SECTION 1: Key Information by Painter D-F

Painters have been listed alphabetically ignoring all prefix except Le, La, El & Van, eg Van Gogh is listed as such. Last names -or town names before surnames existed- take precedence over preceding names, except where this would be positively misleading, eg Rembrandt & not Van Rijn. Well-known nicknames take precedence over real names, eg Volterra rather than Riciarelli.

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CONTENTS: SURNAMES BEGINNING WITH LETTERS:

D E F

da Conegliano. See Cima

** DA CARAVAGGIO, Polidoro, c1500-43, Italy:

Background: He came from Caravaggio near Milan Brigstocke
Influences: Michelangelo’s Sistine chapel frescoes, & the early Mannerist work of Perino, Rosso & Parmigianino Grove28 pp 148-9
Career: By about 1517 he was working in Raphael’s team on the Vatican Logias, & after Raphael’s death with Guilio Romano & Perino del Varga. He developed by 1524 a speciality frescoing the facades of Roman palaces with monochrome imitations of Classical sculpture. After the Sack of Rome, 1527, he went to Naples & then Messina where he appears to have been murdered for money Brigstock, Grove25 p148, OxDicArt
Oeuvre: Altarpieces & frescoes Grove25 p148.
Phases: In Messina his work became increasingly personal & violently emotional as in his Transfiguration, 1530s (Courtauld) Brigstocke
Innovations: His murals at the Roman church of Silvestri al Quirinale murals, 1525 Rome, in which landscape predominates over figures foreshadow Claude & Poussin Brigstocke, Grove 25 p148, OxDicArt

**Pietro DA CORTONA/BERRETTINI, 1596-1669, Italy, Baroque:

Background: He was born in Cortona, Tuscany into a family of stonemasons L&L
Training: A mediocre Florentine painter L&L
Influences: Raphael L&L

Career: In 1612 or 1613 moved to Rome & during 1624-6 produced his first major works. In 1633-9 he painted the ceiling of the Grand Salone at the Palazzo Barberini. Meanwhile in 1937 he began painting frescos at the Pitti Palace in Florence where from 1640 to 1647 he decorated the ceilings of a suite of rooms. Back in Rome he began his most extensive church decorations: the frescos at S. Maria in Vallicella, 1647-51 & 1655-60 L&L, OxDicArt. Towards the end of his life he devoted much of his time to architecture Murrays1959. He is identified with the anti-classicist faction of the Academy of St Luke of which he was the elected head from 1634 to 1638. Cassiano dal Pozzo, the secretary of Cardinal Barberini, employed him (& Poussin) to detail ancient works of art in Rome L&L

Oeuvre: Frescos & also easel paintings of religious & mythological subjects OxDicArt
Beliefs: He argued in the Academy of that history paintings as epics could contain many figures, whereas the Classical Sacchi wanted as few as possible OxDicArt
Patron: Along with Romanelli, he was the favourite artist of Cardinal Francesco Barberini (Urban VIII’s nephew) Haskell pp 31, 54

Innovations/Phases: He was a founder of High Baroque with Guercino & Lanfranco OxDicArt. However, from 1651 his work heralds the end of Baroque’s with its avoidance of extreme illusionism & the clear division between the painting & a real stucco enframement in pure white & gold. He also introduced a luminous colour range that anticipated Giordano L&L
Verdict: From the 1630s he was unmatched in Rome as a large-scale muralist L&L

Circle: During 1624-6 Cortona & Bernini worked at S. Bibana, & in the late 1620s at S. Peter’s with Lanfranco Waterhouse1962 p48
Pupils: Ferri, Romanelli OxDicArt
Influence: The Battle of Issus on Rosa & Courtois Waterhouse1962 p52
Legacy: His later work with its stucco enframement led to a sumptuous decorative classicism throughout Europe, especially in France with its style Louis XIV L&L
Repute: His reputation sank during the 18^th century OxDicArt

-DADD, Richard, 1817-86, England:

Background: Born Chatham Norman1977
Training: 1837 at the RA Schools Norman1977
Career: In 1842-3 he toured the Middle East but returned insane & in 1843 killed his father. The rest of his life was spent in Bethlem & Broadmoor where he did his most important work Norman1977
Speciality: Fairy paintings Norman1977
Oeuvre: Oil & watercolour Norman1977
Phases: Most of his early work was fairly conventional, although he begun painting fairy & fantasy subjects before incarceration OxDicArt
Characteristics: Densely detailed works painted with minaturist precision which are more like a tapestry than a traditional painting. These were often inspired by poetry & literature but he also painted landscapes & shipping scenes Norman1977, L&L
Friend: Frith OxDicArt
Status: The Clique Norman1977. He was a precursor of Magic Realism L&L
Personal: Egyptian mythology apparently contributed to his insanity & he thenceforth believed that he was under the control of Osiris Norman1977
Feature: His doctors encouraged him to paint L&L
Repute: He was long forgotten until a Tate exhibition of 1974 OxDicArt

-DADDI, Bernardo, c1290-1350, Italy=Florence:

Training: Very probably Giotto & he was closely associated with his workshop Grove 8 p441, Murrays1959
Influences: The Florentine & Sienese traditions & the so-called miniaturist tendency in Florence of the Masters of St Cecilia & the St George Codex; also Lorenzetti Grove 8 p441, L&L, Murrays1959
Career: He ran a flourishing workshop & in 1339 enrolled in the Academia di S. Luca WestS1996, Grove8 p443
Oeuvre: Works in tempera & fresco Grove8 pp 441-43
Characteristics: His smaller works were sweet & lyrical but his large-scale works were indifferent. He & his workshop produced innumerable small devotional altarpieces which provided the best opportunity for the display of his rich narrative & illustrative skills as in his triptych, 1638 (The Courtauld, London). Here he displayed the highest level of technical achievement & lyric inspiration featuring his rich narrative & illustrative skills including his fluent line & varied & brilliant colouring in a captivating expressive work arranged in clear narrative sequence Grove8 pp 441-42, L&L, webimages
Status: He was one of the most important Florentine painters of the first half of the 14^th century Grove8 p441
Legacy: He popularised the small portable tabernacle used for devotion by the urban middle class & pioneered by Duccio L&L

Da Dinant. See Bles, Henri

***Gentile DA FABRIANO, c1385-1427, Italy; International Gothic and Fantasy Movement

Background: Born at Fabriano in the Marches OxDicArt

Influenced: To begin with he was influenced by Lombard miniatures; & then by Venetian developments, the Franco-Flemish panels he saw in Brescia, 14^th century Florentine painting & by Masaccio L&L

Career: In 1408 Da Fabriano was in Venice where he achieved fame & prosperity. During 1414-9 he was in Brescia, & around 1419 he went to Florence, where he ran a busy workshop (possibly employing Jacopo Bellini) & had by 1422 enrolled in the painters’ guild. In 1425 he went to Sienna, then Orvietto, & in 1427 he moved to Rome to work for Martin V L&L

Oeuvre; Much of his work has been destroyed OxDicArt

Characteristics: His work was charming, elegant & courtly but, unlike Masaccio, he had little or no interest in the intellectual problems of space or volume Murrays1959. There is humane warmth in which splendour contrasts with simplicity & religious solemnity with intimacy L&L

Patrons: The Strozzi & Quaratesi, old patricians BurkeP p82

Status: International Gothic OxDicArt, Murrays1959

Innovations: The use of light to create unified space L&L

Repute: Da Fabriano was celebrated in his own day for technical perfection & his novel pictorial language which was both elegant & naturalistic L&L

Legacy: This lasted throughout the 15^th century. In particular he influenced Masaccio, Masolino, Fra Angelico, Gozzoli, Domenico Veneziano, & Pierro della Franchesca L&L

-Bono DA FERRARA, active 1442-61, Italy=Ferrara:

Influences: Pisanello, Mantegna. Piero del Castagno, Andrea del Castagno Grove4 p332
Career: He worked for the cathedral of Siena, at the court of Ferrara, & in Padua L&L
Characteristics: Some of his work resembles Squarcione & Piero della Francesco & his work displays interest in the new Tuscan painting L&L

..DAFFINGER, Moritz, 1790-1849, Austria:

Background: Born in Vienna, the son of a porcelain painter Norman1977
Influences: Influenced by Füger Norman1977
Oeuvre: Miniaturist and portrait painter with an elegant, free-flowing style. In 1841 he began a series of 415 paintings of Austrian wild flowers Norman1977

– DA FIRENZE/DI BONAIUTO/I, Andrea, active c1343-77, Italy=Florence:

Influences: Andrea di Cione; Maso di Banco Grove2 p15
Career: During 1266-8 he painted frescos in the Spanish Chapel in the Dominican Church of S. Maria Novella, Florence HallJ p209
Oeuvre: Religious frescoes Grove2 pp15-6
Phases: He progressively moved to more refined design & colour, latterly achieving formal elegance Grove2 p16
Characteristics: Although he followed traditional models his softening of details & contours with soft, blended shadows was innovative Grove2 p16
Status/Verdict: He is usually considered a secondary & reactionary Florentine painter but his powers of observation & description were considerable & his adaption of early 14^th century naturalism was intelligent Grove2 p16, Brigstocke

* DA FORLI, Melozzo, 1438-94, Italy; Early Renaissance:

Background: Born in Forli Grove21 p96
Influences: Pierro de la Francesco and Uccello L&L
Career: He could have been in Rome as early as 1460, during approximately 1465-75 he painted at the court of Frederico de Montefeltro at Urbino, & then returned to Rome where he painted his most important works at SS Apostoli. From 1481 he worked at Loreto & Forli, etc Grove21 pp 96-7
Oeuvre: Religious paintings, frescos, current history paintings, donor portraits & decorative work Grove21 pp 96-7
Characteristics/Features: Illusionistic perspective, foreshortening, the measuring of proportions, & dynamic composition conveying the idea of revolving figures ascending to heaven Grove21 pp 96-7
Patronage: The family of Sixtus IV, Alessandro Sforza of Pessaro, & Giuliano della Rovere Grove21 p96 Brigstocke
Grouping/Anticipations: He was an Early Renaissance painter who anticipated High Renaissance & Baroque Brigstocke
Pupils: Marco Palmezzano & Giovanni Santi Grove21 p96, Brigstocke

..DAGNAN-BOUVERET, Pascal-Adolphe-Jean, 1852-1929, France; Rural Naturalist Movement

Background: Born Paris Norman1977

Training: Cabanel, though he disliked his teaching he became friends with Bastien-Lepage; Gerome Weisberg1992 p68

Influences: Bastien-Lepage Weisberg1992 p68

Career: He was overshadowed by Bastien-Lepage after the latter’s 1974 triumph; 1879 Salon success with Wedding Party at the Photographer’s Studio & The Accident (1880) ; 1886 first Brittany visit; stung by avant-garde attacks (Huysmans/Zola); turned bitter at triumph of Impressionism/Post Impressionism Weisberg1992 pp 9, 70-1, 73

Phases: 1880s paintings of washerwomen & absinthe drinkers in luminous colour; late 1880s large paintings of life in France-Comte, becoming a regionalist; 1992 abandons Naturalism for religious Symbolism Weisberg1992 pp 71, 73, 77

Style: came to paint in unacademic manner, painting broadly, leaving sections unfinished/unevenly coated on coarse canvasses, eg Horses at the Watering Trough Weisberg1992 p73

Circle: meetings with Bastien-Lepage lead to network of young academically trained Naturalists Weisberg1992 p68; close friendship with Raffaelli Weisberg1992 p71

Characteristics: strong narrative in The Accident etc, unlike Bastien-Lepage Weisberg1992 p70

Verdict: master of descriptive & documentary Naturalism Weisberg1992 p70

– Johann Christian DAHL, 1788-1857, Norway/Germany=Dresden:

Background: Born Bergen, the son of a fisherman Grove8 p452, Norman1987 p151

Training: He was apprenticed to a Bergen house painter & took private drawing lessons; then at the Academy of Art, Copenhagen, financed by prosperous Bergen citizens, 1811 to around 1817 Grove8 p450

Influences: Jan Both, Jacob van Ruisdael, Hobbema, Van Everdingen & Claude Grove8 p450.

Career: He taught at C. A. Lorentzen’s painting school from1813, sketched from nature & made copies to earn money; went to Dresden via Stettin & Berlin, 1818-20; met Casper David Friedrich; went with the future Christian VIII to the Gulf of Naples, 1820-21; then to Rome; & returned to Dresden, 1821; shared a house with Friedrich from 1823; & except for excursions & five trips to Norway remained in Dresden where he taught at the Academy from 1824 Grove8 pp 450-51

Oeuvre: Landscapes & seascapes.Grove 8 pp 450-1

Specialities: German Romanticism’s moonlit landscapes of which he was the chief exponent Norman1987 p152

Characteristics/Phases: Throughout his career his work had a strongly naturalistic tendency painting works that displayed an intricate rendering of details & truth to nature as in Landscape from Praesto, c1814 (NG Oslo), through to [the as in] From Stalheim, 1842 (NG Oslo, both) Grove8 pp 450- 52. Moreover, the evocation of a distinctive mood & atmosphere was another continuing feature of his work as in his melancholic Frederik Holm Canal in Copenhagen with Christian IV’s Brewery, 1817 (Neue Pinakothek, Munich) through to the [as in] tranquillity of Mount Stugunoset (NG Oslo). Where his work did evolve & develop was in his treatment of colour. Initially it was of a somewhat restricted nature as in the Praesto work & ended as a glowing vision as in the Mount painting featuring light green & bluish grey colouring. During his visit to Italy, he had become absorbed by the problem of how-to naturalistic rendering of light in a naturalistic manner & this had an important impact on his subsequent mastery of colour Grove8 pp 450-53, Norman1977. His brushwork became looser after his move to Dresden; he painted landscapes of Zealand & Mon island, & Scania in Southern Sweden. He painted Norway’s wild landscape at Dresden from sketches Norman1987 p152, Kent pp 62-3

Feature: He had no contact with Constable despite their similar cloud studies Norman1987 p153

Status/Verdict: He was Norway’s first important painter & the most distinguished landscape painter of the Biedermeier period & his faithful [& evolving] delineation of the world before his eyes was his major contribution to German art Norman1977, & 1987 p151

Circle: In Dresden he & Friedrich had a group of artist friends including Oehme, Carus & Kersting Norman1987 p151

Reception: He gained quick fame for the freshness of his local landscapes & vivid sky studies; 1820-1; visited Italy & made greater use of plein air & naturalistic light; Kent p63; Vaughan2004 pp 189, 193, 336; Norman1987 p151

Pupils: The Norwegians Thomas Fernley & Peter Balke, & the German Christian Gille who most fully realised his intentions Grove8 p451

Collections: NG Oslo

Son: Siegwald, 1827-1902, was an animal painter Grove8 p453

– Michael DAHL, 1659-1743, Sweden; Baroque

Background: He was born in Stockholm Grove8 p453

Training: Under Martin Hannibal & David Ehrenstrahl from whom he learned the essentials of Baroque portraiture Grove8 p453, Waterhouse1962 p146

Career: He moved to London, entering Kneller’s orbit in1682; made a trip to the continent mainly living in Rome, 1685-8; undertook much work at Petworth for the Duke of Somerset, from about 1696 to 1720; & obtained patronage the future Queen Anne & her husband from around 1696; & painted a series of Admirals now at Greenwich around 1702-8; as in one of his best Sir Cloudesley Shovell, & ceased painting around 1749 L&L; Waterhouse1962 p146

Feature: He converted to Catholicism in order to work from Queen Christina of Sweden in Rome Wikip

Oeuvre: Portraits of all shapes & sizes webimages, Waterhouse1962 p146

Characteristics /Comparison with Kneller/Verdict: His Petworth Beauties are, according to Ellis Waterhouse, softer, gentler & more feminine than Kneller’s Hampton Court Beauties & his colour is softer & more tender, although from around 1715 it is increasingly difficult to distinguish between them. However, opinions differ & it has been said that most of the Petworth Beauties are dumpy, lack Kneller’s assurance, & have tiresome mannerisms. His female figures are often posed contraposto unlike those of Lely & Kneller, & his colour differs from Kneller’s because his canvases are suffused with greyish & silvery tone. His colouring was bold & pleasing featuring deep red & yellow, & blues of all types, etc. The effect was heightened with areas of flesh & clothing that are catching the light. He had a light-touch & pastel-like texture often creating a Rococo impression. His [as in] portrait of the comely Henrietta Maria Baroness of Ashburton, 1717 (The Walker) contains many of these elements. Although he lacked Kneller’s brilliance & bravado his works have greater sincerity & humanity Waterhouse1962 p146, W&M pp 199-200, Solkin 2015 p46, OxCompArt, webimages

Circle: The Tory 2^nd Earl of Oxford, who was one of his most generous patrons. Gibbs, Wootton, Thornhill & Bridgeman were also members W&M p199

Status: He was Kneller’s only serious rival & in decade after the latter’s death in1723, Dahl was probably the busiest portraitist L&L, Waterhouse1962 p146

Politics: He was a Tory W&M p199

Pupil: Hysing/Huyssing, who entered Dahl’s studio in about1700 L&L

Dalem. See Van Dalem

** DALI, Salvador, 1904-89, Spain:

-DALMAU, Luis, c1405-60, Spain=Catalonia:

Career: In 1428 he was a court painter to Alfonso V of Aragon, & in 1431 he was sent by the king to Bruges to study its artwork Moffitt p 70, L&L, OxDicArt, Wikip
Oeuvre: The Madonna of the Councillors, 1543-5, tempera & oil, (Museo de d’Art de Catalunya) is his only certain work. It must have been modelled on Jan van Eyck’s Ghent Altarpiece, etc Moffitt p70
Characteristics: His altarpiece flattens Van Eyck’s plasticity producing a stiffly linear design, & what is said to have replaced his rich colouration with a dusty & earthy palette, & with detailing that is less subtle Moffit p70
Innovation: He was the first painter who worked in the Hispano-Flemish style which replaced the Italian-based Gothic mode in Barcelona. Although short-lived in Catalonia the former became the dominant style in Castile & the interior of Spain during the second half of the 15^th century Moffitt p70, L&L

Dal Ponte. See Bassano

-Bono DA FERRARA, active 1442-61, Italy=Ferrara:

Influences: Pisanello, Mantegna. Piero del Castagno, Andrea del Castagno Grove4 p332
Career: He worked for the cathedral of Siena, at the court of Ferrara, & in Padua L&L
Characteristics: Some of Da Ferrara’s work resembles Squarcione & Piero della Francesco & his work displays interest in the new Tuscan painting L&L

Dal Ponte. See Bassano

..DALSGAARD, Christen, 1824-1907, Denmark; Rural Naturalism & National Romanticism:

Background: His father owned an estate Wikip
Training: Privately with Martinus Rorbye until 1847, & at the Copenhagen Academy under Eckersberg from 1846, Wikip
Influences: The art historian Niels Hoyen who urged artists to find subject matter in native folk art Wikip
Career: He gained quick popularity; lived at Soro from 1862; taught at its academy until he became a professor at the Copenhagen Academy, 1892 Norman1977, Wikip
Oeuvre: Altarpieces & other religious pictures; & genre works showing the trials & struggles of the poor as in Mormons visit a Country Carpenter, 1856, & The Village Carpenter, Bringing a Coffin for a Dead Child 1857 (both Staten’s Museum for Kunst, Copenhagen). He also painted landscapes Norman 1977, Wikip, webimages
Speciality: Figures in interiors depicted in a naturalistic manner, often painted in unadventurous colours but sometimes with contrasting dark & lighter, glowing areas due, for instance, to a view through a window webimages
Circle: Constantin Hansen, Hoyen, Wilhelm Marstrand, Skovgaaard, Julius Exner, etc Wikip

** Antonella DA MESSINA, Jacobello’s father, c1430-79, Italy=Messina:

Background: He was born at Messina, the son of stone mason Grove 2 p178

Training: Niccolo Colantonio in Naples, He was an able imitator of Netherlandish landscape & had received instruction in northern painting at the court of Rene I of Naples. However, Messina may have received further instruction elsewhere Grove2 p178 L&L p25

Influences: Northern techniques in Naples which was then artistically dominated by the Netherlands or by contact with Flemish artists, possibly in Milan. Under Bellini’s influence he softened his modelling OxDicArt.

