Myriam A. Ribeiro de Oliveira and Liliana Herrera
François-Auguste de Montêquin
(b Burgos, 1526–7; d Mexico City, 1593).
Mexican architect and sculptor of Spanish birth. In 1541 he moved from his native city to Madrid, where he served as an apprentice to Luis de Vega, one of the architects working in the High Renaissance style for Emperor Charles V. Arciniega worked with Vega in the remodelling of the Alcázar at Madrid. At intervals between 1542 and 1548 he worked under the direction of Rodrigo Gil de Hontañón as a sculptor on the Plateresque façade of the university at Alcalá de Henares. He was possibly also responsible for the main retable in the church of Santiago at Guadalajara.
In 1554 Arciniega arrived in New Spain (now Mexico) with his brother Luis de Arciniega (1537–99), who was also an architect. He settled in Puebla de los Angeles (now Puebla) and worked there between 1554 and 1558, primarily engaged in a large number of public works as master mason. He established his reputation with the fountain that he constructed (...
(b Arezzo, Feb 2, 1916; d Buenos Aires, Feb 11, 2001).
Argentine sculptor, painter, printmaker and draughtsman of Italian birth. After completing his studies at the Escuela Superior de Bellas Artes in Buenos Aires in 1945, he went on study trips around Latin America (1945–6) and Europe (1949). He became a naturalized citizen of Argentina in 1947 and from 1949 he participated in the Salones Nacionales, winning various awards. He soon won a reputation as one of Argentina’s most outstanding sculptors, working in marble, bronze, wood, cement and clay. Torrent (marble, 1953; Buenos Aires, Mus. N. B.A.), a semi-abstract female nude composed of smooth curved planes, typifies one aspect of his work: his treatment of themes of fecundity, motherhood and the family, using rounded forms to which he attached a symbolic value. The titles associated with some of these material forms, such as Time (bronze, 1959; Buenos Aires, Mus. A. Mod.), indicate the way they are meant to be read....
Maria Concepción García Sáiz
(b Zamora, c. 1680; d Mexico City, 1748).
Spanish architect and sculptor, active in Mexico. Between 1702 and 1703 he worked in Madrid as a designer of stage machinery, later moving to Andalusia, where he produced the principal altar of the sacristy of Seville Cathedral in the Rococo style, completed in 1709 (destr. 1824). Ceán Bermúdez described it as having ‘four large estípites, pilasters, lots of angels prankishly tumbling about and a cornice broken and interrupted in a thousand places with tortuous projections and recessions, the whole topped by a huge arch’. In 1714 Balbás also carried out the plan for the choir-stalls of the church of S Juan in Marchena, carved by Juan de Valencia, equally playful in style and similarly using estípites. The same year he designed the lectern in the same church, though this was not constructed until 1735.
Around 1718 Balbás went to Mexico City to take charge of the ‘retablo del Perdón’ in the Chapel of the Kings at the Metropolitan Cathedral, using the ...
(b Buenos Aires, Aug 7, 1947).
Argentine sculptor and architect. After studying architecture he began in 1967 to make multiple color projections of shadows, continuing in 1968 to work with light apparatuses. He then traveled on a French Government scholarship to Paris, where he began to create multiple superimposed images using acrylic shapes laid on top of flat mirrors. He became involved with the Groupe d’Art Constructif et Mouvement and turned to spheres within cubes or other spheres. After this he experimented with inflatable sculptures and back projections of photographs, and later with Books (e.g. Summa geometrica, 1979, see Glusberg 1985, 133) and Megacubes, which consist generally of ruins or landscapes rendered unfamiliar. As an architect he worked on the Recoleta Cultural Center (1972–1979; with Clorindo Testa and Luis Benedit) in Buenos Aires. He was a founder-member of Grupo CAYC.Glusberg, J. Del Pop-art a la Nueva Imagen. Buenos Aires, 1985, pp. 133–138.Tager, A....
Margarita González Arredondo
(b Calgary, Dec 9, 1930; d Mexico City, July 12, 1992).
