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Lucília Verdelho da Costa and Sandro Callerio

(b Lisbon, Aug 26, 1839; d Genoa, Nov 30, 1915).

Portuguese painter, architect and restorer, active in Italy. He came from a middle-class family with trading interests in Italy. In 1854 Andrade went to Genoa, and friendships there with such artists as Tammar Luxoro (1824–99) led him to study painting with Alexandre Calame and later to study architecture at the Accademia Ligustica di Belle Arti. He travelled widely, and in Italy he came into contact with Antonio Fontanesi and Carlo Pittura (1835/6–91), with whom he became one of the most active painters of the Scuola di Rivara. According to Telamaro Signorini, Andrade was among the painters who frequented the Caffè Michelangiolo in Florence. The influence of the macchiaioli painters is also evident from 1863 in his paintings, especially in Return from the Woods at Dusk (1869; Genoa, Mus. Accad. Ligustica B.A.)

Lucília Verdelho da Costa

Andrade’s work represents a transition from the Romantic school of Calame to the Naturalism of the Barbizon school. His landscapes show careful observation of nature. The locations in northern Italy seem to have been chosen for their melancholy and serenity, as in the landscapes of Fontanesi. Andrade’s pastoral scenes at dawn or dusk are seen through morning mists or against sunsets, or they depict uninhabited countryside. Most of these works, for example ...

Article

Alexandru Beldiman

(b Vienna, May 23, 1899; d Iaşı Nov 1, 1960).

Romanian architect, urban planner, painter, theorist and restorer. Descended from a Wallachian family of statesmen and scholars, he studied (1920–29) at the Ecole des Beaux-Arts, Paris, with Gustave Umbdenstock and G. Gromort. His work consistently showed Neo-classical and Renaissance influences, from the Palladian-style Chrissoveloni Bank (1928; with A. Schmiedigen), Bucharest, to the substantial number of buildings he completed in Romania during the 1930s. In many of these the classicist forms overlaid a sophisticated functionality in the planning, for example the IAR aeroplane factory (1933), Braşov. He also designed houses (e.g. in Amza Square, Bucharest, 1935), hotels (e.g. the Hotel Bellona on the Black Sea coast, 1934) and churches, such as those at Tetcani and Flǎmânda (1939), and he participated in the production of the master plan of 1935 for Bucharest. He was commissioned to design the Romanian Pavilion for the World’s Fair, New York (...

Article

(b Stuttgart, Feb 2, 1789; d Hassfurt, Sept 28, 1865).

German architect, painter, sculptor, printmaker and writer. He belonged to a large family of artists descended from Franz Joseph (Ignatz Anton) Heideloff (1676–1772), who was a sculptor and possibly also a painter. He was trained by the architect Nikolaus Friedrich von Thouret, the sculptor Johann Heinrich von Dannecker and the painter Johann Baptist Seele. He also studied mural painting as assistant to his father, Victor (Wilhelm Peter) Heideloff (1757–1817). As a young man he became interested in Gothic and Romanesque architecture, and while he was in Mainz in 1814 he made the acquaintance of Ernest I, Duke of Saxe-Coburg and Gotha (reg 1826–44), who employed him as his architect until 1821. In 1822, having settled in Nuremberg, he was appointed curator of the city’s historical monuments; he used this position to encourage widespread interest in early German art and to rescue many examples from destruction. He also taught at the local Polytechnische Schule from its foundation in ...

Article

Lisbet Balslev Jørgensen

(b Abeltoft, Sept 6, 1856; d Frederiksberg, June 27, 1920).

Danish architect, painter and teacher. After technical school and apprenticeship to a bricklayer, he attended the School of Architecture of the Kongelige Danske Kunstakademi in Copenhagen in 1873. He was taught by Hans Jørgen Holm, an advocate of a national style based on the free use of historically associative elements, and Ferdinand Meldahl, who espoused a more ‘correct’ and thus more international architecture. After leaving the Kunstakademi in 1878, Kampmann worked for Holm and Meldahl before going to Paris, where, at the Ecole des Beaux-Arts, he learnt the ‘wet’ watercolour technique that he later passed on to his pupils Edvard Thomsen, Aage Rafn, Kay Fisker and his sons Hans Jørgen Kampmann and Christian Kampmann. He was awarded the large gold medal in 1884 and then embarked on a Grand Tour on which he executed travel sketches of Germany, Italy and Greece, capturing in watercolour textures and atmospheres.

In his buildings, logic and legibility informed Kampmann’s approach throughout. For his home town of Hjørring he built a hospital (...

Article

G. A. Ol’

(Andreyevich)

(b St Petersburg, July 8, 1883; d Leningrad [now St Petersburg], Aug 27, 1958).

Russian architect, restorer, urban planner and painter. He studied at the Institute of Civil Engineering, St Petersburg, and during its closure, due to political reasons, worked in 1905–6 with the partnership of Gesellius, Lindgren & Saarinen in Helsinki. His early works reflect their northern Art Nouveau (Rus. modern) approach, notably in the country house (1907–8) of the writer Leonid Andreyev in Vammelsuu and the villa (1909) of D. Nikol’sky at Uusikirkko, both on the Karelian Isthmus. Ol’ graduated in 1910, after which the free compositional approach and expressive use of building materials that had characterized his early work gave way to the influence of Russian neo-classicism, for example in a number of private residences in St Petersburg. After the October Revolution (1917) he began to work on a broader range of projects. In Petrograd (later Leningrad; now St Petersburg) he designed large-scale industrial plants, such as the Red October Power Station and adjacent workers’ quarters (...

Article

Gavin Townsend

(b Lichtenheim, Lower Bavaria, Dec 3, 1818; d Munich, Feb 10, 1901).

German chemist. Although best known for his research into the causes of cholera and typhoid, he was also involved in art and architecture. In 1845, a year after completing his doctorate in chemistry, he obtained a post at the Royal Mint of Bavaria. Here he discovered a way of reproducing porporino, an antique red glass much used by the ancient Romans and admired by Ludwig I of Bavaria. In 1849, when a professor of medical chemistry at the university in Munich, Pettenkofer developed, at the request of the architect Leo von Klenze, a process of manufacturing a building cement that was the equal of Portland cement. Pettenkofer’s greatest contribution to art, however, lay in the restoration of paintings. In 1863 he was asked to find a way of reversing the growth of mildew on the varnishes of oil paintings in the various galleries of Munich. Through experimentation and microscopic analysis, he discovered that the varnishes could be cleared through the application of hot alcohol vapour. In this endeavour Pettenkofer introduced the use of the ...