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Article

Anne van Loo

(b Liège, March 18, 1896; d 1995).

Belgian painter, designer and writer. He was a pupil of the Symbolist painter Jean Delville but started using geometric forms after discovering the work of František Kupka. In 1923 he began to collaborate on the avant-garde journal 7 Arts together with Pierre-Louis Flouquet (1900–67) and Karel Maes (1900–74). Also in 1923 he married the dancer Akarova (b 1904) who inspired his ‘Kaloprosopies’ (1925), an album of nine woodcuts, and for whom he designed costumes and stage sets. At the same time he embarked on the design of functional furniture, first in traditional materials and then in metal tubing (1930) and polychrome, cellulose-based lacquer. He opened his own decorating business in Brussels (1930–70) and showed his ‘Standax’ furniture, which could be assembled and dismantled, at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937) in Paris. Baugniet was a promoter of the ...

Article

Belinda Thomson

(b Lille, April 28, 1868; d Paris, April 15, 1941).

French painter and writer. He was the son of a cloth merchant. Relations with his parents were never harmonious, and in 1884, against his father’s wishes, he enrolled as a student at the Atelier Cormon in Paris. There he became a close friend of Louis Anquetin and Toulouse-Lautrec. In suburban views of Asnières, where his parents lived, Bernard experimented with Impressionist and then Pointillist colour theory, in direct opposition to his master’s academic teaching; an argument with Fernand Cormon led to his expulsion from the studio in 1886. He made a walking tour of Normandy and Brittany that year, drawn to Gothic architecture and the simplicity of the carved Breton calvaries. In Concarneau he struck up a friendship with Claude-Emile Schuffenecker and met Gauguin briefly in Pont-Aven. During the winter Bernard met van Gogh and frequented the shop of the colour merchant Julien-François Tanguy, where he gained access to the little-known work of Cézanne....

Article

(b Turin, July 20, 1850; d Turin, Feb 26, 1941).

Italian painter, critic and writer. From 1867 to 1873 he studied at the Accademia Albertina di Belle Arti in Turin, and when Antonio Fontanesi arrived in 1869 to teach landscape painting, Calderini became one of his first and most able pupils. He took a studio with a fellow student, Francesco Mosso (1849–77), and in 1870 made his début at the Società Promotrice with Solitary Statues (Rome, G.N.A. Mod.), a painting depicting the statues and gardens of the Palazzo Reale in Turin after rainfall. Fontanesi’s expressive and fluid style with its emphasis on the sensuous qualities of a particular landscape (e.g. Stillness, 1860; Turin, Gal. Civ. A. Mod.) inspired Calderini to approach landscape painting in a similarly evocative manner (e.g. Spring, Hills near Turin, 1878; see Lombroso, p. 251). However, he created an equilibrium between Fontanesi’s lyricism and his own more objective portrayal of nature. He shared the older artist’s fervent belief in direct experience and would not paint a landscape unless he had spent at least six months in the area. Together with Fontanesi, he introduced an expressive naturalism into Piedmontese landscape painting in contrast to the finely ‘finished’ landscapes of Massimo D’Azeglio. Effects of light and colour at different times of day and at different seasons are the subjects of a number of works, including ...

Article

W. Iain Mackay

(b Carhuás, Ancash, Oct 2, 1857; d San Miguel de Tucumán, Dec 1922).

Peruvian painter, photographer, teacher, and critic. At the age of four he was brought to Lima, where he began to take lessons in art. From 1885 he traveled through France, Italy, and Belgium, and on returning to Latin America he settled in Buenos Aires, where he took up photography. In 1905 he returned to Lima, where he set up a workshop and art college at the Quinta Heeren, introducing the latest photographic techniques. On visiting Spain in 1908 Castillo discovered the historical genre paintings of Mariano Fortuny, y Marsal, and once back in Lima worked as a painter and as art critic for the magazines Prisma, Variedades, Actualidades, and Ilustración peruana. He later supported Daniel Hernández in founding (1919) the Escuela Nacional de Bellas Artes in Lima (see also Peru, Republic of, §XI). In parallel with the writer Ricardo Palma, Castillo was concerned with recording the traditions of Lima’s colonial past, and such paintings as the ...

Article

A. Ziffer

(b Görlitz, Feb 21, 1871; d Lüneburg, March 10, 1948).

