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Aachen [Aach; Ach; Acha], Hans [Johann; Joan] von  

C. Höper

Article

Publication History:

Published online:
2003

(b Cologne, 1552; d Prague, March 4, 1615).

German painter and draughtsman, active also in Italy and Bohemia. One of the foremost painters of the circle gathered at the Prague court of Emperor Rudolf II (see Habsburg, House of family, §I, (10)), he synthesized Italian and Netherlandish influences in his portraits and erudite allegories.

Hans’s surname is derived from his father’s native town. According to Karel van Mander, he probably studied c. 1567–73 with the portrait painter Georg Jerrigh, who had trained in Antwerp. Von Aachen subsequently became a member of the Cologne guild of painters. He travelled to Italy c. 1574, first working in Venice as a copyist and for the painter Gaspar Rem (1542–1615/17), before going in 1575 to Rome, where he copied antique sculptures and the works of Italian masters; he also painted an Adoration of the Shepherds for the church of Il Gesù in Rome (1580s; untraced, but known from an engraving (...

Article

Aagaard Andersen, Gunnar  

Rigmor Lovring

Article

Publication History:

Published online:
2003

(b Ordrup, July 14, 1919; d Munkerup, nr Dronningmølle, Hillerød, June 29, 1982).

Danish painter, sculptor, designer and writer. He studied at the Kunsthåndvaerkerskole (1936–9) and the Kongelige Danske Kunstakademi (1939–46), both in Copenhagen. He experimented with non-figurative forms of expression in numerous media. He was a co-founder of Groupe Espace in 1951, and his work was important for the development of Concrete art internationally.

From 1947 to 1950 Aagaard Andersen developed a new, pure pictorial dynamic, moving from fine-lined drawings and faceted landscapes towards an abstract formal language that explored form in terms of light, shadow and reflection. His ‘picture boxes’, in which various elements manifested rhythmic and dynamic growth, explored the concept of painting as object. He began to use the techniques of folding and pleating (e.g. Black Picture Surface with Three Folded Sections, 1964; Esbjerg, Kstpav.), and his work was dominated by his interest in light and shadow.

Besides paintings, Aagaard Andersen produced a number of sculptures, for example the abstract steel work ...

Article

Aaltonen, Wäinö  

Leena Ahtola-Moorhouse

Article

Publication History:

Published online:
2003

(Waldemar)

(b Marttila [Swed. St Mårtens], March 8, 1894; d Helsinki, May 30, 1966).

Finnish sculptor and painter. He was the most significant sculptor of the early decades of Finnish independence (after 1917). His style combined classical tranquillity with a modern sensitivity and disclosed the beauty of granite as a sculptural material. He studied painting at the School of Drawing of the Turku Art Association between 1910 and 1915 but on graduation began to practise moulding techniques and to teach himself stone sculpting. In 1916 his firm instincts and talent for monumental sculpture were remarked on at a general exhibition. His Granite Boy (1917–20; Helsinki, Athenaeum A. Mus.) is one of the masterpieces of his youth, the timid austerity of the child’s figure conveying an Egyptian quality. The marble sculptures Little Wader (1917–22; priv. col., see Okkonen, 1926) and Wader (1924; Helsinki, Athenaeum A. Mus.) are both good examples of Aaltonen’s tonal carving. His main concerns were light and shadow and the atmosphere they create around the sculpture. In ...

Article

Aarts, Johannes Josephus  

Jan Jaap Heij

Article

Publication History:

Published online:
2003

(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

Article

Publication History:

Published online:
2003

(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

Abate, Nicolò dell’  

Dorigen Caldwell

Article

Publication History:

Published online:
2003

[Abbate, Niccolò dell’]

(b Modena, 1509–12; d ?Fontainebleau, 1571).

Italian painter and draughtsman. He was one of the most important artists of the first Fontainebleau school, which was developed at the French court by Rosso Fiorentino and Francesco Primaticcio, and he introduced the Italian Mannerist landscape into France.

He was almost certainly trained by his father, Giovanni dell’Abate (d 1559), a stuccoist, and by the sculptor Antonio Begarelli. Apparently after a period as a soldier, by 1537 he was working in Modena as a painter under Alberto Fontana (fl 1518–58). There the two artists decorated the façade of the Beccherie (Slaughterhouse) from which certain paintings survive (e.g. St Geminian and an allegory of the Wine Harvest; both Modena, Galleria e Museo Estense). His early paintings clearly show the influence of Correggio and of such Ferrarese artists as Dosso Dossi. They also display a love of the picturesque and the pastoral, with frequent variations on the theme of the concert, as in the fragment of a concert scene (Reggio Emilia, Mus. Civ. & Gal. A.) from the façade decorations of the Palazzo Pratonieri in Reggio Emilia. Around ...

