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 ...
(b Alfred, ME, July 17, 1883; d San Francisco, Nov 11, 1973).
American photographer. Self-taught, Abbe started to produce photographs at the age of 12. From 1898 to 1910 he worked in his father’s bookshop and then worked as a reporter for the Washington Post, travelling to Europe in 1910. Having earlier produced photographs of ships and sailors for tourist cards, from 1913 to 1917 he worked as a freelance photojournalist in Virginia. In 1917 he set up a studio in New York, where he produced the first photographic cover for the Saturday Evening Post as well as photographs for Ladies Home Journal, the New York Times and other publications. From 1922 to 1923 he worked as a stills photographer, actor and writer for film studios. Though this was mainly for Mack Sennett in Hollywood, he also worked for D. W. Griffiths as a stills photographer on Way Down East (1920) and accompanied Lilian Gish to Italy to provide stills for Griffiths’s ...
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 (...
Sandra L. Tatman
(b Philadelphia, PA, April 29, 1881; d Philadelphia, PA, April 23, 1950).
African American architect. Born and educated in Philadelphia, Abele was the chief designer in the firm of Horace Trumbauer. Unknown for most of his life, Julian Abele has become renowned as a pioneer African American architect.
Abele attended the Institute for Colored Youth and Brown Preparatory School before enrolling at the Pennsylvania Museum School of Industrial Art, where in 1898 he earned his Certificate in Architectural Drawing and the Frederick Graff Prize for work in Architectural Design, Evening Class Students. Abele then enrolled at the University of Pennsylvania. Again he distinguished himself in the architectural program, and at his 1902 graduation he was awarded the prestigious Arthur Spayd Brooke Memorial Prize. Abele’s work was also exhibited in the Toronto Architectural Club (1901), the T-Square Club Annual Exhibition (1901–2), and the Pittsburgh Architectural Club annual exhibition of 1903.
As an undergraduate Abele worked for Louis C. Hickman (...
(b Nelson, 1949).
New Zealand photographer. Aberhart became a leading photographer in New Zealand from the 1970s with his distinctive 8×10 inch black-and-white photographs, taken with a 19th-century large format Field Camera. He is particularly well known for his images of disappearing cultural history, often melancholic in tone, in New Zealand.
Aberhart’s use of an ‘outmoded’ process for picturing subjects in apparent decay or decline paradoxically re-invigorated them. He was inspired by the documenting traditions of New Zealand’s itinerant 19th-century photographers. His generally provincial subjects included vacant architectural interiors and exteriors, such as domestic houses, Masonic lodges, churches, Maori meeting-houses, and cemeteries, war memorials, museum exhibits, landscapes, and horizons (see A Distant View of Taranaki, 14 February 2009, Auckland, A.G.). Aberhart also produced several compelling portraits, especially those from the late 1970s and early 1980s of his daughters (e.g. Kamala and Charlotte in the Grounds of the Lodge, Tawera, Oxford, 1981; Christchurch, NZ, A.G.)....
Colin J. Bailey and U. v. Hase-Schmundt
German family of painters. (1) Albrecht Adam had four sons who were artists: Benno Adam (1812–1892), Franz Adam (1815–1886), Eugen Adam (1817–1880), and Julius Adam (1826–1874). Albrecht’s brother Heinrich Adam (1787–1862) was also an artist. (2) Richard Benno Adam was the grandson of Benno Adam.
Colin J. Bailey
(b Nördlingen, April 16, 1786; d Munich, Aug 28, 1862).
He trained under Christoph Zwinger (1744–1813) in Nuremberg, and in 1807 he moved to Munich to continue his studies. From 1809 he worked in Milan, following his appointment as court painter to Eugène de Beauharnais, viceroy of Italy, whom he accompanied to Russia in 1812. After returning to Munich in 1815, he executed a series of 83 small battle-pieces in oil on paper, based on sketches made in 1812. His Russian exploits also provided the material for a set of 100 lithographs entitled ...
Janet A. Headley
(b West Concord, VT, Jan 28, 1858; d New York, NY, May 21, 1945).
American sculptor. Raised in Fitchburg, MA, he trained at the Institute of Technology in Worcester (subsequently Worcester Polytechnic Institute), the Massachusetts Normal Art School in Boston (now the Massachusetts College of Art and Design) and the Maryland Institute of Art in Baltimore, following an artistic path that mirrored that of many of his contemporaries. Arriving in Paris around 1885, he found a mentor in Antonin Mercié (1845–1916), whose accomplished bronzes evoke Italian Renaissance prototypes. He briefly established his own studio in Paris in 1888, and from 1890 to 1895 he taught at the Pratt Institute in Brooklyn.
