John H. Oakley
(b Münster, Westphalia, Aug 15, 1799; d Rome, May 26, 1884).
German sculptor. He first trained with his father as a joiner, and in 1829 he won a scholarship to Berlin. From 1830 to 1836 he studied at the Akademie der Künste, Berlin, with the sculptors Friedrich Tieck and Christian Daniel Rauch. He was deeply religious and during these years he concentrated almost exclusively on religious themes, for example a Christ on the Cross (1830), a Hovering Angel for a font (1831), a Resurrection relief (1834) and a Virgin and Child (1836). In 1838 the Prussian Minister of Culture, Bethmann Hollweg, commissioned Achtermann to make a marble crucifix for Burg Rheineck bei Niederbreisig (in situ) and this enabled Achtermann to travel to Italy, initially to Carrara for marble for his work, and subsequently to Rome, where he later settled. In Rome the main influences on his work derived from artists in the circles around Bertel Thorvaldsen and Friedrich Overbeck. Affinities with the work of the Lukasbrüder characterized his principal sculpture for Münster Cathedral: an over life-size ...
[Hans von Ulm]
(fl Ulm, 1413–61).
German painter. He belonged to an artist family of which several generations were documented in 15th-century Ulm. According to municipal tax lists, ‘Ackerlin, painter’ was a master by 1413. He received payments from the masons’ lodge of Ulm Cathedral from 1415. In 1441 the cathedral lodge in Berne paid ‘Master Hans of Ulm’ for the production and delivery of stained-glass windows: this Hans is identified with Acker (see also Gothic, §VIII, 5). The Berne Passion window (1441; Berne Cathedral, chancel), his only surviving documented work, demonstrates the capabilities of mid-15th-century German glass painting in dealing with box-shaped hall-church interiors. Its Apostle figures still belong to the tradition of the ‘Soft style’, inspired by Bohemian art, while the style of their robes is reminiscent of those in the chancel windows of Ulm Cathedral. The appearance of a landscape background reveals the influence of the glass paintings (c....
(b Berlin, Oct 5, 1887; d Bad Liebenzell, nr Stuttgart, Nov 14, 1975).
German painter. He studied under Henry Van de Velde at the School of the Fine Arts and Arts and Crafts of the Grand Duchy of Saxony (later the Bauhaus, Weimar) (1906–7), and under Franz von Stuck at the Akademie der Bildenden Künste, Munich (1909–10). He worked under Adolf Hölzel at the Staatliche Akademie der Bildenden Künste in Stuttgart from 1912, and by 1918 he had produced his first non-objective works under the influence of the latter. Although primarily an abstract painter he was briefly involved with Magic Realism in the 1920s. He devised a type of colour abstraction, which he called ‘Absolute Painting’, and in 1930 he founded a ‘Seminar for Absolute Painting’ at the Volkshochschule in Stuttgart. Works such as Painting XII (1949; Berlin, Alte N.G.) relied heavily on a body of theory derived mainly from Hölzel and the colour theories of Goethe.L. Langenfeld...
(b Stollberg, Saxony, April 20, 1764; d Finchley, London, March 30, 1834).
English publisher and patron of German birth. He trained as a carriage designer in Paris and moved to England between 1783 and 1786. He established his own business as a carriage maker, undertaking major commissions in London and Dublin. In 1804 he designed Pius VII’s carriage for the coronation of Napoleon and in 1805 the funeral carriage of Horatio, Viscount Nelson. By 1800 Ackermann had built up a unique business at 101 The Strand, London, known as ‘The Repository of Arts’. This encompassed a drawing school with 80 pupils, the sale and loan of Old Master paintings and watercolour drawings, the publication of decorative prints and illustrated books and the manufacture of watercolour paints including a number of new chemical pigments.
In the early 19th century, Ackermann was an important and regular patron of English watercolour painters, employing William Henry Pyne, Augustus Charles Pugin, Thomas Heaphy, Frederick Mackenzie (1787–1854...
(b Haarlem, fl 1620–34; d The Hague, ?1634).
