1-20 of 59 results  for:

  • Architecture and Urban Planning x
  • Scenography x
Clear all

Article

John E. Bowlt

(Andreyevich)

(b Moscow, Oct 14, 1873; d Moscow, Dec 24, 1932).

Russian sculptor, graphic artist and stage designer. He trained at the Stroganov School in Moscow (1883–91) before entering the Moscow School of Painting, Sculpture and Architecture, where he studied under the sculptor Sergey Volnukhin (1859–1921). He graduated in 1900 before joining the Wanderers in 1902.

Andreyev was well aware of contemporary European trends in sculpture, especially the work of Emile-Antoine Bourdelle and Auguste Rodin, which he saw during a stay in Paris in 1900. However, he remained strongly attached to the 19th-century academic tradition, an allegiance that perhaps facilitated his acceptance of many official commissions both before and after the October Revolution of 1917. For example, he was responsible for the figure and pedestal of the monument to Nikolay Gogol’ on the Boulevard Ring in Moscow (1909; now at Suvorovsky Boulevard, 7) and for the bronze and granite monument to Aleksandr Ostrovsky (1929) in front of the Maly Theatre, Moscow. Andreyev was a principal contributor to Lenin’s Monumental Propaganda Plan from ...

Article

V. Rakitin

[Georges] (Pavlovich)

(b Petropavlovsk, Kazakhstan, July 23, 1889; d Paris, July 18, 1974).

Russian painter, draughtsman and stage designer. He studied at the University of St Petersburg (later Petrograd) in 1908 and in the private studio of Savely Zeidenberg (1862–1924). In 1909–10 he attended the studio of Yan Tsyonglinsky (1850–1914) in St Petersburg, where he became acquainted with the avant-garde artists Yelena Guro (1877–1913), Mikhail Matyushin and Matvey Vol’demar (1878–1914). In 1911–12 he worked in the studios of Maurice Denis and Félix Vallotton in Paris, then in Switzerland (1913) before returning to St Petersburg. As a painter he was a modernist, and his work developed rapidly towards abstraction, although he did not adhere to any particular branch of it. His works of the time use various devices of stylization and decorativeness, and some of them echo the free associations of Marc Chagall, but fundamentally they remain geometrically based compositions. In 1919–20 he made a series of abstract sculptural assemblages and a great number of abstract collages....

Article

Paule Thévenin

[Antoine Marie Joseph]

(b Marseille, Sept 4, 1896; d Ivry-sur-Seine, March 4, 1948).

French writer, draughtsman, stage designer, actor and director . He learnt to draw and paint in 1918–19 while staying in an establishment near Neuchâtel where he had been sent suffering from a nervous complaint that had begun in 1914. There he was prescribed opium in May 1919. He arrived in Paris in the spring of 1920 and visited salons, galleries and studios, produced art criticism (see Oeuvres complètes, ii), continued to sketch small portraits of himself or his family and composed poems. In the atelier of Charles Dullin (1885–1949), where he trained as an actor, he was asked to design the costumes for several performances. Nevertheless, after an attempt in 1923 to paint the portrait of a young friend and her father, he abandoned painting and drawing. Through the painter Elie Lascaux (b 1888), whom he knew from Max Jacob’s circle, he met the art dealer Daniel-Henry Kahnweiler and the artists of his gallery. He became a friend of André Masson in particular and soon became a regular visitor at Masson’s studio in the Rue Blomet, then also frequented by other painters such as Joan Miró, Jean Dubuffet and Georges Malkine and visited by writers Robert Desnos (...

Article

M. N. Sokolov

(b Djadjur, Akhuryan district, July 20, 1928; d Erevan, Feb 24, 1975).

Armenian painter and stage designer . He studied at the Institute of Theatre and Art in Erevan (1952–4), as well as at the Repin Institute of Painting, Sculpture and Architecture in Leningrad (now St Petersburg) from 1954 to 1960. He benefited from the advice of the Armenian painter, Martiros Saryan, but developed a style of his own, with an intense use of colour similar to that of Fauvism. The influence of Armenian medieval art is strongly apparent in his landscapes, self-portraits and scenes of peasant life, for example Baking Lavash (1972; Erevan, Pict. Gal. Armenia). His work combines an uncommon and expressive richness of colour with a dramatic monumentality of composition. He had a one-man show in Erevan in 1962 and another in Moscow in 1969. In 1972 his studio was burnt down and a large number of his canvases destroyed. He was also a stage designer, producing designs, for example, for sets for Aram Khachaturian’s ballet ...

