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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 ...

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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 (...

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Marc’alvise de Vierno

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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

Gordon Campbell

(b 1754; d 1811).

French silhouettist and musician. In 1784 he invented a portrait cutting machine which he called a physionotrace; this apparatus, which consisted of a mechanical wooden instrument guided by a viewfinder, enabled Chrétien to draw quickly and to produce engraved drawings that could easily be reproduced.

W. Way and H. W. Chase...

Article

Susan Harrison Kaufman

[Giambattista]

(b c. 1685–6; d Venice, July 15, 1758).

Italian painter and stage designer. His earliest known work, the Flagellation of Christ (c. 1706; Venice, Mus. Diocesano S Apollinia), for the Scuola del Cristo of S Marcuola, is a dark, shadowy painting that reveals the strong influence of tenebrist trends of the 17th century. Crosato, however, belonged to the generation of Venetian painters such as Jacopo Amigoni, Sebastiano Ricci and Giovanni Antonio Pellegrini, who were developing a lighter, more colourful style. His tonality changed from the darkened shadows of the Flagellation to the light-filled frescoes for Stupinigi, the hunting palace of the Duke of Savoy, near Turin, which constitute his next known work. The most successful of these, the Sacrifice of Iphigenia (begun 1733), on the vault of the antechamber of the queen’s apartment, is a highly dramatic work full of bright bold colours accentuated against the blue sky and white clouds. The gold, blue and red tones are effectively placed so as to lead the eye around the room and guide it through the narrative, which is related through the specific gestures or glances of a few figures, at the same time suggesting the idea of greater numbers. Equally direct is Crosato’s use of sharply defined, highly saturated colours, which remain constant in their intensity and effective in providing visual unity; his linear style defines solidly modelled forms. Other rooms at Stupinigi decorated by him included the antechapel of S Umberto, with figures of hunters and lady companions, and the Sala degli Scudiere, with the story of ...

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 ...

Article

Leah Lipton

(b Perth Amboy, NJ, Feb 18, 1766; d New York, Sept 28, 1839).

American painter, writer and Playwright. After working in England with Benjamin West between 1784 and 1787, Dunlap concentrated primarily on the theatre for the next 20 years. His two main interests are documented in his large Portrait of the Artist Showing his Picture of Hamlet to his Parents (1788; New York, NY Hist. Soc.). He wrote more than 30 plays and was called by some the ‘father of American drama’. He was the director and manager of the Park Theatre in New York from 1797 until its bankruptcy in 1805 and again, in its revived form, from 1806 to 1811. He began to paint miniatures to support his family in 1805 and travelled the East Coast of America as an itinerant artist. By 1817 he had become, in his own words, ‘permanently a painter’.

Dunlap always lived on the verge of poverty. To increase his income, he produced a large showpiece ...

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Marc’alvise de Vierno

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Marc’alvise de Vierno

Italian family of painters and stage designers. They came from Andorno, near Vercelli, Piedmont, and were active in the 18th century and the first half of the 19th. Their works are mainly in Piedmont and Lombardy, although they also worked for leading European courts, such as those at Vienna, Paris and Berlin. Giovanni Galliari the elder (c. 1680–1720), from Andorno, was a minor provincial painter who worked in Milan and Crema in 1707 and 1709 with members of the Piedmontese branch of the Cignaroli. He may have painted several decorations for religious processions for the Sanctuary of the Madonna of Oropa, an ancient and celebrated place of pilgrimage. His three sons were (1) Bernardino Galliari, (2) Fabrizio Galliari and Giovanni Antonio Galliari (1718–83). The artistic tradition of the family was continued by the children of Fabrizio: Giovanni Galliari the younger (1746–1818), who went to Berlin, ...

Article

[P’yetro di Gonzaga]

(b Longarone, nr Venice, March 25, 1751; d St Petersburg, Aug 6, 1831).

Italian painter, stage designer and landscape designer, also active in Russia. He studied in Venice (1769–72) under Giuseppe Moretti and Antonio Visentini (1688–1782) and finished his education in Milan (1772–8), studying with the stage designers Bernardino, Fabrizio and Giovanni Antonio Galliari. He was considerably influenced by the works of Canaletto and Piranesi. He made his début as a stage designer in Milan at the Teatro alla Scala in 1779 and designed over 60 productions in Milan, Rome, Genoa and other Italian cities. From 1792 he worked in Russia, where he went on the recommendation of Prince Nikolay Yusupov, who was at that time the chief director of music and pageantry at the court of Catherine II.

In his stage designs Gonzago put into effect his theoretical principles, which he explained in the handbook Information à mon chef ou éclaircissement convenable du décorateur théâtral (St Petersburg, ...

