English family of glassware enamellers. In 1760 William Beilby (1705–65), a goldsmith, moved his family from Durham to Newcastle upon Tyne, where his son Ralph Beilby (1743–1817) worked as a heraldic engraver. In 1755 William Beilby jr (1740–1819) was apprenticed to the Birmingham enameller John Haseldine. He was then employed with his sister Mary Beilby (1749–97) at the Dagnia-Williams glasshouse in Newcastle upon Tyne, where they decorated drinking glasses called ‘light balusters’ or ‘Newcastle’ glasses and decanters. Their early work is thought to have been influenced by the heraldic work of their brother Ralph: the decoration includes the royal coat of arms of George III and the Prince of Wales’s feathers, painted in full heraldic colours on enamel-twist goblets. Their work then became more Rococo in style, displaying rustic scenes, such architectural fantasies as classical buildings and ruins, baskets of fruit, floral subjects, fruiting vines, exotic birds, gardens and landscapes, using only white enamelling. Designs often incorporated standard vine scroll and hop-and-barley motifs. They used white, monochrome or a combination of enamel colours, and some glasses have gilded rims. Their glasses are often signed with only the surname. Before ...
(b Chicago, IL, Dec 6, 1939).
American painter and sculptor. Bell Los Angeles from 1957 to 1959. After experimenting with geometrically shaped paintings, he turned to constructed paintings made of mirrored and transparent glass and canvas, for example Untitled (Magic Boxes) (canvas, acrylic, glass, 1964; Los Angeles, CA, Co. Mus. A.). The optical ambiguities created by the reflections of the viewer’s image and the ambient space became the hallmark of Bell’s work. Dissatisfied with the limitations of two-dimensional art, he began making faceted boxes of mirrored and transparent glass, the reflecting and refracting surfaces of which greatly extended the optical complexities and ambiguities of his earlier glass and canvas paintings. By late 1964 he had abandoned faceted, mirrored boxes in favour of pure glass cubes, whose sides he coated with various metals to create fields of elusive, evanescent colour, for example Untitled (1965; artist’s col., see 1982 exh. cat., p. 25). The environmental space seen through and reflected by the glass optically merged with the cube and became an intrinsic part of it....
(b Rosario, May 14, 1905; d Buenos Aires, Oct 13, 1981).
Argentine painter, sculptor and printmaker. He trained at the stained-glass window workshop of Buxadera & Compañía, Rosario, province of Santa Fé, and with Eugenio Fornels and Enrique Munné. He held his first exhibition in 1920. At the age of 20 he won a scholarship for study in Europe awarded by the Jockey Club of Rosario, which enabled him to study in Paris under André Lhote and with Othon Friesz at the Académie de la Grande Chaumière. After showing his European works in Buenos Aires in 1927 he obtained another scholarship, this time from the government of the province of Santa Fé, as a result of which he established contact with the Surrealists in 1928; in particular he befriended Louis Aragon and the French philosopher Henri Lefebvre.
Berni returned to Argentina in 1930. In 1933 he established an artistic–literary group, Nuevo Realismo, and began to depict Argentina’s social reality. From the 1960s, through two characters he created (Juanito Laguna and Ramona Montiel) he began to create works from pieces of metal and wood, buttons, burlap, wires and other debris gathered by him in the shantytowns surrounding Buenos Aires. Combining in these works commonplace materials and a brutal realism (e.g. ...
(b Milan, Dec 11, 1825; d Milan, Nov 24, 1898).
Italian painter, decorative artist and museum director. After studying under Luigi Sabatelli, Giuseppe Bisi (1787–1869) and Francesco Hayez at the Accademia di Belle Arti di Brera, Milan, Bertini worked in his father’s firm, which manufactured stained-glass windows. He then won a prize for a work of art connected with industry in the Accademia competition of 1844, for which he had submitted a Rest on the Flight into Egypt, painted on glass. The following year his Dante and Brother Ilario (Milan, Brera) took first prize and in 1846 the large-scale Tasso Dying in the Monastery of S Onofrio (ex-priv. col., Milan) was acclaimed. In the same year Bertini began his work as a fresco painter by decorating a room in the Palazzo Busca in Milan, where he depicted Dante and other famous Italians. After inspiring visits to Rome and Venice (1847 and 1848), where the work of Giambattista Tiepolo impressed him enormously, Bertini returned to Milan and devoted himself to great historical subjects. He was especially drawn to Lombard themes, but the painting that made his name was ...