Article

Alfonso Rodríguez Ceballos

(b Florence, Oct 31, 1604; d Madrid, July 1657).

Italian painter, draughtsman, engineer and stage designer, active also in central Europe and Spain . He was a pupil of Giovanni Bilivert from 1612 to 1620 and studied with Giulio Parigi. In 1622 he went to Vienna as assistant to Giovanni Pieroni da Galliano and thence to Prague, where he decorated the chapel (1630) with frescoes with scenes from the Life of St Wenceslas and the Life of the Virgin, the Knight’s Hall (destr.; rest. 1853) with ceiling frscoes including Albrecht von Wallenstein as Mars, and he worked on other parts of the Wallenstein Palace (see Prague, §IV, 7). He is documented in 1625 in Florence, where he became a teacher of perspective drawing. In 1626–7 the Medici employed him as military engineer at the fortress at Livorno; here, with Stefano della Bella, he drew harbour and river scenes (e.g. Peasants Waiting on a Quay, Florence, Uffizi). Baccio executed frescoes in Florentine palazzi, and his contributions to the decoration of the Casa Buonarotti include three ...

Article

Libero Andreotti

(b Rovereto, Dec 10, 1896; d Milan, Sept 26, 1982).

Italian architect, stage designer and painter . After studying at the Scuola Reale Elisabettiana, an applied arts school in Rovereto, he joined the Futurist movement, headed locally by Fortunato Depero. After serving in World War I, he enrolled at the Scuola Superiore di Architettura del Politecnico, Milan, graduating in architecture in 1922. He then spent four years (1922–6) in Berlin working as a stage designer and frequenting the avant-garde milieu around Max Reinhardt, Erwin Piscator and Oskar Kokoschka. He returned to Italy in 1926 and set up his own practice. His first important commission, the remodelling of the Bar Craja (1930; with Figini and Pollini) in Milan, with its handsome glass and steel interior, established Baldessari’s reputation as an innovative designer. He collaborated again with Figini and Pollini on the De Angeli-Frua office building (1931–2) in Milan, a fine example of Italian Rationalism at its most restrained. Baldessari’s architectural masterpiece of this period was, however, the Press Pavilion (...

Article

Ismael Gutiérrez Pastor

(b ?Modena, c. 1725; d ?Venice, c. 1796).

Italian painter, stage designer and draughtsman, active in Spain. He is thought to have first studied under Raffaello Rinaldi (fl 1713–?1747), a local artist, and between 1747 and 1751 he was enrolled in the Fraglia Veneziana, where he met the most notable vedutisti. He painted vedute in Treviso and Brescia, and these views, engraved by Francisco Zucchi, were used to illustrate Baldassare Camillo Zamboni’s Memorie intorno alle pubbliche fabbriche (1778). In 1754 Battaglioli went to Madrid to work at the court of Ferdinand VI, where he painted theatre sets for the Reales Coliseos at the Palacio Real, Aranjuez, and at the Palacio Real, Madrid. He also worked for such patrons as the castrato Farinelli (1705–82), painting two vedute (1756; Madrid, Prado) depicting scenes at the royal court. Under Farinelli’s supervision he painted stage sets (1756; two in Madrid, Real Acad. S Fernando) for Pietro Metastasio’s opera ...

Article

Vincenzo Fontana

(b Rome, March 5, 1873; d Rome, March 30, 1939).

Italian architect. His father, Luigi Bazzani, was a painter and stage designer. Bazzani graduated in civil engineering from the university in Rome in 1896. In 1899 he won the competition for the international art scholarship with a plan for a cathedral in an Italian Gothic Revival style. His first significant building was the Alterocca printing company building (1907) at Terni, in Stile Liberty. He was joint winner with Raimondo D’Aronco and Ernesto Pivovano of the architectural prize at the Esposizione de Sempione, Milan (1906). A number of important competition-winning schemes followed. In 1905 Bazzani won the competition for the façade of S Lorenzo (unexecuted) in Florence, which stood him in good stead for his entry for the Biblioteca Nazionale (won 1907; completed 1935) at Santa Croce. An eclectic Renaissance building, its structure picked out in grey against white, it already suggests a putative monumentalism and sits awkwardly in its Florentine context. In ...

