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 ...
(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. ...
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 ...
(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 ...
C. J. A. Wansink
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 ...
(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 ...
(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...
(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 ...
(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....
(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, ...
(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, ...
Annelies M. Abelmann
(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 ...
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...
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 (...
(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 ...
(b North Harvey, nr Chicago, Feb 20, 1897; d Woodstock, VT, Nov 18, 1983).
American painter, sculptor, printmaker and film maker. He was brought up in the suburbs of Chicago and was exposed to art at an early age by his father, Adam Emory Albright (1862–1957), a portrait painter. He passed on to his son the interest in careful draughtsmanship that he had developed from tuition with Thomas Eakins. Ivan’s initial field of interest was architecture, which he studied at Northwestern University, Evanston (1915–16), and at the University of Illinois, Urbana (1916–17). During World War I he served with an Army medical unit, making surgical drawings with great precision. He subsequently decided to become a painter and attended the Art Institute of Chicago (1920–23), the Pennsylvania Academy of Fine Arts, Chicago (1923), and the National Academy of Design, New York (1924). Around this time he began to exhibit regularly.
Albright settled in Chicago in ...
(b Paderborn, 1502; d Soest, Westphalia, 1555–61).
German engraver, painter and designer. He was the most important graphic artist in Westphalia in the 16th century. His reputation rests largely on his ornamental designs, which make up about one third of his c. 300 engravings. They were principally intended as models for metalworkers but were also adapted by other craftsmen for such decorative arts as enamel, intarsia and book illustration. Aldegrever followed Dürer and the Nuremberg Little Masters, deriving models for his paintings and subject prints as well as a full repertory of Renaissance ornamental motifs: fig and Acanthus foliage, vases and cornucopia, combined with putti and satyrs, tritons, mermaids and dolphins, sphinxes, masks and medallions. From the beginning of his career Aldegrever was aware of the artistic trends of the time: the Dürer influence was strongest at its outset yielding somewhat in work of the 1530s to Mannerist tendencies under Netherlandish influence, though never waning entirely.
Aldegrever was the son of Hermann Trippenmeker (...