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Aarts, Johannes Josephus  

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 ...

Article

Aba-Novák, Vilmos  

S. Kontha

(b Budapest, March 15, 1894; d Budapest, Sept 29, 1941).

Hungarian painter, draughtsman and etcher. He trained as a drawing teacher at the College of Fine Arts, Budapest (1912–14). In 1913 he worked at the Szolnok colony and he served in World War I. He taught drawing for a while at the Technical University, Budapest. In 1922 he learnt etching from Viktor Olgyay at the College of Fine Arts. His early works show an affinity with the Group of Eight; later he moved closer to the work of the Activists, especially József Nemes Lampérth and Béla Uitz. He instinctively sought a dynamic and powerful form of expression. His pen-drawings and etchings are frequently based on biblical subjects and are characterized by a heroic conception, an illusory atmosphere and romantic associations. The etching Savonarola (1925; Budapest, N.G.) reveals his extraordinary compositional abilities, especially in the rendering of crowds, and his use of strong chiaroscuro. His landscapes are dominated by carefully composed, naturalist details and the exploitation of the dramatic effect of reflections. In his drawings, Cubist arrangements gradually gave way to a more diffuse composition. His nudes in the landscape (e.g. ...

Article

Abedin, Zainul  

Jonathan M. Bloom

revised by Sheila S. Blair

(b Kishorganj, East Pakistan [now Bangladesh], Nov 18, 1914; d Dhaka, May 28, 1976).

Bangladeshi painter and printmaker. He studied painting at the Government School of Art in Calcutta from 1933 to 1938, and then taught there until 1947. His work first attracted public attention in 1943 when he produced a powerful series of drawings of the Bengal famine. After the partition of India and Pakistan in 1947 he worked as chief designer in the Pakistan government’s Information and Publications Division, and also became principal of the Institute of Fine Arts in Dhaka (later known as the Bangladesh College of Arts and Crafts), which he helped to found in 1948 and where he remained until 1967. From 1951 to 1952 he visited Europe and, in addition to exhibiting his work at several locations, worked at the Slade School of Art in London, and represented Pakistan at the UNESCO art conference in Venice in 1952. An exhibition of his work in Lahore in 1953 became the starting-point for a series of ...

Article

Abercrombie, Gertrude  

Susan Weininger

(b Austin, TX, Feb 17, 1909; d Chicago, IL, Jul 3, 1977).

American painter, printmaker, and sculptor. Her work, often described by critics as “magic realist” or “surreal,” includes portraits, still lifes, landscapes, and interior scenes that translate a private vision into the concrete terms of this world. She studied at the University of Illinois, Urbana-Champaign, graduating in 1929 with a BA in Romance languages; after returning to Chicago she took courses at the School of the Art Institute of Chicago and the American Academy of Art. Her work was deeply personal, informed by a lasting connection to the regional mentality of the Chicago art world combined with a distinctive and witty approach.

Her interests were shaped by early experiences. Both of her parents were opera singers and she became a serious jazz aficionado as an adult; she learned German as a child during a stay in Berlin, stimulating a love of languages and wordplay; she had a profound connection to the Midwest and its landscape, particularly to her father’s western Illinois hometown of Aledo, where she spent many happy summers with his extended family, moderating the loneliness of being an only child....

Article

Aberli, Johann Ludwig  

Jeanne-Marie Horat-Weber

(b Winterthur, Nov 14, 1723; d Berne, Oct 17, 1786).

Swiss painter, draughtsman and engraver. In 1741 he moved to Berne, where he took drawing lessons with Johann Grimm (1675–1747), whose school of drawing he took over in 1747. He visited the Bernese Oberland with Emanuel Handmann, Christian Georg Schütz (1718–91) and Friedrich Wilhelm Hirt (1721–72) in 1759 and in the same year travelled to Paris with Adrian Zingg (1734–86). This was his only trip abroad, but it determined him to work exclusively as a landscape painter. After nine months he returned to Berne, where his landscape views became popular, particularly with foreign travellers, enamoured of ‘Nature’ and keen to retain souvenirs of their travels. He was one of the first artists to portray the beauties of the Swiss countryside; his favourite subjects were the Aare Valley and views of Swiss lakes (e.g. View of Erlach on the Lake of Biel; Berne, Kstmus.). He invented a technique known as the ...