Article

Shaykh ‛Abbasi  

Eleanor Sims

Article

Publication History:

Published online:
2003

[Shaykh ‛Abbāsī]

(fl 1650–84).

Persian painter. He was one of a small group of artists working in Iran in the second half of the 17th century who painted in an eclectic manner that drew on European images and Mughal Indian styles (see Islamic art, §III, 4(vi)(a)). He appears to have been the earliest of this group, which included Muhammad Zaman and ‛Aliquli Jabbadar, to integrate these ‘exotic’ elements into his work. He invariably inscribed his work with the punning Persian phrase Bahā girift chū gardīd Shaykh ‛Abbāsī (‘It [He] acquired worth when he became Shaykh ‛Abbasi’). The honorific it contains (‛Abbasi; also a type of coin, whence the pun) suggests that he was in the service of Shah ‛Abbas II (reg 1642–66). He also signed paintings during the reign of Shah Sulayman (reg 1666–94).

Shaykh ‛Abbasi illustrated manuscripts and painted miniatures on single leaves of paper and, almost certainly, on lacquered papier-mâché objects, such as penboxes and mirror cases. More than 15 of his known paintings are signed, 8 in one manuscript (Baltimore, MD, Walters A. Mus., MS. W.668), and 25 can be attributed to him. His subjects include portraits of Safavid and Mughal rulers and of the Virgin and Child copied from European prints. His style is unmistakable, combining sure draughtsmanship with pale, transparent colour washes. Unlike Muhammad Zaman, he had a minimal interest in illusionism, restricting himself to darkening the edges of trees and buildings along one side (usually the right). His figures, especially heads and faces, are Indian in appearance as well as in the stippled manner in which they are drawn. His later pictures seem more Indian than his earlier work; Zebrowski proposed a connection with Golconda painting (...

Article

Abbatini, Guido Ubaldo  

Ann Sutherland Harris

Article

Publication History:

Published online:
2003

(b Città di Castello, c. 1600–05; d Rome, 1656).

Italian painter and mosaicist. He trained in the Roman studio of Cavaliere d’Arpino. He is principally known for executing fresco decorations in several chapels in Rome to designs by Bernini. Independent commissions, such as the frescoes depicting the Life of Charlemagne (1635–7; Rome, Vatican, Sala di Carlo Magno), reveal, however, that despite his collaboration with Bernini and later with Cortona, his preference was for a restrained classical style, close to that of more conservative contemporaries such as Andrea Camassei and Giovanni Francesco Romanelli. He assisted Bernini with the vault of the Raimondi Chapel in S Pietro in Montorio (1642–4) and that of the Pio Chapel in S Agostino (c. 1644–5). He also painted the vision of clouds and angels in the vault above Bernini’s marble group of St Teresa in Ecstasy (c. 1647; Rome, S Maria della Vittoria, Cornaro Chapel). In 1650 he executed independently the decorative frescoes on the ceiling and side walls of the sacristy of S Spirito in Sassia, Rome. He also executed mosaics in St Peter’s, after his own designs and those of ...

Article

Abbaye de Créteil  

Daniel Robbins

Article

Publication History:

Published online:
2003

Community of French writers, artists and composers in operation from November 1906 to February 1908, located in a villa on the banks of the Marne at Créteil, south-east of Paris. Their choice of name paid homage to François Rabelais, whose Gargantua had established the Abbey of Thelema as a model monastery, a self-supporting commune whose members devoted part of each day to group labour and the rest to perfecting the self intellectually. The Abbaye de Créteil numbered among its members the painters Albert Gleizes, Charles Berthold-Mahn and Jacques d’Otemar, the poets Charles Vildrac (b 1882), Georges Duhamel (1884–1966), René Arcos, Alexandre Mercereau, Jules Romains, Henri-Martin Barzun (b 1881), the composer Albert Doyen, and the printer Lucien Linard, whom Gleizes had met while doing his military service. It was through Linard’s trade of printing and publishing that the Abbaye hoped to secure its material future....

Article

Abbey, Edwin Austin  

Pamela H. Simpson

Article

Publication History:

Published online:
2003

(b Philadelphia, PA, April 1, 1852; d London, Aug 1, 1911).