Dutch engraver. He was the son of Outgert Arisz. Ackersloot (fl 1631). In 1624 he became the brother-in-law of the artist Cornelis van Kittensteyn (1600–38). After a stay in Paris in 1620, he was back in his native Haarlem by 1624. His oeuvre comprises 18 engravings, dating from 1624 to 1633. He eventually became a skilful reproductive engraver; among his best works are the portraits of Frederik Hendrik and Amalia van Solms after Adriaan van de Venne (both 1628), the Ceres Changing Stellio into a Lizard after Jan II van de Velde (i) and the book illustrations after Pieter Jansz. Saenredam’s early drawings for Samuel Ampzing’s Beschryvinge en de lof der stad Haerlem (‘Description and praise of the city of Haarlem’; Haarlem, 1628). He is last documented in The Hague in 1634.Hollstein: Dut. & Flem.; NKL; Thieme–Becker F. G. Waller: Biographisch woordenboek van Noord Nederlandsche graveurs...
(b Isleworth, Middx, 1947; d June 5, 2014).
English sculptor. A graduate of St Martin’s School of Art and a contemporary there of Richard Long and Hamish Fulton, he has often been considered in relation to British land art, but his work stands apart from that movement’s direct involvement with the landscape or with the romance of nature. It is more closely allied to the rigorous abstraction of Minimalist painters such as Alan Charlton (b 1948). Ackling’s work remained remarkably consistent from the time that he first started making art in the 1960s, particularly in its reliance on a single exacting process by which fine burn-marks are made onto small pieces of wood or cardboard by focusing the sun’s rays through a magnifying glass. This work, which is always executed outdoors, demands an intensity of concentration that borders on the ritualistic. His very early drawings included shapes reminiscent of figures or clouds, but from the early 1970s his drawings were made using only straight horizontal lines etched into the surface from left to right. Ackling always draws on found objects marked by previous use, such as cardboard from the back of a notepad or wood from a chair leg, either gathered from around the world or discovered washed ashore near his coastal home on the Norfolk coast. Since his art continued to be defined by his chosen method of mark-making, there was little overt development or stylistic evolution. Instead, it was the particular surface characteristics of chosen objects—their shape, size and surface texture—that dictated in each case the placement and banding of the scorched lines, allowing the work its own inner logic....
[Rus. Akmeizm, from Gr. akmĕ: ‘perfection’]
Russian poetic movement established in St Petersburg in 1913, which flourished until the early 1920s and was associated with the journal Apollon. The leaders and theoreticians of this movement were Nikolay Gumilyov (1886–1921) and Sergey Gorodetsky (1884–1967), and the movement’s poets included Anna Akhmatova (1888–1966) and Osip Mandel’shtam (1891–1938). In general terms Acmeism professed a conservatism and a dedication to ‘world art’ and its preservation in the turbulent period of the October Revolution of 1917, when other literary trends, such as Futurism, were denouncing the past. The primary links between this literary movement and art were forged through Gumilyov and his relationship with Natal’ya Goncharova and Mikhail Larionov. Both artists made portraits of him as well as illustrating his poems.
In the early part of his career Gumilyov wrote three pieces of art criticism for Russian journals, discussing the work of Paul Gauguin and Paul Cézanne, among others. He also wrote an article (unfinished) on African art. During visits to London and Paris, Gumilyov met Roger Fry, worked with the Russian sculptor ...
Ludovico C. Koppmann
[Konstantinovsky, Wladimir ]
(b Odessa, Russia, June 23, 1900; d Buenos Aires, July 11, 1967).
Argentine architect.. He studied architecture at the Istituto di Belle Arti in Rome, graduating in 1919. From 1922 he worked in Germany, gaining experience in building engineering and urban design, before moving to Argentina in 1928. He worked in Chile, Uruguay, Brazil, Venezuela, Guatemala and, from 1954 to 1957, in the USA, where he taught (1956) at Cornell University, Ithaca, NY. On his return to Argentina he was appointed Professor of Architectural Composition (1957–66) at the Universidad de Buenos Aires. Acosta was an early exponent of an approach to architecture through environmental design and engineering, which he promoted through his book Vivienda y clima (1937) and his ‘Helios’ buildings. These were based upon correct orientation, cross-ventilation, and the control of solar radiation by means of brises-soleil, with minimal mechanical intervention. Like the architects of the Modern Movement in Europe, he saw architecture as a social phenomenon and became dedicated to the provision of mass housing for rapidly growing urban populations. His early work included individual houses in Buenos Aires, for example the Casa Stern, Ramos Mejía (...