Article

W. Georg Rizzi

(Maria Nicolao)

(b Bologna, 1675; d Vienna, March 4, 1735).

Italian architect, decorative artist, stage designer and painter, active also in Austria. He trained as a quadratura painter in Bologna, where he was a pupil of Giovanni Gioseffo dal Sole. He was recorded as working as a figure and quadratura painter in Vienna for Prince Montecuccoli in 1695, and shortly afterwards for Count Heřman Jakub Czernin in both Vienna and Prague. He soon became a project designer, when his responsibilities expanded to include architecture. Beduzzi’s first project was probably the design of furnishings for the summer sacristy of Melk Abbey Church (from 1701; see Melk Abbey, §2), which matched the European High Baroque style of the building. Later he designed furnishings and frescoes for the abbey church itself (1711–22) although, contrary to common belief, he did not design the high altar and doorway. He initially painted his frescoes himself, but later these were entrusted to his associates, as in the case of the pilgrimage church of Maria Taferl, near Melk, or to specialists employed by those commissioning the work. Beduzzi’s design for the illusionistic decoration of the church of St Peter (...

Article

Alfonso Rodríguez Ceballos

[Santiago]

(b Piacenza, 1705; d Madrid, 18 or Sept 20, 1759).

Italian architect, painter, urban planner and stage designer, active in Spain. He was a pupil in Piacenza of the painters Bartolomeo Rusca (1680–1745), Andrea Galluzzi (fl 1700–1743) and Giovanni Battista Galluzzi (fl c. 1730–40). In 1728 he was one of a number of artists summoned to Spain by the Marchese Annibale Scotti to assist with the construction of royal projects that were already under way and to introduce an Italian influence in place of the French style that had been introduced by the Bourbon kings. He worked at the Aranjuez Palace with the French engineer Léandre Brachelieu (fl c. 1733–9) and then in 1735 became Director of Royal Works of Decoration. He specialized in quadratura painting and, in addition to his work at Aranjuez, where his fresco vault decorations provided fictive trompe l’oeil architectural settings for mythological figures executed by Rusca and ...

Article

Carola Wenzel

[Ludovico] (Ottavio)

(b Mantua, 1636; d Vienna, 1707).

Italian architect and stage designer, active in Austria. He went to Vienna in 1651 as the apprentice of his father, Giovanni Burnacini (d 1655), the Venetian theatre architect who introduced to Vienna the system of stage design developed by Giovanni Battista Aleotti and who produced stage sets in the Florentine–Venetian style of Giulio and Alfonso Parigi and Giacomo Torelli. Lodovico Burnacini was his father’s assistant until the latter’s death and succeeded him in the office of theatre architect and imperial court engineer to Emperor Leopold I. Although he participated in the construction of various imperial castles in the vicinity of Vienna, Burnacini was mainly engaged in theatre design, developing his father’s style of stage settings and becoming the founder of the Viennese style, which had considerable influence on German theatre. Designs for 115 compositions and plays have survived, and many of Burnacini’s designs were reproduced as engravings in luxury editions of the libretti. Holograph drawings are preserved (Vienna, Österreich. Nbib.). They include religious themes, physiognomic sketches, figurines and grotesques as well as narrative illustrations....

Article

Andrew Causey

(b London, March 29, 1905; d Hastings, Oct 22, 1976).

English painter, illustrator and stage designer. As a student at the Chelsea Polytechnic (1921–3) and the Royal College of Art (1923–5) he became a talented figure draughtsman. In the second half of the decade he spent much time in France painting intricately detailed urban scenes, which depicted the low life of Toulon and Marseille. Works such as the watercolour Toulon (1927; priv. col., see Causey, cat. no. 33) were executed in a meticulously finished and vividly coloured decorative style. Burra usually used watercolour and tempera and occasionally collage oil paints.

Burra took ideas from Cubism, Dada (notably George Grosz) and, especially, Surrealism, but his work is also linked with the English satirical tradition of William Hogarth, Thomas Rowlandson and Isaac Cruikshank: Burra loved burlesque and poked fun at people’s pretensions and excesses of style and behaviour, as in John Deth (Homage to Conrad Aiken) (...

Article

Giuliana Ricci

(b Viadana; d Mantua, 1700).