Article

Abramo, Lívio  

Roberto Pontual

revised by Gillian Sneed

(b Araraquara, 1903; d Asunción, Paraguay, 1992).

Brazilian printmaker and teacher. Abramo was born into a middle-class Italian immigrant family in Araraquara, in the state of São Paulo, before moving to the city of São Paulo in 1909. In 1911 he studied drawing with painter Enrico Vio (1874–1960) at the Colégio Dante Alighieri in São Paulo. In 1926 he came into contact with German Expressionism and the work of engraver Oswaldo Goeldi, and made his first woodcut print, Vista Chinesa (1926; Echauri de Muxfeldt 2012, pl. 122), depicting a village bridge in an Expressionist style. Initially self-taught in printmaking, his work addressed social themes such as the São Paulo working class. In 1928 and 1929 he created linocuts depicting images of the working class in a Cubist style for the newspaper Lo Spaghetto. In the early 1930s he became influenced by the paintings of Tarsila’s anthropophagic phase (1928–1929) and Lasar Segall’s Expressionism. In 1930 Abramo joined the Communist Party (PCB), but he was expelled in 1932 after he was accused of being a Trotskyist. In 1931 he began working as a draftsman for the ...

Article

Abularach, Rodolfo  

Jorge Luján-Muñoz

(b Guatemala, Jan 7, 1933).

Guatemalan painter and printmaker. From 1954 to 1957 he studied at the Escuela Nacional de Artes Plásticas in Guatemala City while researching folk art for the Dirección de Bellas Artes, but he was virtually self-taught and began as a draftsman and painter of bullfighting scenes. In 1958 he traveled to New York on a Guatemalan government grant, prolonging his stay there with further grants, studying at the Arts Students League and Graphic Art Center, and finally settling there permanently. He was influential in Guatemala until c. 1960, but because of his long residence abroad his work did not fit easily in the context of Central American art. Before leaving Guatemala he had painted landscapes and nudes in a naturalistic style, but he soon adopted a more modern idiom partly inspired by aboriginal Guatemalan subjects. After moving to New York, and especially from 1958 to 1961, his art underwent a profound transformation as he sought to bring together elements of abstract art and Surrealism and experimented with textures, for example in cross-hatched pen-and-ink drawings such as ...

Article

Ackersloot [Akersloot], Willem  

Christiaan Schuckman

(Outgertsz.)

(b Haarlem, fl 1620–34; d The Hague, ?1634).

Dutch engraver. He was the son of Outgert Arisz. Ackersloot (fl 1631). In 1624 he became the brother-in-law of the artist Cornelis van Kittensteyn (1600–38). After a stay in Paris in 1620, he was back in his native Haarlem by 1624. His oeuvre comprises 18 engravings, dating from 1624 to 1633. He eventually became a skilful reproductive engraver; among his best works are the portraits of Frederik Hendrik and Amalia van Solms after Adriaan van de Venne (both 1628), the Ceres Changing Stellio into a Lizard after Jan II van de Velde (i) and the book illustrations after Pieter Jansz. Saenredam’s early drawings for Samuel Ampzing’s Beschryvinge en de lof der stad Haerlem (‘Description and praise of the city of Haarlem’; Haarlem, 1628). He is last documented in The Hague in 1634.

Hollstein: Dut. & Flem.; NKL; Thieme–Becker F. G. Waller: Biographisch woordenboek van Noord Nederlandsche graveurs...

Article

Adam, Henri-Georges  

(b Paris, Jan 14, 1904; d La Clarté, Brittany, Aug 27, 1967).

