You are looking at  1-20 of 940 results  for:

  • Graphic Design and Typography x
Clear All

Article

Jan Jaap Heij

(b The Hague, Aug 18, 1871; d Amsterdam, Oct 19, 1934).

Dutch printmaker and painter. He trained at the Academie voor Beeldende Kunsten in The Hague, where he subsequently taught graphic art (1893–1911). In 1911 he succeeded Pieter Dupont as professor in graphics at the Rijksakademie in Amsterdam under the directorship of Antoon Derkinderen. In the early years of his career Aarts produced some paintings using the pointillist technique, mostly landscapes (The Hague, Gemeentemus.); he also carved some sculptures in wood. He is, however, best known for his graphic work. In technique and subject-matter, his prints have a great deal in common with those of Dupont. As the latter’s successor he devoted himself to the revival of engraving, which his predecessor had reintroduced; his own experiments in this medium (in particular his scenes with diggers and beggars, all c. 1900) are considered milestones in early 20th-century Dutch printmaking. He also applied his skills to etching, lithography, woodcutting and wood-engraving; of the latter his ...

Article

Pamela H. Simpson

(b Philadelphia, PA, April 1, 1852; d London, Aug 1, 1911).

American painter, illustrator, and muralist, active also in England. Abbey began his art studies at the age of 14 in his native Philadelphia where he worked with Isaac L. Williams (1817–95). Two years later he enrolled in night classes at the Pennsylvania Academy of Fine Art working under Christian Schussele (1824–1979), but by then Abbey was already a published illustrator. In the 1870s his drawings appeared in numerous publications, but it was his work for Harper & Brothers that proved most important to his career. In 1871 he moved to New York, and in 1878, Harper’s sent him on a research trip to England. He found such affinity with the country that he made it his home for the rest of his life. After 1889 he devoted more time to painting, was elected a Royal Academician in 1898, and in 1902 was chosen by Edward VII (...

Article

Article

Article

Amy Fox

American graphic design firm. Founded in 1993 by Sean Adams (b Reno, NV, 19 July 1964) and Noreen Morioka (b Sunnyvale, CA, 6 July 1965). Often described as simple and pure, AdamsMorioka design is distinguished by its clear, pragmatic approach, joined often with optimistic bright colour palettes. Adams and Morioka met while studying at the California Institute of the Arts (CalArts) programme under professors Lorraine Wilde and Lou Danziger. After graduating, Adams (BFA 1986) and Morioka (BFA 1988) went their separate ways. Adams moved to New York to work at the New York Public Library and returned to Los Angeles in 1989 to work for April Greiman, Inc. After graduation Morioka joined Gensler and Associates in San Francisco as a graphic designer. A year later she travelled to Tokyo to work for Landor and Associates. While there she continued to build on corporate identity skills taught to her by Lou Danziger and was exposed to Landor’s extensive system of developing a corporate identity and then documenting the range of ways the identity should and should not be used. Upon returning to the United States in ...

Article

Article

Christine van Mulders

In 

Article

Article

Afzal  

[Mir Afżal al-Ḥusaynī al-Tūnī]

(fl Isfahan, 1640–51).

Persian illustrator. Active during the reign of the Safavid shah ‛Abbas II (reg 1642–66), Afzal produced manuscript illustrations and single pages for albums in different styles. Most of the 62 paintings he made for the voluminous copy (St Petersburg, Saltykov-Shchedrin Pub. Lib., Dorn 333) of Firdawi’s Shāhnāma (‘Book of kings’) presented to the monarch by the head of the royal guard, Murtiza Quli Khan, are scenes of battles and combats in the Metropolitan style that was transferred from Herat to Bukhara (see Islamic art, §III, 4(vi)(c)). Unlike the tinted drawings of his contemporaries, Afzal’s single-page compositions use a rich, sombre palette highlighted with gold. Most depict the standard repertory of languid youths and lovers in the style of Riza, but are more erotic. Bishop with a Crosier (Los Angeles, CA, Co. Mus. A., M.73.5.456) is the only known Persian portrait of an Armenian religious figure; it shows a broad-faced, sensitively modelled figure similar in style to those in the ...