American painter, illustrator, and muralist, active also in England. Abbey began his art studies at the age of 14 in his native Philadelphia where he worked with Isaac L. Williams (1817–95). Two years later he enrolled in night classes at the Pennsylvania Academy of Fine Art working under Christian Schussele (1824–1979), but by then Abbey was already a published illustrator. In the 1870s his drawings appeared in numerous publications, but it was his work for Harper & Brothers that proved most important to his career. In 1871 he moved to New York, and in 1878, Harper’s sent him on a research trip to England. He found such affinity with the country that he made it his home for the rest of his life. After 1889 he devoted more time to painting, was elected a Royal Academician in 1898, and in 1902 was chosen by Edward VII (...

Article

Abbott, John White  

Susan Morris

Article

Publication History:

Published online:
2003

(b Exeter, May 13, 1764; d Exeter, 1851).

English watercolourist, painter and apothecary. He was nephew of the prominent lawyer John White (1744–1825). An important patron of Francis Towne, he spent his entire career in Exeter as an apothecary and surgeon. Abbot was a keen amateur artist, taking lessons from Towne, but although he was an Honorary Exhibitor of landscape oils at the Royal Academy, London, from 1793 to 1805 and again in 1810 and 1812, he never sold a picture. His oil Fordland (1791; priv. col., see Oppé, pl. xxxii) is a plein-air study of woodland that owes much to Gainsborough’s early work in its naturalism and broken, delicate handling.

In 1791 Abbott toured Scotland, the Lake District, Lancashire, Derbyshire and Warwickshire. He toured Monmouthshire in 1797, and again in 1827, as well as Gloucestershire and Wiltshire. He also made studies of Richmond, Surrey, in 1842, but the bulk of his work was done in the vicinity of Exeter. The ...

Article

Abbott, Lemuel Francis  

Hugh Belsey

Article

Publication History:

Published online:
2003

(b Leics, c. 1760; d London, Dec 5, 1802).

English painter. He was the son of a clergyman and went to London to study with Francis Hayman shortly before the latter’s death in 1776; he may have completed his studies in Derby with Joseph Wright of Derby. By the early 1780s Abbott had established a busy portrait practice in London. The formula he adopted for most of his head-and-shoulder portraits can be seen in Sir William Herschel (1785; London, N. Mar. Mus.): the body is parallel to the picture plane, and the sitter’s head is moved into three-quarter profile, as if his attention has been suddenly distracted. In later portraits, such as those of fellow artists Francesco Bartolozzi (c. 1792; London, Tate) or Joseph Nollekens (c. 1797; London, N.P.G.), the sitter’s hand or some attribute balances the movement of the head. Only male portraits by Abbott are known, and his patrons were mostly drawn from the professional classes, particularly the Navy; there are several versions of ...

Article

Abedin, Zainul  

Jonathan M. Bloom

revised by Sheila S. Blair

Article

Publication History:

Published online:
2003

(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

Abel de Pujol, Alexandre  

Isabelle Denis

Article

Publication History:

Published online:
2003

[Abel, Alexandre-Denis]

(b Douai, Jan 30, 1785; d Paris, Sept 28, 1861).

French painter. He was the natural son of Alexandre de Pujol de Mortry, a nobleman and provost of Valenciennes, but did not use his father’s name until after 1814. He trained first at the Académie de Valenciennes (1799–1803), then at the Ecole des Beaux-Arts, Paris, and in the studio of Jacques-Louis David. At the end of 1805 it seemed he would have to end his apprenticeship for lack of money but David let him continue free of charge, so impressed had he been by Philopoemen… Splitting Wood (1806; ex-Delobel priv. col., Valenciennes). The astonishing Self-portrait (Valenciennes, Mus. B.-A.), showing the artist as the very image of a romantic hero, dates from this period.

From 1808 Abel exhibited history paintings at the Salon, making his living, however, by painting shop signs. In 1811 he won the prestigious Prix de Rome and his father subsequently permitted him to adopt his name. Thus from ...

Article

Abel, Josef  

Andrzej Ryszkiewicz

Article

Publication History:

Published online:
2003

(b Aschach, Aug 22, 1764; d Vienna, Oct 4, 1818).