French sculptor, printmaker and tapestry designer. His father was a jeweller, and after his return from World War I in 1918 Adam worked in his studio and learnt how to engrave. At the same time he studied drawing at the Ecole Germain-Pilon and read Charles Baudelaire’s Les Fleurs du mal, which was to have a great influence on him. In 1925 he attended evening classes at a school of drawing in Montparnasse. From 1928 to 1934 he started to produce prints and became associated with André Breton, Louis Aragon and Paul Eluard, although he was never greatly influenced by them. His early prints, reminiscent of the work of George Grosz, were mostly designed as social satire, mocking the myths surrounding patriotism, the family and religion, as in When Papa is Patriotic (1935). In 1933 he designed the costumes and scenery for Hans Schlumberg’s Miracle à Verdun performed at the Théâtre des Bouffes du Nord in Paris. His first exhibition of prints was held in ...

Article

Adami, Valerio  

Alfred Pacquement

(b Bologna, March 17, 1935).

Italian painter, draughtsman and printmaker. He was given a rigorous training as a draughtsman between 1951 and 1954 in Achille Funi’s studio at the Accademia di Belle Arti di Brera, Milan, which provided the basis for his mature work. Before developing his characteristic contour line and flat surfaces, he experimented briefly with an expressionistic style that combined violent and humorous imagery inspired by the explosive forms in space favoured by Roberto Matta and by strip cartoons; typical of this phase is one of his earliest large canvases, L’ora del sandwiche (1963; Camilla Adami priv. col., see Damisch and Martin, pl. 42). He settled in Paris in 1957 but divided his time between France and Italy. In such paintings as Stanze a cannocchiale (‘Telescoped rooms’, 1965; Pittsburgh, PA, Carnegie Mus. A.) he began to develop a highly decorative idiom of stylized images outlined in black on a surface of interlocking areas of intense, unmodulated colour. His usual starting-point was a photograph or several associated images, which he reworked, fragmented and presented in a schematic form. This remained Adami’s system of working in later years, although his subject-matter changed....

Article

Adams, Clinton  

Pat Gilmour

(b Glendale, CA, Dec 11, 1918; d Albuquerque, NM, May 13, 2002).

American painter, printmaker, art historian, writer and teacher. His appointment to the art faculty of the University of California, Los Angeles, in 1942 was interrupted by military service, and it was not until 1946 that he resumed his career as a teacher of the practice and theory of art. This took him to the universities of Kentucky (Lexington), Florida (Gainesville) and finally New Mexico (Albuquerque), where he served as Dean (1961–76). Despite academic demands, Adams always found time to paint and showed his work in over 50 solo exhibitions. Equally at home in oil, acrylic, watercolour and egg tempera, he was initially inspired by the abstracted cityscapes of Stuart Davis. Later he absorbed the lessons of Matisse, achieving particularly radiant paintings during the 1980s. In 1993 he was elected an Academician by the National Academy of Design.

In 1948, at Stanton Macdonald-Wright’s suggestion, Adams began to make lithographs with the Los Angeles printer, ...

Article

Adams, Tate  

(b Holywood, County Down, Ireland, Jan 26, 1922).

Australian painter, printmaker, book designer, lecturer, collector, gallery director and publisher of limited edition artists’ books, of Irish decent. He worked as a draughtsman before entering war service in the British Admiralty from 1940 to 1949, including five years in Colombo, where he made sketching trips to jungle temples with the Buddhist monk and artist Manjsiro Thero. Between 1949 and 1951 Adams worked as an exhibition designer in London and studied wood-engraving with Gertrude Hermes in her evening class at the Central School of Arts and Crafts (now Central St Martin’s College of Art and Design). In 1951, after moving to Melbourne, Adams began a 30-year teaching commitment at the Royal Melbourne Institute of Technology (RMIT), where he instructed many of the younger generation of Australian printmakers, including George Baldessin and Jan Senbergs. A brief return to Britain and Ireland in 1957–8 provided experience with Dolmen Press, Dublin, which published his first book of engravings, ...