German designer, painter, teacher and theorist. A self-taught artist, he made several study trips to Italy and the Tyrol. In painting he found inspiration in late German Romanticism, before turning to the English Arts and Crafts Movement. His designs were exhibited in 1899 at the exhibition of the Bayerische Kunstgewerbeverein (Munich, Glaspal.) and in 1901 at the first Ausstellung für Kunst im Handwerk in Munich. In 1902 he founded the Lehr- und Versuch-Atelier für Angewandte und Freie Kunst with the Swiss artist Hermann Obrist, developing a modern co-educational teaching system based on reformist pedagogy and popular psychology. In preliminary courses, classes and workshops, a broad practical training was offered primarily in arts and crafts. This precursor of the Bauhaus encouraged contact with dealers and collectors and was widely accoladed. When Obrist resigned from the school in 1904, Debschitz founded the Ateliers und Werkstätten für Angewandte Kunst and the Keramischen Werkstätten production centres attached to the school. In ...

Article

Belinda Thomson

(b Granville, Nov 25, 1870; d Paris, Nov 13, 1943).

French painter, designer, printmaker and theorist. Although born in Normandy, Denis lived throughout his life in Saint-Germain-en-Laye, just west of Paris. He attended the Lycée Condorcet, Paris, where he met many of his future artistic contemporaries, then studied art simultaneously at the Ecole des Beaux-Arts and at the Académie Julian (1888–90). Through fellow student Paul Sérusier, in 1888 he learnt of the innovative stylistic discoveries made that summer in Pont-Aven by Paul Gauguin and Emile Bernard. With Sérusier and a number of like-minded contemporaries at the Académie Julian—Pierre Bonnard, Paul Ranson, Henri-Gabriel Ibels and others—Denis found himself fundamentally opposed to the naturalism recommended by his academic teachers. They formed the Nabis, a secret artistic brotherhood dedicated to a form of pictorial Symbolism based loosely on the synthetic innovations of Gauguin and Bernard. Denis’s first article, ‘Définition du néo-traditionnisme’, published in Art et critique in 1890 (and republished in ...

Article

Article

Frances Spalding

(Eliot)

(b London, Dec 14, 1866; d London, Sept 9, 1934).

English theorist, critic and painter. He was educated at Clifton College, Bristol, and King’s College, Cambridge, where he studied natural sciences. He was descended on both sides of his family from seven generations of Quakers, but he abandoned Christian beliefs on reaching adulthood. The legacy of Quakerism, however, continued to influence the direction of his career in his willingness to stand apart from mass opinion and from established authority, and in his distrust of all display.

On leaving Cambridge, he trained as a painter, first under Francis Bate (1853–1950), then for two months at the Académie Julian in Paris. He regarded the activity of painting as central to his life and continued to paint and exhibit throughout his career. Although critical opinion has never been high, his art stands out consistently for its intellectual clarity of construction. However, Fry also soon established a reputation as a scholar of Italian art. He made his first visit to Italy in ...

Article

Daniel Robbins

(b Paris, Dec 8, 1881; d Avignon, June 23, 1953).

French painter, printmaker and writer. He grew up in Courbevoie, a suburb of Paris, and as a student at the Collège Chaptal became interested in theatre and painting. At 19, his father put him to work in the family interior design and fabric business, an experience that contributed to a lifelong respect for skilled workmanship. The first paintings he exhibited, at the Société Nationale des Beaux-Arts in Paris in 1902, were Impressionist in character, but the work accepted within two years at the Salon d’Automne showed a shift to social themes, a tendency that accelerated until 1908. Compulsory military service from 1903 to 1905 thrust him into the company of working-class people, arousing a permanent sense of solidarity with their aspirations and needs. The results were immediately apparent in the Association Ernest Renan, which he helped to establish in 1905, a kind of popular university with secular and socialist aims. He was also one of the founders of a community of intellectuals based near Paris, the ...

Article

John E. Bowlt

(Emmanuilovich)

(b Budapest, March 13, 1871; d Moscow, May 16, 1960).

Russian painter, writer and museum director of Hungarian birth. He studied law at the University of St Petersburg before enrolling at the Academy of Arts there in 1894. He moved in 1896 to Munich, where he took lessons from Anton Ažbé (1861–1905). He remained in Germany until 1901, assimilating the principles of Jugendstil, a strong influence on his early painting and graphic work, as in Lady at the Piano (1899; Moscow, priv. col., see Podobedova, p. 55), which is reminiscent, in its Art Nouveau treatment of the femme fatale, of Léon Bakst’s Supper (1902; St Petersburg, Rus. Mus.).

Back in St Petersburg, Grabar’ became closely involved with the World of Art group, contributing to its journal and exhibitions, but in 1903 he joined the Union of Russian Artists, which reflected his interest in Impressionist landscape. This is evident from his lovely winter scenes of the early 1900s, such as ...

Article

Harry Rand

[Dambrowsky, Ivan]

(b Kiev, 1881/6; d London, 1961).