Career: He was an independent master in Messina by 1457, appears to have then left Sicily for the mainland; returned to Messina, 1460; & made a trip to Venice, 1475-6, L&L p25, Grove2 p178

Technique: He painted on panels primed with gesso thus exploiting its smooth surface & strangely reflective quality Grove12 p501

Oeuvre: Religious works & portraits Grove2 pp 178-82

Characteristics: His religious paintings avoid the northern extremes of pathos but nevertheless his [as in] Crucifixion, 1475 or 1477 (NG) is work of great though controlled sadness L&L, Grove2 p182. His work combines Flemish detail & technique together with Italian breadth of form Murrays 1959 He creates a powerful physical & psychological presence through strongly volumetric rendering of the head against a dark background with expressive eyes & mouth & a direct outward gaze NG Art2006 p238

Technique: His use of very thin translucent layers of paint & glazes enabled him to create subtle surface effects. They contrast with Colantonio’s thicker, more opaque use of paint Grove2 p182

Innovations: He was one of first to paint Sacra Conversaziones where the picture continues real space; was one of few Italian 15^th century painters who was really skilful in oils; & was the only one born south of Rome Murrays 1959, & 1963 p254. Messina was the first Italian for whom the portrait was an art form in its own right; & the only 15^th century Italian Franky acknowledging that lips & eyes are the key to personality. He understood not only the bone structure of the head but also its relationship to the overlying muscles & sinews enabling him to represent nuances of expression by accurately depicting the play of muscles across cheeks & jaws, & around the eyes & mouth as in his Portrait of a Man/The Condottiere, 1475 (Louvre) His Venetian stay was epochal directly through influence on Bellini & indirectly by his new standards of expressiveness. This is also a feature of his [as in] Virgin & Child with Saints, 1475 (Kunsthistorisches, Vienna) because of her thrust-out hand which brings her & the Child forward in a striking manner Grove2 p180, Pope-H pp 60-3

Status: He was the greatest Sicilian artist of the 15^th century Grove2 p178

Progeny: His son Jacobello was his chief assistant & completed his works after his death L&L

Legacy: Through his workshop he influenced the work of his nephews Antonio & Pietro De Saliba & Salvo D’Antonio. He also helped develop the Venetian altarpiece & particularly influenced Giovanni Bellini & Piero della Francesca Grove2 p178, Brigstocke p23

– DA MILANO/DE COMO, Giovanni , recorded 1346-69, Italy=Florence:

Influences: Simoni Martini & Giotto’s North Italian followers & Orcagna in Florence Grove12 p703, Murrays1959
Career: He is first recorded as a foreign painter living in Florence in 1346 , & joined the Florentine Guild in 1463. In 1369 he was working with Giottino & the sons of Taddeo Gaddi in Rome Grove12 p702, Murrays1959
Oeuvre: Religious frescoes & tempera on panel paintings Grove12 pp 702-3
Characteristics: His expressive, elegant figures have a Grotesque monumentality & subtle colouring, as in Christ of the Apocalypse, c1635 (NG)
Verdict: He was an original & accomplished painter Grove12 p703

– DE MIRANDA, Juan Carreno, 1614-85, Spain=Madrid:

Background: He was born in Aviles (Asturias) & his father belonged to the impoverished gentry & dealt in pictures Brown1998 p197

Training: He was apprenticed to Pedro Cuevas in Madrid BrownJ p197

Influences: Rubens, Van Dyck & other Flemish & Italian sources BrownJ pp 197-8

Career: In 1658 he was hired as an assistant by Angelo Colonna & Mitelli & began a fruitful collaboration with Rizi who taught him how to handle the bush with greater facility & develop and develop an individual style. After their collaboration ended in the latter part of the 1660s their work fell off BrownJ p197. He was a favourite of Queen Mariana who ruled for the young Charles II L&L. He was appointed a royal painter in 1669 OxDicArt

Oeuvre: Initially he concentrated on religious works but from 1669 he was mainly a portraitist OxDicArt

Characteristics: Initially his work was derivative but he later mastered a wide range of effects including scintillating highlights using minute touches of pigment. In his state portraits of Charles II, he diverted attention from his ugly, degenerate appearance by concentrating on surroundings & reflections. Nevertheless, with increased ugliness the portraits become disturbing BrownJ pp 197, 238-9.

Status: Velazquez apart, he was the most important court painter in 17^th century Spain OxDicArt

Grouping etc: Baroque with his Mass of St. John of Matha, 1666, representing its triumph in Madrid. The stern, ascetic realistic style of the earlier 17^th century had at last been replaced by ebullient & colourful work due to the importation of foreign artworks BrownJ p198

Friend: Velazquez OxDicArt

– Barnaba DA MODENA, Barnaba, active 1361-83, Italy=Modena & Genoa:

Background: He came from Milanese family that had settled in Modena L&L
Influences: Venetian painting, the Lorenzetti brothers & Sienese painting Grove3 p249
Career: He is first recorded as a Genoese citizen, visited Pisa, was in Modena but retuned to Genoa by 1383 Grove3 pp 249-50
Oeuvre: Religious paintings often featuring a half-length, full featured Madonna with a sweet expression. Frequently she is breast-feeding a wide-eyed Child, this being a speciality during the 1370s Brigstocke, Grove3 pp 249-50
Characteristics: His works at various times feature strong modelling, lively gestures, puckered lips, rounded faces & eyes, simple architectural settings, delicate goldwork & brilliant colouring as in a Virgin & crucifixion panel, 1374 (NG) Grove3 pp247-9
Status: He dominated painting in later 14^th century Genoa till around 1420 Grove3 p249, Brigstoke
Follower: Nicolo da Voltri Grove3 p249

– Tomaso/Tomasso DA MODENA, c1325-79, Italy=Treviso & Modena

Background: He was the son of a Modenese painter Grove31 p103
Training: Presumably his father Grove31 p103
Influences: Vitale de Bologna probably training in his workshop Duccio, Puccio Capanna, Giotto, Simone Martini Grove31 pp 103-4
Career: He lived in Treviso, 1349-54; was in Modena, 1358-60, & 1366-8Grove31 p103
Oeuvre: Frescoes & work on panel Grove31 pp 103-4
Phases: His later work has a new simplicity, roundness & plasticity Grove31 p104
Characteristics: Dramatic composition & rich brushwork, elegant female figures dressed in the latest & finest fashions. His faces have high cheekbones, flesh tones in deep brown chiaroscuro, & half-closed eyes usually looking slightly sideways. The goldwork is rich goldwork & his pinks & ultramarine blues are delicate with colour often applied in veils of paint. In his frescoes he used green & red-brown earth colours & contrasted deeply modelled faces & limbs with pale & flat wall-surfaces Grove31 pp 103, 105
Innovations: A detailed depiction of an herb garden, figures with spectacles, & the scholar in studying books & with shadows being cast, as in St Jerome, c1352-5 (S. Nicolo, Treviso) Grove31 pp 103-4
Status: He was regarded as Italy’s leading painter in the late 1350’s Grove31 p105

–Francis DANBY, 1793-1861, Ireland, father of James Francis & Thomas:

Background: He was born in Ireland, the son of a small squire in County Wexford . His Protestant family was riven by distress & bloodshed & he did not have his children baptised Greeacre1973 pp 33-34, WoodDic

Training: At the Dublin Royal Society Schools & with the landscape painter James O’Connor. Danby was also involved in the sketching activities of the professional & amateur artist which took place in Bristol WoodDic, Greenacre1973 pp 10-11, 14

Influences: John Martin for his fantasy paintings & Turner for the colour & conception but not the execution of his landscape & marine works. He was impressed by the beauty, remoteness & picturesque nature of the Norwegian landscape during a visit 1825, but not by its Grandeur Grove8 pp 491-92, Greenacre1973 p87

Career: He went to London, 1813; lived in Bristol, 1813-24; had an unhappy marriage to a pregnant servant followed by a love affair with a young woman called Helen Evans; exhibited at the RA, 1821-60; returned to London by 1824; became an ARA in 1825 but quarrelled the Academy in 1829 when he was not elected a full member & Constable was. His wife deserted him for another painter which caused scandal, he was endlessly in debt & hard pressed by creditors, & he left England for Paris & Geneva with some of his children & with Evans who had been acting as a governess for his growing brood of children. He returned to London, 1840; & finally settled in Exmouth, 1847. He ended in squalor with 10 children, three by his mistress Grove8 pp491-92, Greenacre1973 pp 34-36, 39, Pearsall p20,

Oeuvre: Landscapes & marine paintings; religious & historical works; mythological subjects; genre; & fantasy paintings. He painted in watercolour & then primarily in oils Grove8 p 491-92, Greenacre1973 illustrations, L&L

Characteristics/Phases: His early Bristol landscapes feature extensive views & in particular the picturesque & dramatic Avon Gorge, c1817 (Yale Centre for British Art) which are painted with a delightful, quiet & precise clarity with an almost enamel-like finish. These are not the escapist visions that his fellow Bristol painter, the Reverend John Eagles would have preferred but inspired naturalism Greenacre1973 pp 8, 14, 17, 18 Treuherz1993 p19, Brigstocke, Vaughan1979 p216. When he left Bristol he more or less abandoned naturalism, together with genre, & largely turned to fantasy landscapes of a melodramatic & apocalyptic type as in his Deluge, 1837-40 (Tate Gallery). This however was the last of his epic subjects & his later work often evokes a mood of dreamlike tranquillity through imaginary visions or more often a reversion to the pure landscape of his younger days, often featuring moonlight, sunrise or sunset as in The Evening Gun, 1855 (Private?) Grove8 p491, ArtUK, Treuheherz1993 pp 59-61

Feature: When in Switzerland he never went into the Alps & described the landscape as stiff & unvaried Greenacre1973 p89

Phases: In Bristol he painted watercolour views of local scenes. After his return to London, he switched to imaginary poetical landscapes in the manner of Claude & Turner & biblical scenes to rival John Martin’s Grove8 p491.

Patrons: John Gibbons in Bristol, G. W. Brackenridge & D. W. Acraman; & later William Beckford. Gibbons & Acraman were iron founders Greencacre1973 pp 27, 34-35, 37

Status: He was the best-known member of the Bristol School Grove8 p491
Collections: Bristol Museum & Art Gallery

Sons: James Francis, 1816-75, & Thomas 1817-86. James exhibited at the RA 1842-76 & painted landscapes in oils & watercolours, often scenes of sunrise or sunset. Thomas exhibited at the RA 1843-82, & impressed by Claude painted landscapes in oils & watercolours, & occasional genre. Their early work reflects that of their father WooDic, Greenacre1973 p101

-DANCE/DANCE-HOLLAND, Nathaniel, 1735-1811, England; British Golden Age

Background: He was born in London the son of the architect George, 1695-1768 Grove8 p493
Training: Under Francis Hayman 1753-4 L&L
Influences: Batoni whom he assisted OxDicArt
Career: Between 1754 & 1765 he was in Rome with his architect brother. He assisted Pomeo Batoni, who introduced him to a grander clientele including the Duke of York, painted Conversation Pieces of English tourists as in Hugh Duke of Cumberland & his Tutor Mr Lippyatt, 1763 (Syon House, Middlesex), & worked hard to become a history painter. He assisted in petitioning George III to establish the RA, 1762, & showed full length portraits of the King & the Queen at its first exhibition, 1769. The [as in] depiction of the splendidly attired but unassuming Charlotte, with her faint smile, is particularly pleasing (Uppark, NT, West Sussex). In 1776 he inherited a fortune & largely stopped painting. He became a baronet, 1800 L&L, Grove8 p493, Waterhouse1953 p267
Gossip: While in Rome he was hopelessly infatuated with Angelica Kauffman Grove8 p 493, Waterhouse1953 p267
Oeuvre: Primarily portraits OxDicArt
Characteristics: His Conversations combine Hayman’s manner & Batoni’s elegance L&L
Innovation: He produced the first dated history painting by a British artist Grove8 p493
Grouping: Neoclassicism Rosenblum1967 p65
Verdict: He was a moderately substantial figure, [which may be ungenerous] Waterhouse1953 p267

-Cesare DANDINI, 1596-1656, Vincenzo’s brother & Pietro’s uncle, Italy=Florence:

Background: Born Florence Grove8 p497.
Training: Francesco Curradi; briefly with Cristofano Allori & Domenico Passignano Grove8 p497
Oeuvre: Large-scale portrayals of religious & literary themes; half-length religious, secular allegorical figures & portraits in miniature on copper Grove8 p497
Characteristics/Phases: His style was theatrical, classicising, idealized, harmonious in form & colour, poetic in mood, but restrained in movement & expression. In his later work gestures are more rhetorical & animated Grove8 p497
Patrons: These were numerous & included Lorenzo de Medici Grove8 p497
Grouping: Florentine Baroque Grove8 p497
Influence: It was strong during the second quarter of the 17^th century in Florence Grove8 p497

– Ottaviano DANDINI, -c1750, brother of Cesare & Vicenzo, & Pietro’s nephew Italy=Florence

Career: He entered the Society of Jesus Wikip
Oeuvre: History & religious works in oils & fresco which were of a respectable standard Wikip

-Pietro DANDINI, 1646-1712, nephew of Cesar & Ottaviano/Vincenzo, Italy=Florence: Florentine Baroque

Background: He was born in Florence Grove8 p498
Training: With his uncle Vicenzo L&L
Influences: Pietro da Cortona & Giordano Grove8 p498
Career: He travelled to Rome, Venice, Emilia & Lombardy. After returning to Florence, he received important decorative commissions L&L
Oeuvre: Oils & frescoes of religious, mythical, & current historical scenes, also pastoral & rustic scenes Grove8 p498, Wikip, webimages
Speciality: The painting of rich costumes, jewellery & metal work L&L
Characteristics: His works are precisely designed, lively & dramatic in which the figures twist, turn & lean Grove8 p498, webimages
Patrons: Grand Duke Ferdinand Medici & other family members Wikip
Status/Verdict: He was praised as one of the most considerable artists of in late17th century Florence Grove8 p498
Grouping: Florentine Baroque Grove8 p497, webimages

-Vincenzo DANDINI, 1607-75, brother of Cesare & Ottaviano, & Pietro’s nephew Italy=Florence:

Background: He was born in Florence Grove 8 p497
Training: With Cesare & at the Accademia del Disegno, 1631 Grove8 p497
Career: He worked in Rome studying ancient & modern works, & also at Pietro da Cortona’s workshop, 1635-6. Back in Florence he collaborated with a brother. He often worked at the Medici court particularly Lorenzo de Medici’s Grove8 pp 497-8
Oeuvre: Paintings on religious & literary subjects, & frescoes, also cartoons for tapestries Grove8 p498
Phases/Characteristics: His work became more animated & dramatic, sometimes displaying great truth to nature & sense of humanity Grove8 p498
Grouping: Florentine Baroque Grove8 p498, webimages

-Vincenzo DANDINI, 1607-75, brother of Cesare & Ottaviano, & uncle of Pietro, Italy=Florence:

Background: He was born in Florence Grove 8 p497
Training: Studied with his brother and officially joined Accademia del Disegno, Rome in 1631 Grove 8 p497
Influences: His brother Cesare Dandini and Pietro da Cortona Grove 8 p497
Career: In 1635-6 he worked and was a member of Pietro da Cortona’s workshop where he studied ancient and modern works. Often worked for Medici tapestry factory, Florence and painted Venus, Mercury and Cupid 1637-8 Grove 8 p498
Oeuvre: Fresco and cartoon tapestries Grove 8 p498
Characteristics: Literary and religious themes with a great truth to nature and sense of humanity as seen in St Anne 1986 Grove 8 p498
Personal: His brother Cesare Dandini taught him to paint, his nephew Pietro Dandini also worked as painter in his studio Grove 8 p498

.. DANDRIDGE, Bartholomew, 1691-c1754, England:

