[née Pond, Adeline Valentine]
(b Boston, MA, Oct 24, 1859; d Brooklyn, NY, July 1, 1948).
American critic and author. Adams was a vocal proponent of American sculpture during the last decades of civic sculpture’s golden age. She expressed her views on the state of the field in two significant publications, The Spirit of American Sculpture (1923; reissued in 1929) and a chapter in the 1930 edition of Lorado Taft’s History of American Sculpture, as well as in regular contributions to the American Magazine of Art.
Adams was an artist herself, though writing claimed her full attention. While she was in Paris in 1887, she posed for the sculptor Herbert Adams, whom she married two years later. The resulting marble bust (1889; New York, Hisp. Soc. America) was exhibited at the 1893 Chicago World’s Fair, an exposition that Adams hailed for fostering a new ideal of collaboration between architects and sculptors. Adams praised the role that sculpture played in public life and promoted figurative work modeled in the French academic tradition. She admired artists like Daniel Chester French (...
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 (...
(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 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....
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 ...
Mieke van der Wal
(b The Hague, Jan 6, 1876; d The Hague, Dec 11, 1955).
Dutch sculptor and ceramicist. He trained at the Academie van Beeldende Kunsten in The Hague (1894–7) and in various sculpture studios. In 1898 he decorated the shop-front of the gallery Arts and Crafts in The Hague after a design by Johan Thorn Prikker, who advised him to set up on his own. From 1901 Altorf exhibited regularly and successfully; he was represented at the Prima Esposizione Internazionale d’Arte Decorativa Moderna in Turin in 1902, where he won a silver medal, and at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925.
Altorf was a leading exponent of Dutch Art Nouveau. His work is characterized by a strong simplification of form. It is often compared with that of Joseph Mendes da Costa but is somewhat more angular and austere. At first Altorf made mainly animal forms from various types of wood, ivory, bronze and ceramic. In firing his modelled figures, he worked with the ceramicist ...
(b Hanau, July 1874; d Berlin, July 3, 1913).
German silversmith, sculptor and painter. He attended the Zeichenakademie and the Kunstgewerbeschule in Hanau then studied at the Kunstgewerbeschule, Berlin, and the Académie Julian in Paris, before finally becoming a student of the sculptor Louis Tuaillon at the Kunstakademie, Berlin. From 1894 to 1903 he worked at the renowned silverware factory of Bruckmann & Söhne in Heilbronn, modelling goblets, cutlery, sports prizes and medals etc. In collaboration with Otto Rieth, professor at the Kunstgewerbeschule in Berlin, Amberg made a silver fountain (h. 3.2 m) for the Exposition Universelle, Paris, in 1900.
After designing the silver for the Town Hall of Aachen (1903) and spending a year in Rome (1903–4), Amberg completed his most important work, the design of the Hochzeitszug (Berlin, Tiergarten, Kstgewmus.), a table centre for the wedding of Wilhelm (1882–1951), Crown Prince of Germany and Prussia and Herzogin Cecilie von Mecklenburg-Schwerin (...
(b Solothurn, March 28, 1868; d Oschwand, July 6, 1961).
Swiss painter and sculptor. From 1884 to 1886 he received irregular lessons from the Swiss painter Frank Buscher (1828–90). In the autumn of 1886 he attended the Akademie der bildenden Künste in Munich and the following year met Giovanni Giacometti, who was to be a lifelong friend. In 1888 he visited the Internationale Kunstausstellung in Munich, where he was particularly impressed by the work of Jules Bastien-Lepage and Whistler. This prompted him to go to Paris to continue his studies, and from 1888 to 1891 he attended the Académie Julian, working under William-Adolphe Bouguereau, Tony Robert-Fleury and Gabriel Ferrier. While in Paris he also met Paul Sérusier, Maurice Denis and other Nabis artists, though his own painting of this period was most influenced by Impressionism. In 1892 he was advised to visit Pont-Aven in Brittany, where he met Emile Bernard, Armand Séguin and Roderic O’Conor, as well as seeing the works of Vincent Van Gogh and Gauguin at first hand. This brief period had a decisive effect upon his work, leading to such Synthetist paintings as ...
(b London, June 18, 1828; d London, Dec 4, 1905).