Article

Agabiti [Agapiti], Pietro Paolo  

Gennaro Toscano

(b Sassoferrato, c. 1470; d Cupramontana, c. 1540).

Italian painter and possible woodcutter. He spent his early years in Sassoferrato, where his family owned a ceramics workshop. Around 1497 he probably visited the Veneto region, since his Virgin and Child with Saints (Padua, Mus. Civ.) painted that year shows the strong influence of painters active there such as Cima da Conegliano. The painting also reflects the Bolognese style of Francesco Francia and that of the Romagnian Marco Palmezzano. In Venice, Agabiti may have made woodcuts after the illustrations for Francesco Colonna’s Hypnerotomachia Poliphili (Venice, 1499). By 1502 he had returned to the Marches, where he executed a painting (untraced) for S Rocco, Jesi, the town where in 1507 he is documented as residing. After 1510 he was again in Sassoferrato, where in 1511 he signed and dated both the Virgin and Child Enthroned with Saints (Sassoferrato, Gal. A. Mod. & Contemp.) and the Nativity in S Maria del Piano. In ...

Article

Aguesca family  

Blanca García Vega

Spanish family of printmakers. Jerónimo Aguesca (fl Huesca, 1638–44), an etcher, was commissioned to illustrate the Conclusiones (scholarly theses) produced by the Universidad Sertoriana in Huesca with numerous handsomely decorated coats of arms. He executed various religious engravings and made the plates of archaeological remains for Juan Francisco Andrés’s Monumento de los Santos Mártires Justo y Pastor (Huesca, 1644). He signed his works Jerónimo Aguesca Oscae, Aguesca F. or simply Oscae. His brother, Lorenzo Aguesca, engraved the vignettes for Vicencio Juan de Lastanosa’s Museo de las medallas desconocidas de España (Huesca, 1645). Jerónimo’s daughter, the engraver Teresa Aguesca (b Huesca, 1654) became famous for producing, at the age of nine, an engraving of St Anthony and the Christ Child (1663). She also collaborated with her father on a large number of coats of arms and armorial bearings.

A. Gallego: Historia del grabado en España...

Article

Ahyi, Paul  

Christine Mullen Kreamer

(b Jan 25, 1930; d Lomé, Jan 4, 2010).

Togolese painter, sculptor, engraver, stained glass designer, potter and textile designer. Beginning in 1946, he received his secondary education in Dakar, where he also worked in an architecture firm. He travelled to France and received his diplôme supérieur from the Ecole des Beaux-Arts, Paris. A versatile artist, Ahyi is best known for his murals and for monumental stone, marble and cement public sculptures. His work reflects the fusion of his Togolese roots, European training and an international outlook, and he counts among his influences Moore, Braque, Modigliani, Tamayo, Siqueiros and Tall. His work combines ancient and modern themes and materials, maternity being a prominent topic. The messages of his larger, public pieces operate on a broad level to appeal to the general populace, while smaller works often reflect his private engagement with challenges confronting the human condition. His compositions are both abstract and figurative and evoke the heroism and hope of the two world wars, Togo's colonial period and the struggle for independence from France, as well as the political efforts of the peoples of Vietnam, South Africa and Palestine. Ahyi has won numerous international prizes, including the prize of the city of Lyon (...

Article

Akhlaq, Zahoor ul-  

Marcella Nesom-Sirhandi

(b Delhi, India, Feb 4, 1941; d Lahore, Pakistan, Jan 18, 1999).

Pakistani painter, sculptor and printmaker. Educated in Pakistan and abroad, he has consciously and successfully synthesized Eastern and Western aesthetic traditions. In 1963, a year after graduating from the National College of Arts, Lahore, he joined the faculty as a lecturer in art, later becoming a professor and head of the Department of Fine Arts. His studies abroad have included post-graduate work in London (1966–7, 1968–9) and the United States (1987–9).

