Australian group of artists formed in Melbourne in February 1959 and active until January 1960. The founder-members were the art historian Bernard Smith (b 1916), who was elected chairman, and the painters Charles Blackman, Arthur Boyd, David Boyd (b 1924), John Brack, John Perceval and Clifton Pugh. They were joined subsequently by the Sydney-based painter Bob Dickerson (b 1924). Smith chose the name of the group and compiled the Antipodean Manifesto, the appearance of which coincided with the inaugural exhibition, The Antipodeans, held in the Victorian Artists’ Society rooms in Melbourne in August 1959. The group’s main concern was to promote figurative painting at a time when non-figurative painting and sculpture were becoming established as the predominant trend in Australia, as in the USA and Europe. To gain a more prestigious venue to show their work, the group asked Smith to enlist the support of Kenneth Clark, who responded by suggesting the Whitechapel Gallery in London. The Gallery’s director, ...
(b Santiago, 1918; d Jun 1993).
Chilean painter and printmaker. After studying architecture at the Universidad Católica de Chile in Santiago he won a scholarship that enabled him to continue his studies at Columbia University, New York, from 1943 to 1945. Having painted sensitive watercolors from nature while living in Chile, his journey to New York had a disquieting effect on him: he translated his experience of the concrete city, with its massive buildings dwarfing the anonymous inhabitants wandering the streets, into nearly abstract geometric compositions. He remained in New York to work with Stanley William Hayter from 1948 to 1950 and later traveled to Spain.
On his return to Chile in 1953 Antúnez founded Taller 99, a workshop modeled on Hayter’s Atelier 17, which had far-reaching effects on the development of printmaking in Chile. His renewed contact in Chile with the natural landscape and its fields, beaches, and mountains allowed him to return to intimate, sensitively colored scenes, as in the ...
Kenneth W. Prescott
(b Erie, PA, May 23, 1930).
American painter, printmaker and sculptor. He trained at the Cleveland Institute of Art in Cleveland, OH (1948–53), and under Albers family, §1 at the Yale University School of Art and Architecture in New Haven, CT (1953–5). In his paintings of the late 1940s and early 1950s he depicted everyday city life, as in The Bridge (1950; artist’s priv. col., see Lunde, pl. 66). In 1957 he moved to New York, where from 1957 to 1958 he worked as a conservator at the Metropolitan Museum of Art and from 1959 to 1961 as a silver designer for Tiffany and Co. During this period he began to produce abstract paintings, using either organic or geometric repeated forms, as in Winter Recipe (1958; New York, Mr and Mrs David Evins priv. col., see Lunde, pl. 100). These led in the early 1960s to asymmetric and imperfectly geometric works, such as ...
J. Thomas Rimer
(b Kurume, Kyushu, 1882; d Fukuoka, Kyushu, 1911) Japanese painter. Although his family disapproved of his early interest in Western-style art (Yōga; see Japan, §VI, 5, (iv)), he left home at 17 to pursue his studies in Tokyo, first with Koyama Shōtarō (1857–1916), a pupil of Antonio Fontanesi, an Italian painter who taught at the Kōbu Bijutsu Gakkō (Technical Art School) from 1877 to 1879, and then with Seiki Kuroda at the Tōkyō Bijutsu Gakkō (Tokyo Art School; now Tokyo University of Fine Arts and Music). Aoki finished his studies in 1904. A brilliant, rather eccentric young man, he showed precocious talent and while still a student exhibited his work with Kuroda’s prestigious association of Western-style painters, the Hakubakai (White Horse Society), established in 1896.
Aoki showed a strong literary bent, and his interest in Japanese, Christian and Indian mythology led him to develop a romantic style, often recalling the British Pre-Raphaelite Brotherhood. A number of his most important paintings dealing with mythological and related subjects, among them the ...
(b 1918; d Rome, Feb 3, 1970).
