorative landscape style of idealized Italian countryside. His subject-matter was usually unspecific rather than recognizably historical, biblical or mythological. For example, in the early 1740s he executed six paintings purporting to be scenes from the story of Jacob, but the paintings themselves bear few references to it (e.g. ...
Liana De Girolami Cheney
[Zuccari; Zucchero; Zuccheri]
Italian family of artists. The painter Ottaviano Zuccaro (b nr Urbino, c. 1505) had two sons, (1) Taddeo Zuccaro and (2) Federico Zuccaro, who were leaders in the development of a classicizing style of painting that succeeded High Mannerism in Rome in the late 16th century. Apart from important commissions for churches, the brothers participated in some of the most significant decorative projects of the period, including the Sala Regia in the Vatican and the Villa Farnese at Caprarola. Federico’s travels contributed to the spread of the Mannerist style throughout Italy and Europe; less inventive than Taddeo, his work had a more conventional academic quality that made it easier to emulate.
(b S Angelo in Vado, Marches, Sept 1, 1529; d Rome, Sept 2, 1566).
Painter and draughtsman. Taught to draw by his father, at the age of 14 he went alone to Rome where, according to Vasari, he was employed in various workshops and studied independently, particularly the works of Raphael. Through assisting ...
Italian family of artists . The family was based in Venice and is best known for engraving, although some members were also painters. Andrea Zucchi (b Venice, 9 Jan 1679; d Dresden, 1740), son of Giuseppe Zucchi who moved to Venice from Alano, near Bergamo, was an engraver, painter and stage designer. He studied painting with Pietro Vecchio and Andrea Celesti and engraving with Domenico Rossetti (1650–1736). In 1706 he moved to Pordenone, where he worked both as a painter and engraver, taking a leading part in the revival of engraving in the Veneto and being elected president of the Bottegha de Scultori e Stampatori in Rame di Venetia in 1719. In Pordenone he executed numerous portraits, views and costume designs, alternating between engraving, etching and mezzotint. In particular he contributed to the Gran Teatro di Venezia (Venice, 1720), published by Lovisa and, with his brother ...
S. J. Turner
(b Florence, c. 1540; d Rome, before April 3, 1596).
Italian painter and draughtsman . He was trained in the studio of Vasari, whom he assisted in the decoration of the Palazzo Vecchio, Florence, as early as 1557. He accompanied Vasari to Pisa in 1561, from when dates his earliest known drawing, Aesculapius (London, BM). Between 1563 and 1565 he was again in Florence and is documented working with Vasari, Joannes Stradanus and Giovan Battista Naldini on the ceiling of the Sala Grande (Salone dei Cinquecento) in the Palazzo Vecchio; a drawing of an Allegory of Pistoia (Florence, Uffizi) is related to the ceiling allegories of Tuscan cities. In 1564 Zucchi entered the Accademia del Disegno and contributed to the decorations erected for the funeral of Michelangelo. He travelled to Rome with Vasari and was his chief assistant on decorations in the Vatican in 1567 and 1572, where he executed frescoes of scenes from the Life of St Peter Martyr in the chaptel of S Pio V....
(b Chicago, IL, 1941).
American painter. He received a BFA (1964) and an MFA (1966) from the Art Institute of Chicago, and he subsequently moved to New York. In 1979, his work was included in the important New Image Painting exhibition at the Whitney Museum of American Art in New York, and it has subsequently been compared with that of other artists of this generation, including Jennifer Bartlett, Neil Jenney and Robert Moskowitz (b 1935). He is particularly known for using cotton balls dipped in acrylic paint to make mosaic-style images that reflected on, among other things, the history of cotton and Byzantine mosaics.
During the early 1970s, Zucker began making images by applying cotton balls in gridded arrangements to the surfaces of his canvases. The resulting compositions presented idiosyncratic elaborations of modernist painting’s medium specificity under the guise of the image’s return. Zucker achieved this effect by substituting cotton balls for the stretched cotton canvas that was so often described as the essence of painting by modernist critics. His work has often featured whimsical subjects such as pirate ships, wizards and blimps, but he has typically subjected them to a process of formal transformation that downplayed their conventional meanings. In a series of compositions from the early 1990s, for example, he stretched sash cord across wooden panels to create eccentric grids that suggested the contours of cactuses in radically abstract form. Subsequently, he made a series of “box paintings” in which he poured liquid paint into the recessed spaces of partitioned wooden panels and allowed it to dry. The resulting compositions evoked the flat, modernist geometry of works by Picasso in the late 1920s or ...
(b Merseburg, Saxony, Feb 20, 1733; d Warsaw, Aug 11, 1807).