Italian architect, stage designer and writer. He was the brother-in-law of Giacomo Francesco Motta, superintendent of the Teatro Grande in Mantua, whose surname he adopted and who probably assisted him in his youth. He began working at the court of Mantua as a painter c. 1650, later becoming general superintendent of buildings and prefect of theatres. In 1668 he built a theatre (destr.) for Luigi Fedeli at Mantua, with a proscenium arch similar to that introduced by Giovanni Battista Aleotti at the Farnese Theatre (1618–19), Parma. It had a central space bounded by two stepped levels, three tiers of boxes and an upper balcony. This theatre was the site of Carini Motta’s only documented stage designs, those for the Torneo a’piedi (1674), recorded in engravings accompanying the libretto published in Mantua. In 1688 he designed the Teatro dei Comici, Mantua, with five tiers of boxes as well as the parterre. Carini Motta also produced a considerable number of stage devices and machines; firework displays and ceremonial structures for the coronations of Popes Clement IX (...

Article

Anna Maria Fioravanti Baraldi

[Sellari, Girolamo; Ferrara, Girolamo da]

(b Ferrara, c. 1501; d Ferrara, ?Aug 1, 1556).

Italian painter, architect and stage designer. His father Tommaso (fl 1503–23) was a painter and decorator at the court of the Este in Ferrara, and Girolamo was trained in the workshop of Garofalo. He visited Rome in the early 1520s (Fioravanti Baraldi) and in 1525 was in Bologna, where he worked with Biagio Pupini and Giovanni Borghese on the decoration of the sacristy of S Michele in Bosco. Around this time (1525) he painted the altarpiece of the Virgin Enthroned with Saints (Dresden, Gemäldegal. Alte Meister; destr.) for S Biagio in Bologna.

From these early works onwards, da Carpi developed a pictorial language that combined the Ferrarese models of Garofalo and Dosso Dossi with the influence of such works by Raphael as the St Cecilia (Bologna, Pin. N.), which he saw in Bologna, the Madonna of Foligno (Rome, Pin. Vaticana) and the frescoes in the loggia of the Villa Farnesina in Rome. Da Carpi’s ...

Article

A. V. Ikonnikov

(Nikolayevich)

(b Shostka, Ukraine, Aug 22, 1901; d Moscow, Oct 29, 1981).

Russian architect and stage designer of Ukrainian birth. From 1923 to 1929 he studied under Aleksey Shchusev in the architectural faculty of the Vkhutemas (Rus.: Higher Artistic and Technical Workshops), Moscow. As a theatre designer he was responsible for the designs for productions in a number of Moscow theatres. He built the Polytechnical Institute (1929–31), Gor’ky (now Nizhny Novgorod), employing Constructivist devices, and his Neo-classical competition design (1931; with A. F. Zhukov; unexecuted) for the Palace of Soviets in Moscow received a first prize. Thereafter his work combined Neo-classical monumentality with contrasts of generalized forms and a widespread use of colour, for example the Tchaikovsky Concert Hall (1938–40), with a large elliptical amphitheatre, and the Peking Hotel (1939–51), both in Moscow. The freely-treated decorative classicism of the Komsomol’skaya (1935) and Kievskaya (1937) metro stations and the ground-level vestibule of the Dinamo metro station (...

Article

Miles L. Chappell

[Cardi, Lodovico; Cigoli, il]

(b Castello di Cigoli, nr San Miniato, Sept 21, 1559; d Rome, June 8, 1613).

Italian painter, draughtsman, architect and scenographer. He was one of the most influential artists in 17th-century Florence, reacting against the artificiality of Mannerism and introducing a new clarity and naturalism attuned to the Counter-Reformation to create a distinctively Florentine Baroque style. His architecture unites the fantasy of Bernardo Buontalenti with a purer and more conservative classicism. He won great fame in both Florence and Rome, where shortly before his death he was named as a Knight of Malta by Pope Paul V Borghese.

He was born into a family having noble origins among the Gualandi of Pisa and was appropriately educated in the late 1560s in Florence in lettere umane. However, on displaying ability, he was allowed to train for the profession of artist and was apprenticed to the Mannerist painter Alessandro Allori, whom he assisted with the decorations for the funeral of Cosimo I de’ Medici in 1574 and the decoration of the gallery of the Uffizi in ...

Article

Raquel Henriques da Silva

[José]

(b Siena, 1808; d Lisbon, July 23, 1879).

