German family of artists. The sculptor Emil Cauer the elder (b Dresden, 19 Nov 1800; d Bad Kreuznach, 4 Aug 1867) studied in Berlin under Christian Daniel Rauch. He taught art at Bonn University. At first he was more interested in painting, but then turned enthusiastically to sculpture. He settled in Bad Kreuznach in 1832. Much of his work comprises small genre scenes and figures taken from fairytales. He also modelled important figures from German history and the Reformation, such as Ulpich von Hutten and Philipp Melancthon, and characters from Shakespeare’s plays. His two sons, Carl Cauer (b Bonn, 14 Feb 1828; d Bad Kreuznach, 17 April 1885) and Robert Cauer the elder (b Dresden, 13 Feb 1831; d Kassel, 2 April 1893), both became successful sculptors. Carl was the most important member of the family. He trained with his father and then with ...
(b Siegen, Sept 5, 1843; d Agrigento, Oct 15, 1906).
German sculptor and teacher. He received a technically sound training in sculpture at the Staatliche Hochschule für Bildende Künste in Berlin from Albert Wolff, a pupil of Christian Daniel Rauch, and was awarded the Michael Beer Prize, enabling him to study in Rome. His early works included the marble group Market Traffic (destr.), formerly on the Belle-Alliance bridge in Berlin, and the allegorical Demon of Steam (destr.), which was erected in a light-well of the Technische Hochschule in Berlin-Charlottenburg. In 1881 he taught at the Kunstakademie in Königsberg (now Kaliningrad, Russia); he was appointed a professor in 1883 and later became its Director. Reusch was an exponent of an academic style of sculpture practised in the late 19th century by members of the Hochschule. They erected large and imposing monuments of the ruling Hohenzollern family and of Otto von Bismarck (1815–98), principally in the province of Prussia. There is, however, a restraint in Reusch’s bronze sculptures, bringing his work closer to the Neo-classical style of Louis Tuaillon than to the neo-Baroque of Reinhold Begas, as seen in the equestrian statue of ...
James Cordova and Claire Farago
Term that refers to handmade paintings and sculptures of Christian holy figures, crafted by artists from the Hispanic and Lusophone Americas. The term first came into widespread use in early 20th-century New Mexico among English-speaking art collectors to convey a sense of cultural authenticity. Throughout the Americas, the term imagenes occurs most frequently in Spanish historical documents. Santos are usually painted on wood panels (retablos) or carved and painted in the round (bultos). Reredos, or altarpieces, often combine multiple retablos and bultos within a multi-level architectural framework.
European Christian imagery was circulated widely through the Spanish viceroyalties in the form of paintings, sculptures, and prints, the majority of which were produced in metropolitan centres such as Mexico City, Antigua, Lima, and Puebla, where European- and American-born artists established guilds and workshops. These became important sources upon which local artists elsewhere based their own traditions of religious image-making using locally available materials such as buffalo hides, vegetal dyes, mineral pigments, and yucca fibres, commonly employed by native artists long before European contact....
[Shlomo Zalman Dov]
(b Vrno, Lithuania ?1866; d Denver, CO, March 22, 1932).
Lithuanian sculptor and painter, active in Palestine. Born into a poor, orthodox Jewish family, he attended rabbinical school in Vilna (now Vilnius; 1882–7). During this period he studied art at the local academy and, affected by the anti-Semitism of the period, developed left-wing political interests and the connections to an emancipated Jewish art form. His personal history generated three distinct artistic periods: the early activities in Paris (until 1895), the Bulgarian period (until 1903) and the later Jewish period in Palestine. His first known oil painting, the Dying Will (c. 1886; priv. col., see 1933 exh. cat., no. M16), was typical of late 19th-century romanticism. In 1888 he moved to Warsaw, working intensely on sculptures, reliefs and lithographs. His concept of art for a Jewish national agenda and propaganda was published that year as an article ‘Craftsmanship’ in the Hebrew newspaper Hazfira, forming the basis for his later works. After his marriage (...