[It.: ‘red water’]
Modern name of an Etruscan settlement near Viterbo, Italy. It is situated on a small tufa plateau bounded on three sides by streams, one of which runs red. Excavations conducted by the Swedish Institute of Classical Studies during the 1960s and 1970s uncovered the tufa foundations of buildings that comprised various sectors of an ancient town. These provide some of the most extensive archaeological evidence relating to Etruscan domestic architecture and urban organization. The site was already inhabited in the 8th century
(b Conversano, Puglia, Jan 1458; d Conversano, Jan 9, 1529).
Italian patron. He was the son of Giulio, Duca d’Atri (d 1481), and Caterina Orsini, Contessa di Conversano (Apulia), a cousin of Queen Isabella of Castile; in 1477 he married Isabella Piccolomini of Aragon (d 1504). His extensive territories included much of the Abruzzo and Apulia, and through his second marriage to Caterina della Ratta, Contessa di Caserta, he gained lands in Campania, Lucania and Calabria. Andrea Matteo led a tumultuous political and military career, alternately supporting the Aragonese and the Angevins and losing and regaining his lands several times. From 1505, however, he settled in Naples, devoting himself increasingly to cultural activities. He was one of the most important humanist princes in southern Italy, and a member of Giovanni Pontano’s Neapolitan academy; Pontano (1422–1503) dedicated his De magnanimitate to the Duca, whom he saw as the incarnation of Renaissance man, while Paolo Giovio praised him as ‘...
[Gr.: ‘high stone’]
Ancient Greek statue with a wooden body and the head and limbs made of stone (usually marble, sometimes limestone). This technique seems to have come into use in Greece at the end of the 6th century
While the wooden bodies of ancient acroliths are not preserved, their stone extremities have occasionally survived and can be identified through specific characteristics of their technical manufacture (acrolithic heads, for example, have flat undersides, whereas heads fashioned for insertion into stone bodies were made with convex tenons). In the Hellenistic and Roman periods, the extent of stone elements can increase, so that for example the head and naked parts of the chest are made of one marble segment. The appearance of acroliths could be similar to chryselephantine (gold-ivory) statues, to which they may have offered a more cost-effective alternative, although it seems that other considerations, such as their role within the cult ritual, may have been of greater significance. Examples of surviving stone fragments from acroliths are a colossal head in the Ludovisi collection in Rome and an ...
Elaborate monument erected by Octavian (later Augustus) in 29–27
According to the historian Dio Cassius (Roman History LI.i.3), after his victory Octavian laid a foundation of square stones on the spot where he had pitched his tent, which he then adorned with the captured ships’ rams. On this foundation, according to Dio, Octavian established an open-air shrine dedicated to Apollo. Suetonius (Augustus xviii.2) and Strabo (Geography VII.vii.6) corroborate this evidence, although the trophy itself (with the ships’ rams) was, according to Suetonius, dedicated to Poseidon and Mars, presumably for their help during the battle. The hill itself was, according to Strabo, sacred to Apollo, and therefore the shrine was dedicated to him....
Hungarian artistic, literary and political group that emerged c. 1914, after the disintegration of the group Eight, the in 1912. Though not a cohesive group, the Activists were stylistically united by their reaction to the predominantly Post-Impressionist aesthetic of the Eight. Instead they turned for inspiration to Cubism, Expressionism, Futurism, Dada and Constructivism, and although some of these had previously influenced the Eight, the Activists made most consistent and profound use of these modern movements. The most notable Activists were Sándor Bortnyik, Péter Dobrović (b 1890), János Kmetty, János Máttis Teutsch, László Moholy-Nagy, Jószef Nemes Lampérth, Lajos Tihanyi and Béla Uitz, of whom only Tihanyi had previously been a member of the Eight. Many Activists were at some time members of the MA group, which revolved around the writer and artist Lajos Kassák, the main theoretical, and later artistic, driving force behind Hungarian Activism.