Polish theorist and painter, active in the USA. Though few immigrants maintained ties to Europe as strong as John Graham’s, his titanic effect upon the direction and development of American art surpassed that of many critics and influential artists—an unlikely reality (because of his improbable bearing and background), acknowledged by his artistic disciples and chronicled in fact.

His family were minor Polish aristocrats long resident in Russia. He studied law at the University of Kiev then became a Tsarist cavalry officer to fight the Revolution. After being captured by the Bolsheviks, he escaped to western Europe and by 1920 had arrived in the USA. He changed his name, believing that Graham looked similar to the Cyrillic orthography of Dambrowsky. In New York Graham studied in 1921 under John Sloan at the Art Students League while maintaining contacts with Russian artists including Mikhail Larionov and David Burlyuk. Active as an artist in the 1920s, he corresponded with the American collector Duncan Phillips, who acquired several of his paintings. Graham was acquainted with Picasso (an influence he eventually rejected but not before confusing the situation by claiming they were born in the same year, thus forever muddying the facts of his life) and in the late 1920s had one-man exhibitions in both the USA and Paris. In New York he became prominent as the principal link between modernist artists in New York and Paris. In ...

Article

(b Milan, Oct 15, 1851; d Milan, Aug 4, 1920).

Italian painter, dealer, critic and collector of Hungarian origin. Around 1870 he frequented the circle of Scapigliati, Gli and in 1870–71 visited London. Grubicy’s acquaintance with the art galleries there inspired him to start his own gallery in Milan, specializing in the Scapigliati artists, particularly Tranquillo Cremona and later Daniele Ranzoni. After Cremona’s death in 1878, Grubicy extended his interest to younger Lombard artists, primarily Giovanni Segantini (whose Choir of S Antonio impressed him at the 1879 annual exhibition at the Brera, Milan), Emilio Longoni (1859–1932) and later Angelo Morbelli. Grubicy became Segantini’s dealer and they were in close collaboration from this time. Between 1882 and 1885 Grubicy was in the Low Countries and probably informed Segantini of Millet and The Hague school. During his visit Grubicy also began to draw (e.g. Housemaid Washing, 1884; Milan, Castello Sforzesco) and to paint (e.g. The Hague: My First Work, 1884...

Article

David Cast

(b London, Dec 15, 1875; d Tonbridge, Jan 20, 1952).

English painter, printmaker, art historian and museum curator. Educated at St Paul’s School, London, and Trinity College, Cambridge, he came from a family closely associated with the arts, one of his uncles being John Pettie. At Cambridge, Hardie studied etching under Frank Short (1857–1945), and he developed into an able etcher and watercolour painter (examples Oxford, Ashmolean); from 1908 he was a regular exhibitor in London at the Royal Academy, the Royal Society of Painter-Etchers and Engravers and the Royal Institute of Painters in Water-Colours. In 1898 Hardie was appointed to an assistant post at the Victoria and Albert Museum, London; in 1914 he was made Assistant Keeper, and from 1921 until his retirement in 1935 he served as Keeper in the Print Department. Under his direction the Department was extended to include the collection and study of posters and of various aspects of theatre arts. Hardie was a prolific writer, celebrating and recording all the arts with which he was for so long connected, and he produced books and pamphlets on numerous individuals, including Samuel Palmer, whose reputation had fallen into total neglect. He also wrote on posters and coloured books and produced an edition of ...

Article

(b Amsterdam, Dec 4, 1868; d Bloemendaal, Dec 31, 1938).

Dutch painter, printmaker, illustrator, writer and stained-glass artist. He trained at the Rijksakademie in Amsterdam (1886–90), under the directorship of August Allebé. Having initially painted and drawn Impressionistic landscapes, he started working in the ’t Gooi region in 1892, where, influenced by Vincent van Gogh and Jan Toorop, he made a number of Symbolist drawings and lithographs. In 1896 he married the Dutch writer Henriette van der Schalk. They both devoted themselves to the recently founded Sociaal Democratische Arbeiders Partij. In the years up to c. 1900 Holst produced among other things a series of lithographs of political cartoons with socialist content, as well as serene landscapes and paintings of girls from the village of Huizen. His allegorical murals (1902; in situ), on topics such as ‘Industry’ or ‘Commerce’, in the new Koopmansbeurs in Amsterdam by H. P. Berlage (1876–1903), marked an important point in his career as his first opportunity to construct a monumental piece of work. Partly inspired by the murals in the town hall at ’s Hertogenbosch by Antoon Derkinderen, he developed a tight, stylized type of design, which he believed to be ideal for visually representing idealistic and exalted thoughts. In his murals (...

Article

Petr Wittlich

(b Lužec nad Vltavou, Nov 17, 1875; d Prague, Nov 2, 1911).