Jean van Cleven
(b Courtrai [Flem. Kortrijk], April 25, 1821; d Marke, June 18, 1894).
Belgian architect, designer, mural and glass painter. Born into a prominent family, he was originally destined for a career in politics or administration but became known, in the words of W(illiam) H(enry) J(ames) Weale, as the ‘ Pugin of Belgium’ (Building News, xxxvi, 1879, p. 350). From 1837 to 1842 he read law at Leuven University and followed a basic training as an artist at the Academie voor Schone Kunsten in Courtrai and as a pupil of L. Verhaegen and Jules Victor Génisson (1805–60). Under the guidance of Paulus Lauters he became a skilful draughtsman of landscapes; he also took lessons with the sculptor C. H. Geerts (1807–55), who was an important pioneer of the Gothic Revival style. Through personal contacts with Charles Forbes René, Comte de Montalembert, and A. W. N. Pugin (see Pugin family, §2) and through his tours of England in ...
English glasscutter. He sold cut glass and mirrors from his London shop from c. 1740. In about 1756 he became the first Englishman to use a water-powered cutting wheel, using the Ravensbourne river at Lewisham to drive iron lapidary and glass-cutting wheels.A. Werner: ‘Thomas Betts: An 18th Century Glasscutter’, ...
(b Harrachsdorf, April 1, 1800; d Eger, Sept 29, 1857).
Bohemian glass-engraver. He was the son of a carpenter and patternmaker at the Harrachsdorf glassworks and received his training as a glass-engraver at the Nový Svět glassworks on the estate of the counts of Harrach, which was then one of the largest in Bohemia. His teacher was Franz Pohl (1764–1834), the glass-engraver and stone-carver, and Biemann’s skill was such that he was nominated First Glass-engraver. Despite his success, in 1825 he went to Prague where he studied painting and anatomy at the academy from 1826. From 1827 he earned his living as an independent stone-carver both in Prague and in the popular spa town of Franzenzbad (now Františkovy Lázně) in western Bohemia in the summer months, where he soon took up permanent residence. At first he primarily depicted landscapes, hunting scenes and mythological and religious scenes on glasses and cups for affluent guests. He also worked for the wholesale glass dealers Muttoni and Steigerwald. In ...
Paul Huys Janssen
(b Utrecht,?1597–8; d Utrecht, bur Nov 12, 1671).
Dutch painter. He was the son of the Utrecht glass painter Herman Beerntsz. van Bijlert (c. 1566–before 1615). Jan must have trained first with his father but was later apprenticed to the painter Abraham Bloemaert. After his initial training, he visited France and travelled to Italy, as did other artists from Utrecht. Jan stayed mainly in Rome, where he became a member of the Schildersbent; he returned to Utrecht in 1624. In Rome he and the other Utrecht artists had come under the influence of the work of Caravaggio; after their return home, this group of painters, who became known as the Utrecht Caravaggisti, adapted the style of Caravaggio to their own local idiom. The Caravaggesque style, evident in van Bijlert’s early paintings, such as St Sebastian Tended by Irene (1624; Rohrau, Schloss) and The Matchmaker (1626; Brunswick, Herzog Anton Ulrich-Mus.), is characterized by the use of strong chiaroscuro, the cutting off of the picture plane so that the image is seen close-up and by an attempt to achieve a realistic rather than idealized representation. Van Bijlert continued to paint in this style throughout the 1620s, a particularly productive period....
(b 1801; d 1882).
French glassmaker. He was a director of the glassworks of Choisy-le-Roi from 1823 to 1848, when he went into political exile in England, where he joined Robert Lucas Chance’s glassworks in Smethwick (near Birmingham). In Choisy-le-Roi he initiated the production of opaline (1827) and of filigree glass in the Venetian style (...