Background: His father was a house painter Grove8 p501
Training: From 1712 he was at Kneller’s Academy; & then at the St Martin’s Lane Academy under Vanderbank & Cheron Grove8 p501
Career: In 1731 he took over Kneller’s former studio & began painting large-scale portraits Grove8 p501
Characteristics: His best work is fresh, stylish & lively OxDicArt. However, in his Conversations the poses are stilted, possibly due to his use of lay figures Grove8 p501
Technique: Following Kneller he painted in a lighter more pleasurable French style instead of the unpleasing & heavier one of Hudson & Knapton who were in the of Riley & Richardson tradition Waterhouse1953 p165
Innovations: He was one of first in London to paint Conversations Grove8 p501
Status: He had a considerable London practice in the 1730s & 40s OxDicArt
Features: He used Van Aken for drapery Waterhouse1953 p167
Grouping: English Rococo BurkeJ p106

..DANHAUSER, Josef, 1805-45, Austria:

Background: He was born in Vienna into a rich middle-class family.   His father ran a cabinet-making firm Norman1987 p32
Training: 1824-6 at the Vienna Academy under Kraft Norman1977
Influences: Bellini, Titian & Veronese in Venice; & then Amerling & from 1839, at least, Wikie Norman1977
Career: In 1826 he visited Venice.   On his father’s death in 1829 he was for several years effective head of the factory.   Danhauser was a professor at the Academy during 1840-2, & visited the Netherlands in 1842 Norman1977, Grove8 p502
Oeuvre: Paintings of peasant life & Viennese society Norman1977
Phases: His first genres were humorous scenes but during 1836-40 painted large scenes of Viennese society.   High Kraft-like finish gave way to a freer treatment Norman1977
Feature: His paintings of the late 1830s contain critical comment on the life of the well-to-do Norman1987 p32
Innovations: He was the founding father of Viennese genre painting Norman1987 p32
Repute: although his portraits of children were derided by critics, they were enthusiastically received by the public & were notable for their sympathy for the child’s point of view Grove8 p503
Legacy: The Reading of the Will stimulated a new generation of genre painters Norman1987 p32

Daniele da Volterra. See da Volterra

.. DANIELL, Thomas, 1749-1840, & William, 1769-1837, England & India; Romantic Picturesque:

Background: Thomas was born at Chertsey Grove8 p505
Training: He was apprenticed to a coach painter & entered the RA Schools1773 Grove8 p505
Career/Oeuvre: He exhibited topographical views & flower pieces at the RA, 1774-84; went to Calcutta with his orphaned nephew William, 1786; produced 12 successful engraved views of its latest buildings by 1788; toured northern India with William & visited the Himalayas, 1789-91; & sold their work by means of a lottery which funded subsequent trips to the south & west. After returning to England, 1794, they worked up drawings into coloured acquaints for a six volume Oriental Survey & into oils which were exhibited at the British Institution, & the RA to which Thomas was elected in 1799 & William in 1799. After long joint tours around Britain, William produced hand-coloured aquatints for Richard Ayrton’s A Picturesque Voyage round Great Britain together with views around London Grove8 p 505
Characteristics: Thomas’ oils are pleasing, well composed works often featuring ruins, other Indian buildings &/or local inhabitants & animals. The weather conditions vary & the impact of the paintings is often heightened by striking chiaroscuro as in Idah at Amorpha, 1810 (Tate Gallery), & Landscape in Northern India, c1820 (British Library) ArtUKsite
Innovation/Legacy: The Oriental Survey led to India being seen in Britain as romantic & picturesque Grove8 p505.

..DANIELS, Alfred, 1926-2015, England:

Background: Born in London
Training: The Woolwich Polytechnic 1943-4 and School of Art & Royal College of Art 1947-50 F50s p58 Sir John Cass, London 1976-80 ArtUK
Influences: Mural artwork while studying at Royal College of Art ArtUK
Career: In 1952 he exhibited at John Berger’s Looking Forward show. During 1954-6 he painted murals at Hammersmith Town Hall F50s p58 Taught from 1951-76 at Hornsey College of Art and part-time at Royal College of Art 1973-88 ArtUK
Oeuvre: Painter, teacher and writer ArtUK
Characteristics: Stylised depiction of people and places ArtUK
Innovations: Jack Beddington’s Young Artists of Promise in 1957 book of that title ArtUK

* DA PANICALE, Masolino , c1483-1447, Florence:
Background: He was born at Panicle, Umbria Grove20 p553
Influences: The International Gothic style of Gentile Da Fabriano Brigstocke
Career: He joined the Florentine Painters’ Guild, e H1423; undertook now frescos, now fragmentary, of The Story of the True Cross (S Agostino, Empoli) finishing in 1424; collaborated with Masaccio on the frescos in the Brancusi chapel, S Maria del Carmine, Florence, around 1427; visited Hungary during the latter 1420s; left Florence for Rome around 1430; & painted a Life of St John the Baptist cycle around 1435 (Baptistry Collagist, Castiglione Olona, near Como L&L pp 443-44, Murrrays1959
Characteristics/Phases: Massachio’s work was austere & sculptural with heavy figures whereas Da Panicale relied on decorative detail, his figures retain the delicate charm of Lorenzo Monaco & he was less preoccupied with perspectival effects. His last paintings are less Masacciesque Brigstocke, Murrays1959
Patrons: Felice Brancaccio & his new wealth; & Cardinal Branda Castiglione BurkeP p82, Murrays1959 p261
Status: He was a pivotal figure in Florentine painting Grove20 p553

da Panicale. See Masolino da Panicale

-DARET, Jacques, recorded 1427-68, Belgium;

Background: Born Tournai, the son of a sculptor Grove8 p524
Training: By 1418 he was living with & working for Robert Campin becoming his apprentice in 1428 Grove8 p524
Influences: Campin-Femalle Grove8 p524
Career: He became a master in the Tournai guild, 1432; moved between Tournai, where Juan du Clercq, the Abbot of St Vaast, was his patron, & Arras. Here he appears to have settled. He was last recorded in Bruges Grove8 p524
Oeuvre/Characteristics: Four documented religious works from an altarpiece, together with artisan work. The panels are carefully executed but the draughtsmanship is poor as in Nativity, 1432-5 (Museo Thyssen-Bornemisza, Madrid Grove8 p524

-D’ARPINO, Cavaliere/Cesari, Giuseppe, 1568-1640, Italy; Mannerism Movement

Background: He was born at Arpino, near Sora; & his father Muzio Cesari, was probably a painter Grove2 p493

Training: Niccolo Pomerania Wikip

Career: He went to Rome, 1581-2; went to Naples after the death in 1589 of his patron Cardinal Farnese; returned to Rome, 1591; became Clement VIII’s principal painter; joined the Academia Accademia du San Luca, 1585 & became its president, 1599; decorated Cardinal Pietro’s Aldobrandini’s villa with Old Testament frescoes, 1602-3; designed mosaics for the Vatican’s dome, 1603-12;; was arrested at the behest of Cardinal Scipione Borghese who confiscated his pictures, 1607; directed the decoration of the Pope’s chapel, the Cappella Paolina, S Maria Maggiore from 1610 Grove2 p492-3, OxDicArt p99, Wikip

Oeuvre: Mainly frescoes; religious & mythological works OxDicArt, webimages

Phases/Characteristics/Verdict : Some early work is colourful & vigourous escaping from pale wraithlike Mannerism as in his frescoes in the Olgiati Chapel S Passede, Rome. The Moses is Michelangelo’s without being muscle bound like that of Michelangelo’s closest imitators. However, from around 1600 his work is extremely dull & backward Waterhouse1962 p5; OxDicArt

Reception: During 1700-20 he had an enormous reputation OxDicArt

Patrons: He was the favourite painter of Clement VIII. Other patrons included Gregory III & he undertook decorative cycles for high-ranking ecclesiastics & Roman princes L&L, Wikip

Grouping: He is usually considered to be a late Mannerist Pevsner1968 p15, L&L p29. However, artworks indicates that he might be equally, or perhaps better be seen as having become a Baroque painter as in The Expulsion from Paradise, c1600-1610 (Apsley House, London)

Assistants: His brother Bernardino, & around 1590 he employed Caravaggio as a fruit & flower specialist Wikip, L&L

Followers: His sons Muzio, 1619-76; Bernardino, -1703 Wikip

Apprentices/Pupils: Pier Mola, Francesco da Gubbio, Guido Abatini, Vincenzo Manenti & Bernardino Parosole Wikip

Influence: His early work had a profound effect on the leaders of the Lombard School who were educated in Rome, viz Cerano & Morazzone.Waterhouse1962 pp 1, 5

Collections: Galleria Borghese

Brother: Bernardino Cesari, 1571-1622, was his principal assistant Grove2 p492

-DA SAN GIOVANNI/MANNOZZI, Giovanni, 1592-1636, Italy=Florence:

Background: Da San was from San Giovanni Valdarno L&L
Influences: Callot & the Bamboccianti L&L
Career: He worked in Rome during 1623-4 & in 1627. Da San painted frescos throughout Tuscany L&L
Oeuvre/Characteristics: His fresco decorations are lively & colourful. He also painted canvases with unconventional rendering of unusual themes L&L

Da Sermoneta. See Siciolante

.. DA SERMONETA, Girolamo Siciolante, 1521-75, Italy; Counter Reformation:

Background/Influences: A Raphalesque painting style survived in Bologna. Michelangelo was another influence Brigstocke, Grove28 p657

Career: He became an assistant to Perino del Varga; worked at the papal court & joined the Accademia di S Luca, 1543; worked for the pope’s son, the Duke of Parma, in Piacenza, 1544. During the late 1540s he worked in Bologna but thereafter mainly worked in Rome Grove28 p657-8, Brigstocke

Oeuvre: Altarpieces & scenes in fresco from Roman antiquity & of a religious nature Grove28 p658

Phases/Characteristics: Under Perino’s influence his work became more accomplished & distinctive. His figures were still stocky, bodies were better articulated & spaced, & in placed in vibrant colour against grey architecture as in Virgin & Child Enthroned with Six Saints & a Donor, 1547-8 (S. Matino Maggiore, Bologna). His precise & continued realism, & deliberate archaicism, contrast with Perino’s Mannerism & his finest works have an austere grandeur & are outstanding in design, colour & expression. They include the frescoes in the Fugger Chapel, c1560-3 (St Maria dell ‘Anima) & the Crucifixion, 1573 (S. John Lateran, Rome) Grove28 p657, Brigstocke

Verdict: Although his finest & late works have been praised his paintings have also been viewed as arid didacticism HallM 2011 p249 Dashorst. See Moro

– DA SIENA, Barna, active early 1350s, Italy=Siena:

Training: Simone Martini? OxDicArt
Influences: Duccio & slightly by Simone Martini L&L
Oeuvre: No documented works survive & the key work generally attributed to him is the fresco cycle of the Infancy & Passion of Christ (Collegial of San Gimignano) OxDicArt, Brigstocke
Characteristics: The fresco cycle is a dramatic narrative work, although the anatomical & spatial description is minimal. The combination of simple design & dramatic effects of scale & gesture can be seen in the panel Carrying of the Cross (Frick Collection, New York). His drawing is direct & thrusting whereas that of Simone Martini & Lippo Memmi is a graceful arabesque. The figures are more vigorously dramatic than in previous Sienese painting OxDicArt, Brigstocke
Status: He was probably the leading Sienese painter of his period OxDicArt

–Charles-Francois DAUBIGNY, 1817-78, Karl’s father, France:

Background: His father was the landscape painter Edmond-Francois OxDicArt, Grove DtoI p92
Training: His father & in 1838 the Ecole des Beaux-Arts under Delaroche OxDicArt
Career: He exhibited fairly regularly at the Salon from 1840 L&L
Oeuvre: Landscapes OxDicArt
Specialities: Rivers, beaches & canals OxDicArt
Characteristics: His compositions have an uncrowded quality & an almost Dutch clarity of atmospheric effect OxDicArt. Although he did not manage to eliminate the distinction between light & the thing lit (like the Impressionists), he did give them equal value Novotny p183
Status: the Barbizon School although he did not live there OxDicArt
Legacy: The important impulse he imparted to the Impressionists L&L

..Karl DAUBIGNY, 1846-1886, Charles-Francois’ son, France:

Background: Born Paris TurnerDtoI p94
Training: His father TurnerDtoI p94
Career: He first exhibited at the 1863 & continued to do so until his death TurnerDtoI p94. Karl often worked in the Forest of Fontainebleau & painted in Normandy Bouret pp 170, 250
Oeuvre: Paintings & prints TurnerDtoI p94
Characteristics: His work ultimately became more sombre than that of his father. He was one of the most pleasing French landscapists of the second half of the 19^th century TurnerDtoI p94

-DA UDINE/NANNI, Giovanni. 1487-1564, Italy=Rome:

Background: Born at Udine Grove31 p523
Training: In 1602 he was apprenticed to Giovanni Martini (also called Giovanni da Udine) & may then have studied under Giorgione Grove31 p523
Influences: The decoration of ancient Roman buildings then being excavated Grove31 p523
Career: He went to Rome & joined Raphael’s workshop. Here he contributed to the decoration of Cardinal Bibbiena’s Vatican bathroom, 1516, to work at the villa of Agostino Chili, 1517-8, & in the Vatican. After Raphael’s death he & Giulio Romano completed the decoration of the Villa Madame in Rome. During 1522-3 & 1527-31 he was in Udine where he appears to have settled in 1534. Major works decorative works included those in the Palazzo Grimani, Venice, 1537-40. He returned to Rome in 1560 Grove31 pp 523-4
Oeuvre: Stucco work & frescoing Grove31 p523
Characteristics: His paintwork had a delicate freshness at least partly due to the inclusion of tempera Grove31 p523
Phases: During the 1520s & early 1530s he was in Raphael’s workshop L&L
Firsts: Da Udine/Nanni reinvented the Roman technique of stucco L&L

**DAUMIER, Honore, 1798-1879, France:

Background: He was born in Marseille the son of a glazier, frame- maker & occasional picture restorer TurnerDtoI p95
Training: He studied drawing with Alexandre Lenoir & at the Academie Suisse TurnerDtoI p95. In painting he was self-taught TurnerDtoI p97
Influences: Rembrandt L&L

Career: He joined his father in Paris in 1816 & after study worked as a lithographer’s assistant. In 1829 he published his first satirical plate &, after the 1830 Revolution, his work appeared in the new anti-monarchist publications of Charles Philipon. Louis-Philippe reintroduced censorship & Daumier was imprisoned for six months. Around this time he produced the lithographs now considered his masterpieces. After censorship was reintroduced in 1835 he turned to social satire. Daumier painted for pleasure from 1834 but from 1847 produced a solid body of work, executing some state commissions for religious works His eyesight deteriorated sharply from 1873 L&L.
Oeuvre: From 1831 he supplied nearly 4000 lithographs to Parisian journals L&L. He produced over 300 oils & numerous watercolours TurnerDtoI p98.

Characteristics: His lithographs though exaggerated & robust were controlled & accurate in composition, modelling & chiaroscuro TurnerDtoI p96. From the 1860s Daumier’s work became more sweeping & free, he no longer modelled form in a conventional manner, & he made greater use of allegory & symbolism Turner DtoI p98. In the oils, which were often, unfinished, his brushwork was usually rapid & vigorous, with a sense of movement & light. Some deal with daily life but his subjects were frequently mythological or literary, including a number featuring Don Quixote TurnerDtoI p98, OxDicArt.

Status/Verdict: His oils rank with the finest that were produced under the Second Empire TurnerDtoI p98. As a caricaturist he was head & shoulders above all others in the 19^th century OxDicArt

Grouping: The Realist school OxDicArt
Friends & admirers: Delacroix, Forain, Michelet, Balzac, & Corot who assisted him in his old age OxDicArt

Reception: His lithographs were likened to those of Goya & Hogarth by Baudelaire & Champfleury. They appealed to the new petit bourgeois which appreciated caricature which reflected traditional academic values TurnerDtoI pp 96-7. However, he was little known as a painter & sculptor, though his fame grew rapidly after his death L&L

-DA VARALLO, Tanzio/ENRICO, Antonio d’/Il Tanzio, c1577-1635, Italy=Lombardy;

Background: He was born at Varalo BrigstockeThe Sacra Monte are pilgrimage chapels in Lombardy & Piedmont, all but one of which is in the Alpine foothills. Inside are tableaux viands with realistic polychrome sculptures & illusionistic frescoes. Their creation gathered pace around 1600 because they were Counter-Reformation agencies against those vulnerable to heresy L&L
Influences: Gaudenzio Ferrari, Caravaggio, Gaudenzio Ferrari, Orazio Gentileschi, Giulio Procaccini, Cerano L&L, Grove30 p303
Career: In 1600 he went to Rome, returned to Lombardy around 1615, & during 1616-26 painted illusionistic Sacra Monte frescoes at Varallo with his brother Giovanni Brigstocke, Wittkower p103, Grove30 p303.
Oeuvre: Paintings of a biblical nature in oil & fresco, religious subject paintings & portraits Grove30 pp 302-4
Characteristics/Phases: His dramatic oil paintings were executed in a unique style of Caravaggesque realism modified by elegant Lombard Late Mannerism. The Sacra Monte frescoes were painted in vibrant chromatic tones reminiscent of Veronese’s secular frescoes. Drama & emotional impact are a feature of David with the Head of Goliath, c1620 (Pinacoteca, Varallo), Saints Mark & Peter, c1626 (Galleria Sabauda, Turin) & The Battle of Sennacherib, 1627-9, & (S Gaudenzio, Novara). The colour in his later frescoes is less rich than earlier Grove30 pp 302-4
Status: Along with Gaudenzio Ferrari, Morazone , Varase & Orta he was one of the principal Sacra Monte painters L&L
Brother: Melchiorre d’Encrico was a fresco painter Grove30 p302

-Liberale DA VERONA, c1445-1529, Italy=Verona:

Influences: For his paintings Mantegna L&L
Career: After working in Sienna & Venice, he returned to Verona in 1487
Oeuvre: Paintings, frescos & high quality illuminations L&L

-Stefano DA VERONA/ZEVIO, c1374-1451=Verona:

Training: Altichiero L&L
Characteristics: His work is in the northern manner with rather insubstantial figures & abundant pretty details OxDicMod
Status/Grouping: He was a leading Italian exponent of International Gothic who brought about a major synthesis of its different trends OxDicArt, Eorsi p43
Pupil: Probably Pisanello L&L David de Haen. See de Haen

-Gerard DAVID, c1460-1523, Belgium=Bruges:

Background: He was born at Oudewater, which is now in southern Holland OxDicArt
Influences: Van Eyck and Van der Weyden L&L
Career: In 1494 he entered the painter’s guild in Bruges OxDicArt
Oeuvre: He mostly painted mostly traditional religious themes OxDicArt
Characteristics/Verdict : His work was extremely accomplished but it was conservative & usually rather bland OxDicArt
Status: He was the leading painter in Bruges after Memlinc’s death L&L
First & Last: He was the originator of pure landscape & the last major painter who did not follow the new Italianate art being forged in Antwerp by Masseys, etc L&D p31, L&L
Followers: Isenbrandt, Benson L&L
Repute: He was forgotten for centuries & only rediscovered in the second half of the 19^th century L&L

***Jacques-Louis DAVID, 1748-1825, France:

Background: He was born in Paris, the son of a tradesman. His mother was from a family of architects & related to Boucher Roberts pp 3-4, L&L

Training: Initially with Boucher but then with Vien L&L, OxDicArt.