Czech painter, critic and writer. He studied at the Charles Ferdinand Czech University in Prague (1894–9) while at the same time studying painting at the Prague Academy of Fine Arts under Maximilián Pirner and Vojtěch Hynais. He played an active part in the Mánes Union of Artists in which he later became a leading light. His earliest art criticism, which first appeared in Radikalní listy and more particularly in Volné směry, the organ of the Mánes Union, expressed his strong support of the modern point of view, for which he was obliged to leave the Academy before his final exams. In his critical views he was influenced above all by French modern art, and also by the theoretical approach that he had acquired from German Francophiles such as Julius Meier-Graefe. He was not only a modernist but was also interested in national and world traditions in art. He translated works by ...

Article

Alessandro Conti

[Igino]

(b Siena, July 18, 1866; d Siena, Jan 23, 1946).

Italian forger, restorer and writer. He is best known for his autobiography, a broad panoramic portrait of life in provincial Italy at the end of the 19th century, which conveys something of the disquiet concerning the loss of Italy’s prestige. He also worked as a skilful forger and restorer at a time when the distinctions between the two activities were blurred. Much of his success as a forger was due to the fact that he imitated either the works of lesser painters (such as Sano di Pietro) or the undistinguished works of more famous artists, which could deceive even a connoisseur. A typical example is his copy of Cecco di Pietro’s Agnano polyptych (Pisa, Mus. N. S Matteo), created as a fraudulent substitution for the original (Rome, Pal. Venezia). Few of Joni’s fakes have stood the test of time, despite the fact that he was in contact with such critics and collectors as Francis Mason Perkins and Robert Langton Douglas. Research into collecting and the art market in late 19th-century America has identified Joni’s role as a restorer in such works as ...

Article

Enrique Arias Anglés

In 

Article

Vivian Endicott Barnett

[Vassily; Wassily] (Vasil’yevich)

(b Moscow, Dec 4, 1866; d Neuilly-sur-Seine, Dec 13, 1944).

Russian painter, printmaker, stage designer, decorative artist and theorist. A central figure in the development of 20th-century art and specifically in the transition from representational to abstract art, Kandinsky worked in a wide variety of media and was an important teacher and theoretician. He worked mainly outside Russia, but his Russian heritage continued to be an important factor in his development.

Kandinsky grew up in Odessa and from 1886 to 1893 studied economics, ethnography and law in Moscow, where he wrote a dissertation on the legality of labourers’ wages. He married his cousin Anya Shemyakina in 1892 (divorced 1911). In 1896 Kandinsky decided to become an artist and went to Munich. There he studied from 1896 to 1898 at the art school of Anton Ažbe, where he met Alexei Jawlensky and Marianne von Werefkin, and then in 1900 at the Akademie with Franz von Stuck. The following year he was a co-founder of the ...

Article

Ann Temkin

(b Münchenbuchsee, nr Berne, Dec 18, 1879; d Muralto, nr Locarno, June 29, 1940).

Swiss painter, draughtsman, printmaker, teacher, and writer. Klee’s work forms a major contribution to the history of 20th-century art. He is associated most commonly with the Bauhaus school in Weimar and Dessau. He is regarded as a major theoretician among modern artists and as a master of humour and mystery. In much of his work, he aspired to achieve a naive and untutored quality, but his art is also among the most cerebral of any of the 20th century (e.g. Disturbance, 1934; Turin, Gal. A. Mod.). Klee’s wide-ranging intellectual curiosity is evident in an art profoundly informed by structures and themes drawn from music, nature, and poetry.

Klee was brought up in Berne, where his father was a music teacher. As a boy, he displayed great talent both as a violinist and as a draughtsman. On leaving school he decided to study art in Munich, first with ...

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Zdenko Rus

(b Našice, April 22, 1845; d Zagreb, Feb 3, 1927).

Croatian painter, museum founder and art historian. He first learnt painting from Hugo Conrad Hötzendorf (?1807–69) in Osijek, then studied philosophy and history of art in Vienna (1866–9) and at the same time attended the Akademie der Bildenden Künste there, sponsored by the Croatian government. In 1870 he studied in Munich under Wilhelm von Diez (1839–1907) and Wilhelm von Lindenschmidt (1829–95), then lived mainly in Italy between 1872 and 1877. He painted still-lifes, landscapes and small-format genre scenes and copied Renaissance masters. With Bishop J. J. Strossmayer’s help he established the professorship of History of Art in the University of Zagreb (1877) and then founded the Society of Art (1879), the Museum of Arts and Crafts (1880), the School for Arts and Crafts (1882) and the Gallery of Modern Art (1905), the latter in the former Palace Vranicani (...