(bapt Bromsgrove, Worcester, Jan 25, 1828; d St Martin’s, Worcester, Dec 12, 1870).
English porcelain painter and designer, was born near Kidderminster, Worcestershire, the son of a maker of spade handles. He was trained from 1846 as a glass painter at Richardson’s glassworks at Wordsley near Stourbridge. In 1853 he moved to Worcester to work as a painter for the Worcester Porcelain Factory, where he developed ‘Worcester enamel’, a tinted white enamel on a dark ground (often blue); the resemblance to 16th-century Limoges enamels led to his work being sold as ‘Limoges ware’....
(b Pisa, Dec 9, 1829; d Turin, ?after 1907).
Italian restorer. He was a painter of stained-glass windows, completing those in Perugia Cathedral by 1868. Later he worked exclusively as a restorer, particularly of wall paintings. He achieved fame through his work, in 1856, on Benozzo Gozzoli’s Rape of Diana in the Camposanto, Pisa, in which his aim was solely that of conservation. To this end he removed unsafe sections and simply replaced them securely on the wall, leaving repainted areas intentionally visible, in a conscious renunciation of the ‘artistic’ approach to restoration work. A trusted collaborator of Giovanni Battista Cavalcaselle, he worked on the frescoes in both the Upper Church of S Francesco, Assisi (1873), and also the Lower, particularly those by Ambrogio Lorenzetti (1874). He began restoration work in the Arena Chapel at Padua (1868–71) but was removed on the grounds of technical incompetence and replaced by Antonio Bertolli, who practised the same methods but was deemed to be more reliable. In ...
Catherine M. Grant
(b Carshalton, Surrey, Mar 6, 1938; d London, July 1, 1966).
English painter and collagist. She studied stained glass at Wimbledon School of Art (1954–8), and at the Royal College of Art, London (1959–61). At the Royal College she continued to work with stained glass whilst privately making Surrealist-influenced collages and abstract paintings. Painting became the focus of her practice after finishing college, and in 1961 she exhibited alongside artists such as Peter Blake and two other painters in one of the first exhibitions of British Pop Art (London, AIA Gal.). Boty became a well-known personality in London during the 1960s, attracting attention for her striking looks and minor roles in television drama as well as through her reputation as a painter. In 1962 she and her eclectic collages were featured in Ken Russell’s BBC television film documenting British Pop, Pop Goes the Easel. By 1963 she had evolved a Pop vocabulary in her paintings using images of celebrities such as Elvis Presley and Marilyn Monroe with a celebratory and humorous approach to female sexuality. In ...
(b Eisenach, 1882; d Mexico City, 1954).
German photographer, active in Mexico. As a young man he travelled through Africa, taking photographs; an archive of some of these glass plates survives. He reached Mexico by way of Panama, Costa Rica, El Salvador and Guatemala, and took his first Mexican photographs in the Yucatán peninsula. He then opened a studio in Mexico City and, together with Augustín Victor Casasola, became one of the most important photographers of the Revolution (1910–17). What he loved most, however, was the beauty of the Mexican landscape. His book Malerisches Mexico was published by Ernst Wachsmuth in Germany in 1923, the same year in which he collaborated with Manuel Alvarez Bravo, later to become Mexico’s leading photographer. Brehme’s photography was not merely reportage. He sought to capture the spirit of the country rather than isolated events as, for example, in his photograph of Pancho Villa’s horsemen, each in direct eye-contact with the photographer. In this he was inspired by José Guadalupe Posada, who was one of the first artists to capture the Mexican temperament in his woodcuts. Occasionally, indeed, Posada worked from photographs by Brehme and by Casasola. More than most foreigners, Brehme was able to feel real empathy with Mexico, and he became an impressive interpreter not only of its customs and traditions, but also of its historical monuments and festivals....
Claudine Stensgaard Nielsen
(b Brændekilde, Fyn, April 7, 1857; d Jyllinge, March 30, 1942).