German architect and landscape gardener, active in Poland . He worked in Dresden from 1747 and was appointed Clerk of Works (Kondukteur) in the Saxon Office of Works. He probably travelled to Italy in 1755 and lived in Poland from 1756, where in 1772 he was appointed Court Architect to Frederick-Augustus III, Elector and later King of Saxony (reg 1763–1827). In 1772, for Duke Casimir Poniatowski, he laid out the park at Solec. This was the first of a series of landscape gardens influenced by English models, with picturesque buildings, grottoes and artificial ruins, which he created for the Polish aristocracy. They included Mokotów (1775) for Elżbieta Lubomirska and the important park at Arkadia (from 1780) for Princess Helena Radziwiłł (1749–1821), with such features as an aqueduct, a ‘House of the High Priest’ and a temple to Diana (1783). Zug’s most important work was the Lutheran church (...
M. Dolores Jiménez-Blanco
(b Eibar, Guipúzcoa, July 26, 1870; d Madrid, Oct 31, 1945).
Spanish Basque painter . He studied in Paris in 1891, coming under the influence of Impressionism and of the group of Catalan painters around Santiago Rusiñol. His visit to Andalusia in 1892 provided the key to his later work, leading him to replace the grey tonalities of his Paris paintings with more brightly coloured images of Spanish folkloric subjects and of male or female figures in regional dress, for example Merceditas (1911/13; Washington, DC, N.G.A.). Zuloaga turned to Castilian subjects in works such as Segoviano and Toreros de Pueblo (both 1906; both Madrid, Mus. A. Contemp.) after the defeat suffered by Spain in the Spanish-American War of 1898; like the group of writers known as the ‘Generation of ’98’, with whom he was associated and who were among his most articulate supporters, he sought to encourage the regeneration of his country’s culture but with a critical spirit.
Zuloaga began to enjoy considerable international success in ...
(b Vienna, March 15, 1883; d Vienna, Feb 26, 1963).
Austrian designer and painter . He studied design at the Allgemeine Zeichenschule (1901–2) and at the Graphische Lehr- und Versuchsanstalt (1902–3) in Vienna and was briefly a guest attendant at the Akademie der Bildenden Künste. Thereafter he studied at the Kunstgewerbeschule until 1906 and in 1908 he joined the Vienna Secession. He was able to take an extended journey through western Europe in 1912 through receiving a travel scholarship from John II, Prince of Liechtenstein (1840–1929). He was in military service from 1915 to 1919 and was also a prisoner of war in Italy. He was a teacher at the Schleiss ceramic workshops in Gmunden between 1920 and 1922. From 1922 onwards he lived alternately in Vienna and Upper Austria and took many trips abroad. In 1949 he began teaching at the Kunstschule in Linz.
Zülow’s art was influenced by the ideals of the Vienna Secession and the Wiener Werkstätte. He was active in many areas of the applied arts and made picture books, calendar pages, graphic cycles and also wall paintings and tapestries (e.g. cartoon for the tapestry ...
Originally a minor northern Nguni group living along the middle reaches of the White Umfolozi River in South Africa. Use of the name Zulu was extended after Shaka Senzangakhona Zulu (c. 1787–1828) conquered other northern Nguni polities, thereby establishing a formidable militarist state in south-east Africa, stretching from the Pongola River in the north of present-day Natal to the Thukela River in the south; from the mid-1840s it shared its southern boundary with the Colony of Natal. To the north Shaka established tributary relations with Tsonga chiefdoms on the eastern seaboard and, to a lesser extent, with the Swazi kingdom further inland. The kingdom was destroyed by British forces in 1879.
Although they became relatively culturally distinct from one another in the late 18th century and early 19th, the Tsonga of southern Mozambique, the Ngwane (later the Swazi ruling lineage) and the northern Nguni chiefdoms of Zululand-Natal shared many ritual practices. While the Zulu have always produced a variety of utilitarian artefacts and elaborate dress for ritual and other occasions, there have been significant changes in the style, function and symbolic value they attribute to their craft objects and clothing. Indeed some artefacts, once highly valued, are no longer produced. Many factors account for these developments, in particular shifting patterns in the control and distribution of imported materials, especially during the 19th century, the expropriation by European settlers of large areas of fertile land, and the consequent disruptive effects of migrant labour on traditional Zulu life. Zulu arts have been quite widely illustrated (see bibliography) and many museums with African collections have examples of Zulu arts....
(b Ixopo, Jan 1, 1960).