Influences: Scenes carved in relief on Roman sarcophagi & limited to a single foreground plane Norman1987 p88

Career: After the death of his father in a duel, when he was nine, his maternal relatives were responsible for his upbringing & he received an elite education at the Colleges de Beauvais & des Quatre Nations Roberts pp 4, 21. In 1774 David won the Prix de Rome & was there from 1775 to 1780, having accompanied Vien when the latter was appointed director of the French Academy in Rome. After his return to Paris, he exhibited at the Salon where his paintings were stunningly successful, particularly the [as in] Oath of the Horati (Louvre) in 1785. He became the symbol of the new France, was soon in open conflict with the Academy, & became an embittered outsider. His quarrel was not political but motivated by concern at the Academy’s bureaucratic procedures Roberts pp 4-5, 14-7, 28-9 OxDicArt, L&L. He played an important part in the Revolution which he described in 1789 as “most happy & astonishing”, helped attack the Academie Royale & in 1795 he became a founder member of the new Institute de France. In 1790 he joined the Revolutionary Jacobin Club, allied himself closely with Robespierre, was elected to the Convention in 1792, served briefly as its President, & became virtual dictator of the arts. He voted for the death of Louis XVI, he signed arrest warrants including one for a friend, & after Robespierre’s fall in 1794 he underwent two periods of imprisonment. After this he eschewed politics, sought peace in the fine arts, & wanted to return to painting & his students. Despite this he fell under the spell of Napoleon, who briefly sat for him, & declared, “Bonaparte is my hero”. In 1804 he was appointed Premier Painter & was commissioned to paint the [as in] Coronation & the Distribution of the Eagles, 1810 (Chateau, Versailles). There would have been more orders but he made incessant & inflated demands for payment. David backed Napoleon during the Hundred Days &, after a sketching trip to Switzerland; went into exile in Belgium, despite being told after the Restoration that he was free to return. He did not cease painting but built up a considerable portrait practice painting fellow exiles & the Belgium elite Martin pp 50-1, 74-5, 118; Grove8 pp 557, 559-60

Personal/Studio: Early biographers said he was quarrelsome & he fought an early duel. He was extremely ambitious, & was intensely proud. In his Self-Portrait of 1791 (Louvre), when the political situation had deteriorated, his expression is troubled & hair deshelled. After his imprisonment his softer side became evident. It was evident in his concern for his students. He was an early champion of those that were female, he admitted those of all types & backgrounds including emigres & nobles, revolutionary intolerance was banished in favour of politeness.] Ironically his own work was now attacked by those who belonged to the Primitive faction & he had to ask them to leave Martin pp 23, 55, 118-19; Grove8 p55

Oeuvre: History paintings of ancient Rome & current history, mythological works, paintings celebrating the Revolution & Napoleon, landscape & portraits Roberts Fig 1, 6-7, 12, 13, 19-24, 27, 40, 43-50, 56-58, 68, etc

Development, Style & Subject Matter: Apart from a few Rococo & Baroque works prior to his stay in Italy his narrative paintings divide into those in what he described as Roman & Greek styles. With a few exceptions the Roman works, as in the Oath of the Horatti, 1784, came first to be followed in 1799 by the [as in] Intervention of the Sabine Women (Louvre) & other paintings in the Greek style Roberts pp 44-5. The Roman works are in strict Neo-Classical style. Instead of the serpentine line of Baroque art & its diagonal composition, his figures are [upright], parallel, or almost parallel to the bottom edge, have clear outlines & occupy an unambiguous [& stable] spatial position Hyde p7, Brigstocke, Lucie-S1971 pp 174-6. Men & women are separated & differentiated from each other spatially, & by posture, emotion & colour: the men are mostly stoic, upright figures in red garments whereas the women are mostly grieving, curved & dressed in cooler whites, browns & blues etc, webimages,

The crucial difference between the Roman & Greek paintings is one of ambiance. In the Roman paintings the men are heroic & resolute figures who are prepared to sacrifice themselves & their families in the interests of the political cause to which they are committed whereas in the Greek works the women are, as in the Sabine picture, the dominant & active force trying to part the male combatants. In his Greek works David was now, in accord with Winckelmann’s view of Greek statuary, trying to paint works of beauty because they were pure & calm Roberts p111-4.

At this point David, now under the spell of Napoleon, was commissioned by Charles IV of Spain to paint [as in] Napoleon Crossing the St Bernard Pass (Chateau de Malmaison 1801) . The result was a romantic work with Bonaparte mounted on a fiery steed, having in reality rode on a mule. Napoleon was delighted, ordered copies & David embarked on a series of works which Napoleon commissioned. Of these only the [as in] Coronation of Napoleon in Notre-Dame, 1805-7 (Louvre) & the Distribution of the Eagle Standards, 1810 (Versailles Chateau). The Coronation is a brilliant composition in which using a horizontal landscape composition in which the viewer’s attention is directed rightwards. It celebrates the magnificence of the Empire with the Pope as a background figure. His final Bonaparte work painted after David, was not longer working for Napoleon was [the as in] Napoleon in his Study, 1812 (Versailles Chateau & NG Art. The original was commissioned by a wealthy Scot, the future tenth 4275 of Hamilton. Napoleon is here portrayed as if he has been labouring for the French people. He has been engaged on the Napoleonic Code & the clock shows that it is 4.13 in the morning Wikip, Grove8 pp 558–60, webimages

Even before David had finished painting Napoleonic works, he had begun painting erotic neo-Rococo works as in his Sappo, Phaom, & Cupid, 1809 (The Hemitage, St Petersburg which was commissioned by the Russian Count Youssoupoff at a time when Russia & France were at peace. This was not his first erotic work as he had painted [the as in] Paris & Helen in 1786 (Louvre). Nevertheless, it was a new departure because this painting was well ordered & the male & female figures are sharply differentiated whereas the current work is confused & cluttered, & Phaon is effeminate Roberts Figure 69, & pp 169-170.

His portraits exemplify his gifts as a painter & ability to observed what was to be seen. He imparted a rich texture to the canvas & not the careful finish of his big compositions. His early portraiture consisted of members of his family, continued with the splendid equestrian of Count Stanislaw Potocki, 1781 (NG Warsaw), & an intimate & conjugal relationship [as in] double portrait of Antoine de Lavoisier & his Wife, 1788 (The Met) in which he captures an intimate, conjugal relationship. Above all there is his [as in] portrait of Madame Reclamier, 1800 (Louvre), a supreme example of his painterly ability to portray a living woman who is at once regal yet unaffected. Witness her relaxed posture, simple clothing & bare feet Leymarie pp 22-23, Grove8 p556.

Innovation: His [as in] Marat Assassinated, [Date] (Musee Royaux des Beaux-Arts, Brussels) was, according to Baudelaire, a secular pieta for the modern age. In his atelier he broke with the practice of placing models in academic poses using cords & wood blocks. He advocated more natural poses Brigstocke Lindey p128

Circle: After about 1786 David strengthened his ties with Parisian liberals who met at the house of Mme Pourrat, the wife of a rich banker who loathed priests, but the group to which he was most closely associated was the Societe Trudaine where he met elite writers & intellectuals. They included Andre Chenier who maintained that aristocratic patronage was detrimental to artistic creativity & that the arts could only flourish but only in the free climate of a democracy or republic Roberts pp30-2

Patrons: Scarcely one of his portraits was done to order Leymarie p22.

Legacy: He had legions of pupils of which the most celebrated were Gerard, Antonie-Jean Gros, Girodet & Ingres Grove8 pp 559-60

Reute/Verdict: It is notable that many art historians have failed to see that David’s subject paintings from 1799 cannot be described as Neoclassicist. One exception is Robert Rosenblum who observes that in his swansong painting Mars Disarmed by Venus & the Three Graces, 1824, (David departs from high moral seriousness & political engagement, although even he does not state clearly that this took place long before R&J p127, colourplate 19, See also Grove8 p562.

David was held responsible by many critics for artistic decline in French art with a loss of vigour, intellectualism & for a neglect of technical expertise & he was soon forgotten. Only since 1945 has his stature been fully recognised Grove8 p562

-DAVIE, Alan, 1920-2014, Scotland:

Background: Born Grangemouth, the son of a painter 7  L&L
Training: Edinburgh College of Art, 1937-40  OxDicMod
Influences: Abstract Expressionism particularly Pollock & De Kooning, African sculpture & Zen Buddhism L&L, OxDicMod
Career: He served in the Royal Artillery1941-6, worked briefly as a jazz musician, travelled in Europe, settled in London, & from 1971 he spent much of his time in St Lucia OxDicMod
Oeuvre: Paintings & graphic work OxDicMod
Characteristics: Clearly defined, brightly coloured, decorative linear images containing a wide range of geometric & irregular shapes with some superimposition & relatively little texturing  webimages
Comment: His images have been seen as suggestive of magic or mythology, with the use of drips & runs of paint, & brushstrokes to focus attention while the emotional force of colour works on the viewer. The outstanding example of the painter who creates intuitively L&L
Aim: To create work which reveals something “hitherto unknown to me” OxDicMod
Innovation: One of first British artist to be affected by Abstract Expressionism OxDicMod

..DAVIES, Arthur. B, 1862-1928, USA:

Background: Born Utica, New York OxDicMod
Career: In 1911 he became president of the Association of American Painters & Sculptors formed to create the Armour Show. 1913. His enthusiasm & liberal culture were largely responsible for its scope & impact OxDicMod
Oeuvre: Paintings, prints & tapestry designs OxDicMod
Phases/Characteristics: Before the War he specialised in idyllic, fantasy landscapes with dream-like nude women or mythical animals, often in flat, frieze-like compositions. After the Armoury Show his work showed superficial Cubist influence, but in the 1920s he returned to a more traditional style OxDicMod

*DAVIS, Stuart, 1894-1964; USA:

Background: He was born in Philadelphia.   His father was art director of the Philadelphia Press & his mother was a sculptor OxDicMod.
Training: Henri 1910-3 but he rejected Henri’s emphasis on subject matter L&L
Influences: Jazz on his thoughts about art & life, & the shock & inspiration of the Armoury Show OxDicArt, L&L
Career: He exhibited at the Armour Show OxDicArt
Oeuvre/Phases: Initially he painted street & bar room scenes of an Ashcan School type OxDicMod
Characteristics: He frequently used signs & notices & other banal source material.   After Paris during 1928-9 he adopted flat forms, strong colours, words & signs in hieratic script, rhythmical structures suggesting jazz & urban dynamics L&L.   He used pure abstract patterns but with lettering & suggestions of advertisements & notices OxDicArt
Politics: He was a founder member of the American Artists’ Congress & became national secretary & chairman.   However, he resigned in 1940 because of its increasing use for Communist propaganda OxDicMod

.. William DAVIS, 1812-73, England (Ireland):

Background: He was born in Dublin WoodDic
Training: At the Academy in Dublin WoodDic
Career: In 1854 he moved to Liverpool & became a professor at the Liverpool Academy in 1856. He exhibited at the RA 1851-72 & helped organise a Pre-Raphaelite exhibitions in Liverpool. Holman Hunt thought him unlucky & underrated but Ruskin accused him of selecting subjects unworthy of painting WoodDic, Newall2016 pp 86, 90
Oeuvre: From 1853 Landscapes based on studies made along coasts & woods nearby, & on trips to Ireland in 1853 & 1857 Wikip, WoodDic, Newall2016 p88
Characteristics: His paintings are well composed, have lively skies & he had an eye for interesting features. They are landscapes of a pleasing type reminiscent of Constable Newall 2016 pp 73, 84, 86, 88, webimages
Innovations: Impressionistic brushwork Newall2016 pp 73, back cover
Patrons: He was supported single-handedly by John Miller for much of his career Newall2016 p88
Friends: Hunt, Rossetti & Ford Madox Brown WoodDic
Grouping: The Liverpool School Newall2016 pp 87-8
Collections: The Walker Art Gallery

DA VOLPEDO, Giuseppe Pellizza 1868-1907, Italy:

Background: He was born into a farming family in Volpedo, Alessandria Grove24 p345

Training: In 1888 he was a pupil of Giovanni Fattori at Academie di Belle Arti. From 1893-5 with the Realist Cesare Tallone in Bergamo & at the Florence Academy Norman1977 p165

Influences: Segatini together with the works on optics by Eugene Chevreul and Ogden Rude Norman1977, Grove24 p345 On visiting Giovanni Cema he derived a new inspiration for landscape studies, particular in the park and gardens of Villa Borghese Grove24 p346

Career: He depicted the dignity of labour as in his famous Fourth Estate, 1899-1901 (Galleria d’Arte Moderna, Milan). In 1906 he began to receive official recognition when The Sun was acquired by Galleria Nazionale d’Arte Moderna and same year Mirror of Life, was bought by the King Of Spain. Grove24 p346 He committed suicide when his wife & son died Grove24 p346, Norman1977

Oeuvre: Landscapes; genre painting; symbolic works and portraits Grove24 pp344-6

Characteristics: His work combines idealist & realist tendencies Norman1977. He became interested in geometrical composition featuring light and painted in more vibrant colours with long brushstrokes, small dots and lined with pure colour; using luminous whites and yellows Grove24 p346.

Phases: Throughout the 1890s he switched from luminous colouring to red and violet tones and created highly symbolic content on love, death, work and life Grove24 p346. He adopted Pointillism around 1892 using it to heighten the poetry of his landscapes Norman1977

Friends: Plinio Nomillini, Guglielmo Micheli, Angelo Morbelli, Leonardo Bistolfi Norman1977, Grove24 p345

**DA VOLTERRA/RICIARELLI, Daniele, c1509-66, Italy:

Background: He was born at Volterra L&L p183
Influences: The Sienese artists Il Sodoma & Baldassare Peruzzi Wikip, Grove 8 p503
Career: Around 1536 he went to Rome where he became a friend of Michelangelo, who supplied drawings & helped him gain commissions. He worked for Perino del Varga OxDicArt, L&L
Oeuvre: Frescoes, altarpieces & from 1556 sculpture, wavering for many years between the two & completing little. He worked slowly Grove8 pp 503-4, L&L, OxCompArt p1198
Status/Characteristics/Verdict: From del Vaga’s death in 1547, he was one of Rome’s foremost decorative artists. His finest works are brilliantly inventive, highly dramatic, crowded with figures, boldly illusionistic, & often display exquisite draughtsmanship & artificial, metallic colouring as in his [as in] Descent from the Cross, c1545 (Trinita dei Monti, Rome), & Massacre of the Innocents, 1557 (Uffizi) L&L, Grove8 p505, webimages
Grouping: His work was poised between classicism & Mannerism L&L
Gossip: He was nicknamed Il Braghettone, which means the breaches maker, because he painted the draperies on the nudes in Michelangelo’s Last Judgement: He was one of the most gifted painters influenced by Michelangelo L&L
Influenced: Federico Barocci, Tintoretto, Rubens’ Deposition OxDicArt, OxCompArt, NGRubens p31

.DAVRINGHAUSEN, Heinrich, 1894-1970, Germany:

Background: Born in Auchen Hayward p126
Training: Self-taught Hayward p126
Influences:
Career: He began as a sculptor Hayward p126
Oeuvre: This included biblical subjects & portraits Hayward p126
Phases: He came to Neue Sachlichkeit via Expressionism & latterly turned to abstraction Hayward p126
Characteristics: His figures express silence, numbness, isolation & man as a mask; & his still-life give a sense of emptiness Hayward p126

-DE BAEN, Jan, 1633-1702, Netherlands:

Training: Jacob Backer in Amsterdam L&L
Influences: Van Dyke L&L
Career: In 1660 he settled in The Hague OxDicArt
Oeuvre: Fashionable portraits & a few group works L&L
Status: He was a leading portraitist in court circles & second only to Netcher L&L

-DE’ BARBARI/BARBERI/BARBERINO/BARBARIGO/BARBERIGO, Jacopo, c1440-before 1516:

Background: He was from Venice L&L
Influences: Vivarini, Mantegna, Giovanni Bellini, & Durer Grove3 p200
Career: In 1500 he became court artist to Emperor Maximilian in Nuremberg, by 1503 he transferred to Frederick III, the Wise Elector of Saxony, & moved to Wittenberg. He worked at the courts of Mecklenburg & Brandenberg in 1507-8, & then went to the Netherlands where he worked for Philip of Burgundy &n Margaret of Austria
Oeuvre: Religious paintings & portraits, etc; & religious & mythological prints, etc Grove3 pp200-1.
Characteristics: Engravings with a sinuous modelling of lines, burr to convey textures, almond-shaped figures, proto-Manneristic form, & latterly a softer & more tonal style that that anticipates Lucas van Leyden Grove3 pp 200-1, Cuttler p339,
Innovations: The first notable Italian artist at the courts in Germany & the Netherlands, known Renaissance still-life painting Grove3 pp 200-1
Circle: Humanists & university professors Grove3 p200
Influenced: Durer, Gossart, Lucas van Leyden Grove3 p201, Cuttler pp 339, 427,441

-DE BATZ, Alexandre, 1685-1759, USA:

