Myriam A. Ribeiro de Oliveira and Liliana Herrera
François-Auguste de Montêquin
(b Burgos, 1526–7; d Mexico City, 1593).
Mexican architect and sculptor of Spanish birth. In 1541 he moved from his native city to Madrid, where he served as an apprentice to Luis de Vega, one of the architects working in the High Renaissance style for Emperor Charles V. Arciniega worked with Vega in the remodelling of the Alcázar at Madrid. At intervals between 1542 and 1548 he worked under the direction of Rodrigo Gil de Hontañón as a sculptor on the Plateresque façade of the university at Alcalá de Henares. He was possibly also responsible for the main retable in the church of Santiago at Guadalajara.
In 1554 Arciniega arrived in New Spain (now Mexico) with his brother Luis de Arciniega (1537–99), who was also an architect. He settled in Puebla de los Angeles (now Puebla) and worked there between 1554 and 1558, primarily engaged in a large number of public works as master mason. He established his reputation with the fountain that he constructed (...
(b Arezzo, Feb 2, 1916; d Buenos Aires, Feb 11, 2001).
Argentine sculptor, painter, printmaker and draughtsman of Italian birth. After completing his studies at the Escuela Superior de Bellas Artes in Buenos Aires in 1945, he went on study trips around Latin America (1945–6) and Europe (1949). He became a naturalized citizen of Argentina in 1947 and from 1949 he participated in the Salones Nacionales, winning various awards. He soon won a reputation as one of Argentina’s most outstanding sculptors, working in marble, bronze, wood, cement and clay. Torrent (marble, 1953; Buenos Aires, Mus. N. B.A.), a semi-abstract female nude composed of smooth curved planes, typifies one aspect of his work: his treatment of themes of fecundity, motherhood and the family, using rounded forms to which he attached a symbolic value. The titles associated with some of these material forms, such as Time (bronze, 1959; Buenos Aires, Mus. A. Mod.), indicate the way they are meant to be read....
Maria Concepción García Sáiz
(b Zamora, c. 1680; d Mexico City, 1748).
Spanish architect and sculptor, active in Mexico. Between 1702 and 1703 he worked in Madrid as a designer of stage machinery, later moving to Andalusia, where he produced the principal altar of the sacristy of Seville Cathedral in the Rococo style, completed in 1709 (destr. 1824). Ceán Bermúdez described it as having ‘four large estípites, pilasters, lots of angels prankishly tumbling about and a cornice broken and interrupted in a thousand places with tortuous projections and recessions, the whole topped by a huge arch’. In 1714 Balbás also carried out the plan for the choir-stalls of the church of S Juan in Marchena, carved by Juan de Valencia, equally playful in style and similarly using estípites. The same year he designed the lectern in the same church, though this was not constructed until 1735.
Around 1718 Balbás went to Mexico City to take charge of the ‘retablo del Perdón’ in the Chapel of the Kings at the Metropolitan Cathedral, using the ...
(b Buenos Aires, Aug 7, 1947).
Argentine sculptor and architect. After studying architecture he began in 1967 to make multiple color projections of shadows, continuing in 1968 to work with light apparatuses. He then traveled on a French Government scholarship to Paris, where he began to create multiple superimposed images using acrylic shapes laid on top of flat mirrors. He became involved with the Groupe d’Art Constructif et Mouvement and turned to spheres within cubes or other spheres. After this he experimented with inflatable sculptures and back projections of photographs, and later with Books (e.g. Summa geometrica, 1979, see Glusberg 1985, 133) and Megacubes, which consist generally of ruins or landscapes rendered unfamiliar. As an architect he worked on the Recoleta Cultural Center (1972–1979; with Clorindo Testa and Luis Benedit) in Buenos Aires. He was a founder-member of Grupo CAYC.Glusberg, J. Del Pop-art a la Nueva Imagen. Buenos Aires, 1985, pp. 133–138.Tager, A....
Margarita González Arredondo
(b Calgary, Dec 9, 1930; d Mexico City, July 12, 1992).
Canadian painter, draughtsman and sculptor, active in Mexico. After studying in Canada at the Vancouver School of Art (1944–5) and Banff School of Fine Arts (1947–8) he moved to Mexico City, where he continued his training at the Escuela de Pintura y Escultura La Esmeralda (1948–9) and from 1950 worked as one of a team of assistants to David Alfaro Siqueiros. He began soon after to produce murals, such as The People Don’t Want War (acrylic, 2×2.5 m, 1952; Mexico City, Inst. Poli. N.) and Scenes from Don Quixote (acrylic on concrete, 1957; Cuernavaca), following these with many others in Mexico, the USA, Canada, Cuba and Nicaragua. He was also prolific as a draughtsman and easel painter, often working on a large scale, and to a lesser extent as a sculptor. Working in an Expressionist style and concentrating his attention on the human figure—sometimes contorted, flayed or treated in a robot-like manner—he treated biblical themes as well as more contemporary subjects such as the victims of Nazism or of the bombing of Hiroshima. In ...