Article

Stephen Addiss

[Uragami Hitsu; Ki Tasuku; Gyokudō, Ryosai]

(b Ikeda, Bizen Province [now Okayama Prefect.], 1745; d Kyoto, 1820).

Japanese Musician, painter, poet and calligrapher. Although he was more famous in his lifetime as a musician and little appreciated as an artist, Gyokudō has come to be considered one of Japan’s great painters in the literati painting tradition (Jap. Bunjinga or Nanga; see Japan §VI 4., (vi), (d)) and his rough, bold works are among Japan’s most powerful and individualistic artistic expressions. He belonged to the third generation of Japanese literati artists, who returned to painting in a more Sinophile, orthodox manner in contrast to the more unorthodox, Japanese approach of second-generation masters such as Ike Taiga and Yosa Buson.

He was born to a samurai-official family, and in 1752, a year after his father died, he took up the Ikeda clan duties. He received a Confucian-style education and as a youth studied the Chinese zither (qin). He was skilled both as a player and composer on this subtle instrument. The creative processes that he developed for composition, particularly with respect to asymmetry and repetition, were transferred to the calligraphy and painting of his later years. He took his art name (...

Article

Alkis Charalampidis

[Nicolas]

(b Zakynthos, 1741; d Zakynthos, 1813).

Greek painter, poet and Musician. He was a pupil of Nikolaos Doxaras (1754–9) and perhaps of Giambattista Tiepolo in Venice, the city that decisively influenced both his art and his life. After his return to Greece he was ordained (c. 1770), but due to his idiosyncratic character he suffered many personal vicissitudes. He worked chiefly on religious painting and portraits, his most important works being Litany (1766; Zakynthos, St Dionysios), modelled on Venetian images of religious processions, Pietà, Joseph and Nicodemus (both Zakynthos, Church of the Ascension), Mary Magdalen, Mary Cleopas, St John, St Peter, Six Scenes from the Life of the Blessed Virgin, Five Hierarchs (all Zakynthos, Mus.), Self-portrait (Zakynthos, D. Romas priv. col., see Lydakes, p. 200) and Portrait of a Nobleman (Athens, N. G.).

S. Lydakes: Lexiko ton hellenon zographon kai charakton [Dictionary of Greek painters and engravers] (1976), p. 200, iv of ...

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(b Strasbourg, Oct 31, 1740; d London, March 11, 1812).

Alsatian painter, illustrator and stage designer, active in France and England. Loutherbourg’s father, Philipp Jakob (1698–1768), was an engraver and miniature painter to the court of Darmstadt. In 1755 he took his family to Paris, where Loutherbourg became a pupil of Carle Vanloo; he also attended Jean-Georges Wille’s engraving academy in the Quai des Augustins and Francesco Casanova’s studio. Wille directed Loutherbourg’s attention to 17th-century Dutch landscape artists, such as Philips Wouwerman and Nicolaes Berchem, and in 1763 Denis Diderot noticed the inspiration of the latter in Loutherbourg’s first Salon exhibit, a landscape with figures (Liverpool, Walker A.G.). In this and other works, focus is on the foreground figures, which are framed by natural formations that occasionally fall away to reveal distant horizons. This informal style found favour with the French public; Loutherbourg’s vivid, fresh colour and ability to catch specific light and weather conditions made the pastoral subjects of François Boucher and his school seem contrived and fey. Rather more romanticized were Loutherbourg’s shipwreck scenes (e.g. ...

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A. S. Ciechanowiecki

(b 1728; d Warsaw, Jan 31, 1800).

Grand Hetman of Lithuania, Polish politician, amateur painter, musician and patron. He instigated and financed the ‘Ogiński canal’, which joined the confluents of the Baltic with those of the Black Sea, and he was responsible for some of the most important highways in eastern Poland. He reconstructed and redecorated the castle of Nieborów near Warsaw (1766–74) and in 1775 moved to the palace at Słonim, which he totally rebuilt creating an artistic court, known as the ‘Athens of Polesia’. In 1780 Innocenzo Maraino (fl 1770–96) added a famous theatre and opera house, which seated 2000. At Słonim and at his summer residences of Telechany and Honoratówka he had gardens laid out and follies erected, and he was instrumental in the reconstruction of his wife’s palatial residence in Siedlce. He established two major artistic manufactories on his properties. The first in Telechany (1780) made maiolica in the international late Baroque style, but after Orgiński’s visit to England in ...

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(b Piacenza, June 17, 1691; d Rome, Oct 21, 1765).