Article

Article

V. V. Vanslov

(Pavlovich)

(b Kharkiv, April 16, 1901; d Moscow, Sept 6, 1968).

Russian stage designer, director, painter and graphic artist of Ukranian birth. He studied in Petrograd (now St Petersburg) from 1915 to 1919 in an artists’ workshop under Mstislav Dobuzhinsky, Aleksandr Yakovlev and Vasily Shukhayev. From 1920 to 1922 he worked as a stage designer in Khar’kov (now Kharkiv). In 1923 he returned to Petrograd, where he worked as a book illustrator and stage designer at the Theatre of Musical Comedy, the Theatre of Drama and the Gor’ky Bol’shoy Theatre of Drama; he also worked in Moscow, at the Theatre of the Revolution, the Vakhtangov Theatre and the Moscow Art Theatre (MKhAT). From 1929 he worked as a director, designing his own productions. He was the Art Director of the Leningrad Theatre of Comedy (1935–49), where the most notable productions he directed and designed were Shakespeare’s Twelfth Night (1938), Lope de Vega’s Dog in the Manger and ...

Article

(Isayevich)

(b Vinnitsa, Ukraine, Dec 22, 1889; d Leningrad [now St Petersburg], Dec 12, 1970).

Russian painter, graphic artist, sculptor and designer of Ukrainian birth. He studied painting at the School of Art in Odessa (1901–7) under Kiriak Kostandi (1852–1921), at the same time attending classes in sculpture. In 1908–9 he made a series of pointillist paintings. He visited Vienna and Munich in 1910 before going to Paris, where he worked at Vasil’yeva’s Free Russian Academy until 1912, producing paintings on Jewish themes and studying Cubism. In 1912 he went to St Petersburg, where he painted a number of Cubist portraits, for example of the poet Anna Akhmatova (1914; St Petersburg, Rus. Mus.). His Cubist work makes much use of faceting and transparent planes. From 1918 to 1921 he taught at the Department of Visual Arts (IZO) of Narkompros in Petrograd, but he was criticized for his attempts to identify Futurism with the art of the proletariat. Al’tman became well known as the designer of post-Revolutionary mass parades and monuments, for example the celebration of the first anniversary of the Revolution on ...

Article

Sheila R. Canby

[ Mīr Zayn al-‛Ābidīn Tabrīzī ]

( fl c. Qazvin, 1570–1602).

Persian illustrator, illuminator and calligrapher . The grandson and pupil of Sultan-Muhammad , Zayn al-‛Abidin worked exclusively for royal and noble patrons at the Safavid court in Qazvin ( see Islamic art, §III, 4(vi)(a) ). He contributed an illustration of Nariman Killing the Ruler of China to a copy (London, BL, Or. MS. 12985; fol. 90v) of Asadi’s Gārshāspnāma (‘Book of Garshasp’) produced at Qazvin in 1573 and four paintings to a dispersed copy of the Shāhnāma (‘Book of kings’) made for Isma‛il II (reg 1576–8). The artist’s style is characterized by solid forms, extreme precision and compositions that resemble the style typical of Tabriz in the first half of the 16th century rather than the more mannered one typical of Qazvin in the 1570s. His best known illumination is the splendid signed frontispiece for the unfinished copy (Dublin, Chester Beatty Lib., MS. 277) of the Shāhnāma, thought to have been commissioned upon the accession of ‛Abbas I in ...

Article

[Khwāja ‛Abd al-Ḥayy]

(fl c. 1374; d Samarkand, 1405).

Illustrator and painter. According to the Safavid chronicler Dust Muhammad, ‛Abd al-Hayy trained under Shams al-Din at Baghdad during the reign of the Jalayirid sultan Uways I (reg 1356–74) and became the leading painter under his son Ahmad (reg 1382–1410), who was also ‛Abd al-Hayy’s pupil. When Timur took Baghdad, ‛Abd al-Hayy was sent to Samarkand, either in 1393 or in 1401, where he spent the rest of his life. He seems to have specialized in monochrome ink drawings: Dust Muhammad recorded that ‛Abd al-Hayy’s pupil, Ahmad Jalayir, contributed a black-and-white drawing to a manuscript of the Abūsa‛īdnāma (‘Book of Abu Sa‛id’), and a number of examples attributed to the late 14th century and preserved in various albums (e.g. Berlin, Staatsbib. Preuss. Kultbes., Orientabt. Diez A. 70–73) bear the notation that they were copied from ‛Abd al-Hayy’s drawings by Muhammad ibn Mahmud Shah Khayyam. In his album (Istanbul, Topkapı Pal. Lib., H. ...