(b Buenos Aires, July 12, 1937; d Buenos Aires, April 12, 2011).
Argentine sculptor, painter and architect. As an artist he was self-taught. Making reference to biological and chemical experiments to construct metaphors of the relationships between science and art, he began in 1968 to analyse the role of the individual in society through his first Animal Habitat, consisting of glass objects with water and fish, and Microzoos of ants, lizards, fish, tortoises, vegetables and honeycombs. At the Venice Biennale in 1970 he showed The Biotron (see Glusberg, p. 142), a cage for bees containing an artificial meadowland with 24 flowers that supplied a sugary solution; the bees could choose between the artificial device and the gardens that surrounded the Biennale. In later works he designed mazes for rats, ants, cockroaches and fish, as well as contraptions displaying the behaviour of plants (e.g. Fitotron, 1972, see Glusberg, p. 141), not to encourage scientific observation but to suggest to the spectator possible applications of the experiment....
(b ?Sheffield, 1785; d Port of Spain, Trinidad, Nov 1846).
English sculptor, designer and architect. In 1810 he exhibited at the first Liverpool Academy Exhibition and showed models and drawings there in 1811, 1812 and 1814. These included designs for the restoration of the screen in Sefton church, Merseyside, and for a chimney-piece for Speke Hall, Liverpool, and two drawings of Joseph Ridgway’s house at Ridgmont, Horwich, Lancs. Bridgens designed furniture and furnishings in Gothic and Elizabethan styles for George Bullock. In 1814 he moved to London with Bullock, using his address at 4 Tenterden Street, Hanover Square, and prepared designs for Sir Godfrey Vassal Webster (1789–1836) for improvements to Battle Abbey, E. Sussex, and similarly for Sir Walter Scott’s home, Abbotsford House, at Melrose on the Borders. Two chair designs for Battle Abbey were published in Rudolph Ackermann’s Repository of Arts in September 1817, and Bridgens was also involved in the design of chairs supplied to Abbotsford House in ...
(b Quito, Sept 8, 1939).
Ecuadorean painter, graphic designer, sculptor, installation artist, architect and teacher. He studied architecture at the Universidad Nacional de Bogotá, Colombia. He worked for the Graham Foundation and the National Endowment for the Arts, Washington, DC, and received a grant to attend the Center for Advanced Visual Studies at Massachusetts Institute of Technology, Cambridge, MA, where he worked with György Kepes. Later he became a professor at the arts faculty of the Universidad Central, Quito. Bueno worked first in graphic design before going on to experiment with the incorporation of technology into art, using laser beams, mechanical pumps, plastic, glass and such elements as water, fire and air, for example in 49 Tubes, exhibited at the Bienal de Arte Coltejer in Medellín in 1972. He also combined visual art with music in such works as Flame Orchards, with music by Paul Earls, which won joint first prize with Kepes in the same exhibition. Exploration into ecological and environmental art led him to experiment with the idea of an aerial view of the urban landscape incorporating military camouflage sheets....
(b Barra Mansa, Aug 10, 1899; d Valinhos, June 4, 1973).
Brazilian painter, draughtsman, architect and sculptor. He was in Europe from 1910 to 1922 and lived first in Paris and then in London; he studied civil engineering at Armstrong College, University of Durham, and painting in the evening at the King Edward VII School of Fine Arts. On his return to Brazil he settled in São Paulo. His design of 1927 for the headquarters of the government of São Paulo state, although never realized, made him one of the pioneers of modern Brazilian architecture (Dahler, pp. 130–31). During the 1930s in particular he was one of the liveliest figures in the cultural life of the country, responsible for radicalizing the initial successes of Modernism. In 1931 his interest in the psychology of the masses led him to put on the performance Experience No. 2 in São Paulo. In the same city in 1932 he founded the Clube dos Artistas Modernos and the Teatro de Experiência, where he mounted, to great public scandal, his ...
(b Guatemala City, Dec 5, 1939).
Guatemalan painter, sculptor, printmaker and architect. Although he studied architecture at the Universidad de San Carlos in Guatemala (1959–61), as an artist he was essentially self-taught. One of the most important abstract artists in Guatemala, he worked in a variety of media, favouring new materials and bold geometric forms. As an architect he co-designed two important public buildings in Guatemala City: a library at the Universidad de San Carlos known as the Edificio de Recursos Educativos (1969; with Augusto de León Fajardo), and the Instituto de Fomento Municipal (1973). He produced a number of murals in Guatemala City: Genesis (clay, 5 sq. m) in the residence of the architect Max Holzheu; Genesis (1972; Banco Inmobiliario Col.); Nest of Quetzals (acrylic, 1974; Inst. Fomento Mun.); Fissure (concrete, 9 sq. m, 1975; Casa Salem); Untitled (concrete and mirror, 160 sq. m, 1980) at the Cámara Guatemalteca de la Construcción; and ...