Background: He was born at Monta Terre, Picardy askArt
Career: He made sketches while surveying the countryside outside New Orleans, went to Mobile, 1735-40, & then further north WikiTree site
Oeuvre/Characteristics: Watercolours depicting the native Americans in the lower Mississippi valley. They are mostly peaceful scenes of a genre nature but there is one in which warriors display scalps L&Lp53, WikiTree site, webimages
Innovations: The earliest known depictions of Native Americans 64 Parishes site

-DE BLES/DA DINANT/CIVETTA, Henri/Hendrick/Enrico, c1500-50, Belgium:

Career: He travelled in Italy & probably spent time in Ferrara L&L
Oeuvre: Landscapes with figures OxDicArt
Characteristics: His work was like that of Patinir, although his Ferrara landscapes are more complex & detailed L&L
Influenced: Dosso Dossi L&L

– DE BORGONA, Juan, c1470-1536, Spain=Toledo:

Background: He & his family came from Burgundy. The death of Pedro Berrguete in 1503 enabled Borgona to take his place at Toledo cathedral. Cardinal Francisco Jiminez de Cisneros, 1436-1517, besides being great figure of the epoch was a notable patron of the arts.   He became archbishop of Toledo in 1495, & in 1509 Cisneros commissioned Borgona to fresco the chapter house L&L, Brown1998 p23.
Training: His style indicates study in Italy Grove 4 p414
Influences: Ghirlandaio, Gerard David,  Grove4 p414
Career: He was active in Toledo from 1495 & his most important work was in Toledo Cathedral where he was the official painter.   His greatest work was the frescoes in its chapter house. This clinched his reputation & led to a series of paintings of a religious nature.   He also worked the provinces of Madrid, Cuenca & Guadalajara L&L, Brown1998 pp23-6, Grove4 p414
Oeuvre: Altarpieces & frescoes including non-figural & purely decorative antechamber to the chapter house Grove4 p414, Brown1998 p23
Characteristics: His compositions are finely balanced.   They contain a wealth of decorative elements, & skilfully drawn figures in elegant & tranquil poses.   They are set in open spaces with craggy landscape backgrounds, or against gold embroidered drapery Grove4 p414, Brown1998 pp24-6.
Workshop: It was large & it is often difficult to identify who painted what Grove4 p414
Pupils: Antonio de Comontes, -1565, Pedro de Cisneros, -1548, etc, etc Grove4 p414
Daughter: Joan Burogunga II, -1565, became a painter Grove4 p414

– Bon DE BOULLOGNE/BOULLONGNE/BOULOGNE, 1649-1717, Louis the Elder’ son & brother of Louis the Younger, Genevieve & Madelaine, France; Rococo

Background: He was born in Paris Grove5 p535
Training: His father, & in Bologna, North Italy & Rome L&L, Blunt1954 p287.
Influences: Albani L&L
Career: He collaborated with Antoine & Noel Coypel on the last major religious ceiling & mural decorations under Louis XIV. His Triumph of Amphitrite, c1699, & Hippomenes & Atlanta mark the transition between light Italianism & Rococo L&L, Blunt1954 p276
Oeuvre: Secular & religious decorative history & mythological paintings L&L
Characteristics: Delicate & graceful classicism L&L
Grouping/Legacy: He was a Rococo pioneer & paved the way for Francois Lemoyne & Boucher OxDicArt, L&L, Blunt1954 p276.

..Genevieve (DE) , BOULLOGNE/BOULLONGNE/BOULOGNE, Louis the Elder’s daughter & sister of Bon, Louis the Younger & Madeleine, 1645-1708, France

Background: She was born in Paris Wikip
Training: Her father Wikip:
Career: She collaborated with Madeline on the grand apartments at Versailles & was admitted to the Academie Royale in 1669. Genevieve married the sculptor Jean-Jacques Clarion & moved to Aix en Provence Wikip, Grove4 p534
Oeuvre: Mainly historical subjects & still-life, especially flowers & fruit but very few independent works appear to be known Wikip, webimages

– Louis DE, BOULLOGNE/BOULLONGNE/BOULOGNE the Elder, father of Louis the Younger, Bon, Genevieve & Madeline, 1609-74, France:

Background: He was born in Paris Grove4 p534
Training: His father & Blanchard L&L, Grove p534
Influences: Poussin, Vouet & Albani L&L
Career: He made an early trip to Rome where he continued his studies & was a founder member of the Academie Royale, 1648, of which he became a professor, 1656,although he also taught pupils in his own studio. He collaborated with Antoine & Noel Coypel on the last major religious ceiling & mural decorations under Louis XIV, Grove4 p534, L&L
Oeuvre: Secular & religious decorative history & mythological paintings L&L
Characteristics/Innovation: He was one of the first painters in Paris to work in a classical style Wright p146
Friend: Sebastien Bourdon Grove4 p534
Daughters: Genevieve, 1645-1708, & Madeleine, 1646-1710 were still-life & flower painters & first stage members of the Academy Grove4 p534

– Louis DE BOULLOGNE/BOULLONGNE/BOULOGNE, the Younger, 1654-1733, Louis the Elder’ son & brother of Bon, Genevieve & Madeline, France:

Background: He was born in Paris Grove 4 p536
Training: His father, & in Bologna & Rome L&L
Influences: The classicizing painters Albani, Domenichino L&L, Brigstock
Career: He won the Prix de Rome & a place in the Academie di San Luca. After returning to France in 1680 he began at Versailles around, & continued decorating royal houses for about 50 years as well as working for private collectors & the church . In 1681 he joined the Academie Royale. After becoming wealthy & famous he almost ceased painting & became director of the Academie Royale in 1722 & Premier Peintre du Roy in 1725 Grove4 pp 536-8, Brigstocke. Wakefield p12.
Oeuvre: Secular & religious decorative history & mythological paintings L&L
Characteristics/Verdict: His work has been described as a decorative & graceful classicism but also as unconvincing as in The Centurian at the Feet of Christ, 1685, which is a sweetened & mannered version of Le Brun in which the figures look vaguely absent L&L, Allen p191.
Grouping/Legacy: He was a Rococo pioneer who paved way for Boucher L&L, OxDicArt, Blunt1954 p273

– Madeleine (DE), BOULLOGNE/BOULLONGNE/BOULOGNE 1646-1710, Louis the Elder’s daughter & sister of Bon, Louis the Younger & Genevive France; Baroque

Background: She was born in Paris Wikip
Career/Personal: She worked the royal workshops at the Tuileries, collaborated with Genevieve on the grand apartments at Versailles, & was admitted to the Academie Royale in 1669. She lived an austere & pious life, never married & lived with Bon Wikip
Oeuvre: Still-life, religious paintings including life at Port-Royal, & many portraits Wikip
Characteristics: Her still-life paintings included both clearly designed vanitas works & seemingly randomly assembled objects such as musical instruments, armour & draperies which fill the whole of the canvas. She appears to have particularly favoured Venetian & other reds Wikip
Grouping: Baroque Wikip
Repute: Engravings of her Port-Royal works became extremely popular. She was gradually forgotten during the 18^th century Wikip

* DE BOULOGNE/LE VALENTIN/VALENTIN, Moise, 1594-1632, Italy (France):

Background: He was born at Coulometers-en-Brie, Sein-et-Marne, & had an Italian father who was a painter & glassworker Grove4 p538, L&L p706
Influences: Caravaggio & Bartolomeo Manfredi Grove4 p538
Career: Around 1612 he settled in Rome & by 1624 was associated with the Schildersbent. He also belonged to the Accademia di S. Luca & was Poussin’s neighbour & competitor L&L, Brigstocke p765
Gossip: He reportedly died following a cold bath in a fountain after a drinking bout OxDicArt
Oeuvre: There are around 50 attributed works inclding genre & religious, mythological & allegorical paintings, & also a few portraits OxDicArt, Grove4 p538,Allen pp26-7, 30, Brigstocke
Phases: Initially he painted low-life genre scenes as in Cheats (Gemaldegalerie, Dresden), & The Concert (Chatsworth House, Derbyshire) & more dramatic religious works featuring the relatively humble, as in Christ Driving the Money Changers from the Temple (Galeria Corsini, Rome), There are also scenes of violence as in Judith & Holofernes (Museo Nazionale, Valetta). During his mature period his works are more refined with greater mystery, solemnity, nobility & an element of Classical Baroque, as in the Four Ages of Man,1626 (NG), the Allegory of Rome, 1628 (Villa Lante, Rome) & the Judgement of Solomon, 1628-30, (Louvre). What however raises his work above that of lesser Caravaggesque artists such as Manfredi is a psychotically concern with the expression of human relationships Brigstocke, Allen pp 26-7, 29-32.
Characteristics: His work has an impressive, dramatic & sometimes melancholic solemnity an, extensive range of differentiated emotions, & passages of real drama OxDicArt, Witkower1958 p76. Almost all his figure compositions are in landscape format except for occasional are single figures & portraits with frequent depictions of robbing & cheating during card playing & fortune telling. Other subjects are music making & popular Bible stories both ancient & modern the Met Exhibition 2016
Status/Verdict: He was one of Caravaggio’s finest & most dedicated followers. However, the capacity to depict tender emotions is what enhances & his mature works. He was one of the most engaging French painters of the 16^th century OxDicArt, Grove 4 p538, Brigstocke.
Grouping: He followed Caravaggio’s tenebrism manner longer than any other painter in Rome L&L

.. DE BRAEKELEER, Ferdinand the Elder, Henry’s father, 1792-1883, Belgium:

Background: He was born in Antwerp Norman1977
Training: With Van Bree Norman1977
Influences: Teniers & de Steen Norman1977
Career: He was keeper of the Antwerp Museum & an influential teacher Norman1977
Oeuvre: History & genre paintings Norman1977
Status: He had an international reputation Norman1977
Pupils: They included his relation Hendrik Baron Leys Norman1977
Progeny: His son Ferdinand the Younger, 1828-57, was also a painter Norman1977

.. DE BRAEKELEER, Henry 1840-1888, Belgium:

Background: He was born in Antwerp, the son of Ferdinand the Elder Norman77
Training: He studied with his father and Leys Norman77
Phases: His early work followed Leys, but he soon abandoned history painting for scenes of contemporary life. A painter of genre, townscape and landscape, an individualistic exponent of Realism. He painted quiet interiors and intimate landscapes Norman77
Technique: He inherited from Leys an attention to decorative detail, but replaced a smooth finish by a flickering crowd of short brushstrokes. Norman77
Career: He first exhibited in Antwerp in 1861; his first critical success was in exhibitions in Brussels and Vienna (1872-73) Norman77
Personal: A profound melancholy turned in his last years to mental illness Norman77

– Solomon DE BRAIJ/BRAY, 1596-1664, Jan’s father, Netherlands=Haarlem:

Background: He was born in Amsterdam the son of Flemish emigrants but moved when young to Haarlem Haak p254
Training: Cornelius van Haarlem & Goltzius L&L
Influences: The Utrecht Caravaggists, a Rembrandtesque style, Jacob Jordaens & finally the Lastman tradition Haak p254-5.
Career: By 1615 he belonged to a civic guard company & in 1617 joined a chamber of rhetoric. Between 1648 to about 1652 he was engaged on the Oranjezal decorations in Huis ten Bosch Haak p254
Oeuvre: History paintings, figure pieces, landscapes, portraits & a few architectural paintings, together with architecture, town planning, silver design & poetry L&L
Phases. During the 1630s he painted various Old Testament narrative compositions with half-length figures. After 1640 he turned to classicizing compositions with full-length figures L&L

– Jan DE BRAIJ/BRAY, c1627-97, Solomon’s son, Netherlands=Haarlem:

Oeuvre: History paintings & portraits L&L
Speciality: Group paintings for charitable institutions Haak p37
Characteristics: He had a sure touch with no trouble with form or plasticity & an ability to handle large figure pieces Haak pp 379-80
Innovation: Group paintings for charitable institutions with the figures round a table thus creating a deeper spatial effect Haak p379
Grouping: The Dutch Classicists MB
Collections: Frans Hals Museum, Haarlem

P De Bruges. See Bondol

..DE CAMP, Joseph, 1858-1923, USA:

Background: He grew up in Cincinnati Gerdts1980 p94.

Training: With Duveneck & then with him & fellow students to the Royal Academy in Munich Wikip

Career: In 1878 he went with other members of the Duveneck Boys to Florence & Venice in 1878. After returning in 1883 he settled in Boston. In the late 1880s having won his laurels in portraiture with Sargent when the latter sought Boston clients. During the summers of 1900-02 he painted in Gloucester, Massachusetts with Twachtman & Duveneck Gerdts1980 p68. He taught at the future Massachusetts College of Art & Design from 1903, & also at the School of the Museum of Fine Arts, Boston Wikip.

Oeuvre: Portraits, landscapes particularly early on after his return, & occasional nudes Gerdts1980 p94.

Characteristics: His portraits are more solidly constructed than those of Benson & Tarbell, have refinement & richness, but are not without concern for light & its effects. Sometimes they have a decorative tendency. Like Hassam he painted against light-filled windows Gerdts1980 p94.
Grouping: He was a member of The Ten Gerdts1980 p94
Feature: In 1904 fire destroyed hundreds of his early paintings Wikip

de Boisdenir. See Boissard

-DE CAMPANA, Pedro/Kempenear Pieter, 1503-c1580, Spain (Belgium):

Background: Born Brussels L&L
Training: Bernard Van Orley Wikip
Influences: Raphael Wikip
Career: He is first documented in Bologna, 1529; travelled to Venice in the service of Cardinal Grimani; moved to Seville, 1537; helped establish a school for painting; & moved to Brussels around 1562 to manage a tapestry works for the Duke of Alba Brigstocke, L&L, Wikip.
Oeuvre: Religious paintings & portraits, tapestry design, sculpture, architecture & artisan work L&L, Brigstocke, Wikip
Characteristics: His work combines Flemish realism with Raphael’s classicism & Tintoretto’s Mannerist expressionism as in his dramatic & strikingly coloured Descent from the Cross, 1548 (Seville Cathedral). An impressive Italianate Purification of the Virgin, 1555 (Seville Cathedral) combines spacious composition, masterful figure drawing, & natural treatment of drapery L&L, ArtsDotCom, Brigstocke
Collections: Seville cathedral

Dell’Abate. See Abate

Del Barbiere. See Florentin

DECAMPS, Alexandre, 1803-60, France:

Background: Born in Paris Norman1977
Training: Studied with Bouhot and Pujol, but reacting against academicism he preferred to teach himself Norman1977
Oeuvre: A Romantic painter of landscape, genre and Oriental scenes. Decamps was the first Romantic to visit the Orient and the first to paint biblical scenes in their original landscape Norman77
Career: He found ready buyers for small landscapes with figures painted from nature, but yearned to be a monumental history painter, resenting his lack of state commissions. In around 1853 Decamps gave up painting but returned to it after the positive reception of his sixty pictures in the 1855 Exposition Universelle Norman1977
Legacy: He is well represented in the Louvre, the London Wallace Collection, in many French provincial museums and in the Rijksmuseum Norman1977

..DE CHALONS/Mailly, Simon, 1506-1568, France:

Training: Probably in Flanders Blunt1954 p83
Influences: Antwerp painting of the 1530s & Italian art Blunt1954 p83
Oeuvre: Alter pieces for churches in Avignon Blunt1954 p83
Verdict: He was a curious artist Blunt1954 p83

*DE CHAMPAIGNE, Philippe, 1602-74, Flemish/France:

Training: Foucquieres L&L
Influences: Van Dyck, Rubens L&L
Career: In 1621 he settled in Paris & in 1628 became painter to Marie de Medici L&L. He was patronised by Louis XIII & Richelieu & was a founded member of the Academy. Here in 1671 he initiated the Querelle des Colour by admonishing young painters against an excessive concern with colour for its own sake OxDicArt, Allen pp126, 159.
Phases: His style became increasingly severe after about 1645 when he adopted Jansenist doctrines. Religious works were from the 1650s increasingly static & intense, & his portraits often featured black clothing, grey backgrounds & were fronted by a stone-coloured parapet. Many of his sitters were Jansenists or supporters of Port-Royal & his portraits evoke the new consciousness of the self, eg in The Echevins of the City of Paris, 1648, the sitters look dignified & sincere but also dignified because false modesty would be hypocritical. In many paintings he focused on hands. He employed strong & cold local colour. His landscapes have a sober naturalism in which he evoked a real place to indicate the truth of the miracles that are taking place & power of the creator as shown by its beauty. In contrast to those of Claude brightly lit figures & details take president over tonal unity OxDicArt, L&L, Blunt1954 p174, Allen pp 86, 88, 147-151
Status: Baroque modified in line with the growth of French classical simplicity OxDicArt
Friend: Poussin OxDicArt
Verdict: He was the outstanding French portraitist of the 17^th century OxDicArt

P de Chavannes. See Chavannes

*DE CHIRICO, Georgio,1888-1978, Italy:

Background: He was born in Greece to Italian parents L&L

Training: Engineering & then, 1905-8, painting in Munich L&L, Read1959 p120

Influences: Bocklin & Klinger’s juxtaposition of the commonplace & the fantastic OxDicArt

Career: When he was 22 recovering from long & painful intestinal illness & in a semi-morbid state of sensitivity, he had a striking experience of seeing as if for the first time Hughes1991 p217. During 1908-10 he painted his first enigmatic & stagey townscapes. In 1910 he went to Paris & met Picasso & Apollinaire. He began introducing manikins into his paintings. During 1915-7 he served in the Italian army but had a nervous breakdown. In 1917 he met Carra in a military hospital & they found Pittura Metafisica. He signed the Dada Manifesto in 1920. During the 1920s & 30s he spent some years in Paris but was mainly in Milan, Florence & Rome OxDicArt, L&L, Read1959 p121. In the 1920s he adopted Renaissance based Classicism, denouncing Modernism as anti-Classical Lynton p354

Characteristics: His earlier work featured simplifications, unexpected perspectives, illogical shadows, deserted spaces & objects in unusual & mysterious relationships. There were references to ancient myths & modern science L&L, OxDicArt. De Chirico’s world is an airless place in late afternoon with long shadows across piazzas. Although there is clear sunlight it provides no feeling of well-being. Space rushes into the distance but is in contradiction flattened Hughes1991 p217

Sources: There is no sense of deliberation in Chirico’s pictures & his images must have arisen with trance-like spontaneity. He describes unforgettable moments when hitherto ignored aspects of the world reveal their mysteries Read1959 pp 121-2

