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(b Salzburg, May 1, 1753; d Prague, June 25, 1829).

Austrian painter, printmaker, draughtsman, illustrator and teacher, active in Bohemia. He was taught by his father, the sculptor and painter Josef Bergler the elder (1718–88), and, during his stay in Italy, by Martin Knoller in Milan and Anton von Maron in Rome. An accomplished portrait painter, he was employed as official painter by bishops and cardinals at Passau and painted a number of altarpieces in Austria and especially in Bohemia. He helped establish the Academy of Fine Arts, Prague (1800), which placed a new emphasis on draughtsmanship, composition and Classical subjects and models. As the first Director of the Academy, Bergler won new academic prestige for art in Bohemia and, for himself, a privileged position in obtaining commissions such as the Curtain at the Estates Theatre (sketches, 1803–4; Prague, N.G., Convent of St Agnes). He also published albums of engravings intended as models (Compositions and Sketches...

Article

Angelo Dragone

(b Reggio Emilia, Feb 23, 1818; d Turin, April 17, 1882).

Italian painter, draughtsman and printmaker.

In 1832, at the age of 14, he began attending the local Scuola di Belle Arti where he was a pupil of Prospero Minghetti (1786–1853). Fontanesi’s early work revealed his versatility: in the 1830s he produced tempera murals for several houses in Reggio Emilia, such as the Casa Zanichelli, Via S Filippo (in situ), and the Casa Ghinizzini, Via Emilia Santo Stefano (in situ), combining townscapes and architectural perspectives with friezes and medallions in an 18th-century manner. For the 1841–2 and 1845–6 theatre seasons he designed stage sets for performances of operas, including Verdi’s Nebuchadnezzar, performed in the Teatro Comunale. Although he was appreciated in Reggio Emilia, Fontanesi resented the limited cultural climate, and shortly after his mother’s death in 1845, he left for Turin. Probably stirred by the ideals of the contemporary Italian revolt against the Austrians, he then moved on to Milan, where he joined the forces of Garibaldi....

Article

Siegfried Salzmann

(b Pless, Upper Silesia, June 21, 1912; d Paris, 1992).

German etcher and painter. He studied under Otto Mueller at the Kunstakademie, Breslau (now Wrocław, Poland), and then moved to Dresden, where he was a member of the Assoziation Revolutionärer Bildender Künstler Deutschlands (ASSO). In 1935 he went to Ostrava, Czechoslovakia [now Czech Republic], to escape the Nazis. In 1937 he moved to The Hague, where he held his first exhibition of prints and watercolours, before settling in Paris. His etchings of the 1930s combine an intensely worked line, drawing on the German printmaking tradition, with realistic subject-matter, as in Dead Horse (1933; see 1987 exh. cat., no. 50). During World War II he lived in Marseille and worked with the French resistance movement. After the war an atmosphere of mystery, similar to the automatist Surrealism of André Masson, became more marked in his etchings, for example Fish and Birds I (1947; see 1987 exh. cat., no. 53). Animals and human figures remained his principal subjects until the mid-1950s, when they gave way to more elegant, abstract colour compositions that, in their combination of delicate forms and symbols, maintain landscape associations. In the 1960s he began producing works that suggested musical modes of organization in their tonality, rhythmic structures and harmonization of colours. The titles of many of the etchings suggest musical associations, such as ...

Article

Ismael Gutiérrez Pastor

(b Villena, Alicante, c. 1645; d Madrid, June 28, 1717).

Spanish painter, engraver and writer. He began his training in Murcia with Nicolás de Villacis (c. 1618–94) and Mateo Gilarte (c. 1620–after 1680), who both worked in a naturalist and tenebrist style. He travelled to Rome in the 1660s and came into contact with the Italian Baroque, especially the work of Pietro da Cortona and Carlo Maratti. On his return he was first in Valencia, where the work of Jerónimo Jacinto Espinosa became a strong influence. Towards 1674 he established himself in Madrid, where he entered the circle of Juan Carreño de Miranda.

García Hidalgo’s numerous paintings were frequently signed, and he painted a good many for the Augustinian Order in Madrid, Madrigal de las Altas Torres, Santiago de Compostela and Sigüenza (e.g the Vision of St Augustine, 1680; Sigüenza Cathedral), and for the Carmelite Order in Alba de Tormes, Peñaranda de Bracamonte and Segovia (e.g. the ...