Like many of his colleagues, Zahoor was influenced by his mentor, Shakir ‛Ali, principal of the National College of Art from 1961 to 1975. Both artists were motivated by art history, philosophy and aesthetics. Zahoor’s non-figurative paintings of the 1960s evolved into tangible—though not always realistic—images addressing the dualities of space and time, East and West. Most of his triptychs and single canvases were conceived within a grid that provides a stabilizing structure for their compositions. This grid refers to Zahoor’s admiration for the American artist ...

Article

Albers, Anni  

Nicholas Fox Weber

[Anneliesenée Fleischmann]

(b Berlin, June 12, 1899; d Orange, CT, May 10, 1994).

American textile designer, draughtsman and printmaker, wife of Josef Albers. She studied art under Martin Brandenburg (b 1870) in Berlin from 1916 to 1919, at the Kunstgewerbeschule in Hamburg (1919–20) and at the Bauhaus in Weimar (1922–5) and Dessau (1925–9; see fig.). In 1925 she married Josef Albers, with whom she settled in the USA in 1933 after the closure of the Bauhaus, and from 1933 to 1949 she taught at Black Mountain College in North Carolina; she became a US citizen in 1937. Her Bauhaus training led her as early as the 1920s to produce rectilinear abstract designs based on colour relationships, such as Design for Rug for Child’s Room (gouache on paper, 1928; New York, MOMA), but it was during her period at Black Mountain College that she began producing her most original work, including fabrics made of unusual materials such as a mixture of jute and cellophane (...

Article

Albers, Josef  

Nicholas Fox Weber

(b Bottrop, Ruhr, March 19, 1888; d New Haven, CT, March 25, 1976).

American painter, printmaker, sculptor, designer, writer and teacher. He worked from 1908 to 1913 as a schoolteacher in Bottrop and from 1913 to 1915 trained as an art teacher at the Königliche Kunstschule in Berlin, where he was exposed to many current art movements and to the work of such Old Masters as Dürer and Holbein. His figurative drawings of the next few years, which he kept hidden and which were discovered only after his death (many now in Orange, CT, Albers Found.), show that he applied these influences to his consistent concern with the simplest and most effective means of communicating his subject; he drew rabbits, schoolgirls and the local landscape in as dispassionate and impersonal a manner as possible. After his studies in Berlin he returned to Bottrop and from 1916 to 1919 began his work as a printmaker at the Kunstgewerbeschule in nearby Essen. In 1919 he went to Munich to study at the Königliche Bayerische Akademie der Bildenden Kunst, where he produced a number of nude drawings and Bavarian landscapes (Orange, CT, Albers Found.)...

Article

Alberti, Cherubino  

Janis Callen Bell

(b Borgo San Sepolcro, Feb 24, 1553; d Rome, Oct 18, 1615).

Italian painter and printmaker, brother of Alessandro Alberti. The best known of the three sons of Alberto Alberti, he distinguished himself as a printmaker at an early age. One of his earliest prints, an etching of the Virgin and Child (1568; b. 149) shows his interest in Raphael as well as in contemporary Mannerist art. In Rome he studied with Cornelius Cort, whose swelling burin line he adopted to create pictorial effects of strong chiaroscuro. Between 1571 and 1575 he made several prints after Federico Zuccaro and Taddeo Zuccaro (b. 131, 136, 140, 159, 171, 176). During the next ten years he reached the height of his fame as a printmaker, producing engravings after Raphael, Michelangelo, Polidoro da Caravaggio and of ancient statues. His prints of Polidoro are particularly valued as documents of lost works. He also made prints from paintings by Andrea del Sarto, Rosso Fiorentino, Marco Pino, ...

Article

Albertolli, (Stefano) Raffaele  

Giuliana Ricci

(b Bedano, Sept 21, 1770; d Milan, Jan 7, 1812).

Swiss printmaker and painter, son of Giocondo Albertolli. He suffered from ill-health from infancy. After having attended the Accademia di Belle Arti di Brera in Milan, he assisted his father in his teaching. He executed designs for architectural ornament and furniture (in collaboration with Giuseppe Maggiolini) and painted portraits and landscapes (e.g. ...