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(b Edinburgh, 1782; d Edinburgh, Feb 23, 1850).

Scottish painter. He served an apprenticeship as a coach painter before studying under John Graham (1754–1817) at the Trustees’ Academy, Edinburgh. Graham inspired in his pupils the urge to travel and to gain a broad knowledge of the world, an approach that strongly influenced Allan’s early career. Allan formed a lasting friendship with his fellow student David Wilkie and followed him to London, where he continued his studies, possibly at the Royal Academy Schools although there is no documentation to support this. In 1805 he exhibited Gypsy Boy and Ass (untraced) at the Royal Academy and that year left England for St Petersburg, carrying letters of introduction from a Scottish patron to the court of Tsar Alexander I (reg 1801–25). He was well regarded there and learnt Russian, spending many years touring the hinterland, Tartary, Circassia and Turkey. He made extensive studies of these areas, recording the appearance, habits and character of villagers, townspeople and princes (e.g. ...

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Chr. Will

[Augustus]

(b Amsterdam, April 19, 1838; d Amsterdam, Jan 10, 1927).

Dutch painter and lithographer. He attended evening classes in drawing at the Felix Meritis School in Amsterdam and on 27 May 1854 sat the entrance exam at the city’s Koninklijke Academie. Lodewijk Royer, the director, gave him lessons in figure drawing and taught him about Greek art. As a student at the Academie he won several prizes. In 1855 he took up lithography under the influence of the French lithographer Adolphe Mouilleron (1820–81), whom he had seen at work in Amsterdam in 1854. He wanted to become a professional lithographer, and from 1858 to 1859 he was in Paris in order to learn the art at the Ecole des Beaux-Arts under Mouilleron’s direction. He made copies after paintings in the Louvre and the Musée du Luxembourg and visited Barbizon. In Paris he met Fantin-Latour and Courbet, but his special admiration was reserved for Ingres, Delacroix and Decamps. In the 1850s and 1860s Allebé frequently sought inspiration in the countryside, staying at ...

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Christopher Newall

(b Burton on Trent, Staffs, Sept 26, 1848; d Haslemere, Surrey, Sept 28, 1926).

English illustrator and painter. The daughter of a physician, she was brought up in Altrincham, Ches, and, after her father’s death in 1862, in Birmingham. She studied at the Birmingham School of Design and, from 1867, at the Royal Academy Schools, London. From 1869 she provided illustrations for Joseph Swain and subsequently for the Graphic and Cornhill magazines. She exhibited watercolours at the Dudley Gallery. In 1874 she married the Irish poet William Allingham, and her consequent financial independence allowed her to abandon black-and-white illustration. Her new circle of friends included Tennyson, Ruskin and Thomas Carlyle, whose portrait she drew (version of 1879; Edinburgh, N.P.G.). In 1875 she was elected an associate of the Old Water-Colour Society (she became a full member in 1890 after the prohibition on lady members was withdrawn); she was a regular exhibitor there.

After 1881, when the family moved to Witley, Surrey, Allingham developed a characteristic style and subject-matter in her watercolours: views of the vernacular architecture of southern England, garden scenes (such as ...

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Gordon Campbell

(b 1773; d 1855).

American cabinetmaker, active in New York throughout the first half of the 19th century; the principal competitor of his neighbour Duncan Phyfe. Allison’s furniture is characterized by the use of high-quality mahogany and a principled austerity in the use of decoration. His early work is in the Hepplewhite style, and his later work is modelled on Sheraton....

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David Steinberg

(b Waccamaw, SC, Nov 5, 1779; d Cambridgeport, MA, July 9, 1843).

American painter. The son of a prominent South Carolina plantation owner of English descent, he began to draw around the age of six, and he moved to his uncle’s home in Newport, RI, at the age of eight. While there he came into contact with the portrait painter Samuel King, but it was the exhibited portraits of Robert Edge Pine that offered him inspiring models of glazing and colouring. Dubbed ‘the Count’ by his Harvard College classmates for his way with fashion, Allston explored alternatives to the portrait tradition with landscapes, as well as with depictions of irrational figures, for example Man in Chains (1800; Andover, MA, Phillips Acad., Addison Gal.). After graduating in 1800, he sold his patrimony to fund study abroad.

In 1801 Allston went with Edward Greene Malbone to London, where he frequented the circle of Benjamin West and studied drawing at the Royal Academy. In late ...

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Gordon Campbell

(b 1756; d 1833).

American chair-maker, active in Philadelphia, specializing in Windsor chairs, which were painted or gilded. His relatives (possibly sons) John and Peter Allwine were apprenticed to him. The first family workshop opened on South Front Street in 1791, and the last, on Sassafras Street (now Race Street), closed in 1809, when Lawrence and John migrated to Zanesville, in Muskingum County, OH, they continued to make chairs, and also ran a tavern. Lawrence Allwine is the eponym of the varnish known as ‘Allwine Gloss’....

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Alison Inglis

(b Dronrijp, Friesland, Jan 8, 1836; d Wiesbaden, June 28, 1912).