Article

Stephen Stuart-Smith

(Rowton)

(b Brighton, Feb 22, 1882; d Harefield, Middx [now in London], Nov 17, 1940).

English sculptor, letter-cutter, typographic designer, calligrapher, engraver, writer and teacher. He received a traditional training at Chichester Technical and Art School (1897–1900), where he first developed an interest in lettering. He also became fascinated by the Anglo-Saxon and Norman stone-carvings in Chichester Cathedral. In 1900 Gill moved to London to become a pupil of William Douglas Caröe (1857–1938), architect to the Ecclesiastical Commissioners. He took classes in practical masonry at Westminster Institute and in writing and illuminating at the Central School of Art and Design, where he was deeply influenced by the calligrapher Edward Johnston. Johnston’s meticulous training was to be a perfect preparation for Gill’s first commissions for three-dimensional inscriptions in stone, the foundation stone for Caröe’s St Barnabas and St James the Greater in Walthamstow, London, and the lettering for the lychgate at Charles Harrison Townsend’s St Mary’s, Great Warley, Essex. Further commissions followed after Gill left Caröe in ...

Article

Sheila O’Connell

(b London, Nov 10, 1697; d London, 25–26 Oct 1764).

English painter and engraver. He played a crucial part in establishing an English school of painting, both through the quality of his painting and through campaigns to improve the status of the artist in England. He also demonstrated that artists could become independent of wealthy patrons by publishing engravings after their own paintings. He is best remembered for the satirical engravings that gave the name ‘Hogarthian’ to low-life scenes of the period.

William Hogarth was born in St Bartholomew’s Close, London. His father, Richard Hogarth, was a Latin scholar and schoolmaster, who also became the proprietor of a coffee-house that failed; as a consequence, he was confined for four years (1708–12) as a debtor in the Fleet Prison. His misfortunes powerfully impressed Hogarth with the importance of maintaining financial independence. Having shown a talent for drawing, on 2 February 1713 he was apprenticed to Ellis Gamble, a silver-plate engraver of Blue Cross Street, Leicester Fields (now Leicester Square), London, and by ...

Article

[Friedrich; Fritz]

(b Vienna, Dec 15, 1928; d New Zealand, Feb 19, 2000).

Austrian painter and printmaker. Born to a Jewish mother, he foiled the Nazis and was able to shield some of his relatives for a time. During Nazi rule he studied in Vienna, at public schools and at the Montessori school before briefly attending the Akademie der Bildenden Künste. His floridly patterned works with their haunting and rich colours are dependent on the decorative tradition that produced Art Nouveau. The luxurious, sinuous forms and expressive distortions affiliate him to figurative artists such as Klimt and Schiele. Hundertwasser’s subject-matter modified these stylistic sources and was often influenced by his great interest in a sane environment expressed as a stable relationship between man, the built world and nature. He travelled widely and developed a pictorial vocabulary unspecific to any place or time. Hundertwasser made significant contributions to printing techniques with such works as the woodcut series Nana Hiakv Mizu (1973; with Japanese artists). The decorative and technical opulence of his work made him a controversial figure with the critics, while assuring him a large popular following....

Article

Edwin Lachnit

(b Pöchlarn, Lower Austria, March 1, 1886; d Montreux, Feb 22, 1980).

Austrian painter, printmaker and writer. He revolutionized the art of the turn of the century, adopting a radical approach to art, which was for him essential to the human condition and politically engaged. Kokoschka promoted a new visual effect in painting, related to making visible the immaterial forces active behind the external appearance of things, in which the object was a living, moving substance that revealed its inner essence to the eye. This applied to the portraits as well as to the townscapes (see Self-portrait, 1913). The art-historical basis for his work lies in the painting tradition of Austrian late Baroque and especially in the colourfully expressive visions of Franz Anton Maulbertsch. As was true of many artists of his generation, Kokoschka’s creative urge was also expressed in literature and showed a clear inclination towards music and theatre.

Article

Timothy Wilcox

(b Dijon, May 8, 1837; d Watford, Dec 8, 1911).

