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Gordon Campbell

Article

Anne Winter-Jensen

[Jules, John]

(b Lancy, May 20, 1877; d Paris, June 7, 1947).

French sculptor, metalworker, painter and designer, of Swiss birth. He trained as a sculptor from 1891 to 1896 at the Ecole des Arts Industriels in Geneva and in 1897 was awarded a scholarship by the city of Geneva that enabled him to continue his studies in Paris, where Jean Dampt, a sculptor from Burgundy, introduced him to the idea of producing designs for interior decoration and furnishing. Dunand worked on the winged horses on the bridge of Alexandre III in Paris (in situ), while simultaneously continuing his research into the use of metal in the decorative arts. His first pieces of dinanderie (decorative brassware) were exhibited at the Salon de la Société Nationale des Beaux-Arts of 1904 in Paris. In 1906 he gave up sculpture in order to devote his time to making dinanderie and later to lacquering. His first vases (e.g. ‘Wisteria’ vase, gilt brass with cloisonné enamels, ...

Article

Elizabeth Lunning

(Arthur)

(b Rådvad, nr Copenhagen, Aug 31, 1866; d Copenhagen, Oct 2, 1935).

Danish silversmith and sculptor. He was the son of a blacksmith, and at the age of 14 he was apprenticed to the goldsmith A. Andersen in Copenhagen. In 1884 he became a journeyman and in 1887 he enrolled at the Kongelige Danske Kunstakademi, where he studied sculpture with Theobald Stein (1829–1901), Bertel Thorvaldsen’s successor; a bronze cast of his Harvester of 1891 is in the courtyard of the Georg Jensen silversmithy in Copenhagen. After graduating in 1892 Jensen took up ceramics, working with Joachim Petersen (1870–1943), and in 1900 his work was awarded an honourable mention at the Exposition Universelle in Paris. In the same year he received a grant to travel in France and Italy; it was during this trip that he became interested in the applied arts. On his return to Copenhagen, Jensen worked for the silversmith Mogens Ballin, and in 1904 he opened his own workshop, primarily making jewellery. His brooch of ...

Article

Veerle Poupeye

(b St. Andrew, Dec 29, 1902; d Sept 20, 1992).

Jamaican sculptor. He was initially self-taught, but later attended the Camberwell School of Arts and Crafts, London. He worked as a furniture-carver in the 1930s for the Jamaican Art Deco furniture designer Burnett Webster (1909–1992). His own work of this period was influenced by Art Deco and by Edna Manley. Gradually it became more academic, and he became Jamaica’s most popular monumental sculptor. Among his best-known works are monuments in Kingston to Jamaica’s national heroes, including Norman Manley (1971) and Alexander Bustamante (1972), as well as to the reggae singer Bob Marley (1985). He worked in various materials, including bronze, but was at his best as a woodcarver. His outstanding achievement is the carved ceiling decoration and lectern of the university chapel, University of the West Indies, Mona, Jamaica.

Boxer, D. and Poupeye, V. Modern Jamaican Art. Kingston, 1998.Poupeye, V. Caribbean Art...

Article

Clare Le Corbeiller

(Elisée)

(b Paris, Aug 5, 1897; d Paris, Oct 20, 1945).

French silversmith, designer and sculptor. After service in World War I, he joined the family firm of silversmiths, working as an apprentice and designer. Concurrently he studied sculpture with Louis-Aimé Lejeune (1884–1969). Puiforcat exhibited continuously from 1920 to 1937 and worked independently from 1922. He designed silver objects in the Art Deco style as simple volumes with smooth profiles and surfaces and proportions based on geometric ratios (e.g. soup tureen, c. 1925; Grenoble, Mus. Grenoble). The austerity of these forms was tempered by areas of gilding, decoration in other materials (e.g. rosewood, ivory, onyx, lapis lazuli) or by decorative bands of ribbing or reeding. About 1927 he left Paris to live in Saint-Jean-de-Luz where he continued to design silver and to work as a sculptor. In 1929 he was a founder-member of the Union des Artistes Modernes. His designs were mostly for tableware, but in 1934 he exhibited liturgical silver for the first time, and the Exposition Internationale des Arts et Techniques dans la Vie Moderne (...

Article

Wojciech Włodarczyk

[Pol. Rytm; Stowarzyszenie Artystów Plastyków Rytm: Rhythm Association of Plastic Artists]

Polish group of artists that flourished between 1922 and 1932, although Rhythm exhibitions continued to be held after the group’s disbandment (11 held up to 1932 by the group itself). Members included the painters Wacław Borowski (1885–1950s), Eugeniusz Zak (1884–1926), Tadeusz Pruszkowski (1888–1942), Zofia Stryjeńska and Romuald Kamil Witkowski (1876–1950), the graphic artists Tadeusz Gronowski (b 1894) and Władysław Skoczylas (1883–1934) and the sculptors Henryk Kuna (1885–1945) and Edward Wittig. The Rhythm group had no clearly defined programme. It emerged after the disbanding of Revolt (Bunt) and the Formists, before the advent of colourism and the avant-garde groups, with the aim of organizing exhibitions of a high standard. The Rhythm artists favoured classicism and appreciated stylized drawing, rhythmic compositions and decorative effects. They represented the Polish Art Deco style, and they achieved their greatest success at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in ...

Article

Wojciech Włodarczyk

(b Stanisławów, nr Warsaw, March 8, 1878; d Milanówek, nr Warsaw, Feb 17, 1964).

Polish sculptor. In 1892–6 he attended the Industrial Woodworking School in Zakopane and in 1895–1901 studied at the sculpture studios of Alfred Daun (b 1854) and Konstanty Laszczka at the School of Fine Arts in Kraków. He then studied in Paris, where he met Rodin and Emile-Antoine Bourdelle. In 1921–39 he taught at the Municipal School of Decorative Art and Painting in Warsaw.

From the beginning of his career Szczepkowski directed his attention towards architectural sculpture (e.g. the sandstone figures on the façade of the Agricultural Association Building in Kraków, 1907–10) and applied art, becoming a member of the Polish Applied Art Society (Towarzystwo Polska Sztuka Stosowana). Szczepkowski’s greatest successes, however, are associated with sculpture in wood, including decorated chapels in folk-art style, for example the Nativity Chapel (Kapliczka Bożego Narodzenia) in pine, which won the Grand Prix at the Exposition Internationale des Arts Décoratifs in Paris in ...