Grouping: He has been classified with Neue Sacklichkeit Hayward1979 p10

Influenced: Neue Sachlichkeit; Magic Realism; Surrealism OxDicMod

– DE COCK, Jan Wellens, recorded 1503-26, father of Hieronymus & Mattys, Belgium:

Background: He was probably born in Leiden Grove7 p497
Influences: He was the earliest follower of Bosch L&L
Career: He became joint dean of the Antwerp Guild of St Luke in 1520 Grove7 p497
Oeuvre/Characteristics: This has to be reconstructed from the dated print of a known painting, St Christopher. In this the figures fade into insignificance against the strongly painted landscape giving an impression of space Grove 7 p2497
Innovation: The marked spatial characteristics of St Christopher & ascribed works are unprecedented at this time in Belgium Grove7 p497
Progeny: His son Matthijs/Matthys, c1509-48, was a serviceable landscape painter, & Hieronymus, c1510-70, was an etcher, print publisher & dealer L&L, Grove7 pp 496, 499

.. DE’/DEI CONTI, Bernardino, 1465, after 1523, Italy:

Background: He was probably born in Castlesepio & his father was a painter Wikip. Grove7 p778
Training: Probably Ambrogio de Predis Grove7 p778
Career: He moved to Milan in 1494 & was a follower of Leonardo Wikip, NGLeonardo p224
Oeuvre: Religious paintings & portraits Grove7 p778
Characteristics: His portraits have a clear cut & official quality & are sometimes in profile with plain backgrounds Wikip, Grove7 pp 778-9

DE CRAYER, Caspar, 1584-1669, Belgium:

Background: He was born in Antwerp Vlieghe p68

Influences: Rubens, from about 1631 Van Dyck from about 1631, & Venetian High Renaissance painting L&L, Vlieghe pp 69, 93

Career: From around 1600 he lived in Brussels. He worked in the service of the Archdukes Albert & Isabella, & was court painter to the Cardinal Infante & the Archduke Leopold Willhelm. His last five years were spent in Ghent Vlieghe pp 68-9

Oeuvre: Altarpieces, allegorical paintings, portraits L&L

Phases: Initially his work was influenced by late 16^th century painting but from about 1619 his compositions become more balanced, harmonious, rounded, monumental & expressive with the use of contrasting colour. From around 1631 his work, though retaining Rubensian plasticity, became more emotive. Between about 1638 & 1648 his facial expressions & colouring become softer. His work in the 1650s & 60s features even more emotional figures with an increasing use of formulaic gestures & also dramatic settings Vliehge pp 69–70, 93

Status: He dominated the artistic 17^th artistic scene in Brussels Vlieghe p69

Reception: He received numerous religious commissions including many from Germany & Spain Vlieghe p69

Studio: It must have been large & it is sometimes difficult to distinguish his late work from that of assistants Vlieghe p93

Grouping: His work was in line with the Council of Trent Vlieghe p69

..DE CRITZ, John, 1555-1462, brother-in-law of Marcu s Gheeraerts, England:

Background: He was born in Antwerp in 1551-2. His father was a goldsmith who settled in England in1552 Grove8 p 165, Waterhouse1953 p41

Training: Around 1557 he was apprenticed to the Flemish Mannerist Lucas de Heere Grove8 p165

Career: He worked for Sir Francis Walsingham in Paris on numerous occasions during 1582-8. As well sending back works to Walsingham he painted for him. In 1603 he was appointed Serjeant Painter but mostly appears to have organised decorative work at royal palaces Grove8 p165.

Oeuvre: Although there are no certain works there are fine English courtly portraits that can reasonably be attributed to him including several at Hatfield House. Payments for named works are recorded in the Cecil papers Grove8 p165.

Status: By 1598 he was one of the best known painters in England Waterhouse1953 p41.

Progeny: His sons John, c1591-1642; Emanuel, 1608-65; &Thomas, 1607-53, were also painters. It has been convincingly argued that the latter painted a beautiful portrait series of the Tredescant family now in the Ashmolean Grove8 p166.

d’Enrico. See da Varallo

.. DE DRAGON, Vittore Grubicy 1851-1920, Italy:

Background: Born in Milan into a wealthy art loving family Norman1977 p101, Wikipedia
Influences: The Scapigliatura, a bohemian group of Milanese artists & writers which he & his brother Alberto joined, together with Mauve and the Hague School, & then the divisionism Segantini & Previti Wikip, Norman1977
Oeuvre/Characteristics: He painted delicate studies of landscape supposedly employing a divisionism technique, influenced by Seurat Norman1977
Career: Until 1889 he shared an art-dealing business with Alberto, the Galleria Fratelli Grubicy. He travelled throughout looking for the newest art trends & during 1882-85 spent most of his time in The Netherlands Norman1977, Wikip
Influence: He promoted Lombard artists in all the artistic centres of Europe. He also introduced influences from the Hague school and pre-Raphaelites to Lombardy & encouraged the artists he represented to emulate Van Gogh. He was an influential writer and critic Norman1977, Wikip
Oeuvre/Characteristics: He painted delicate, lyrical, tonal landscape works employing what has been described as a divisionism technique influenced by Seurat; & using a muted palette of greys & browns as in Summer in Lierne, Lake Como, 1889 (Galleria d’Arte Moderna, Rome), though the beautiful & evocative [as in] Morning, 1898, Galleria d’Arte Moderna, Milan, features dark trees against a golden & glowing background Norman1977, Wikip, webimages

d’Enrico. See da Varallo

..Giovanni Andrea DE FERRARI, 1598-1669, Italy=Genoa:

Background: He was born at Genoa Grove11 p14
Training: With Bernardo Strozzi Grove11 p14
Influences: Strozzi, Tuscan Mannerism, Caravaggism, Rubens, Van Dyke, Velazquez Wittkower1973 p352
Oeuvre: This was prolific & mostly alter pieces but of unequal quality Wittkower1973 Waterhouse1962 p21
Speciality: Small Biblical history paintings exhibiting a feeling for tone & texture Waterhouse1962 p212
Characteristic/Phases: He latterly dropped academic encumbrances & produced works of considerable depth & expression in a fresh & painterly style Wittkower1973 p352
Workshop: It was large, including Giovanni Carbone, Valerio Castello & Giovanni Castletiglione Wittkower1973 p352
Legacy: With Gioacchino Asserto Orazio de Ferrari he created the lyrical, richly coloured manner that influenced later Genoese Baroque Grove14 p14

.. Gregorio DE FERRARI, 1647-1726, Piola’s son-in-law Italy=Genoa:

Background: Born Portom Maurizio, Imperia Grove11 p8
Training: Domenico Fiasella in Genoa from about 1667 Grove11 p8
Influences: Giovanni Merano & Andrea Sighizzi probably for quadrature, Corregio Grove11 pp 8-9, Wittkower p355
Career: During 1669-73 he was in Parma; returned to Genoa in around 1671; became Piola’s assistant, 1673, worked in Turin around 1686-7; painted in Marseille, 1692-4 Wittkower1973 p355, Waterhouse1962 pp 219-20
Oeuvre: Oils & frescoes of religious, allegorical & mythical subjects Grove11 pp 8-9
Phases/Characteristic: In Parma he abandoned monumentality for a softer, more lyrical & Capraesque style, & after his return to Genoa his figures are gracefully elongated & have vertical spiral movement Grove11 p8
Style: Proto-Rococo Wittkower p355
Status: He was the last considerable exponent of the Grand Style in Genoa, & was a proto-Rococo painter who delighted in arranging twining, elongated figures soaring through space with twirling limbs & draperies as in Allegory of Summer, 1668 Waterhouse1962 p220, Wittkower p355, Grove11 p9
Pupils: Francesco Costa, 1672-40, & Imperiale Bottini Grove11 p10
Son: Lorenzo, 1680-1744, was also a painter who assisted his father Grove11 pp 9—10

..DE FEURE/VAN SLUITERS, Georges/Joseph, 1868-1928, Netherlands/France:

Influences: Baudelaire’s malignant view of women & the evils of lesbianism WoodG p82
Training: Under Jules Cheret Masini p368
Career: De Feure/Van Slutters returned to Paris in 1890 after a long visit to his parents in Holland, & exhibited watercolours at the Rose+Croix Salons Masini p368.
Oeuvre/Characteristics: His elegant works focus on the evils of lesbianism & he painted erotic female crucifixion & the dark-eyed temptress Gibson2994 p232, WoodG pp 73, 82, Masini p39
Beliefs: Women are consumed by selfish love, the source of all vices & ills WoodG p82
Grouping: A founder of Art Nouveau but was equally attracted by Symbolism Gibson2004 p232
Reception: De Feure/Van Slutters’ innovative depictions of fashionable women brought him success; & his posters were highly regarded Gibson2004 p232, Masini pp75-6

..DEFRANCE, Leonard, 1735-1805, Franco-Belgium:

Background: Born Liege Grove8 p618
Training: He was apprenticed to Jean-Baptiste Cocklers & was at the Academie de France; to Rome,1735, under Laurent Pecheux, whom he assisted with studies for Robert Adam Grove8 p618
Career: In 1760 he left Rome & settled in Montpelier until 1763, exhibiting at the Academie Royale in Toulouse. Opposed to the persecution of Protestants, he returned to Liege. He visited the Netherlands in 1773. made copies of low-life genre which sold well, & jointly opened an academy of which he was director until 1784. Because of severe repression by the prince-Bishop of Liege he went into exile several times. In 1786-7 he exhibited at the Paris Salon de la Correspondence & in 1791 & 1793 in the Salon Revolutionaries. He belonged to Assemblée Liegoise during 1792-4 the Conseil Municipal in 1800 Grove8 p618
Oeuvre: Low-life & domestic genre, fruit & flowers, political & allegorical subjects, portraits Grove8 p618, Wikip
Characteristics: He painted well composed scenes with figures in what appears to be a realist manner Webimages
Feature: His best works celebrate technological progress & shows men & machinery at work Grove8 p618
Patrons: Many were from the clergy Grove8 p618

DE FRANCIA, Peter, 1921-2012, England (France):

Background: He was born at Beaulieu-sur-Mer, Alpes Maritimes, to Italian father & English mother Wikip
Training: At the Academy in Brussels, 1938-40, & the Slade, 1945-8 Wikip
Influences: Socialist & socially committed artists including Corbett, Daumier, Renato Guttuso & Picasso Wikip
Career: He worked at the Canadian Government Exhibition Commission, Ottawa, 194-9-50; in the Architects’ Department of the American Museum in New York City, 1950-51; at St Martin’s School of Art, 1953-68; at Goldsmith’s College, 1969-72; & was Professor of Painting at the Royal College of Art, 1972-86 Wikip
Oeuvre/Characteristics: He employed a vibrant palette to paint dynamic compositions that were either of a committed political nature depicting violence & struggle or bucolic scenes of industry & recreation. He also painted portraits & genre Fine Art Society on web, web images

DEGAS, Edgar, 1834-1917, France; Victorian Modern Life and Rural Naturalist Movements

Background: He was born in Paris, the son of a wealthy art-loving banker OxDicArt
Training: During 1854-5 he had drawing lessons from Louis Lamonthe. He was a former pupil of Ingres who & he transmitted the classical message & methods. During 1885-6 Degas attended the Ecole des Beaux-Arts Grove8 p619, OxDicArt

Influences: Moreau who in 1859 encouraged him to experiment with texture & appreciate Delacroix Grove8 p620. He was also influenced by Manet & the critic Edmond Duranty OxDicArt. He admired Menzel’s drawings of Frederich the Great Murrays1959. Degas made extensive use of photos & was enthralled by whole photographic process. He saw photography as an inspiration Nochlin1971 p44. He was influenced by Japanese colour prints OxDicArt.

Career: Between the mid-1850s & 1859 he spent much of his time in Italy travelling widely, & stayed for lengthy periods with his sister Laura Bellelli & her family. During 1859 he made a trip to Siena & Pisa with Moreau Grove8 pp 619-20 . In 1861-2 he met Manet who introduced him to the young Impressionists & in 1974 he exhibited ten works at their first exhibition. He went on to participate in all but one of the further shows, despite reservations & an abortive attempt to have Realist included in the group title OxDicArt, Grove8 pp 620-1
Oeuvre: Paintings, pastels, occasional sculpture & prints. He produced over 2000 oils & pastels Grove8 p619, L&L. More than three-quarters of his total work consists of images of women most typically in isolation or surrounded by other women K&P p11
Technique: He juxtaposed strokes of paint or pastel like the Impressionists but rarely painted en plein air & seldom directly before the motif preferring to work from memory & sketches Grove8 p620.

Phases: His early works were mostly portraits or history paintings on classical themes. From 1862 he started to paint racehorse scenes which were his first contemporary subjects. Around 1870 he began to be interested in dance & opera. On a visit to New Orleans in 1872-3 he painted pictures of the cotton trade in which two brothers were involved Grove8 pp 620-1. Back in Paris he started to paint laundresses & other working women including dancers, milliners & cafe-concert singers. In 1886 showed a series in pastel of women bathing, drying or grooming L&L, Grove8 p622. Meanwhile, between about 1876 & 1885, he had produced around 100 monotypes using copper plates of brothel scenes, of which about 30 survive Nochlin1999 p174, Webb p168. In his late works his colour became more emphatic & his line more expressive & independent Grove8 p622

Exhibiting: With the exception of Salons, he exhibited little until the Impressionist Exhibitions. After 1886 he rarely showed his work L&L, K&P pp 12, 13, 20. Instead he sold his work to such dealers as Duran-Ruel, Boussod & Valadon, Berbnheim-Jeune, Hector Brame, & Ambrose Vollard Grove8 p622.

Characteristics: He tried to suggest a feeling of movement & was not preoccupied by the effects of changing light. He liked to give the impression that his scenes were unplanned & spontaneous OxDicArt, L&L. His compositions were extremely adventurous with, for instance, figures in unusual poses & groupings, extreme diagonal effects, vertical objects in front of figures, large areas of unoccupied space with figures crowded to the side & cropped in his paintings of women pursuing their various activities the figures dominate the picture & fill a shallow space Grove8 p622.

Friends: Tissot K&P p187
Enemies: He loathed Manet & Pissarro (“that Israelite”) Denvir p11

Beliefs: “No art was ever less spontaneous than mine” OxDicArt. Just before the first Impressionist Exhibition he declared that the Realist movement was already in existence & called for “a salon of realists” K&P p187. However, in later life he mocked Zola’s naturalism & criticised painting where the time of day was evident. “A painting requires a little mystery, some vagueness, some fantasy” K&P p195

Grouping: He saw himself as a Realist or Naturalist & disliked the term Impressionist Grove8 p621. Gabriel Weisberg sees him as a prime motivator for Naturalism within the Impressionist movement but not as one. He was close to the post-impressionists; & also to Puvis & the new classicists of the 1860s & after Weisberg1992 p58, L&L. It is said that he shifted towards Symbolism Grove8 p62

Personal: His sight began to fail in the 1880s, & for his final 20 years was almost blind, living a reclusive life OxDicArt.

Reception: His works were usually singled out as being different in feeling from other Impressionist exhibits & were not generally criticised for sloppy paintwork or incompetent drawing. However, his models were constantly thought ugly & his low-life scenes were disliked by anti-Realists Grove8 p625. L’Absinthe, which was exhibited at the Grafton Galleries in 1892, was described by Walter Crane & William Blake Richmond as human degradation without craftsmanship, though it was defined by McColl & Moore McConkey1989 p112. As he moved away from Realism, he gained the admiration of a new generation, including Gauguin & Redon Grove8 p625.

Repute: It was not until the late 1970s that art historians began debating his paintings of women K&P pp 16-7.

Influenced: Sickert OxDicMod

..DEFREGGER, Franz von, 1835-1921, Germany:

Background: He was born at Stronach Norman1977
Training: Around1860 in Munich with Anschutz & during 1864-70 with Piloty Norman1977
Career: Initially he was a farm labourer. He visited Paris in 1863-4 & his first major success Scene from Speckbacher’s Life was in 1869. During 1878-1910 he was a professor at the Munich Academy. From around 1880 to 1900 his scenes of peasant life in the Tyrol were immensely popular Norman1977
Phases: His early watercolours & oil sketches have a fresh realism but from about 1880 he became anecdotal & repetitious Norman1977
Characteristics/Verdict: His landscape studies & cottage interiors show that he fully understood what painting is but his popular pictures of Tyrol’s fight for freedom in 1809 & his scenes of peasant life use it very little Nevotny p298.
Status: He was one of the leading Munich painters in the mid-1860s Grove22 p304
Grouping: Along with Wilhelm von Diez & Eduard Grutzner he belonged to what seems to have amounted around 1885 to a school of Munich genre painters Grove 22 p304

DEGAS, Edgar, 1834-1917, France; Victorian Modern Life and Rural Naturalist Movements

Friends: Tissot K&P p187
Enemies: He loathed Manet & Pissarro (“that Israelite”) Denvir p11

Personal: His sight began to fail in the 1880s, & for his final 20 years was almost blind, living a reclusive life OxDicArt.

Repute: It was not until the late 1970s that art historians began debating his paintings of women K&P pp 16-7.