South African mixed-media artist. He obtained his BA in Fine Arts from the University of the Witwatersrand, Johannesburg. In 1995 he was invited to Reunion Island to create a work as part of a project to engage artists from around the Indian Ocean: Seven Artists, Seven Countries. He exhibited in Trade Routes: History and Geography, the Second Johannesburg Biennale, in 1997, and that same year was a member of the Amakhona Art Centre. Zulu is one of the few black artists who have departed from the trodden path of paint and brushes. In place of a brush he uses a blowtorch, and instead of paint, fire and smoke, which he controls on a blank canvas to delineate form and image; for him, beauty is in form, not content. His pieces depict struggle and make reference to history, religion, art and politics. He works in patterns and metaphors, with pyrotechnic effects. The ashes and charred surfaces are references to oppressive social conditions experienced by South African blacks, with fire symbolism, for example, suggesting the scorched earth policies employed by warring factions in different areas of the country. His fire remains under control, however, though society sometimes seems out of control. His environmental installations comprise scorched roots, grasses and bulbs that also suggest healing qualities inherent in nature and tradition....
R. W. Lightbown
( Giulio )
(b Syracuse, 1656; d Paris, Dec 22, 1701).
Italian sculptor, active also in France . He was born of a noble family named Zummo (he changed the spelling to Zumbo in Paris) and educated for the church. Zumbo was a wax sculptor and anatomical modeller and, like many late 16th- and 17th-century amateurs who practised the art of wax modelling, was probably self-taught, although he may have learnt something of the technique in Sicily, where wax imagery was popular. Before 1691 he went to Naples and visited Rome and other cities in Italy. He was an enthusiastic collector of Old Master drawings and engravings. In Naples he may have invented a new method of colouring wax for sculpture ( see Wax §II 1., (i) ), which attracted sufficient notice for him to be summoned to Florence in 1691 by Cosimo de’ Medici III, Grand Duke of Tuscany, who paid him a monthly pension. As a sample of his skill he may have brought with him a scene with wax figures, the ...
Clementine Schack von Wittenau
(b Herzebrock, Westphalia, Nov 23, 1830; d Rimsting, nr Prien am Chiemsee, Sept 27, 1915).
German sculptor . He studied sculpture at the Polytechnische Schule in Munich, under Johann von Halbig (1814–82) whom he accompanied on a study tour to Milan in 1849. After setting up independently in 1852 and successfully fulfilling his first portrait commissions, he went to Rome (1857–8) to study Classical sculpture. He travelled to Italy again in 1867, this time accompanied by his pupil Adolf von Hildebrand. Zumbusch’s early works are tentative in approach. Flora (1859; ex-Städt. Gal., Hannover) reveals the pervasive influence of Ludwig von Schwanthaler and also borrows features from Bertel Thorvaldsen’s Venus (1813–16; Copenhagen, Thorvaldsens Mus.) while anticipating Zumbusch’s later, more distinctive style in its sweeping movement and energetic forms. On the other hand, his religious works from the same period such as the carved altar to SS Benno and Corbinian (1860; Munich, Frauenkirche) assimilated both Nazarene and Romantic styles. The diversity of style of the 19th century is thus mirrored in Zumbusch’s work. In the works commissioned in the 1860s and 1870s by the King of Bavaria, ...
(b Lucerne, May 3, 1827; d Lucerne, Jan 15, 1909).
Swiss painter . He trained with Jakob Schwegler (1793–1866) and Joseph Zelger (1812–85), whom he accompanied on a study visit to the Engadine. Zelger encouraged him to go to Geneva in 1848. There he was a pupil first of François Diday and then of Alexandre Calame, who influenced his early work. However, while Calame painted dramatic mountain scenes, Zünd preferred the idyllic, tranquil region of the Alpine foothills. In 1851 he moved to Munich, where he met the Swiss painter Rudolf Koller, who remained a close friend. From 1852 he often stayed in Paris. He studied paintings by 17th-century Dutch and French artists in the Louvre and became acquainted with Alexandre-Gabriel Decamps, Louis Français, Louis Cabat, Frank Buchser and Albert Anker.
In 1860 Zünd travelled to Dresden to copy Dutch landscapes in the Gemäldegalerie. In 1863 he settled in the outskirts of Lucerne and looked for subject-matter principally in the landscape around the city. However detailed his scrutiny, he never lost sight of magnitude and breadth, as in ...
(b ?1498; d Nuremberg, Feb 25, 1572).
German goldsmith, etcher and draughtsman . He was documented in Nuremberg in 1554, when he applied for citizenship, but was probably there earlier, as his main ornamental work, Novum opus craterographicum (a series of 31 etchings of vessels, attributed to him on stylistic grounds), was printed there in 1551. The ornamental details (such as castings from nature) in these prints suggest a goldsmith’s training. A smaller series of 22 etchings also contains models for brooches, daggers etc. The separate scrollwork title page bears the date 1553 and his full name.