Canadian painter, draughtsman and sculptor, active in Mexico. After studying in Canada at the Vancouver School of Art (1944–5) and Banff School of Fine Arts (1947–8) he moved to Mexico City, where he continued his training at the Escuela de Pintura y Escultura La Esmeralda (1948–9) and from 1950 worked as one of a team of assistants to David Alfaro Siqueiros. He began soon after to produce murals, such as The People Don’t Want War (acrylic, 2×2.5 m, 1952; Mexico City, Inst. Poli. N.) and Scenes from Don Quixote (acrylic on concrete, 1957; Cuernavaca), following these with many others in Mexico, the USA, Canada, Cuba and Nicaragua. He was also prolific as a draughtsman and easel painter, often working on a large scale, and to a lesser extent as a sculptor. Working in an Expressionist style and concentrating his attention on the human figure—sometimes contorted, flayed or treated in a robot-like manner—he treated biblical themes as well as more contemporary subjects such as the victims of Nazism or of the bombing of Hiroshima. In ...
(b Buenos Aires, July 12, 1937; d Buenos Aires, April 12, 2011).
Argentine sculptor, painter and architect. As an artist he was self-taught. Making reference to biological and chemical experiments to construct metaphors of the relationships between science and art, he began in 1968 to analyse the role of the individual in society through his first Animal Habitat, consisting of glass objects with water and fish, and Microzoos of ants, lizards, fish, tortoises, vegetables and honeycombs. At the Venice Biennale in 1970 he showed The Biotron (see Glusberg, p. 142), a cage for bees containing an artificial meadowland with 24 flowers that supplied a sugary solution; the bees could choose between the artificial device and the gardens that surrounded the Biennale. In later works he designed mazes for rats, ants, cockroaches and fish, as well as contraptions displaying the behaviour of plants (e.g. Fitotron, 1972, see Glusberg, p. 141), not to encourage scientific observation but to suggest to the spectator possible applications of the experiment....
(b ?Sheffield, 1785; d Port of Spain, Trinidad, Nov 1846).
English sculptor, designer and architect. In 1810 he exhibited at the first Liverpool Academy Exhibition and showed models and drawings there in 1811, 1812 and 1814. These included designs for the restoration of the screen in Sefton church, Merseyside, and for a chimney-piece for Speke Hall, Liverpool, and two drawings of Joseph Ridgway’s house at Ridgmont, Horwich, Lancs. Bridgens designed furniture and furnishings in Gothic and Elizabethan styles for George Bullock. In 1814 he moved to London with Bullock, using his address at 4 Tenterden Street, Hanover Square, and prepared designs for Sir Godfrey Vassal Webster (1789–1836) for improvements to Battle Abbey, E. Sussex, and similarly for Sir Walter Scott’s home, Abbotsford House, at Melrose on the Borders. Two chair designs for Battle Abbey were published in Rudolph Ackermann’s Repository of Arts in September 1817, and Bridgens was also involved in the design of chairs supplied to Abbotsford House in ...
(b Quito, Sept 8, 1939).
Ecuadorean painter, graphic designer, sculptor, installation artist, architect and teacher. He studied architecture at the Universidad Nacional de Bogotá, Colombia. He worked for the Graham Foundation and the National Endowment for the Arts, Washington, DC, and received a grant to attend the Center for Advanced Visual Studies at Massachusetts Institute of Technology, Cambridge, MA, where he worked with György Kepes. Later he became a professor at the arts faculty of the Universidad Central, Quito. Bueno worked first in graphic design before going on to experiment with the incorporation of technology into art, using laser beams, mechanical pumps, plastic, glass and such elements as water, fire and air, for example in 49 Tubes, exhibited at the Bienal de Arte Coltejer in Medellín in 1972. He also combined visual art with music in such works as Flame Orchards, with music by Paul Earls, which won joint first prize with Kepes in the same exhibition. Exploration into ecological and environmental art led him to experiment with the idea of an aerial view of the urban landscape incorporating military camouflage sheets....
(b Barra Mansa, Aug 10, 1899; d Valinhos, June 4, 1973).
Brazilian painter, draughtsman, architect and sculptor. He was in Europe from 1910 to 1922 and lived first in Paris and then in London; he studied civil engineering at Armstrong College, University of Durham, and painting in the evening at the King Edward VII School of Fine Arts. On his return to Brazil he settled in São Paulo. His design of 1927 for the headquarters of the government of São Paulo state, although never realized, made him one of the pioneers of modern Brazilian architecture (Dahler, pp. 130–31). During the 1930s in particular he was one of the liveliest figures in the cultural life of the country, responsible for radicalizing the initial successes of Modernism. In 1931 his interest in the psychology of the masses led him to put on the performance Experience No. 2 in São Paulo. In the same city in 1932 he founded the Clube dos Artistas Modernos and the Teatro de Experiência, where he mounted, to great public scandal, his ...