Adams won important commissions for public monuments in Boston (clergyman William Ellery Channing, 1904) and New York (William Cullen Bryant, 1911). The latter, located on the grounds of the New York Public Library, features a dignified seated portrait of the poet, editor and advocate of Central Park and the Metropolitan Museum; architect Thomas Hastings (...
T. Affleck Greeves
(b Burgess Hill, Sussex, 1849; d London, Aug 17, 1933).
English architect, editor and draughtsman. After completing his articles with H. N. Goulty of Brighton, he became assistant to William Ralph Emerson, and Architect to Brighton Council. Between 1872 and 1923 he was Editor of Building News. He instituted the Building News Designing Club, which enabled young architects to submit designs for his criticism. He contributed largely to the paper’s illustrations, redrawing designs for lithographic reproduction, and covered a wide range of subjects in a skilful and accurate, if somewhat dull, linear style. He also published several architectural books. Through the owner of Building News he obtained his major architectural commissions, notably Camberwell Polytechnic and Art Gallery (1902). He also designed country houses near London, for example Queensmead Cottage, Kings Road, Windsor, Berks (1883), for Reginald Talbot, as well as in Australia (e.g. Bellevue Hill, Double Bay, for Charles B. Fairfax in the mid-1880s) and America, where he designed timber houses in New Jersey for E. S. Wilde in ...
(b Uuga Rätsepa, nr Paldiski, Nov 12, 1855; d Paldiski, June 26, 1929).
Estonian sculptor. From childhood he excelled in wood-carving. His first serious work after graduating from the St Petersburg Academy of Arts, where he studied (1876–81) under Alexander Bock (1829–95), was a carved frame for Johann Köler’s painting Tribute to Caesar (1883; Tallinn, A. Mus.), commissioned by several Estonian art associations on the occasion of the coronation of Alexander III (reg 1881–94). This work was inspired by Adamson’s impressions of altars in 17th-century churches in Tallinn. Baroque motifs became an important feature of his work, as in his allegorical miniatures Dawn and Dusk (1895; Tallinn, A. Mus.), carved from pear wood. Adamson completed his studies in Paris, where he was influenced by the works of Jean-Baptiste Carpeaux and Jules Dalou. A theme that runs through his smaller works is the sea, as in the Boat’s Last Breath (wax, 1899; biscuit, 1901, executed at the ...
(b Berlin, Oct 15, 1827; d Berlin, Sept 15, 1908).
German architect, archaeologist and writer. He was one of the leading figures of Berlin’s architectural establishment in the latter half of the 19th century. On completion of his studies in 1852, he was given the prestigious post of Bauleiter at the Neues Museum in Berlin, designed by Friedrich August Stüler. He subsequently became a lecturer and in 1861 a professor of architectural history at the Bauakademie in Berlin. Many of his church buildings used medieval motifs and elements, for example the Christuskirche (1862–8) in Berlin and the Elisabethkirche (1869–72) in Wilhelmshafen. He followed Karl Bötticher in his attempts to merge medieval and classical elements, best illustrated in his design for the Thomaskirche (competition 1862; built 1865–70), Berlin. There, Adler used Gothic structural devices embellished with rich Renaissance detail, a tendency that was also present in many of the entries for the Berlin Cathedral competition (...
(b Bowdon, Cheshire, 1868; d London, April 11, 1946).
English architect and urban planner. The son of a landscape painter, he was apprenticed to an architect in Manchester in 1885. He went to London in 1890, where he built up experience in well-known architectural offices, notably with George Sherrin (d 1909) and William Flockhart (d 1913). His brief and shrewd recollections of these years are a valuable record of prosperous London practice in the 1890s. He gradually gained a reputation as a perspectivist but his architectural career was slow to develop. The library and assembly rooms at Ramsgate, Kent (1904), and offices for the Bennett Steamship Co., Southwark, London (1908), show his preference for an individual, refined Georgian-revival style.
In 1909 Adshead became Professor of Town Planning at Liverpool University and inaugurated the Department of Civic Design, the first town-planning school in Britain, with Patrick Abercrombie as his deputy. In 1910...
(b Vercelli, Italy, 1843; d Rio de Janeiro, 1910).