Italian stage designer and architect, active in Portugal. He studied in Milan and was a stage designer in Lyon before being invited to Lisbon (1836) by Francisco Lodi, the impresario of the Teatro S Carlos there. For more than 40 years he worked in Lisbon as a stage designer, in partnership with another Italian designer, Achille Rambois (c. 1810–82), contributing to a brilliant period in Portuguese opera. Cinatti, who was essentially a Romantic, also practised as an architect, attempting to turn the landscapes and buildings of his imaginary stage designs into reality with strictly academic Neo-classical forms and an eclectic fusion of motifs and ornament. His Palacete Bessone (1856), Rua Vitor Cordon, Palacete Nunes Correia (1865), Avenida da Liberdade, and Palacete Anjos Praça do Príncipe Real are among the most distinguished eclectic buildings in Lisbon, with elegant proportions, discrete decoration and sensitivity to context. Outside Lisbon his Palácio Valenças at Sintra has an Italianate design with contrasting neo-Manueline details, and the Casa Bessone (...

Article

Rory Spence

(Russell)

(b Daylesford, Victoria, May 6, 1939).

Australian architect and stage designer. He graduated from the University of Melbourne (1966) and then studied at Yale University, New Haven, CT (1966–9), and worked briefly for several notable architectural firms in the USA, including those of Paul Rudolph and Philip Johnson. He was impressed by Robert Venturi’s attempt to use popular culture to forge a new regional idiom (see Venturi, Rauch & Scott Brown), and, on his return to Australia in 1974, he began to develop a new ‘poor architecture’ based on a provocative, angular reinterpretation of everyday suburban forms and materials, combined with elements from canonical works of Modernism. In 1975, together with Maggie Edmond (b 1953), he formed the firm of Edmond & Corrigan; and he also began to teach at the Royal Melbourne Institute of Technology in the late 1970s. His work and teaching subsequently had a powerful influence on younger architects in the city. Corrigan typically used bright clashing colours, patterned brickwork and awkward colliding and distorted forms in his buildings. Notable early work included the Resurrection Church, primary school and housing (...

Article

E. Feinblatt

[Dentone]

(b Bologna, April 4, 1575; d Bologna, Dec 18, 1632).

Italian painter and stage designer. A specialist in illusionistic architectural settings, or quadratura, he trained with Cesare Baglione (c. 1550–1615). His dramatically lit settings, which display realistic and well-proportioned architecture, departed from Baglione’s Mannerist fantasy and established classical ceiling decoration in Bologna. His quadratura combined a recessed frame as the immediate surround of the ceiling crown, with a substantial, deeply foreshortened frame, which simulates height.

Curti’s first surviving ceilings, at the Casino Malvasia at Trebbo di Reno (c. 1610–22) and the Villa Paleotti at San Marino (c. 1616–22), were influenced by his earliest model, Tommaso Laureti’s frescoed ceiling in the Palazzo Vizzani, Bologna (c. 1562; destr.), which first combined a wall frieze, based on Palladian windows, with a foreshortened ceiling frame. In 1618 Curti travelled to Parma, where he was involved in the decoration of the Teatro Farnese, and in 1623, at the invitation of Cardinal Ludovico Ludovisi, he went to Rome, where a ceiling in the Palazzo Odescalchi has been attributed to him. In the 1620s and early 1630s he worked as a decorator and stage designer in Bologna, Ferrara (...

Article

Magnus Olausson

(b Auxerre, bapt May 28, 1743; d Stockholm, March 19, 1804).

French painter, stage designer and architect. After studies at Jacques-François Blondel’s private school, Desprez continued his architectural training at the Académie Royale d’Architecture, Paris, in the 1760s and, after several attempts, won the Prix de Rome in 1776. Soon after his arrival in Rome (1777) he was asked by the Abbé de Saint-Non to prepare illustrations for his famous Voyage pittoresque, ou description des royaumes de Naples et de Sicile (Paris, 1781–6; drawings in London, BM, and Besançon Mus. B.-A. & Archéol.). With the permission of the Académie, he joined Saint-Non’s team, and during their pioneering tour of southern Italy Desprez produced innumerable topographical drawings and watercolours that are remarkable for their vitality and accuracy. Back in Rome (1779), he completed the 135 illustrations selected for the engravings and resumed his architectural studies.

By the time Desprez sent a design for a public bath to the Académie in Paris in ...