Maltese painter, active in Italy. He studied painting in Rome at the Regia Accademia di Belle Arti, where his master was the Neapolitan artist Carlo Siviero. At the outbreak of World War II, he surrendered his British passport in return for a residence and work permit in Italy. Arrested after the capitulation of Italy in 1945, he was brought to Malta and tried for high treason, together with c. 25 other Maltese, but was acquitted. His release was followed by a period of intense activity during which he established himself as Malta’s leading portrait artist. In 1955 he transferred himself permanently to Rome, where in June 1964 he organized a one-man exhibition at the Galleria L’Agostiniana in Piazza del Popolo, which won him very favourable comments. In 1961 he was invited to Windsor Castle to paint a portrait of Princess Anne (exh. 1962; London, Grabowski Gal.). In 1967 he had another successful show, at the Galleria Galeazzo in Alba. His work had by this time become profoundly religious in content, and the bright colours of his earlier paintings gave way to gloomy mauves and grey tones. His brother, ...
(b Abington, PA, 1955).
American installation artist. Upon graduating from Tyler School of Art in Philadelphia, where she studied printmaking and painting, Apfelbaum moved to New York City in 1978. Apfelbaum consistently found ways to trouble the distinctions between painting, sculpture, craft, and installation-based practices, and between pure abstraction and a range of conceptual and cultural allusions. Such productive tensions abound in the ‘fallen paintings’ for which she is best known, which feature fabrics meticulously shaped and arranged in floor-bound compositions with titles that reference everything from Disney characters to punk bands to Italian cinema. Playfully poking fun at art historical taboos and tastes, her work is often addressed as a feminist, post-modernist response to Minimalism that embraces the emotional, the psychological, the ephemeral, and the sociopolitical potential of abstraction.
Apfelbaum’s first floor installation, Daisy Chain (1989), presented carved wooden shapes appropriated from an Andy Warhol silkscreen, which in turn had appropriated its graphics from a Scandinavian Airlines ticket, a chain of references inferred by the title, which itself invites associations. As in later work, its accumulated elements can simultaneously be appreciated from above as a pictorial composition, walked around like a sculpture, and experienced temporally and spatially as an installation. In ...
[Lodewijk Franciscus Hendrikl]
(b The Hague, Sept 6, 1850; d The Hague, Nov 22, 1936).
Dutch painter. He was a pupil of Johannes Franciscus Hoppenbrouwers (1819–66) and Pieter Stortenbeker (1828–98) and studied at the Koninklijke Academie van Beeldende Kunsten in The Hague. His first exhibited work, in 1869, was a summer landscape, but he made his name with A January Evening in the Hague Woods (c. 1875; Amsterdam, Rijksmus.). He specialized in winter landscapes; his works became extremely popular in the last quarter of the 19th century. In views such as Wood in Winter (c. 1884; Haarlem, Teylers Mus.) staffage, in the shape of skaters, horse-drawn sleighs and so on, is subordinated to the overall mood. In this respect he differs from other Dutch painters of winter scenes such as Andreas Schelfhout and Hoppenbrouwers. Apol had a broad, pronounced manner of painting and was considered one of the minor masters of the Hague school. He made many drawings on a trip to Novaya Zemlya in ...
(b Amsterdam, April 25, 1921; d Zurich, May 3, 2006).
Dutch painter, sculptor, designer, printmaker and writer. He was first encouraged to paint by an uncle, who gave him a set of paints for his 15th birthday, and he also took painting lessons. From 1940 to 1943 he studied at the Rijksakademie of Amsterdam, where he became friendly with Corneille. His earliest works recalled the painting of George Hendrik Breitner; during World War II, however, he began to paint with a more vigorous palette, with a clear interest in German Expressionism and above all in the work of van Gogh. There was a turning-point in Appel’s style c. 1945 when he found inspiration in the art of the Ecole de Paris and in particular of Matisse and Picasso. This influence remained visible in his work until 1948, for example in a series of plaster sculptures that he made at this time. From 1947, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated gouaches, oil pastel drawings, painted wood sculptures and, gradually, oil paintings. His sense of humour comes to the fore in grotesque assembled pieces and wooden reliefs and paintings such as ...
(b New York, Nov 11, 1929).