Painter and designer of Dutch birth. The son of a notary, Alma-Tadema demonstrated an early artistic ability. In 1852 he entered the Antwerp Academy, where he studied under Gustaf, Baron Wappers, and Nicaise de Keyser. An important influence at this time was Louis De Taye, Professor of Archaeology at the academy and a practising artist. Alma-Tadema lived and worked with De Taye from 1857 to 1859 and was encouraged by him to depict subjects from the early history of France and Belgium. This taste for historical themes increased when Alma-Tadema entered Baron Henri Leys’s studio in 1859 and began assisting him with his monumental frescoes for the Antwerp Town Hall. While in Leys’s studio, Alma-Tadema produced several major paintings, for example the Education of the Children of Clovis (1861; ex-Sir John Pender priv. col., see Zimmern, p. 3) and ...

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Roberto Pontual

revised by Gillian Sneed

(b Itu, 1850; d Piracicaba, 1899).

Brazilian painter. With the financial help of family and friends, as a young man Almeida Júnior moved to Rio de Janeiro to study art in 1869. He attended the Academia Imperial das Belas Artes in Rio de Janeiro, where he studied drawing under Jules Le Chevrel (c. 1810–1872) and painting with Victor Meirelles de Lima. Deeply attached to the interior of the state of São Paulo, where he was born, Almeida Júnior returned there as soon as he had completed his studies in 1874. In 1875 he opened a studio in his hometown of Itu, where he taught drawing and painted portraits. In a trip to the countryside of São Paulo in 1876, the Emperor Peter II (r. 1831–1889) came across Almeida Júnior’s work. Impressed, he offered to pay for him to study in Europe. Under the patronage of the Emperor, Almeida Júnior travelled to Europe in 1876...

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Roberto Pontual

(b Cerro, 1858; d Paris, 1935).

Brazilian painter and caricaturist. Brought as a child from the interior of the state of Minas Gerais to Rio de Janeiro, he graduated in 1877 from the Academia Imperial das Belas Artes. By then he had already published his first caricatures in the Rio press, and he continued to be a frequent contributor to such humorous periodicals as O Binóculo, O Rataplan (which he founded in 1886), O Mercúrio, A Bruxa, O Malho, Fon-Fon! and Don Quixote. He first went to Europe in 1888, where he finished his studies with Jules Lefebvre in Paris and travelled to Italy. On his return to Brazil at the beginning of the 1890s, he taught drawing at the Escola Nacional de Belas Artes in Rio de Janeiro, but he spent most of the latter part of his life in Paris. There, despite the underlying academicism from which his work was never entirely free and unlike the majority of Brazilian artists of the time, he showed genuine interest in the avant-garde developments of modernist art....

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Denis A. Lambin

(b Grenoble, Oct 26, 1817; d Paris, Dec 6, 1891).

French landscape architect and civil engineer. A graduate of the Ecole Polytechnique (1835) and Ecole Nationale des Ponts et Chaussées (1838), Paris, he was sent to Bordeaux to reorganize the harbour’s access and the forest of the Landes. In 1851 Georges Eugène Haussmann, the newly appointed Préfet de la Gironde, asked Alphand to prepare the festivities in honour of the official visit of the French President, Prince Louis Napoleon. After the Prince became emperor, as Napoleon III, in 1852, he ordered Haussmann to transform Paris into a modern metropolis. In 1854 Haussmann summoned Alphand to redesign the Bois de Boulogne. Alphand arrived from Bordeaux with the horticulturist and landscape architect Jean-Pierre Barillet-Deschamps (1824–75), and together they carried out a vast number of projects, cutting straight avenues through historic, often picturesque, districts. Alphand also designed airy public gardens and parks, in accord with Haussmann’s overall scheme. He laid out the Bois de Vincennes (...

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Sepp Kern

(von)

(b Vienna, Aug 28, 1812; d Vienna, March 12, 1905).

Austrian painter, draughtsman and printmaker. He was perhaps the most productive and accomplished watercolour painter in German-speaking Europe in the 19th century. On his frequent travels he produced local views, landscapes and interiors, often commissioned by aristocratic patrons. He studied with his father, Jakob Alt (1789–1872), a landscape and watercolour painter and one of the first to use the new technique of lithography. From the age of six Rudolf accompanied him on study trips, and, together with Alt’s other children, he coloured his father’s drawings. During his student days at the Akademie der Bildenden Künste in Vienna (1825–32), Rudolf joined his father on further journeys and collaborated in his studio. In 1832 he won a prize, which simultaneously freed him from military service and marked the beginning of his independent artistic activity. In the same year he produced his first oil painting, after his own watercolour, of the ...

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Nigel Glendinning

[Osorio Moscoso y Guzmán; Astorga, Marqueses de]

Spanish family of patrons. The 10th Conde de Altamira, Joaquín Ventura Osorio de Moscoso y Guzmán (bapt Madrid, 4 Feb 1724; d Madrid, 28 Aug 1783), inherited the title of Marqués de Astorga from his mother, and on his father’s side his ancestors were the Conde-Duque de Olivares and the Marqués de Leganés, both notable collectors. The 10th Conde served as Councillor of the Real Academia de Bellas Artes de S Fernando in Madrid and was an honorary academician of the Academia de S Carlos in Valencia. His wealth was fabled, and he commissioned Ventura Rodríguez to design an opulent new palace (1772) in the Calle de S Bernardo, Madrid. It was feared that the building might outshine the Palacio Real, and the single surviving façade gives some measure of its earlier glory. The same architect also designed special decorations for the palace of the Conde in ...