Danish painter, glass designer and ceramicist. He trained as a stonemason and then studied sculpture in Copenhagen at the Kongelige Danske Kunstakademi (1877–81), where he decided to become a painter. In 1884 he changed his name from Andersen to Brendekilde after his place of birth, as he was constantly being confused with his friend Laurits Andersen Ring, who moreover also took the name of his birthplace. In the 1880s Brendekilde and Ring painted together on Fyn and influenced each other’s work. Brendekilde’s art had its origin in the lives of people of humble means and in the country environment of previous centuries. He painted landscapes and genre pictures. He himself was the son of a woodman, and his paintings often contain social comment, as in Worn Out (1889; Odense, Fyn. Kstmus.), which shows the influence of both Jean-François Millet and Jules Bastien-Lepage. Brendekilde was a sensitive colourist, influenced by Impressionism, for example in ...
French glass-maker. In the 1850s Brocard began to study the Islamic tradition of glass-making and to experiment with Islamic decorative techniques, such as staining and enamelling. He made reproduction 14th- and 15th-century Syrian glass which he first exhibited at the 1867 Exposition Universelle. Brocard could not read Arabic, but nonetheless used Arabic calligraphy to decorate his glassware; he sold to Europeans to whom the numerous errors in the Arabic were not apparent. Some of his best-known designs were based on mosque lamps in the Musée de Cluny, Paris....
(b Durham, England, Nov 11, 1831; d New York, Feb 8, 1913).
American painter. A popular painter of rural and urban genre scenes, he spent his youth in England, where he served an apprenticeship as a glasscutter. By 1853 he was employed in Brooklyn, NY. After serious study he became, in 1860, a fully fledged member of the New York artistic community, with a studio in the Tenth Street Studio Building and participating regularly in National Academy of Design exhibitions.
Brown’s first genre scenes focused on rural children out of doors. Often sentimental, these exhibited a clarity of light and drawing attributable to his early interest in the Pre-Raphaelite painters. The Music Lesson (1870; New York, Met.), a courtship scene set in a Victorian parlour, reveals his debt to English painting. In 1879 Brown painted the Longshoreman’s Noon (Washington, DC, Corcoran Gal. A.), an affectionate but sober rendering of the variety of ages and physical types in the urban working class. About ...
(b Birmingham, Aug 28, 1833; d London, June 17, 1898).
English painter and decorative artist. He was the leading figure in the second phase of the Pre-Raphaelite movement. His paintings of subjects from medieval legend and Classical mythology and his designs for stained glass, tapestry and many other media played an important part in the Aesthetic Movement and the history of international Symbolism.
He was the only surviving child of Edward Richard Jones, who ran a small carving and gilding business in the centre of Birmingham, and Elizabeth Coley, the daughter of a prosperous jeweller. Christened Edward Coley Burne Jones, he was called simply Edward Jones until c. 1860 when he adopted the surname Burne-Jones. From an early age he drew prolifically but with little guidance and no intention of becoming an artist. In 1844 he entered the local grammar school, King Edward’s, destined for a career in engineering. It was probably in this connection that in 1848 he attended evening classes at the Birmingham School of Design. By the time he left school in ...
Timothy O. Benson
(b Krefeld, Nov 3, 1889; d Amsterdam, May 9, 1957).
German painter, printmaker and stained-glass artist. He attended the Fachschule für Textilindustrie and the Kunstgewerbeschule in Krefeld (1905–9), where his teacher Johan Thorn Prikker showed him the power of line and colour and introduced him to the work of Vincent van Gogh and Paul Cézanne. In 1911 he was invited by Franz Marc and Vasily Kandinsky to Sindelsdorf in Upper Bavaria. They knew of his work through August Macke whose cousin, Helmut, shared a studio with Campendonk. While Campendonk’s harmonious and often transparent application of luxurious Fauvist colours reflects the influence of Robert and Sonia Delaunay and of Macke, Marc’s geometric compositional approach is clearly visible in the experimental style of such paintings as Leaping Horse (1911; Saarbrücken, Saarland Mus.), shown in the first exhibition of Der Blaue Reiter in 1911–12 in Munich and illustrated in the almanac Der Blaue Reiter. Unlike Marc, however, he included figures in his mystical portrayals of animals in nature. This subject-matter was also explored in his first tentative graphic works, published in ...