Italian painter, architect and stage designer. He was a highly prolific and versatile painter, best known for his numerous vedute of Rome, many of which focused on the remnants of the city’s Classical past. Ceremonies and festivals often feature in his vedute, which thus constitute a lively documentation of contemporary topography, lifestyle and customs. In contrast to Bernardo Bellotto and Gaspar van Wittel, his treatment is picturesque rather than rigorous; he liked to enliven and animate his views by adding numerous figures (see fig.). He worked exclusively in Rome and by the end of his career was the head of a thriving workshop that included the Frenchman Hubert Robert (in Rome from 1754) and Panini’s son Francesco Panini (b 1738).

Article

Cynthia H. Sanford

(b West Boxford, MA, May 1, 1792; d West Haven, CT, Aug 13, 1884).

American painter, teacher, musician, inventor, journalist and founder of Scientific American magazine. Descended from a prominent New England family of prosperous landowners, Porter was raised and educated in West Boxford until the age of nine. His family then moved to Maine in the area of the Bridgton tract. In 1804 Porter briefly attended the Fryeburg Academy, where instruction in music was given in addition to English, Latin, Greek and mathematics, and Porter likely received his music training there.

When he was 15, Rufus’s parents arranged an apprenticeship for him as a shoemaker with his brother Jonathan in West Boxford. But the restless young Porter soon took off with his fiddle and fife and walked to Portland, ME, where around 1810 he began a career painting houses, signs, sleighs, gunboats and drums. In 1814 he joined the Portland Light Infantry serving as a musician as well as a soldier. Soon after, he married Eunice Twombly, and by ...

Article

Richard Bösel

(b Trento, Nov 30, 1642; d Vienna, Aug 31, 1709).

Italian painter, architect and stage designer. He was a brilliant quadratura painter, whose most celebrated works, such as the decoration of the church of S Ignazio in Rome, unite painting, architecture and sculpture in effects of overwhelming illusionism and are among the high-points of Baroque church art. He was a Jesuit lay brother and produced his most significant work for the Society of Jesus. This affiliation was fundamental to his conception of art and to his heightened awareness of the artist’s role as instrumental in proclaiming the faith and stimulating religious fervour. The methods he used were those of Counter-Reformation rhetoric, as represented in Ignatius Loyola’s Spirited Exercises (1548). His architectural works are eclectic, and his unconventional combination of varied sources led to bold experiments with both space and structure. His ideas were spread by his highly successful two-volume treatise, Perspectiva pictorum et architectorum (1693–1700).

He received his first artistic training in Trento, with a painter who appears to have worked in the studio of Palma Giovane. He then studied with an unidentifiable pupil of, among others, Andrea Sacchi, who would have been the first to instruct Pozzo in the art of the Roman High Baroque, and he followed this painter to Como and Milan. In Milan Pozzo joined the Society of Jesus on ...

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Philip Ward-Jackson

[Jean-Jacques]

(b Geneva, May 23, 1790; d Bougival, June 4, 1852).

Swiss sculptor, painter and composer. Prompted by his early displays of artistic talent, Pradier’s parents placed him in the workshop of a jeweller, where he learnt engraving on metal. He attended drawing classes in Geneva, before leaving for Paris in 1807. By 1811 he was registered at the Ecole des Beaux-Arts and subsequently entered its sculpture competitions as a pupil of François-Frédéric, Baron Lemot. A more significant contribution to his artistic formation around this time was the guidance of the painter François Gérard. Pradier won the Prix de Rome in 1813 and was resident at the French Academy in Rome, from 1814 until 1819. On his return to France, he showed at the Salon of 1819 a group Centaur and Bacchante (untraced) and a reclining Bacchante (marble; Rouen, Mus. B.-A.). The latter, borrowing an erotically significant torsion from the Antique Callipygean Venus, opens the series of sensuous Classical female subjects that were to become Pradier’s forte. In ...

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Christiaan Schuckman

(b Amsterdam, April 2, 1711; d Amsterdam, December 18, 1779).

Dutch etcher, publisher, painter, actor-manager. He worked as an actor in Amsterdam between 1732 and 1745 and from 1753 to 1772, and in Rotterdam between 1773 and 1776. Judging from the comments of contemporary critics, he was best known for his recitations on the stage, sometimes shouted. He received his training as an etcher from Adolf van der Laan (c. 1684/90–after 1740), while Jacob de Wit taught him to paint. Later Punt himself gave lessons to Reinier Vinkeles and others. In 1765 he was a member of the Amsterdam Guild of St Luke. His engravings, which date from 1732 to 1779, cover a wide range of subjects and reproduce mainly the work of contemporaries (the exception being his prints of Rubens’s paintings for the Jesuit church in Antwerp; the drawings for these prints were by Jacob de Wit). Punt’s work includes figures, portraits and frontispieces as well as genre, historical and topographical subjects....