British etcher, painter, sculptor and teacher of French birth. He is said to have been apprenticed at the age of 11 to a sign-painter, at which time he may also have attended classes at the Ecole des Beaux-Arts in Dijon. He was employed as assistant on a decorative scheme in Lyon Cathedral before moving in 1851 to Paris, where he worked initially for the theatre decorator C. A. Cambon (1802–75). He soon became a pupil of Horace Lecoq de Boisbaudran, whose methodical instruction and liberality in fostering individual talent proved of lasting benefit to Legros. In 1855 he enrolled at the Ecole des Beaux-Arts, Paris, attending irregularly until 1857. During this period Legros had a taste for early Netherlandish art and for French Romanticism, which was later superseded by his admiration for Claude, Poussin and Michelangelo. However, his devotion to Holbein proved constant and was apparent as early as his first Salon painting, ...

Article

Susan Morris

(b Cologne, 1731; d Oxford, Dec 12, 1812).

English painter and printmaker of German birth. The son of a watchmaker, he moved to England c. 1754 and taught music and drawing in London, Lewes and Bristol before settling in Oxford as a drawing-master and leader of the band at the city’s Music Room. In 1763 he published 12 etchings of views near Oxford; further sets of etchings followed in 1771 and 1772. His only Royal Academy exhibit was a watercolour landscape, shown in 1773 when he was listed as an honorary exhibitor. There is no evidence that he sold his work. Nearly 500 drawings by Malchair are in the Ashmolean Museum, Oxford; these include unpretentious cottage subjects and panoramic views of the city (e.g. Oxford in Flood Time, from Shotover Hill, 1791) characterized by an atmospheric haziness achieved through blurred pencil lines and grey or pastel wash. Visits to north Wales in 1789, 1791 and 1795 encouraged him to use bolder grey washes, strong pencil lines and vertiginous mountain compositions as, for example, in ...

Article

Stephen Bann

(b Chelsham, Surrey, Dec 3, 1908; d Gudja, Malta, Jan 23, 1998).

English painter and printmaker. He developed an interest in painting as a schoolboy at Harrow, but the early death of his father prevented him from carrying on his studies at this stage. From 1927 to 1937 he worked as a clerk at the Head Office of the London County Council, painting in his spare time and paying frequent visits to the Tate Gallery and the National Gallery; he became a member of the London Artists’ Association in 1932 and of the London Group in 1934. His early paintings, such as The Window (1933; London, Dept Environment), were reminiscent of Matisse and the Fauvists in their free handling and their subject-matter of still-life and views through open windows, though he also took part in the Objective Abstractions exhibition (1934; London, Zwemmer Gal.), at which Geoffrey Tibble (1909–52), Rodrigo Moynihan, Graham Bell and others displayed fully abstract work. Pasmore himself made a number of abstract pictures shortly after this exhibition but later decided to destroy them....

Article

Sonja Weih-Krüger

[Preisler]

German family of painters and engravers, of Bohemian origin, also active in Denmark. Daniel Preissler (b Prague, 8 March 1627; d Nuremberg, 19 June 1665), a pupil in Dresden of Christian Schiebling (1603–63), lived from 1652 in Nuremberg, becoming a master in 1654 and being nominated to the city’s Greater Council in 1662. He painted altarpieces and numerous portraits, including a Self-portrait of the Artist with his Family (1665; Nuremberg, Ger. Nmus.)

Daniel’s son, Johann Daniel Preissler (b Nuremberg, 17 January 1666; d Nuremberg, 13 October 1737), was born after the death of his father; ten years later his mother married her husband’s pupil, Heinrich Popp (1637–82), who became Johann Daniel’s first teacher. On Popp’s death in 1682 Johann Daniel was apprenticed to the painter Johann Murrer (1644–1713). He spent the period 1688–96 in Venice and Rome, returning in ...

Article

Ingrid Severin

(b Baden, Dec 8, 1929).

Austrian painter, printmaker and photographer. He began painting as a self-taught artist in the mid-1940s, after leaving school, and first came into contact with contemporary art through a British Council exhibition in 1947 that included work by Paul Nash, Francis Bacon, Stanley Spencer, Henry Moore and Edward Burra. Around this time he produced his first portraits, such as Rainer Dying (pencil, 1949; Vienna, Helmut Weis priv. col., see 1984 exh. cat., p. 10). While attending the Staatsgewerbeschule at Villach from 1947 to 1949 he became interested in theories of Surrealism. He had almost no academic training as an artist, leaving the Hochschule für Angewandte Kunst in Vienna in 1949 after only one day because of an argument with a teacher, and lasting little longer at the Akademie der Bildenden Künste in Vienna in 1950. From 1948 to 1951 he produced Surrealistic drawings representing underwater scenes and mystical forms, rendering these fantastic images in pencil as a densely worked surface. In ...