American painter. She attended the New York State Institute of Applied Arts and Sciences (1947–50) and in 1958 moved to Chicago, where she was a student at the School of the Art Institute of Chicago (1966–8). In 1974 she moved to New York. Applebroog’s paintings were best known for their collision of imagery based on specific everyday experiences, news items and endemic social ills. She first became known in the 1970s for small books, such as Galileo Works (1977), in which her own ‘narratives’, consisting of leaps and jumps between ideas and images, represent a disjunction associated with social critique and a questioning of the ideologies implicit in representation. She posted them to friends and people in the art world. They were the precursors to larger sequential works such as Sure I’m Sure (ink and rhoplex on vellum, 2.56×1.72 m, 1980; artist’s col.), comprising six panels, much like sinister comic-strips, combining irony and intense tenderness. She is best known for her multi-partite paintings that, as part of the legacy of feminist practice in the 1970s, deal with the ‘trivial details’ of everyday life as if they had the scale and weight of subject-matter of traditional history painting. By giving prominence to ordinary events or to groups of people whom she saw as victimized or marginalized, she attempted to empower such groups, especially women, by revealing those elements in their experience that she saw as common to all (e.g. ...
(b Nagoya, July 6, 1936; d New York, NY, May 18, 2010).
Japanese painter, performance artist, and film maker, active in the USA. He studied medicine and mathematics at Tokyo University (1954–8) and art at the Musashino College of Art in Tokyo, holding his first one-man exhibition at the National Museum of Modern Art in Tokyo in 1958 and contributing to the Yomiuri Independent exhibitions from 1958 to 1961. In 1960 he took part in the ‘anti-art’ activities of the Neo-Dadaism Organizers in Tokyo and produced his first Happenings and a series of sculptures entitled Boxes, which consisted of amorphous lumps of cotton wads hardened in cement; many of these were put in coffin-like boxes, though one entitled Foetus was laid on a blanket. In pointing to the sickness of contemporary society, these works caused a great scandal in Tokyo.
In 1961 Arakawa settled in New York, where soon afterwards he addressed himself to the idea of a work being ‘untitled’. In taking as his subject this apparent lack of subject, he emphasized the areas of the picture surface where the subject ‘ought to be’ by means of a few well-placed coloured framing marks, as in ...
(b Medellín, Antioquia, 1910; d Medellín, Colombia, Dec 4, 2005).
Colombian painter. From 1933 to 1938 she studied at the Instituto de Bellas Artes de Medellín and under Eladio Veles and Pedro Nel Gómez; her early still-lifes and portraits reflect contemporary studio practices, while her expressive, provocative female nudes reveal the influence of Nel Gómez. Other early works are concerned with religious life, autobiographical subject-matter that stemmed from her childhood (e.g. First Communion and Sisters of Charity, both 1942, Medellín, Mus. A. Mod.). From 1938 her paintings reflected a growing concern with social issues. In 1944 Arango was part of a group of artists that published the Manifiesto de los Independientes, asserting the regionalist values of art and emphasizing the importance of mural painting as a public educational medium. Her subject-matter became openly feminist, exploring both private feminine life (e.g. Adolescence, 1944, Medellín, Mus. A. Mod.) and the social and political status of women. In Justice (1944, Medellín, Mus. A. Mod.), she employed grotesque characters to allude to such situations of exploitation and injustice as prostitution. Works such as ...
Monica E. Kupfer
(b Chilibre, Jan 16, 1929).
Panamanian sculptor and painter. He studied at the Accademia di Belle Arti in Florence (1949–1954) and at the Real Academia Catalana de Bellas Artes de San Jorge in Barcelona (1955–1960). On his return to Panama City he became the first professor of sculpture at the Escuela Nacional de Artes Plásticas from 1961 to 1964, and in 1964 he founded the Casa de la Escultura, a government-supported center for the teaching and promotion of the fine arts which he continued to direct after it was renamed the Centro de Arte y Cultura. Arboleda exhibited often and established his reputation as a young man with academic works such as Serenity (marble, 1950; Panama City, Mus. A. Contemp.). Most of his work was figurative, but he later developed a more symbolic style and produced his most original sculptures on indigenous themes, as with the bronze head of a Chocó Indian entitled ...