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Alkis Charalampidis

(b Florence, 1852; d Spetses, 1878).

Greek painter. In early life he studied in Athens under Nikiforos Lytras and subsequently in Copenhagen (1873–6) with Carl Frederik Soerensen. He travelled in Scandinavia and spent the last two years of his life on the Greek island of Spetses, where he died of consumption. He produced marine scenes almost exclusively, mostly small-scale, which show the influence of 17th-century Dutch seascapes and French plein-air painting. Nevertheless he developed a style of his own, frequently discarding academicism in favour of Impressionism, and created atmosphere by the predominant use of blues, greens, yellows and greys. Most of his works are in Athens (e.g. Sailing Ship at Spetses, 1877; Athens, N.G.).

S. Lydakes: E historia tes neoellenikes zographikes [History of modern Greek painting] (Athens, 1976), p. 335–7, iii of Oi ellenes zographoi [The Greek painters], ed. S. Lydakes and A. Karakatsane (Athens, 1974–6) C. Christou: Greek Painting, 1832–1922 (Athens, 1981), pp. 37–8...

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Hans-Peter Wittwer

(b Basle, April 11, 1878; d Zurich, April 27, 1947).

Swiss painter. He studied in Basle, in Munich under Heinrich Knirr, and in Rome. He worked from 1913 to 1939 as a teacher of composition at the Staatliche Akademie der Bildenden Künste, Stuttgart, gaining international recognition as one of the few Swiss Expressionists. In his panel paintings and murals, he tried to achieve a synthesis of Expressionism, Symbolism and Classicism, using startling contrasts of light and dark tones. He also produced mosaics and stained-glass windows. His brother ...

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Remus Niculescu

(b Zagora, Greece, c. 1772; d Iaşi, 1815).

Romanian painter. He studied from 1789 at the Akademie der Bildenden Künste in Vienna under Heinrich Füger, Johann Baptist Lampi (i) and Hubert Maurer (1738–1818). The classicism of his academic studies was tempered by the influence of the complex Viennese pictorial culture. His first known achievement in the field of religious painting was the iconostasis (1802) of the Banu Church in Iaşi, commissioned by Metropolitan Iacov Stamati (1748–1803), a prelate with illuminist cultural views. He also painted the iconostasis (1805) of the episcopal church in Roman and that of St Spiridon Church (1813) in Iaşi, where his talent reached full maturity. Altini sometimes individualized the faces of the sacred personages, especially the prophets, to whom he gave portrait features, while in his compositions he utilized Western engravings. The figures in some of his royal icons are sensitively represented against a landscape background. Through his pupils and imitators Altini propagated classicism in religious painting in Moldavia. Long after his death church painters were obliged by their contracts to reproduce his icons. His portrait painting is less well known, but it included portraits of ...

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Lillian B. Miller

(b New York, July 12, 1840; d New York, Oct 7, 1913).

American merchant and collector. He was the son of Bavarian Jewish immigrants who ran a small dry goods business in New York before the Civil War. About 1863 he entered into a business partnership with his brother; after Morris Altman’s death in 1876, Benjamin re-established the business and quickly developed it into a highly profitable enterprise. Altman’s aesthetic interests extended from European and Oriental decorative arts to Old Master paintings. A self-educated connoisseur, Altman depended a great deal on the advice of dealers such as Duveen, Agnew, Gimpel and Wildenstein, but also developed a fine discrimination as a result of a few short trips to Europe and the accumulation of a valuable art library. As he became more deeply involved in art, he began to devote his entire time to its study. Although never a recluse, he did not participate actively in New York society, never married and insisted on privacy....

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Brent Elliott

English house and garden in Staffordshire. The garden was first laid out between 1814 and 1827 by the owner, Charles Talbot, 15th Earl of Shrewsbury, with assistance from the landscape gardener John Buonarotti Papworth and the architect Robert Abraham (1774–1850); it was further improved by John Talbot, 16th Earl of Shrewsbury (see Talbot family §(3)). The major landscape feature at Alton Towers is the valley in the grounds, which Shrewsbury, Papworth and Abraham filled with an astonishing ‘labyrinth of terraces, curious architectural walls, trellis-work arbours, vases, statues, stairs, pavements … ornamental buildings, bridges, porticoes, temples, pagodas, gates, iron railings, parterres, jets, ponds, streams, seats, fountains, caves, flower baskets, waterfalls, rocks, cottages … rock-work, shell-work, root-work, moss houses, old trunks of trees [and] entire dead trees’ (Gdnrs Magazine, vii, 1831); in addition a fashionable Swiss-style cottage was built. Some of these works, in particular Abraham’s three-storey, cast-iron Pagoda Fountain, survive intact. In ...