English sculptor, silversmith and illustrator. He was the son of a chaser and attended the Royal Academy Schools, London. At first he gave his attention equally to silverwork and to sculpture, exhibiting at the Royal Academy from 1851. An early bronze, St Michael and the Serpent, cast in 1852 for the Art Union, shows him conversant with the style of continental Romantics, and his debut in metalwork coincided with the introduction into England of virtuoso repoussé work by the Frenchman, Antoine Vechte (1799–1868). In the Outram Shield (London, V&A), Armstead displayed the full gamut of low-relief effects in silver, but its reception at the Royal Academy in 1862 disappointed him, and he turned his attention to monumental sculpture. Among a number of fruitful collaborations with architects, that with George Gilbert I Scott (ii) included a high degree of responsibility for the sculpture on the Albert Memorial in Kensington Gardens, London. Here Armstead’s main contribution was the execution of half of the podium frieze (...
Frederick N. Bohrer
Style of the second half of the 19th century and the early 20th, inspired by Assyrian artefacts of the 9th to 7th centuries
Assyrian revivalism first appeared in England rather than France, which was then in political turmoil. The earliest forms of emulation can be found in the decorative arts, such as the ‘Assyrian style’ jewellery that was produced in England from as early as ...
(b Manchester, Jan 17, 1873; d Paris, Sept 21, 1931).
English painter, sculptor and draughtsman. He studied singing and music in Berlin and Paris. At first he earned his living by establishing himself as a singing teacher in Liverpool and London. By July 1913, when he exhibited in the Allied Artists’ Association in London, he was devoting an increasing amount of his energies to painting. His early work was Fauvist in affiliation, reflecting perhaps the teaching he had received at La Palette in Paris. Contact with Wyndham Lewis and the Vorticists led him to pursue a more abstract path. In the spring of 1914 he joined the Rebel Art Centre with Wyndham Lewis and other artists who appeared in Blast magazine later that year.
Little is known about the development of Atkinson’s work at this crucial stage in his career. His signature was on the manifesto in the first issue of Blast, but his work was not reproduced in the magazine; his continuing involvement with other forms of art was demonstrated when his book of poems, ...
Laure de Margerie
(b Longwy, Meurthe et Moselle, July 3, 1837; d Capbreton, Landes, Aug 23, 1916).
French sculptor. In 1851 he entered the Ecole Gratuite de Dessin, Paris, also studying with Antoine-Laurent Dantan, and in 1854 moved to the Ecole des Beaux-Arts. A grant from his native département enabled him to travel to Italy in 1866–7, though he was evidently little influenced by antique or Renaissance works of art. Apart from his bronze monument to Dante Alighieri (1879–80; Paris, Square Monge), his work is in a neo-Rococo style, as exemplified in his terracotta bust of his daughter Marcelle Aubé (1910; Paris, Mus. d’Orsay). Besides many portrait busts he also executed public monuments to notable Frenchmen, several of which were destroyed on the orders of the Vichy government in 1941. The most important, and most controversial, was that to Léon Gambetta (bronze, 1884–8), built in collaboration with the architect Louis-Charles Boileau in the courtyard of the Louvre in Paris; it was damaged during World War II and dismantled from ...
(b Vienna, Jan 20, 1862; d Vienna, April 16, 1945).
Austrian painter and sculptor . He studied from 1882 to 1888 at the Akademie der Bildenden Künste in Vienna under the Austrian painter Leopold Carl Müller (1834–92). In 1886 he was awarded the first Hofpreis. His early paintings, religious in content, included Saved (1887; Graz, Neue Gal.), Ave Maria (1899; Brno, Mus. City) and the altarpiece The Heart of Jesus (1912; Linz Cathedral). In 1890 he made a trip to Rome. From 1894 he was a member of the Künstlerhaus in Vienna and was associated with the Hagenbund. In 1896 he won the minor gold medal at the Internationale Kunstausstellung in Berlin, and in the following year he was a founder-member of the Vienna Secession. He participated in many exhibitions, contributing both paintings and sculptures; in 1902, for example, he provided four small bronze free-standing sculptures on pedestals, in the form of female wreath-bearers (see Hilger, p. 38), for Max Klinger’s ...
(b Turin, Aug 18, 1871; d Rome, March 1, 1958).
Italian painter, sculptor, stage designer, decorative artist and actor. He was one of the originators of Futurism (see Furttenbach [Furtenbach; Furttembach], Josef [Joseph], the elder) and was particularly concerned with the representation of light and movement. His personal interest in scientific methods of analysis contributed to both the practical and ideological bases of the movement. His oeuvre from the Futurist period overshadowed the work of later years.