Influenced: Sickert OxDicMod

Degas’ Men & Women; From the early 1870s there is a consistent contrast between Degas’ depiction of men & women: men are presented as individuals women, apart from a few portraits, as types engaged in representative activities. The contract is most striking in the earlier 1870s where there are men & women in the same picture. However, there are a few pictures around 1867-73 which admit the possibility of individual female experience K&P pp 80-1, 91. To begin with women’s faces were particularised & suggestive but from the mid-80s attention to physiognomy became less common K&P pp 190-1, 193-4. Moreover signs of identity, background, context & narrative were deleted leaving only the expressive structure of the composition & the generalised brute facts of the human body. There appears to have been a wilful pursuit of obscurity & his. preparatory drawings are clear but K&P p194

–DE GELDER, Aert/Arent, 1645-1727, The Netherlands=Dordrecht; Baroque:

Background: Born Dordrecht into wealthy family. He was financially independent Grove12 p240
Training: After studying with Hoogstraten in Dordrecht, he worked in Rembrandt’s workshop in Amsterdam around 1661-3. He was his last & best pupil & was principally influenced by his painting technique OxDicArt, L&L p264
Career: After his training he worked in Dordrecht Grove12 p240
Oeuvre: History paintings which were mainly biblical & numerous portraits during the 1680s L&L, Grove12 p240
Characteristics: His work was imaginative, bold & often included oriental types. The history paintings were broadly either derived from Rembrandt’s paintings with-life size & half-length, interacting figures; or, alternatively, with many small & distant figures often using Rembrandt’s etchings. Early in the 18^th century he brightened Rembrandt’s colour with brilliant emerald, other shades of green, violet, lilac & lemon yellow as in Abimelech Giving the Sword Goliath to David (Getty Museum, Los Angeles). Following Rembrandt his brushwork was sometimes broadly applied, his colours layered & the surface scratched with the brush handle L&L, OxDicArt, Grove12 p240
Feature: He was Rembrandt’s closest follower, & the last Dutch artist who worked in Rembrandt’s manner into the 18^th century. De Gelder’s [as in] Jacob’s Dream (picture gallery Dulwich College), was long attributed to Rembrandt. Paintings of Esther were a De Gelder Speciality as in the imposing Esther at her Toilette, 1664 (Alte Pinakothek, Munich) L&L, Grove12 p240
Patronage: Because he was financially independent, he did not worry about securing commissions Grove240 p240
Verdict/Repute: His subject matter, imaginative presentation & brilliant colour schemes reveal a fine aesthetic sensibility, giving him a special place in Dutch 17^th & 18^th century painting Grove240 p241

-Jacob DE GHEYN II, 1565-1629, Netherlands=The Hague:

Background: He was born in Antwerp where his father was temporarily employed Haak p176.
Training: His father & from 1585 by Goltzius in Haarlem TurnerRtoV p117
Career: During 1591-5 he worked in Amsterdam, & in Leiden until 1598. He then settled in The Hague where he painted for the court Haak p176
Oeuvre: The design of stained glass windows etc L&L
Characteristics: His bouquets of flowers are symmetrical with tulips always dominant Haak p176.
Phases: He is said to have only begun painting around 1600 but this seems doubtful L&L, Fuchs p34
Innovations: Drawings of domestic subjects, & vanitas still-life & flower paintings L&L
Status: He was the best known member of the family L&L

–Jacob/Jacques DE GHEYN III, 1596-1641, Netherlands=The Hague

Background: He was probably born in Amsterdam, the son of Jacques II Grove12 p532
Influences: The tenebrism style of Adam Elsheimer & Hendrik Goudt Grove12 p532
Career: He like his father worked for the court in the Hague & was later in Utrecht where he became canon of St Mariakerk. He was in England in 1618 with Constantijn the Elder, & in 1620 he went to Sweden L&L, Grove12 p532
Oeuvre: Engravings & possibly paintings Grove12 p532
Speciality: Mythological subjects & still-life featuring books OxDicArt, L&L
Characteristics: His etchings display a dramatic treatment of light & dark Grove12 p532
Phases: He produced little after 1629 Grove12 pp 529, 532

..DE GLEHN, Wilfred/Wilfried, 1870-1951, England; Impressionism British & Irish:

Background: He was born in Sydenham. His paternal grandfather had estates in Estonia & belonged to the German aristocracy; while his mother was French & a woman’s rights activist & author Wikip
Training: At the Government Art Training School & the Ecole des Beaux-Art under Delaunay & Moreau McKonkey1989 pp 133,156
Career: He met Sargent in the early 1890s & assisted him & Austin Abbey with the murals at the Boston Public Library, having first exhibited at the RA in 1896. De Glehn accompanied Sargent on foreign sketching trips in 1905 etc. In 1908 he had his first solo exhibition & was elected to the RA, 1932. Meanwhile he & his American artist wife had served in a Franco-British Red Cross hospital during the Great War & he then became an interpreter on the Italian front. Subsequently the couple spent the summers in Cornwall & the winters in France McKonkey1989 pp 133, 156, Wikip
Oeuvre & Characteristics: Richly coloured Impressionist scenes of a pleasing nature, sometimes rivalling the Fauves’ expressive urgency & dynamism with a deft use of sunlight & shadow as in Soir Antique, 1908 (Tate Gallery, Chantry Bequest, 1934) However, he also painted portraits, decorative nudes, formal gardens, & women in white summer dresses as in Summer Morning, 1936 (Paisley Museum & Art Galleries) McKonkey1989 p133, Wikip, webimages

Frans DE GREBBER, 1573-1649, Pieter’s father, 1573-1649, Netherlands=Haarlem:

Background: Born in Haarlem Haak p529
Oeuvre: History paintings, though few survive, & portraits where he was overshadowed by Hals L&L, Haak p252
Career/Influence: De Grebber was Rubens’ agent. His studio must have been an important centre for Haarlem painters as he had 16 pupils in 1640 Haak p252, MBp116
Pupils: Jacob van Campen, Saenredam L&L
Beliefs: A devout Catholic Haak p252, MBp116

-Pieter DE GREBBER, c1600-52, Frans’ son, Netherlands=Haarlem:

Training: His father & Goltzius. The family was devoutly Catholic L&L
Influences: Rembrandt’s chiraroscuro L&L
Career: De Grebber went to Antwerp with his father in 1618 & met Rubens MB p116
Oeuvre: History, biblical paintings, altarpieces, & portraits, tapestry design L&L, MB p116
Characteristics: His history paintings are well balanced, contain accurately drawn figures, & have a refined colour scheme based on clear greys & lilac tents. In portraiture he produced charming groups Haak p255
Patronage: Work for charitable institutions & in royal palaces MB p116
Grouping: Dutch Classicism which he pioneered in Haarlem MB pp 116, 118
Siblings: His brother Albert, 1613/4-after1649, & sister Maria, c1602-80, were also painters MB p116

Charles DE GROUX, 1825-1870, Henry’s father, Belgium; Victorian Modern Life:

Background: He was born at Comines Norman1977
Training: At the Brussels Academy under Navez Norman1977
Influences: Courbet Norman1977
Career: In 1868 he was a founder member of the Société Libre des Beaux-Arts with Ropes & Meunier Norman1977
Oeuvre: Paintings & prints Grove8 p628
Phases/Characteristics: Initially he painted history subjects mainly of the Middle Ages with carefully finished detail in the manner of Leys but then mainly painted the suffering poor in works with a narrative element using grey & dark colours Grove 8 p628, Norman1977, webimages
Politics: He was wrongly seen as Socialist painter & was merely an interested observer Grove8 p628
Innovation/Grouping: Realism which he pioneered in Belgium Norman1977
Reception: His harshly moralising scenes were much admired & imitated during the 1850s Norman1977

..DE GROUX, Henry/Henri, 1867-1930, Charles’ son, Belgium: Symbolism

Background: Born St-Josse-ten-Noode, near Brussels Grove8 p628

Training: At the Academie Royale des Beaux-Arts, Brussels & under Jean-Francois Portaels Grove8 p628, Wikip

Career: He was elected to Les XX in 1886 but was expelled in 1890 for refusing to exhibit along with Van Gogh’s works. He settled in Paris in 1892 & acted as a bodyguard for Zola during the Drefus affair Wikip, GibsonM p233

Oeuvre: Paintings, pastels & prints Grove8 p628

Characteristics: His paintings were of an overall type. They are forceful & dramatic works with an unfinished look, masses of shifting, tangled bodies with crazed expressions Webimages, Grove8 p629

Personal: De Groux was spurred by a need to express his own physical & moral sufferings. He lived a wild & disorderly life & escaped from a psychiatric hospital Wikip

Circle in Paris: Gauguin, Ensor, Rodin, Toulouse-Lautrec, Whistler, & numerous writers Wikip

Friend: Degouve de Nuncques with whom he shared studios in Brussels & Paris GibsonM p233

Grouping: Symbolism GibsonM p233

Daughter: Elizabeth was an engraver Wikip

– Cornelis DE HEEM, 1631-95, son of Jan Davidsz who founded the dynasty; Jan Jansz’ brother & David’s father , Netherlands=Antwerp etc:

Background: Leiden Grove14 p290
Training: His father Grove14 p290
Career: He spent much of his life in Antwerp but he also worked in Utrecht & nearby, & in The Hague from 1676 until after 1686
Oeuvre: Still-life Grove14 p290.
Characteristics: His work changed from painterly to more graphic. Daring colour harmonies, sometimes with a strong blue. Although he followed in his father’s footsteps his paintings are often simpler Grove14 p290, L&L
Verdict: His best works approach the quality of his father’s Grove14 p290

-Cornelis DE HEEM, 1631-95, son of Jan Davidsz who founded the dynasty; Jan Jansz’ brother & David’s father, Netherlands=Antwerp etc:

Background: Leiden Grove14 p290
Training: His father Grove14 p290
Career: De Heem spent much of his life in Antwerp but he also worked in Utrecht & nearby, & in The Hague from 1676 until after 1686
Oeuvre: Still-life Grove14 p290
Characteristics: His work changed from painterly to more graphic. Daring colour harmonies, sometimes with a strong blue. Although he followed in his father’s footsteps his paintings are often simpler Grove14 p290, L&L
Verdict: His best works approach the quality of his father’s Grove14 p290

..David DE HEEM, 1663-before1714, Cornelis’ son, Netherlands:

Background: Born Antwerp Grove14 p290
Career: He went to The Hague after 1693 Grove14 p290
Characteristics: His work is similar to his father’s & his later works are less painterly or more graphic & somewhat harsh Grove14 p290

– Jan Davidsz DE HEEM, c1606-83 who began the dynasty & father of Cornelis & Jan Jansz, Belgium (Netherlands):

Background: Born at Utrecht OxDicArt
Training: Van der Ast in Utrecht L&L
Influences: Claesz, Heda OxDicArt
Career: During 1625-9 he worked at Leiden, & in 1636 settled in Antwerp L&L
Speciality/Phases: In Leiden he painted vanitas still-life’s of scholarly books in subtle grey & ochre tones; & in Antwerp lavish foodstuffs & flowers with precious metal vessels & glassware. These combined Flemish Baroque exuberance & colouristic splendour with Dutch compositional & tonal control L&L
Verdict: He was one of the greatest still-life painters L&L
Status: He & Jan Baptist Weenix powerfully enlivened the rather unprogressive & weak painting in Utrecht Haak p402

..Jan Jannsz DE HEEM, 1650-after 1695, son of Jan Davidsz, who founded the dynasty, & brother of Cornelis, Netherlands=

Background: Born Antwerp Grove14 p290
Training: His father Grove14 p290
Career: De Heem was in Utrecht from 1667 to 1642 with his family, but little else is known Grove14 p290
Oeuvre: Paintings Grove14 p290
Characteristics: His paintings are somewhat larger than his father’s & the detailing & glazing are less elaborate Grove14 p290

Dehesa. See Perez de la Dehesa

– DE LA DEHESA, Bartolome Perez 1634-98, Spain:

Training: Juan de Arellano, who was his father-in-law L&L p523, Brown p242
Career: He was made an honorary court painter in recognition of his work in theatre design at the palace Grove24 p401
Oeuvre: Flower pieces were his speciality as in
Flowers in a Sculpted Vase, 1666 (Fitzwilliam Museum, Cambridge) some of which display greater delicacy of touch than Arellano`s. Here the blossoms have an extraordinary velvety quality & apparent movement. He also painted religious works L&L, Wikip, Grove24 pp 400-1
Characteristics: His work is subtle with designs that are understated & at their best almost languidly elegant Brown p242
Repute: He is only starting to emerge from the shadows Brown p242

-DE HESDIN, Jacque Mart, recorded 1384-c1413, France:

Background: Hesdin was a fortified town in the Pas-de-Calais, a stronghold of the Dukes of Burgundy Wikip
Influences: Jean Pucelle & Sienese art, particularly Simone Martini. Also, Jan Boudolf of Bruges with whom he collaborated Grove16 p852
Career: From 1384 he was employed by Jean, Duc de Berry & collaborated on Books of Hours Grove16 p851
Oeuvre: Illuminations & possibly painting Grove16 pp 851-2
Characteristics: He had a refined style as in Road to Calvary, before 1409 (Biblioteque Nationale, Paris). His work features greater naturalism & a more confident rendering of space Grove16 p852
Grouping: He was one of the Belgian illuminators who worked for the French monarchy from around 1350 Grove16 p851

– DEINEKA, Alexander, 1899-1969, Russia:

Background: He was born in Kursk OxDicMod

Training: 1915-7 At the Karkov Art Institute, 1914-17; & at the Vkhutemas in Moscow after serving in the Red Army OxDicMod, Bown1991

Influences: Following the Revolution the Bolsheviks promoted female emancipation & the so called New Soviet Woman. When asked about her appearance in his works he said that what was wanted a new type of woman full of vigour in place of the aristocratic elegance favoured by Turgenev [& to be found for instance in many Tzarist works]. Bown1991 pp 82-83

Career: Taught at various art Moscow art institutes beginning with the State Free Artistic Studios, Moscow, 1920, & ending in 1963. He belonged to OSt/Society of Easel Painters, which promoted industrial subjects in the cause of the Revolution, 1925-7; the October Group 1928-30, October Group; 1931-2 Association of Proletarian Artists; during the 1930s was allowed to exhibit & travel abroad in France, Italy & the USA; produced a mosaic ceiling decoration for the Novokuznetskaya metro station, 1943-4; was sent in uniform & with a high rank to Berlin to record events in the fallen capital, 1945; was criticised for modernism during the post-war political crackdown; & in 1960 he joined the Communist Party OxDicMod, Bown pp 42, 160, 216, 240-1

Oeuvre: Townscapes, industrial & war scenes, paintings of athletics & sport; & also sculpture webimages

Phases: His early work was innovative. During the 1930s it was more conformist but had a continuing honesty & humanity. A notable [as in] example is his Collective Farm Worker on a Bicycle, 1935 (Russian Museum, St Petersburg) which together with other works display the way in which he avoided the strident propaganda element in Soviet painting OxDicMod, Leek pp196-97, Bown pp215-16. During the Second World War he painted graphic scenes of devastation & resistance as in Burnt Village, & The Defence of Sebastopol, with their outstanding use of chiaroscuro & colour, including pristine highlights in the latter painting, both 1942 & Russian Museum webimages

Feature: In his paintings of athletics & sporting activities he depicts the New Soviet Woman who is active &/or skilled as in Expanse, 1944 (Russian Museum) & Youth, 1961-2 (Wikiart)

Verdict: He was a superb designer; & continued to produce vigourous & fresh work under Socialist Realism L&L

Collections: Deineka Picture Gallery, Kursk

De Jaunes. See Macip/Masip.

-DE HOLLANDA/HOLANDA, Francisco, 1517-84, Portugal:

Background: Born Lisbon the son of Antonio de Hollanada, an illuminator & Miniaturist, who came from Belgium Grove14 pp 658-9

Training: As an illuminator by his father Grove14 p659

Influences: Raphael, Baldassare Peruzzi Polidoro da Caravaggio Grove14 p660

Career: He was brought up at court & has a sound humanist education. In 1537 he went to Rome to make drawings of fortresses, met leading humanists including Michelangelo; visited Venice; returned to Portugal & entered the household of King John III, 1541; began an illustrated world history,1545; & completed an unpublished treatise on art & another on portraiture. Subsequently he worked for Queen Catherine, 1557-62 Brigstocke p343, L&L, Grove14

Oeuvre: He was mainly an illuminator but painted papal & royal portraits &, a small religious work. Other activities included work on costume design & fortifications, etc L&L p250, Grove14 pp 660-1

Characteristics: His key works were numerous drawings some in colour of the creation of the world up to the flood. God is not represented anthropomorphically but by means of triangles & circles as in his drawing The First Day in which a circle & three triangles represents the unity of the trinity Grove14 p660

Treatise on Painting: Inspired by Michelangelo & the Florentine Neo-Platonists thought the true painter had an inner gift enabling him to transcend the physical world & in a state of divine fury, guided by inspiration, become an original creator, thus anticipating the central idea of Romanticism Grove14 p660.

Influences: Federico Zuccaro & Filipe de Guevera Grove14 p660

DE HOOCH, Pieter, 1629-active 1684, Netherlands=Delft & Amsterdam:

Background: He was born in Rotterdam. His father was a bricklayer & his mother a midwife. By the mid-17^th century, the medieval extended family was increasingly replaced by the nuclear group. There was a tremendous demand for paintings of domesticity. It coincided with a shift towards houses in which rooms had different purposes TurnerRtoV pp 165-6, Franits p162

Training: Berchem (Houbraken) TurnerRtoV p165

Influences: Vermeer, & from about 1660 Nicolas Maes L&L

Career: In 1655 he joined the Guild of S. Luke TurnerRtoV p165. He worked in worked Delft for most of the 1650s, moved Amsterdam in the early1660s, & died in a madhouse TurnerRtoV p165, OxDicArt

Phases/Characteristics: From about 1647 to 1655 he specialised in guardroom & barrack L&L. He then began painting genre interiors & sunny courtyards which feature light tonality, dramatic perspective, & an exceptional responsiveness to natural light with an ability to capture subtle light effects. The light changes as it passes through complex architectural constructions & a sense of stillness is conveyed. His subject matter included Merry Companies in which elegantly dressed young men & women were gaming or drinking, together with more innovative images of woman engaged on household chores, caring for children or supervising maidservants TurnerRtoV pp 165-6. After he moved to Amsterdam he painted highly decorated salons, fashionable music parties & villa gardens, using harsh chiaroscuro. After about 1680 his work deteriorated alarmingly TurnerRtoV p166, Hodge2020p81, L&L

Characteristics: subtle effects of daylight & views to adjoining spaces TurnerRtoV p156 His pictures do not have hidden meanings & are not highly moralizing, though he occasionally used the device of a painting within the painting to comment on the scene TurnerRtoV p166

Innovations: Genre scenes in sunlit courtyards, & views through & beyond a particular room or what are known as Doorkijkje (See through door). In his work & that of Terborch the last traces of condescension disappear TurnerRtoV p165, Hodge2020 p91, OxCompArt p466.