Article

Rosemarie Bergmann

(b Paderborn, 1502; d Soest, Westphalia, 1555–61).

German engraver, painter and designer. He was the most important graphic artist in Westphalia in the 16th century. His reputation rests largely on his ornamental designs, which make up about one third of his c. 300 engravings. They were principally intended as models for metalworkers but were also adapted by other craftsmen for such decorative arts as enamel, intarsia and book illustration. Aldegrever followed Dürer and the Nuremberg Little Masters, deriving models for his paintings and subject prints as well as a full repertory of Renaissance ornamental motifs: fig and Acanthus foliage, vases and cornucopia, combined with putti and satyrs, tritons, mermaids and dolphins, sphinxes, masks and medallions. From the beginning of his career Aldegrever was aware of the artistic trends of the time: the Dürer influence was strongest at its outset yielding somewhat in work of the 1530s to Mannerist tendencies under Netherlandish influence, though never waning entirely.

Aldegrever was the son of Hermann Trippenmeker (...

Article

Els Maréchal

(b Brussels, Oct 19, 1927).

Belgian painter, draughtsman, printmaker and film maker. He studied book illustration and typography at the Ecole Nationale Supérieure d’Architecture et des Arts Décoratifs from 1944 to 1946. In 1947 he became a member of the Jeune Peinture Belge group and had his first one-man exhibition in the Galerie Lou Cosyn in Brussels. In 1949 he became a founder-member of the Cobra movement after meeting Christian Dotremont. With a number of artist friends he set up a type of research centre and meeting-place in Brussels, the Ateliers du Marais. Towards the end of 1951 he went to Paris, moving to Japan in 1955 to study the art of calligraphy, also making a film called Calligraphie japonaise (1956). He adopted the Oriental manner of painting, whereby the paper is spread on the floor and the artist leans over the work holding the bottle of ink, allowing a greater freedom of movement. In ...

Article

Article

Article

José Manuel Arnáiz

(b Madrid, Nov 6, 1807; d Madrid, June 30, 1845).

Spanish painter and illustrator. He studied at the Real Academia de S Fernando, Madrid, under Juan Antonio Ribera y Fernández and José de Madrazo y Agudo. He worked independently of court circles and achieved some fame but nevertheless died in such poverty that his burial was paid for by friends. He is often described as the last of the followers of Goya, in whose Caprichos and drawings he found inspiration for the genre scenes for which he became best known. Of these scenes of everyday life and customs the more interesting include The Beating (Madrid, Casón Buen Retiro) and Galician with Puppets (c. 1835; Madrid, Casón Buen Retiro). Alenza y Nieto’s numerous drawings include the illustrations for Alain-René Lesage’s Gil Blas (Madrid, 1840), for an edition of the poems of Francisco de Quevedo published by Castello and for the reviews Semanario pintoresco and El Reflejo. The painting Triumph of David...

Article

Alessandra Frabetti

[l’Argenta]

(b Argenta, nr Ferrara, 1546; d Ferrara, Dec 9, 1636).

Italian architect, engineer and designer. He was the son of Vincenzo Aleotti (not Francesco Aleotti, as is sometimes erroneously stated), from whom Giovanni Battista claimed he ‘learnt the art … as much as from all the other teachers I had’ (letter, 1583; see Coffin, p. 121). In 1575 he succeeded Galasso Alghisi as architect to Alfonso II d’Este (ii), Duke of Ferrara and Modena, who nicknamed him l’Argenta after the town of his birth. When, on the death of the Duke, the Este duchy devolved to the Papal States (1598), Aleotti was confirmed as official architect, with a stipend of 20 scudi per month. His activity extended to various parts of the Po plain, embracing different architectural genres and including some important urban projects.

Among Aleotti’s religious buildings were several churches in Ferrara, including S Barbara (1586–8), S Maria della Rotonda at Castel Tedaldo (1597...