Both artistically and politically the Activists were more radical and international than the Eight, a reflection of both the turbulent atmosphere caused by World War I and the revolutionary fervour within Hungary itself. The Activists saw themselves as giving a voice to the working classes and, like the Eight, as agitators for a Utopian, Socialist society. Unlike the members of the Eight, however, many of the Activists were of working-class origin, and while not intellectuals themselves, they received many of their ideas from the Galilei Circle of young Hungarian intellectuals, which organized debates and lectures in Budapest. One of the earliest artistic stimuli on the Activists was the exhibition of Expressionist and Futurist art in the Nemzeti Szalon (National Salon) in Budapest at the beginning of ...
(b Contou, 1942).
Beninois installation artist. He studied law in France, and it was not until he returned to Benin in 1971 that he became an artist, by accident. Considered mad by his family, he was sent to a psychiatric hospital a few times before encountering Jean Michel Rousset, a young Frenchman who reassured him about his talent. In his compound Adaeagbo creates an ever-changing assemblage of found materials: sculptures, stones, clothing, newspapers. New materials are added, and old objects are rearranged. These creations function as historical documents of his times, as well as of particular days, as he works each day after his walks. His work has been described as reflecting and evoking the ‘madness in words’: the inability to understand words, and the conflicts that arise from this lack of understanding. It can also be seen as a comment on his own life and the suffering of a misunderstood artist. In Adaeagbo’s smaller pieces, objects are combined with a greater emphasis on symbolic intent than aesthetic concerns. He has exhibited at the Institut Claude-Nicolas Ledoux (...
French family of sculptors. Originally from Lorraine, the earliest known members of the family to be involved with the arts were Sigisbert Adam, a sculptor, and Lambert Adam, a metal-founder (both fl late 17th century). Lambert’s son (1) Jacob-Sigisbert Adam spent most of his working life in Nancy, where he undertook the early training of his sons (2) Lambert-Sigisbert Adam, (3) Nicolas-Sébastien Adam and (4) François-Gaspard-Balthazar Adam. His daughter Anne married Thomas Michel (d before 15 May 1751), a sculptor from Metz; among their children were the sculptors Sigisbert-François Michel (1727–after 1785) and Claude Michel (known as Clodion). The three Adam brothers went to Rome at the start of their careers, Lambert-Sigisbert and Nicolas-Sébastien returning to France to work on the outdoor sculpture at Versailles, among other projects, and François-Gaspard-Balthazar going on to Sanssouci, Potsdam.
(b Nancy, Oct 28, 1670; d Nancy, May 6, 1747...
Scottish family of architects and designers. (1) William Adam had four sons, three of whom, (2) John Adam, (3) Robert Adam and (4) James Adam, were also architects. On William’s death, John assumed control of his father’s practice in Scotland; he took first Robert and then James into partnership, and together they completed some of their father’s projects as well as taking on new commissions. In 1758 Robert, who was among the leading architects and designers in Europe in the second half of the 18th century, opened his own practice in London, where James joined him in partnership in 1763. William’s fourth son, also called William Adam (1738–1822), was active in the London partnership from 1763, but his concern was primarily with its business dealings.
(b Kirkcaldy, Fife, Oct 30, 1689; d Edinburgh, June 24, 1748).
Architect and landscape designer. He was the leading architect in Scotland during the second quarter of the 18th century and had an extensive practice. An important contractor for the Government, serving from ...
Colin J. Bailey and U. v. Hase-Schmundt
German family of painters. (1) Albrecht Adam had four sons who were artists: Benno Adam (1812–1892), Franz Adam (1815–1886), Eugen Adam (1817–1880), and Julius Adam (1826–1874). Albrecht’s brother Heinrich Adam (1787–1862) was also an artist. (2) Richard Benno Adam was the grandson of Benno Adam.
Colin J. Bailey
(b Nördlingen, April 16, 1786; d Munich, Aug 28, 1862).
He trained under Christoph Zwinger (1744–1813) in Nuremberg, and in 1807 he moved to Munich to continue his studies. From 1809 he worked in Milan, following his appointment as court painter to Eugène de Beauharnais, viceroy of Italy, whom he accompanied to Russia in 1812. After returning to Munich in 1815, he executed a series of 83 small battle-pieces in oil on paper, based on sketches made in 1812. His Russian exploits also provided the material for a set of 100 lithographs entitled ...