Balla was self-taught and began painting in Turin. In 1895 he settled in Rome. At the age of about 25 he painted some lively sketches of urban life that are characterized by a thick impasto, for example the series Machietta romana (1898; Rome, priv. col., see Lista, 1982, nos 12–17) and landscapes showing familiarity with the divisionism practised by the northern Italian artists Giuseppe Pelizza da Volpedo, Giovanni Segantini and Vittore Grubicy de Dragon, for example Luci di marzo (...
(b Chieti, Jan 31, 1852; d Rome, Dec 5, 1925).
Italian sculptor . He first trained for a business career but soon found his true vocation in sculpture. His earliest pieces were clay statuettes of shepherds for Christmas crèches, many of which were sold in his father’s dry-goods shop. In 1872, encouraged by his boyhood friend Francesco Paolo Michetti, he applied for and won a provincial scholarship to the Istituto di Belle Arti in Naples. He studied there with Stanislao Lista (1824–1908) but returned to Chieti in 1874 to support the family after his father’s death. The move from Naples did not disrupt his work, although it altered its direction away from the religious imagery favoured by Lista. Like Michetti and the writer Gabriele D’Annunzio, Barbella found inspiration in the peasants of the Abruzzi countryside, and it was the terracotta group Song of Love (known as the Three Abruzzi Graces; Pescara, Pal. Gov.), exhibited at the Esposizione Nazionale in Naples in ...
(b Wedel, nr Hamburg, Jan 2, 1870; d Rostock, Oct 24, 1938).
German sculptor and printmaker. He experimented with several media because he believed that conventional forms of communication were too formulaic and often failed to make tangible the essence of artistic vision. In his plastic and literary oeuvres Barlach sought to define and externalize the inner processes of humanity and nature through depriving his subject of its superficial mask and extraneous detail.
Barlach studied sculpture at the Kunstgewerbeschule in Hamburg (1888–9) and at the Dresden Akademie (1891–5), where he became the chief pupil of the sculptor Robert Diez (b 1844). After two brief visits to the Académie Julian in Paris, he returned to Germany and collaborated with his friend Karl Garbers (b 1864) on a commission for architectural sculptures for the city halls of Hamburg and Altona. Barlach’s early work was influenced by the sinuous, wavy line of Jugendstil. In 1899 he moved to Berlin, where he lived for two years, but he later returned to Wedel, hoping to find inspiration in a familial environment. In the winter of ...
Lawrence E. Butler
(b Bellefonte, PA, May 24, 1863; d New York, April 24, 1938).
American sculptor and collector. Son of a Presbyterian minister, Barnard grew up in the Midwest and began studying at the Chicago Academy of Design in 1880 under Douglas Volk (1856–1935) and David Richards (1829–97). Here he was first introduced to plaster casts of Michelangelo’s works and to the casts of Abraham Lincoln made by Leonard Volk (1828–95) in 1860, both clearly influential on his subsequent career. In 1883 he went to Paris, where he enrolled in the Ecole des Beaux-Arts and worked with Pierre-Jules Cavelier. Barnard’s sculptures are noted for their spiritual, allegorical, and mystical themes and were done in the expressive modelling style of the period.
Alfred Clark, wealthy heir to the Singer fortune, became Barnard’s patron in 1886. Through Clark and his Norwegian companion Lorentz Severin Skougaard, Barnard was introduced to Nordic themes. Clark commissioned important marble pieces including Boy (1884...
(b Thivernal, Seine-et-Oise, Aug 29, 1848; d Paris, 1928).
French sculptor and painter . He first studied law; when the Franco-Prussian war broke out in 1870 he enlisted as a volunteer in Gen. Charles Bourbaki’s army. After the battle of Sedan he fled to Switzerland. As a prisoner on parole, he attended Barthélemy Menn’s studio at the Ecole des Beaux-Arts in Geneva and decided to devote himself to painting. He worked alone, in a naturalistic manner heavily influenced by that of Jules Bastien-Lepage, with its insistence on working in the open air rather than in the studio. Bartholomé exhibited for eight years at the Salon des Artistes Français (e.g. Recreation, 1885; Paris, priv. col.), receiving encouragement from Joris-Karl Huysmans. His first wife’s death in 1887 plunged him into depression; his best friend, Edgar Degas, advised him to sculpt a tombstone for her (1888; Bouillant cemetery, Crépy-en-Valois, Oise).
Soon after, Bartholomé embarked on the chief work of his career: from ...