Brazilian caricaturist and painter. He came to Brazil in 1859, having already acquired some knowledge of painting in Paris. He settled initially in São Paulo, where he at once started to publish caricatures attacking black slavery. There, in 1864, he was one of the founders of the comic newspaper O Diabo Coxo. His abolitionist spirit continued after he moved to Rio de Janeiro, through his frequent collaboration in periodicals such as A Vida Fluminense, O Mosquito, Don Quixote and O Malho. In the Revista Ilustrada he began to publish in 1884 the first long-running strip cartoon in Brazil, the adventures of Zé Caipora, a sertão (hinterland) character, depicting a lesser-known side of Brazil. As a painter he specialized in landscapes but also produced portraits with the same fervour that fired his enjoyable and impassioned satirical drawings, for example Portrait of the Writer Joaquin Augusto Ribeiro de Sousa (c. 1890...
(Gustave) [Agelii, John Gustaf]
(b Sala, Västmanland, May 24, 1869; d Barcelona, Oct 1, 1917).
Swedish painter. He started to paint of his own initiative on Gotland at the age of 20. In the spring of 1890 he went to Paris, where he studied under Emile Bernard, through whom he became familiar with the work of Paul Cézanne and Vincent van Gogh. He became involved in theosophical circles, with Jacques Tasset, M. E. J. Coulomb and other members of the theosophical group Ananta. During the summers of 1891 and 1892 he went back to Gotland to paint. On returning to Paris he painted only sporadically, while studying oriental languages and religions. In the autumn of 1894 he went to Egypt and began painting intensively, producing such works as Egyptian Landscape (1894/5; Stockholm, Nmus.). In 1895 he was again in Paris where he was an enthusiastic student of Islam, to which he converted in 1898. In 1900 he shot and wounded a banderillero at a bullfight in Paris in protest against the cruelty to the animals: this led to the abolition of bullfights in France....
(b Werden, Essen, May 28, 1835; d Cologne, Aug 9, 1913).
German sculptor and teacher. He trained (1851–4) as a wood-carver in Elberfeld, and from 1855 he studied at the Akademie der Künste, Berlin, also working in the studios of August Fischer (1805–66) and Hugo Hagen (?1818–1871). In 1865 Albermann moved to Cologne and established his own workshop. From 1871 to 1896 he taught the modelling class at the Gewerbliche Zeichenschule, and from the 1890s onwards he was active in the Verein zur Förderung der Bildhauerkunst in Rheinland und Westfalen, which was established in reaction to Berlin’s dominance in commissions for monumental sculpture.
Albermann’s early work consists mostly of figurative and ornamental decoration for private houses in Cologne. From the late 1870s, however, he produced many war memorials and statues, of Emperor William I, Frederick III, Bismarck and Moltke, often combined in groups as founders of the German Reich. These works were erected further afield, although still all within the Rhineland, for example at Bielefeld; Werden, Essen, and Kettwig, Essen; Kempen; Neuss and Zweibrücken....
Colin J. Bailey
Elisa García Barragán
(b Marseille; d after 1912).
Italian sculptor and teacher, active in France and Mexico. He began his career in Marseille as a sculptor of the French school, and in 1888 he received an honourable mention at the Salon des Artistes Français, where he exhibited regularly until 1913. He probably moved to Mexico at the end of 1889. He won critical acclaim for his first works there, marble and bronze busts of important Mexican figures. In 1891 the government commissioned him to create statues of national heroes and dignitaries for the Paseo de la Reforma, Mexico City; the statue of Col. Miguel López was exhibited at the World’s Columbian Exposition in Chicago, IL, in 1893 and at the World’s Fair in Atlanta, GA, in 1895, winning prizes on both occasions. This was Alciati’s most dramatic and realist work, and the influence of Rodin is clear. In 1895 he was appointed professor of sculpture, decoration and modelling at the Escuela Nacional de Bellas Artes, Mexico City. At the turn of the century he was commissioned to create, under the direction of ...
Francisco Portela Sandoval
(b Tivenys, Tarragona, 1835; d Madrid, Dec 1908).
Spanish sculptor. He studied at the Escuela Superior de Pintura, Escultura y Grabado, Madrid, where he later taught, and also under the sculptor José Piquer y Duart. His oeuvre is diverse in subject-matter—including religious compositions, portrait busts and monumental sculpture—and also in material—he worked in clay, plaster, marble and stone, as well as producing polychrome statues. Alcoverro y Amorós was a regular exhibitor at the Exposiciones Nacionales de Bellas Artes, and it was largely through them that his work became known; in 1867 he exhibited Ishmael Fainting with Thirst in the Desert of Beer-Sheba (Valencia, Real Acad. B.A. S Carlos). In 1870 he carved a St John the Baptist (1870; untraced) for Bermeo, Vizcaya, and at the following year’s Exposición he showed Lazarus at the Gate of Dives and Christ and Mary Magdalene as well as two portrait busts (one, in clay, of Rossini). In 1876 he exhibited a statue of ...