Article

John Rothenstein

(b Bradford, Jan 29, 1872; d Far Oakridge, nr Stroud, Feb 14, 1945).

English painter, printmaker, teacher and writer. He was the son of a wool merchant and delighted in the grim landscape of his native Yorkshire, which was the subject of some early watercolours. At 16 he left Bradford to attend the Slade School of Art, London (1888–9), where he was a pupil of Alphonse Legros, and the Académie Julian, Paris (1889–93). His talent was recognized as early as 1891, when an exhibition of his work and that of Charles Conder at the Galerie Hadrien Thomas in Paris attracted the attention of many artists including Pissarro and Degas. The latter invited Rothenstein to visit his studio and became a major influence on his development. After an inspiring four years he left Paris for Oxford where he made a number of portrait lithographs—among others of Walter Pater and Max Beerbohm—published as Oxford Characters (London, 1893–6). It was the first of several such publications, including ...

Article

Ilaria Bignamini

(b London, Nov 17, 1684; d London, July 24, 1756).

English writer, engraver and antiquary. Born to Catholic parents, he first trained (c. 1698–1701) under an unknown French engraver, after which he was apprenticed to Michael van der Gught (1660–1725) until 1709. Vertue was an early member of Godfrey Kneller’s Academy of Painting and Drawing in Great Queen Street (1711–c. 1720), London, where he drew from life, and the Rose and Crown Club, to which numerous artists and patrons belonged. From 1726 he also attended the meetings in London of the Virtuosi of St Luke. In 1717 he was appointed engraver to the Society of Antiquaries, contributing to its Vetusta monumenta. He was also employed by Oxford University to engrave plates for its annual Almanacks and contributed to a number of illustrated works, including Aubrey de la Motraye’s Travels through Europe, Asia, and into Parts of Africa (1723), Thomas Salmon’s The Chronological Historian...

Article

Marita Sturken

Culture of images and visuality that creates meaning in our world today. This includes media forms such as photography, film, television, and digital media; art media such as painting, drawing, prints, and installations; architecture and design; comic books and graphic novels; fashion design, and other visual forms including the look of urban life itself. It also encompasses such social realms as art, news, popular culture, advertising and consumerism, politics, law, religion, and science and medicine. The term visual culture also refers to the interdisciplinary academic field of study that aims to study and understand the role that images and visuality play in our society; how images, gazes, and looks make meaning socially, culturally, and politically; how images are integrated with other media; and how visuality shapes power, meaning, and identity in contemporary global culture.

The emergence of the concept of visual culture as a means to think about the role of images in culture and as an academic field of study is a relatively recent phenomenon, emerging in the late 1980s and becoming established by the late 1990s. There were numerous factors that contributed to the idea that images should be understood and analysed across social arenas rather than as separate categories, including the impact of digital media on the circulation of images across social realms, the modern use of images from other social arenas (such as news and advertising) in art, and the cross-referencing of cultural forms displayed in popular culture and art. It was also influenced by the increasingly visible role played by images in political conflict and a general trend toward interdisciplinarity in academia....

Article

Krystyna Sroczyńska

[pseud. Ptaszek ]

(b Warsaw, June 15, 1764; d Warsaw, April 20, 1826).

Polish painter, printmaker and teacher. He trained as a master builder and then from 1780 studied under André Lebrun (1737–1811) in the school of painting at the Royal Castle in Warsaw, as well as under Jakub Monaldi and Simon Bogumił Zug. In 1785 Vogel produced several watercolour copies of vedute of Warsaw by Bernardo Bellotto, which laid the foundations of his future career. He also became Bellotto’s first successor in the field of veduta painting. From 1785 Vogel painted over 100 vedute of the capital and its environs (e.g. Panoramic View of Warsaw from Praga, 1816; St Petersburg, Rus. Mus.), many of which, because of their detail and precision, were later used to reconstruct monuments destroyed during World War II. From 1787 until 1800, on the recommendation of Stanislav II Poniatowski, who appointed him his Government Illustrator, and later, on his own initiative, Vogel made several trips around Poland, painting views of castles and their ruins, and of large and small towns mainly in the Wisła River basin. From ...