Austrian painter. He studied at the Akademie der Bildenden Künste in Vienna under Jakob Matthias Schmutzer (1733–1811) from 1783. On the advice of his mentor, Heinrich Füger, Abel turned from landscape to history painting, winning a gold medal in 1794 for Daedalus and Icarus (Vienna, Akad. Bild. Kst.). He was invited to Poland in 1795 by Prince Adam Casimir Czartoryski, and he produced numerous family portraits for the prince in a variety of media. In 1797 he returned to Vienna, where he taught, as well as undertaking commissions for paintings and for prints (e.g. Portrait of the Artist’s Father, see Aurenhammer, fig.).

Abel had a preference for Classical subject-matter during his early training, and this was reinforced by his stay in Rome from 1801 to 1807. During this period he painted his most important work, F. G. Klopstock in Elysium (1803–7; Vienna, Belvedere), in collaboration with his friend ...

Article

Abela, Eduardo  

Giulio V. Blanc

Article

Publication History:

Published online:
2003

(b San Antonio de los Baños, nr. Güines, 1889; d Havana, 1965).

Cuban painter and caricaturist. He graduated from the Academia de S. Alejandro in Havana in 1920 and lived in Paris from 1927 to 1929. There he studied at the Académie de la Grande Chaumière and abandoned academicism, developing a modernist “Cuban” style, in which folkloric scenes of peasant life were depicted in a colorful, energetic, pseudo-naive manner reminiscent of Jules Pascin and Amedeo Modigliani. An outstanding work of this period is Triumph of the Rumba (c. 1928; Havana, Mus. N. B.A.). After a trip to Italy in the early 1930s, Abela began to paint canvases such as Guajiros (“Peasants”; 1938; Havana, Mus. N. B.A.), in which the classical sobriety and order is the result of his contact with Italian medieval and Renaissance art. His style underwent a radical change in the early 1950s, and from this time until his death he painted small works that recall in their use of fantasy the drawings of children as well as the works of Marc Chagall....

Article

Abercrombie, Gertrude  

Susan Weininger

Article

Publication History:

Published online:
10 September 2021

(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

Article

Publication History:

Published online:
2003

(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

‛Abid  

Jeffrey A. Hughes

Article

Publication History:

Published online:
2003

[‛Ābid]

(fl c. 1615–58).

Indian miniature painter, son of Aqa Riza and brother of Abu’l-Hasan. Both his father and his brother worked for the Mughal emperor Jahangir (reg 1605–27). Although ‛Abid probably began working in the royal atelier c. 1615, all of his known signed works are datable to the reign of Shah Jahan (reg 1628–58). His style varied somewhat from that of his celebrated older brother, but ‛Abid’s work also stayed within the strict formalism of the Persian-derived courtly concerns for symmetry, technical perfection and minute detail. Within these constraints, ‛Abid’s portraits of court figures are injected with an animation that creates characterization of individual personalities and intensifies the narrative. ‛Abid was an accomplished colourist, whose vivid use of colour seems to contrast with the realism of his subjects, primarily battle and court scenes. His known paintings are relatively few; most are from the Padshāhnāma of c. 1636–58 (Windsor Castle, Royal Lib., MS. HB.149, fols 94...

Article

Abildgaard, Nicolai Abraham  

Jens Peter Munk

Article

Publication History:

Published online:
2003

(b Copenhagen, Sept 11, 1743; d Frederiksdal, Copenhagen, June 4, 1809).

Danish painter, designer and architect. His paintings reveal both Neo-classical and Romantic interests and include history paintings as well as literary and mythological works. The variety of his subject-matter reflects his wide learning, a feature further evidenced by the broad range of his creative output. In addition to painting, he produced decorative work, sculpture and furniture designs, as well as being engaged as an architect. Successfully combining both intellectual and imaginative powers, he came to be fully appreciated only in the 1980s.

He studied at the Kongelige Danske Kunstakademi in Copenhagen (1764–72), and in 1767 he assisted Johan Edvard Mandelberg (1730–86) in painting the domed hall of the Fredensborg Slot with scenes from the Homeric epic the Iliad. In 1772 he was granted a five-year travelling scholarship from the Kunstakademi to study in Rome. During his Roman sojourn he extensively copied works of art from the period of antiquity up to that of the Carracci family. His friendships with the Danish painter Jens Juel, the Swedish sculptor Johan Tobias Sergel and the Swiss painter Johann Heinrich Fuseli placed him among artists who were in the mainstream of a widespread upheaval in European art. In these years Abildgaard developed both Neo-classical and Romantic tastes; his masterpiece of the period is ...