In 1559 Zündt was recorded as an assistant of Wenzel Jamnitzer, who sent him to Prague to work on a table fountain, noting in a letter to Archduke Ferdinand of the Tyrol (1529–95) that Zündt was industrious but used foul language. Nothing is known of Zündt’s work for Ferdinand, nor of any other goldsmith’s work by him, though in ...
(b San José, Dec 27, 1912; d Aug 1998).
Mexican sculptor, printmaker, draughtsman and teacher of Costa Rican birth. He studied sculpture under his father, Manuel María Zúñiga, in San José, Costa Rica, and after his arrival in Mexico City in 1936 at the Escuela de Talla Directa under the direction of Guillermo Ruíz (1895–1964) and Oliverio Martínez. Martínez, together with the painter Manuel Rodríguez Lozano, helped motivate his monumental concept of form. Other lasting influences came from his encounter with Aztec sculpture and from the work of other sculptors, such as Auguste Rodin, Aristide Maillol and even Henry Moore, whose work, like his, was based primarily on the human body. Throughout his career Zúñiga was especially devoted to the female form, naked or clothed.
The monumental character of Zúñiga’s sculpture is evident not only in public commissioned works, such as the stone reliefs of the Allegory of the Earth and Communications (1953–4) at the Secretaría de Comunicaciones in Mexico City, but also in sculptures conceived for more private and intimate settings, for example ...
Jorge Luján-Muñoz and Liliana Herrera
(b c. 1615; d Santiago de Guatemala [now Antigua], ?Jan 14, 1687).
Guatemalan sculptor. His work as a master sculptor (Maestro) began around 1640 in Santiago de Guatemala (now Antigua). In 1654 he made the famous Baroque processional statue of Jesús Nazareno for the church of La Merced (in situ), which was finely carved and brought him renown. The tinting and painting of the figure was by Joseph de la Cerda. A statue made for the church of Candelaria, known as Jesús Nazareno de Candelaria (now in the church of the Candelaria, Guatemala City) has also been attributed to him, but on insufficient grounds. In 1660, as the leading sculptor in Guatemala, Zúñiga received important commissions that included retables for the convents of La Concepción and of S Catalina. In 1666 he was responsible for the construction of the catafalque for the funerary honours for Philip IV (d 1665). In the contract he described himself as Maestro of sculpture and architecture. In ...
Vyvyan Brunst and James Cahill
[ Chao Tso ; zi Wendu ]
(b ?Songjiang [in modern Shanghai Municipality], c. 1570; d ?Tangxi, West Lake region of Hangzhou, c. 1633).
Chinese painter and theorist . Zhao studied painting under the landscape painter and calligrapher Song Xu and became the founder of the Yunjian school, one of two groups active in the Songjian region, near Shanghai, during the early 17th century (the other, the Huating school, was led by Dong Qichang , the founder and theorist of the Orthodox school of painting). Zhao wrote a short text called Lun hua (‘Discussion of painting’), the first surviving text on landscape painting since the Xie shanshui jue (‘Secrets of describing landscape’), written by Huang Gongwang about three centuries earlier. The essay adheres to Huang’s concerns with dynamic force (shi), natural order (li) and the organization of mountain masses in long, continuous movements within the composition. Zhao Zuo’s text lacks the stern intellectual tone of Dong Qichang’s writing. It offers practical advice for the artist, such as how to sketch houses, trees and bridges in dry brushwork before developing the forms with wet ink, and includes advice on depicting figures, villages and temples, anecdotal elements not often found in Dong’s painting. Indeed, Yunjian school painting in general, and Zhao’s work in particular, is more representational, more relaxed and executed with softer brushstrokes and less dramatic tonal contrast than comparable Huating school works....
revised by Christine Ho
[Wu Tso-jen ]
(b Jiangyin County, Jiangsu Province, Nov 3, 1908; d Apr 9, 1997).
Chinese painter and arts administrator . Brought up in Suzhou, Jiangsu Province, he studied oil painting first at the Shanghai Academy of Fine Art (1927) and then under Xu Beihong at the Nanguo [Southern] Academy of Art in Shanghai and the art department of the National Central University in Nanjing, where he took French lessons with Jacques Reclus. From 1930 to 1935 he continued his studies in the academic style favored by Xu Beihong in Europe. He took the entrance exam at the Ecole Nationale Supérieure des Beaux-Arts in Paris before enrolling at the Académie Royale des Beaux-Arts in Brussels in 1930, entering the studio of Alfred Bastien (1873–1955), where he assisted his teacher with decorative mural paintings for the Belgium pavilion of the 1935 World’s Fair. During this time he practiced both easel painting and sculpture, while visiting museums in Austria, Germany, England, and Italy. Upon his return to China, he was invited to teach fourth-year oil painting and first-year drawing in the art department of the National Central University. In Nanjing he produced the stage design for ...