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Article

Laura Suffield

(b Montevideo, Uruguay, Feb 11, 1872; d Ditchling, Sussex, Nov 26, 1944).

British calligrapher, typographer and teacher. He went to Great Britain to study medicine at Edinburgh. Poor health forced him to abandon medicine, but he took up the study of calligraphy, influenced by his investigations of letter shapes in manuscripts in the British Museum, London. From 1899 until 1912 he taught writing and lettering at the London County Council School of Arts and Crafts; from 1901 he also taught at the Royal College of Art. From 1910 to 1930 he designed type for the Cranach Press of Graf Harry Kessler (1868–1937) in Weimar and from 1916 to 1929 worked on an alphabet of block letters, based on the proportions of Roman capitals, for London Transport designs and posters. Johnston was a leading member of the artistic community known from 1920 as the Guild of St Joseph and St Dominic, was President of the Arts and Crafts Society (1933–6...

Article

Mari Carmen Ramírez

(b Santurce, Puerto Rico, 1939).

Puerto Rican printmaker, painter, draftsman, illustrator, and performance artist. He studied in Spain in 1961–1962 under Julio Martín Caro and with Lorenzo Homar at the graphic arts workshop of the Instituto de Cultura Puertorriqueña (1962–1965). He inherited a social and political commitment from Puerto Rican artists working in the 1950s, but introduced wit and irony to his satirical treatment of political themes in prints, posters, and illustrations. From the late 1960s, for instance, he produced portfolios of woodcuts in which he combined texts and images as a way of commenting on social and political events.

Martorell founded the Taller Alacrán in 1968 with the aim of mass-producing art at affordable prices. In the 1970s he began to experiment with innovative printmaking techniques, for example in a series of cut-out works influenced by Pop art, in which he played on stereotypes of authoritarianism in Latin America. In subsequent prints he explored the painterly qualities of woodcuts on a monumental scale. From the late 1970s, however, he was increasingly concerned with innovative live performances that combined printmaking and painting with the movement of actors. From ...

Article

Leonor Morales

revised by Deborah Caplow

(b Guadalajara, Feb 19, 1887; d Mexico City, Oct 13, 1968).

Mexican mural and easel painter, printmaker, illustrator, and stage designer. In 1903 he began studying painting in Guadalajara under Félix Bernardelli, an Italian who had established a school of painting and music there. He produced his first illustrations for Revista moderna, a magazine that promoted the Latin American modernist movement and to which his cousin, the poet Amado Nervo, also contributed poetry. In 1905 he enrolled at the Escuela Nacional de Arte in Mexico City; his teachers included Antonio Fabrés, Julio Ruelas, Leandro Izaguirre (1867–1941), and Germán Gedovius. Some of his fellow students were Diego Rivera, Francisco de la Torre, Saturnino Herrán, Angel Zárraga, and Jorge Enciso. In 1905 Montenegro won a grant to travel to Europe, first studying at the Academia de San Fernando in Madrid. In 1907 Montenegro moved to Paris, where he continued his studies and immersed himself in the world of contemporary art, meeting Cocteau, Picasso, Braque, and Gris, among others....

Article

Alexandra Kennedy

(b Caranqui-Imbabura, Oct 25, 1845; d Ibarra, March 15, 1920).

Ecuadorean painter. He was self-taught as an artist. Between 1870 and 1874 he was appointed as the sole illustrator to a team of German scientists, including the naturalist Wilhelm Reiss and the geologist Alfons Stübel, who undertook volcanic surveys in Ecuador. Stübel trained him to make scientific oil paintings of landscapes in situ, emphasizing the details of flora and the exact location of mountains and rivers. A few of the 66 works executed during these years are in the Städtische Reiss-Museum, Mannheim. This scientific vision of the Andean landscape, combined with the freedom of the contemporary Romanticism, created a personal style that changed little and made him one of the most important 19th-century landscape painters in Latin America. His scientific paintings served as models for such later works as the Eastern Mountain Range from Tiopullo (1874; Quito, Banco Cent. del Ecuador) and the Deer Hunt (1918; Guayaquil, Mus. Antropol. & Mus. A. Banco Cent. del Ecuador). Troya executed portraits of notable Ecuadorean society figures, including the politician and historian ...