(b Tuchów, Poland, July 13, 1896; d Jerusalem, June 18, 1992).
Israeli painter of Polish birth. As a young boy he greatly admired El Greco, Goya and Rembrandt. From 1920 to 1925 he studied at the Bauhaus, Weimar, under Klee, Kandinsky, Johannes Itten and Lyonel Feininger and the following year studied painting techniques at the Akademie der bildenden Künste in Munich under Max Doerner. During the 1920s he changed his name from Max Bronstein to Mordecai Ardon. He taught at the Kunstschule Itten in Berlin from 1929 to 1933, when Nazi persecution forced him to flee to Jerusalem. Though he had been an active Communist in Germany, in Jerusalem he soon found a great affinity with Jewish religion and culture. In 1935 he was made a professor at the Bezalel School of Arts and Crafts in Jerusalem, and was its Director from 1940 to 1952.
Ardon’s early paintings show the influence of Expressionism, as in Seated Woman in a Straw Chair...
(b Rādāuţi, Bukovina, April 28, 1929; d Paris, April 29, 2010).
Israeli painter, draughtsman, printmaker and writer, of Romanian birth, active in France. The drawings he made in deportation from Nazi labour camps at the age of 13 and 14 saved his life by attracting attention to his precocious talent. In 1944 he emigrated to Israel, living in a kibbutz near Jerusalem and studying art at the Bezalel School in Jerusalem; after being severely wounded in 1948 in the Israeli War of Independence, he continued his studies in Paris (which he made his home in 1954) at the Ecole des Beaux-Arts (1949–51). He first made his name as an illustrator, for example of an edition of Rainer Maria Rilke’s The Way of Love and Death of Cornet Christopher Rilke (Jerusalem, 1953), for which he was awarded a gold medal at the Milan Triennale in 1954. From 1957 to 1965 he produced abstract paintings, such as Noir basse...
Björn Th. Björnsson
(b Reykjavík, Dec 1, 1901; d Reykjavík, May 31, 1958).
Icelandic painter. He was self-taught, and he took part in several exhibitions of the Society of Friends of Icelandic Art, Listvinafélag Islands, exhibiting works incorporating motifs from fishing villages on the northern coast, rather than more traditional landscapes. After studying intermittently at the Kongelige Kunstakademi in Oslo (1928–31), Arinbjarnar became one of the pioneers of ‘social expressionism’, dealing with subjects from everyday life on the Icelandic coast. This expressionism, which lasted throughout the Depression (until 1940–42), was never politically engaged, but aimed rather at the heroic interpretation of daily life. Arinbjarnar’s works are notable for their strongly constricted composition, which expresses the hardships of the time. After 1940 Arinbjarnar’s work moved steadily towards abstraction, but still incorporated discernible motifs from everyday life (e.g. Girls with Doll, 1943; Reykjavík, N.G.). The younger generation of artists who instigated the Septemberhópurinn (Septembrists’) exhibitions in 1947–52 welcomed Arinbjarnar into their group as one of the pioneers of modern Icelandic art. His status as a popular artist was guaranteed by a retrospective exhibition of his work held in Reykjavík in ...
John E. Bowlt
(b Yegorovo, Ryazan province, Aug 15, 1862; d Moscow, Sept 25, 1930).
Russian painter. He trained at the Moscow School of Painting, Sculpture and Architecture under Vasily Perov, Aleksey Savrasov, Vladimir Makovsky and Vasily Polenov and joined the Wanderers (Peredvizhniki) in 1889 and the Union of Russian Artists in 1903. While indebted to the realist painting of Perov, Arkhipov also gave particular attention to effects of light, rhythm and texture, even in his most didactic canvases, such as Washerwomen (late 1890s; two versions Moscow, Tret’yakov Gal. and St Petersburg, Rus. Mus.). Arkhipov found a rich and diverse source of inspiration in the Russian countryside and the peasantry; he painted peasants at work, the melting of the snow, the local church and priest, the villages of the far north and the White Sea. Works such as The Lay Brother (1891) and Northern Village (1903; both Moscow, Tret’yakov Gal.) are evidence of Arkhipov’s important position in the history of late 19th-century Russian landscape painting. His concentration on ...