(b Santiago, Feb 24, 1927; d Santiago, April 22, 1987).
Chilean sculptor. He studied architecture at the Universidad Católica de Chile in Santiago (1947–8) before transferring to the Escuela de Bellas Artes at the Universidad de Chile, also in Santiago, where he studied painting, drawing and printmaking from 1949 to 1952. In 1959 he obtained a scholarship to study goldwork at the Scuola Porta Romana in Florence. In 1962 he took a course in casting at the Escuela de Artes Aplicadas at the Universidad de Chile, at the same time producing ceramics, enamels and sculptures. While studying casting on a Fulbright scholarship in 1968 at the Rhode Island School of Design in Providence, RI, he developed a technique of modelling for sand-casting in aluminium, which he used exclusively in his later work. From 1956 until his death he was professor of fine arts at the Universidad de Chile.
Egenau experimented with a spontaneous manner in his early work, first in bronze and later in aluminium, observing natural shapes and their interrelationships as a paradigm of order and harmony. Through these concerns he became interested in transcending history and in tracing human experience back to its mythic origins: in his ...
[Goldschmidt, Gertrudis ]
(b Hamburg, Aug 1, 1912; d Caracas, Sept 17, 1994).
Venezuelan architect, sculptor, draughtsman and printmaker of German birth. She studied architecture at the Technische Hochschule in Stuttgart until 1938; one of her principal teachers was Paul Bonatz. The following year she travelled to Venezuela, where she combined her artistic career as a sculptor, draughtsman and engraver with teaching work. In 1952 she adopted Venezuelan nationality. She later began experimenting with the conversion of planes into three-dimensional forms, exploring the media of drawing, watercolour, engraving, collage and sculpture and integrating them into architectural spaces in defiance of artistic conventions. A pioneering example of her integration of art and architecture was her design (1962) for the headquarters of the Banco Industrial de Venezuela in Caracas, which comprised a 10-m tower of interlocking aluminium and steel tubes. Later works that explored the form of the web included Trunk No. 6 (wire, 1976; artists col., see exh. cat., p. 114). She participated in numerous one-woman and group shows in Venezuela and other countries, and in ...
Alberto González Pozo
(b Mexico City, Oct 19, 1942).
Mexican architect and sculptor. He studied architecture from 1959 to 1966 at the Universidad de Guadalajara, where he also attended Olivier Seguin’s sculpture studio. He worked at first in Guadalajara, where his Large Gate (1969) in the Jardines Alcalde, which gives symbolic access to a new urban development, is made up of concrete prisms. The Fountain of Sister Water (1970), Colonia Chapalita, is an experiment in Brutalism, with rough surfaces of exposed concrete, while the structure (1972) at the entrance to the Parque González Gallo deploys bold projecting forms contrasting with the neighbouring trees. In 1972–3 he designed the Tower of Cubes, Plaza Vallarta, Guadalajara, and the Large Spike, Calzada de Tlalpan, Mexico City, both vertical monuments constructed from prefabricated concrete prisms. He next exploited the expanses of urban squares, breaking up the flatness of their surfaces, for example with inserted bodies of water and irregularly placed cube-shaped ‘islands’ in the Plaza de la Unidad Administrativa (...
(b Asunción, Mar 20, 1924; d Asunción, Jan 1, 2012).
Paraguayan sculptor and engineer. He studied sculpture under Vicente Pollarollo in Asunción and from 1943 at the Escuela Superior de Bellas Artes Ernesto de la Cárcova in Buenos Aires. In the late 1940s and early 1950s, he dealt with local political and social themes, but his style became progressively simplified and centred on the significant properties of materials and the sculptural possibilities of form, until he reached a strongly expressive abstraction that confirmed him as the central figure of modern sculpture in Paraguay. His principal materials were iron and steel, which were torn apart in dramatic gestures to suggest that man’s existence is a search for liberty. This poetic of breaking and rending was a constant element in Guggiari’s work throughout his career. It appears, for example, in Christ (steel, h. 4 m, 1969; Asunción, Santa Cruz) and in Kansas (iron and stone, 1980; Hays, KS, Fort Hays State U.)....
Myriam A. Ribeiro de Oliveira and Liliana Herrera
Portuguese family of artists, active in Brazil. The architect (1) Manoel Francisco Lisboa often appears in the history of Brazilian art only as the father of (2) Antônio Francisco Lisboa. He was, however, the leading architect in the gold-mining province of Minas Gerais in the mid-18th century and was responsible for most of the secular and ecclesiastical buildings that give Ouro Prêto (formerly Vila Rica) its present individual appearance. His brother, the carpenter and master mason Antônio Francisco Pombal (fl 1720–45), probably accompanied him on his emigration to Brazil c. 1720. Although there are few documentary references to Pombal, he won fame for his decoration (1736–45) of the nave of the parish church of Pilar in Vila Rica. In a move that was revolutionary for the time, he transformed the traditional rectangular interior of the church into a ten-sided polygon. The architect and sculptor (2) Antônio Francisco Lisboa was the leading Brazilian artist of the colonial period. He became highly influential for the ingenious and original way in which he developed the Rococo religious style that reached Brazil in the mid-18th century....
(b Madrid, Spain, 1961).
Chicago-based American sculptor also working in photography, video and installation. He received a BA in art and art history and a BA in Latin American and Spanish literature from Williams College in 1983. In 1989 he earned a MFA from the School of the Art Institute of Chicago.
Manglano-Ovalle’s hybrid practice emerged with Tele-vecindario: A Street-Level Video Block Party, a public art project created for Culture in Action, a community-based art program in Chicago in 1992–3. Working with Latino youth in Chicago’s West Town community, an area often challenged by substandard housing, drugs and gang violence, the artist facilitated a multimedia portrait of their lives in which these youth constructed their own images and concept of self. Issues of identity, community and migration, as they relate to both cultural and geographic borders, have been explored throughout his prestigious career that includes collaborative modes of working, as well as individual works sited within the museum or gallery. For Manglano-Ovalle, culture encompasses a broad network of systems—artistic, political, environmental, scientific—in constant dialogue, negotiated by both artist and viewer....
(b Port-au-Prince, March 26, 1917).
Haitian architect and sculptor. He studied from 1939 to 1942 at the College of Architecture, Cornell University, Ithaca, NY, where he was awarded the Sand Goldwin Medal. His early works, such as the Théâtre de Verdure (1949), the Cité Militaire (1956–7), a social urban development for the military, and the Régie du Tabac (1958), an industrial complex, all in Port-au-Prince, are characterized by simple geometrical lines and large openings in order to integrate the structure with the environment. The materials used include cement blocks, bricks and cobblestones. He was influenced by Le Corbusier, Frank Lloyd Wright and the latter’s pupil Henry Klumb (b 1905). He also built many villas, notably the Sheila Burns Villa (1956), Diquini, and his own residence (1966), Martissant, as well as the Villa Créole Hotel, Pétion Ville, and the Habitation Leclerc Hotel (1974...
Mónica Martí Cotarelo
(b Puebla, 1789; d Puebla, 1860).
Mexican architect, sculptor, painter, lithographer, and teacher. He was the leading figure in Puebla in the fields of architecture, sculpture, painting, and drawing during the early 19th century. He was director of the Academia de Dibujo in Puebla from its foundation in 1814 and the first recipient of a scholarship from the academy, which allowed him to go to Paris (1824–1827), where he studied architecture, drawing, and lithography. He also visited museums, factories, and prisons, intending to introduce French developments and systems into Puebla. On his return to Mexico he devoted himself to intense public activity, architectural reform, painting, lithography, and teaching, and experiments in industrialized production. Among his most important sculptural works is the completion (1819) of the ciprés (altarpiece with baldacchino) for Puebla Cathedral, which had been left unfinished on the death of Manuel Tolsá. It combines a high altar, a sepulchral monument, and a sanctuary of the Virgin, and it is one of the most spectacular examples of Mexican neoclassicism. From ...
W. Iain Mackay
(b Vergara, 1562; d Lima, 1635).
Spanish architect and sculptor active in Peru. He was trained as a sculptor by Cristóbal Velázquez (d 1616), a Mannerist of the school of Alonso Berruguete. He arrived in Lima c. 1599 and carved the life-sized reliefs of Christ and the Apostolate (1608) in cedar above the chests in the sacristy of the cathedral. They are imposing but do not strive for realism, betraying the influence of the Antique, particularly in the disposition and layout of the channelled folds and drapery and through references to Renaissance classicism. In 1614 he was appointed Maestro Mayor of Lima Cathedral, a post which he retained until his death. He is also known to have worked on the stone façade of S Lázaro. Following the earthquakes of 1606 and 1609, various architects were consulted on how to re-roof the cathedral. Wooden vaults were rejected, and Martínez de Arrona proposed Gothic ribbed vaults, executed in brick. This proposal was followed, and the church was completed by ...