(b Melbourne, May 5, 1951; d Melbourne, July 22, 1999).
Australian painter. While studying painting at Prahran College, Melbourne, from 1969 to 1971, he discovered airbrushes, technical tools employed by commercial artists which he adopted with alacrity as his favoured instrument for picture-making. At art school Arkley met the collage artist and painter Elizabeth Gower, who had a significant influence over his work. They married in 1973, later separating in 1980. In 1977 he travelled to Paris and New York on residencies, and it was during this time that he became fascinated by architectural motifs as inspirations for painting. In Paris he assiduously photographed Art Nouveau and Art Deco doorways in black and white, intending to use these images as reference points for paintings on his return to Australia. Once back there, however, he decided that he needed to find imagery and subject-matter relevant to his own identity as an Australian. While ringing the doorbell of his mother’s house in suburban Melbourne, he noticed the flywire screen door and realized at once that this indigenous architectural feature, banal and disregarded, would be a much more suitable subject than the artistic doorways of Paris. Following this revelation, he made a succession of identically sized paintings in an elongated vertical format corresponding to these flywire screens, but betraying an astonishing variety of motifs and colour schemes. ...
[Dodeweerd, H. D. van]
(b Amsterdam, 1929).
Dutch painter, draughtsman, writer and sculptor. In 1950 he studied art history at the University of Amsterdam. He had his first one-man show at the Galerie Le Canard in Amsterdam in 1954, the year in which he began to write poetry. Influenced by the Cobra group, his early drawings of the 1950s are spontaneous and have a tendency towards abstraction; he often drew them in the dark or with his left hand, as in Drawing (1954; Berlin, Alte N.G.). From 1954 to 1959 he produced a number of largely abstract works that were influenced by Dubuffet and Jean Fautrier; for these he used thickly impastoed paint, as in Criminal Painting (1957; Venlo, Mus. Van Bommel–Van Dam). In 1957 he was one of the founder-members of the Nederlandse Informele Groep (Informelen), with the Dutch painters Kees van Bohemen (1928–85), Jan Henderikse (b 1937), Henk Peeters (...
(b Geneva, June 24, 1948).
Swiss draughtsman, performance artist, painter, and sculptor. He studied at the Ecole des Beaux-Arts, Geneva (1966–7) and at the Glamorgan Summer School, Britain (1969). Armleder is known primarily for his involvement with Fluxus during the 1960s and 1970s, which included performances, installations, and collective activities. He was a member of the Groupe Luc Bois, based in Geneva in 1963. In 1969, with Patrick Lucchini and Claude Rychner, he was a founder-member of the Groupe Ecart, Geneva, from which stemmed the Galerie Ecart (1973) and its associated performance group (1974) and publications. Armleder’s first exhibition was at the Galerie Ecart in 1973, followed in the same year by one at the Palais de l’Athénée, Geneva. The anti-establishment and anti-formalist philosophy of the Fluxus groups continued in Armleder’s mixed-media works of later years, which include the Furniture Sculpture of the 1980s. In works that couple objects (second-hand or new) with abstract paintings executed by Armleder himself, and which often refer ironically to earlier modernist abstract examples, he questioned the context in which art is placed and the notion of authenticity in art. Such concerns continued to appear in his work. Armleder’s ...
(b Catavi, Potosí, 1932).
Bolivian painter. He was self-taught as a painter and had his first one-man show in Cuzco in 1954, which was followed by 25 one-man shows in La Paz and by exhibitions in North American cities and in Paris. Arnal was the principal exponent of the Generación del 52. In the 1950s he painted still-lifes with subjects drawn from open-air markets that included potatoes, roosters and dogs, as in The Inn (1960; La Paz, Mus. N. A.). In the early 1960s he painted towns of earth and stone, and at the end of the 1960s he paintedAparapitas, the stevedores of La Paz, as well as condors and recumbent female nudes, which in the 1980s became Mountains, especially during the period 1985 to 1988. He then portrayed the galleries of Mines with a progressive stylization and abstraction, and repeated all the themes he had treated throughout his career in a number of series under the overall title the ...