Patrons: Initially a linen merchant for whom he worked as a servant. They were wealthier in Amsterdam than in Delft Turner RtoVp165, Hodge2020 p92

Verdict: His sunny yards & paintings of light streaming into a burger house are among the finest Dutch genre OxDicArt

Grouping: He is generally included in the Delft School OxDicArt

Followers: Hendrick van den Burgh, Pieter Elinga, & probably Cornelis de Man, Esaias Bourassa, Jacobus Vrel & Jacob Ochtervelt. Hans Van Meergeren!!! TurnerRtoV p167

– DE/DEI GRASSI, Giovanni/Giovannino/Johannino, recorded 1389-98, Italy=Lombardy; International Gothic:

Background: He was born in Milan Wikip
Training: In Pavia by Pietro de Pavia Wikip
Influences: They were Italian & trans-Alpine L&L, p279
Oeuvre: Paintings, stained-glass window design, illustrations, sculpture, architecture L&L, Grove13 p318
Career: He undertook works for the Milan Cathedral & was involved in its design & worked at the court of the Visconti of Milan Grove13 p318, See Model Book of Giovannino d Grassi , web
Innovation/Characteristics: He made drawings of animals from direct observation as in the Model Book of Giovannino de Grassi which contains 77 drawings of exotic animals & groups of people performing various activities (Bibliotheca Civica, Bergamo, Italy). [Reproduce an illustration] He also produced works in light bright colours which are richly gilded with scintillating liquid & burnished gold Model Book, L&L, Grove13 p318
Status/Legacy: His Model Book was a milestone in Italian Gothic book art, an indispensable resource for later artists.
Grouping: His work anticipates International Gothic L&L
Brother: Porrino, active 1395-9, painter & illustrator who also worked for the cathedral Grove13 p319, Brigstocke
Son: Solomone, active 1395-1400 illuminator, painter & designer who also worked for the cathedral Grove13 p319, Brigstocke

..DE KEYSER, Nicaise, 1813-87, Belgium, Antwerp:

Training: Studied under Van Brée at the Antwerp Academy, where he was much influenced by the work of Rubens Norman1977
Phases: Began with history paintings, before turning to well-researched historical battle scenes. In the 1840s he began painting literary genre. De Keyser was also a successful portraitist Norman1977
Repute: Contributed to the international fame of the Belgian Colourists Norman1977

*DE KOONING, Willem, 1904-97, USA; Abstract Expressionism:

Background: He was born at Rotterdam where his father was a liquor distributor & his formidable mother ran a sailors’ bar OxDicMod, Hughes1997 pp 474-75

Training: Apprenticeship to a commercial art firm,1926; & at night at the Rotterdam Academy, 1916-24 OxDicMod

Influences: Initially his academic training & the Old Masters His friends Gorky & Graham encouraged a style of spontaneity & risk; unlike other Abstract Expressionists he was not inspired by the primitive Grove8 p 633, L&L p190, Hughes1997 pp 467, 475

Career: In 1926 he went as a stowaway New York where he jumped without papers, made money as a carpenter, & a house & sign painter; worked on the Federal Art Project on abortive mural projects, 1935-6; & then became a full-time painter. Latterly he became an alcoholic & suffered from Alzheimer’s disease although he went on painting OxDicMod, Hughes1997 pp 475, 480, Grove8 p634

Oeuvre: Painting & from 1969 sculpture OxDicMod

Phases/Characteristics: During the 1930s he painted both abstractions & paintings of dejected depression era men. They are a mix of Picasso & Ingres as transmitted through Gorky & Graham. In 1938 he began his first series of Women painted in increasingly bright & violently contrasting colours as in the erotic Seated Woman, c1940 (Philadelphia Museum of Art). From around 1940 his figures increasingly consist of scattered parts tied together against rectilinear backgrounds in hot & sweet colours, & then none in the Black-&-white Abstractions, 1945-50, which made his reputation in 1948 Grove8 p634, Hughes1997 p475. During 1950-52 he worked in his momentous Woman which because of its rejection of abstraction & manifest return to figuration, which however he had never completely abandoned, caused a sensation, when exhibited in 1953 at the Sidney Janis Gallery along with five other Women paintings. The shock & horror which they caused was not merely due to the way in which De Kooning had apparently turned the clock back & repudiated abstraction but also because it was ugly, horrific & menacing. The woman with her monstrous breasts, blank yet penetrating stare, & frozen grin appears to have emerged from Hell. It was attacked as violent, ferocious & sexist. What De Kooning’s critics had failed to recognise was this was a scathing comment on the banal world of film, TV & advertising. De Kooning disengaged from his women paintings by gradually converting his women into landscapes from 1955 & from about 1960 his landscape inspired abstracts became more painterly & lush with their sweeping brushwork & sensual splashes of colour. From the early 1980s his work became increasingly lyrical & his final paintings were far more thinly painted & elegant as in Pirate,1981 (MoMA) Grove 8 p635, OxDicMod, Hughes1997 p480

Feature: The crucial element in his work was its ambiguity & its creative use involving the fragmentation & reassemble of figures & objects. This reflected his view of the world as a flux of ever-changing possibilities. Hence his work is open-ended with a strong element of uncertainty with images that may evolve in any direction Grove8 p630 .

Beliefs: “I am eclectic artist by choice” &, when Clement Greenberg said it was now impossible to paint a face, 1949, De Kooning replied that it was impossible not to. By this he meant that no matter how abstract your painting people will always read images into it OxDicMod, L&L, Hughes1997 p477

Circle/Friends: He met Achile Gorky who became a close friend & introduced him to avant-garde circles. Other early friends were Stuart Davis & John Graham OxDicMod

Grouping: Abstract Expressionism of which he became together with Pollock the unofficial leader OxDicMod

Legacy: His works of the late 1940s & 50s led to hundreds of imitations but Jasper Johns & Robert Rauschenberg, the rising stars of the next generation, more or less reacted against him. The attempt to liberate themselves from his powerful example & gestural painting led [in reaction] to the work of Jasper Johns, Robert Rauschenberg & the Pop artists; while others were deceived by his seemingly easy-to-imitate style OxDicMod, Hughes1997 p479

Wife: Elaine, 1919-89, was also an artist OxDicMod

-DE LA CROIX, Charles-Francois (Lacroix de Marseille), c1700-1782, France:

Background: Born in Marseille Wikip
Training: Joseph Vernet, being his closest pupil Wakefield p161
Career: He went to Rome, in 1754 he exhibited with great success and then from 1776, spent much time between Italy & Provence Wakefield p161, Wikip
Oeuvre: Landscape & marine paintings Wikip
Characteristics/Verdict: His work was extraordinarily Vernet-like but his work had excessively sweet tones, his compositions were rather more crowded & elaborate with stronger verticals & tall, curving ships’ masts which produce a graceful effect. Sometimes however he produced excellent paintings as in his capriccio Mediterranean Seaport, 1750 (Hotel Sandelin,St Omer) Wakefield pp160-1

Laer. See van Lae

-DE LA CRUZ, Pantoja. 1553-1608, Spain:

Teacher: Sanchez Coello L&L
Career: He was court portraitist to Philip II & III L&L
Oeuvre: Portraits & religious works L&L
Speciality: Rich costumes Brigstocke
Characteristics: His style became increasingly hard with formal poses, stylised features & impassive expressions having a flattening effect. He adopted a softer style for less elevated sitters & chiaroscuro in religious works Brigstocke
Influences: His poses on Velazquez, etc L&L

de la Cruz, Pantoja. See Pantoja de la Cruz

*DE LA FOSSE, Charles, 1636-1716, France:

Training: Lebrun L&L
Influences: Pietro da Cortona, Veronese & Correggio Blunt1954 p271
Career: During 1655-60 he studied in Rome, spent 1660-3 in Venice, & visited Modena & Parma. In the later 1670s he mainly assisted Lebrun at the Tuileries & Versailles L&L, Blunt1954 p272. He supported his friend de Piles in the controversy over colour OxDicArt. During 1689-92 he was in London decorating Montagu House but was summoned back to Paris L&L
Phases: During the 1680s he abandoned Classicism for colourism L&L
Style: Baroque during 1680, when abandoned Classical, L&L, Blunt1954 pp 272-3, H&P p166
Friends Roger de Piles L&L
Status/Verdict: He was one of the most original of a group of history painters which included Noel & Antoine Coypel & the Boulogne’s. He anticipated Rococo & his nymphs have a slender elegance & rosy flesh-colour which foreshadows Boucher L&L, Blunt 1954 p273
Innovation: He was the first French artist to make full use of Rubens as a model & inspiration Blunt1954 p272
Patrons: The Church was his mainstay Wakefield p12

-DE LA FRESNAYE, Roger, 1885-1925, France:

Background: He was born in Le Mans into an aristocratic family & with a father in the army Wikip
Training: In Paris at the Academie Julian, 1903-4; at the Ecole des Beaux-Arts, 1004-8; & at the Academie Ranson under Maurice Denis & Paul Serusier from 1908 Wikip
Influences: Braque & Picasso but also Robert Delaunay Wikip
Career: In 1909 he encountered the Expressionists in Munich & 1911 went to northern Italy. Was a member of the Puteaux Group, & Section d’Or, 1912-4; enlisted in the army; was discharged with tuberculosis, 1918; & ceased painting in 1922 Wikip
Oeuvre: Paintings & drawings Wikip
Phases/Characteristics: His early work was dream & Nabis-like; & then Cubist but with a decorative feel & prismatic colours & lyricism from Delaunay as in The Conquest of the Air, 1913 (MoMA & Musee d’Art Moderne de Troyes)
Grouping: The Puteaux Group Wikip

*DE LA HYRE, Laurent, 1606-56, France; Baroque Classical

Background: He was born in Paris & his father was the painter Etienne de la Hyre L&L p385, Brigstocke p402

Training: His father & in the studio of Georges Lallemant at the Chateau de Fontainebleau, 1622-5, where he copied works by Francesco Primaticcio & painted erotic scenes in a Mannerist style Brigstocke, L&L

Career: By the late 1630s he was a well-known painter & greatly in favour with the Capuchins & other religious orders. In 1639 he was commissioned by Cardinal Richelieu & was a founder member the Academy, 1648. Around this time worked a good deal for financiers, royal officials’ other private patrons. He was a great huntsman & loved the Il-de-France countryside L&L, Grove18 pp 648-9

Oeuvre: Large altarpieces, mythological & allegorical works, landscapes, portraits, drawings, prints & tapestry design Brigstocke, L&L,Grove18 p648

Development/Feature: From the late 1620s he largely abandoned a period of Caravaggesque naturalistic & brutal realism as in the Martyrdom of St Bartholomeo, 1627 (Cathedral of S, Vincent), & eventually became one of the chief exponents of French classicism using a lighter palette & more static compositions as in The Death of the Children of Bethel, 1653 (Musee des Beux-Arts, Arras) L&L. Brigstocke, Allen p107). However, his mature Classicism was slow to emerge & he meanwhile experimented with Baroque animation as in The Conversion of St Paul, 1637 (Notre-Dame, Paris). Moreover, in his Landscape with a Lute Player, c1650 (Musee des Beaux-Arts, Lille) there is a dead tree which disturbs the otherwise classical serenity provided by a foreground featuring pellucid light, shimmering water & dignified ruins Allen pp 88-89, 109-10, Grove18 p649

Verdict/Influence: Opinions differ about his artistic merit. His works have been praised for their integrity, variety, range & development, but he has also been regarded as an artist of minor talent whose influence was never considerable Allen p109, Blunt1954 p172

Repute: It was high during 18^th century especially during the Neo-classical period, during the 19^th his work fell from favour but from around 1950 his importance has been recognised Grove18 p648

Brother: He trained Louis De La Hayre, 1629-53, & possibly his other seven siblings who became painters L&L, Grove18 p648

*DE LAIRESSE, Gerald, 1640-1711, Netherlands (Belgium): Baroque Classical

Background: His father was a painter L&LO
Training: This was under a classicising painter from Paris L&L
Career: He had precious talents & was soon established as an artist Wilenski p118. Fleeing from a broken engagement to Utrecht, he settled in Amsterdam around 1665 he settled in Amsterdam. He initially admired Rembrandt but switched to a French Academy style of painting under the influence of an intellectual circle who admired Poussin & Lebrun. He become an instant success. Around 1690 he went blind but wrote influential art handbooks L&L, Wilenski p118
Oeuvre: Easel paintings of mythological scenes & vast decorative schemes for palaces, public buildings & the houses of rich merchants L&L
First Dutch painter of illusionistic ceiling works on canvas L&L
Beliefs: In 1669 he declared that Rembrandt’s work was vulgar, prosaic & rotten Wilenski p93
Personal: He was a well-known & flamboyant figure who engaged in debauch & continual affairs despite being ugly Wilenski pp 118-9
Grouping: The Dutch Classicists MB

*DE LARGILLIERRE/LARGILLIERE, Nicolas, 1656-1746, France:; Baroque

Background: He was born in Paris into a prosperous hat making family Wakefield p14

Training: Antwerp under Antoine Goubaud who was a still-life & peasant scene painter L&L, Blunt1954 p277

Influences: English, Flemish & Dutch portraits L&L

Career: In 1672 he entered Guild in Antwerp Wakefield p14. From about 1674 to 1680 he was Lely’s drapery & accessory assistant in London. During 1682 he settled in Paris but paid a short visit to England in 1685 England. In 1686 he joined the Academy & during 1738-42 was its director L&L, Blunt1954 p277

Specialities: Group portraits of the Parisian city elders (echevins) Wakefield p14

Oeuvre: Prolific portraits of magistrates, civil servants, artists, actors & actresses etc. He also painted religious works, still-life’s & landscapes OxDicArt, Wakefield p16

Characteristics: Like those of Van Dyke though without his melancholy Allen p210. His style was transitionalBlunt1954 p277. It was similar to Rigaud’s & rich & glamourous rather than pompous Allen p210. His freedom of handling & his rich, mellow colours were far beyond beyond the standards of strict academicism Wakefield p16

Status: By the end of the 1680s he was the favourite portraitist of the rich Parisian bourgeoisie L&L, Blunt1954 p278

Innovation: He painted the first state-portrait of an artist, namely Charles Lebrun Blunt1954 p278

Friend: Rigaud, who was his rival, & Francois de Troy L&L, Wakefield p48

Verdict: His best portraits were vigorous, forthright & colourful, but his worst were pompous & vacuous L&L

Trained: Oudry L&L

.. Eduardo Cana DE LA PENA, Eduardo Cana, 1823-97, Spain; National Romanticism:

Background: Born Madrid Grove5 p621
Training: Escuela de Nobles Artes, Seville, 1833-40, & Real Academia de S Fernando Grove5 p621
Career: In 1818 he joined the Academia de S Isabel de Hungria of Seville & taught there from 1859, reforming art teaching. He established the genre of history painting in Spain at the Exposition Nacional in 1856 with his Christopher Columbus in the Convent of La Rabida Grove5 p621
Oeuvre: Paintings, watercolours & illustrations Grove5 p621
Phases: During 1851-61 he concentrated on portraits mainly of women or children Grove5 p621
Characteristics: He faithfully recorded historical scenes Grove5 p621
Status/Legacy: He was an important link between Romanticism & Realism & the renewal of history painting in Spain as in Burial of Don Alvaro de Luna, 1858 (Prado) Grove5 p621

*Narcisse Diaz DE LA PENA, 1808-76, France:

Background: He was born in Bordeaux.   His father was an immigrant Spaniard L&L
Influences: His friends Dupre, Raffety & Cabet; also copying in the Louvre Norman1977.
Career: This began with an apprenticeship in a printing works & he then painted porcelain at Sevres.   From 1837 he was constantly with Theodore Rousseau at Barbizon.   His international reputation became important around 1870  Norman 1977
Oeuvre: Landscapes & figure groups, often mythological in landscape settings Norman1977
Speciality: The flickering nuances of light & shade in deep forest Norman1977
Phases: Initially he painted romantic figure subjects inspired by Delacroix.   His mature style developed at Barbizon Norman1977
Characteristics: Lively handling of the brush L&L
Verdict: His genre scenes now seem rather artificial & sweet L&L
Grouping: The Barbizon School Norman1977
Influence: Monticelli & Fantin-Latour Norman1977.   His landscapes encourage Van Gogh etc to combine a personal mode with a close observation of nature L&L

-DELAROCHE, Paul, 1897-1856, Horace Vernet father-in-law, France; Troubadour Movement

Training: 1816-7 at the Ecole des Beaux-Arts under Watelet, then with Desbordes; & in 1818 went to the studio of Antoine-Jean Gros, where Bonnington was a fellow pupil TurnerDtoI p136
Career: In 1822 Delaroche made his Salon debut, & in 1828 the Death of Queen Elizabeth established his reputation & was his first English history painting. He became a professor at the Ecole des Beaux-Arts in 1833. During 1833-4 he was in Italy. In 1837 he produced his first major religious work. It was ill received & he ceased to exhibit his works (until 1841). Much of his time was spent on The Hemicycle/Artists of All Ages. Latterly he mostly painted religious works and French history paintings TurnerDtoI p136-7
Characteristics: Scrupulous historical accuracy, a glossy finish, theatrical compositions which are often waxwork- like TurnerDtoI p137-8
Verdict: His historical scenes were shallow Novotny p33
Pupils: Couture, Gerome, & Daubigny TurnerDtoI p137, Leymarie p122
Influenced: British historical genre painting Treuherz1993 p24
Collection: The Wallace Collection

..DE LASZLO, Philip/Fulop, 1869-1937, Hungary/Britain:

Background: Born Budapest Grove18 p822
Training: The Budapest Design School, in 1890 to the Akademie der Bildenden Kunste Munich & 1890-91 at the Academie Julian, Paris Grove18 p822, Shone1977 p222
Career: He settled England in 1907 & held a one artist exhibition at the Fine Art Society.   He rapidly established a great reputation as a portrait painter.   In 1911 he was a founder member of the National Portrait Society Shone1977 p222.   In 1914 he became a British citizen & Professor at the Royal College of Art Grove18 p822
Speciality: Royal & society portraits landscapes Grove18 p822
Phases: Genre & also some landscape & history painting    He then turned to portrait painting & showed his first royal portrait in 1894 Grove18 p822, Shone1977 p222
Characteristics/Verdict: He was clearly a highly accomplished portrait painter who knew his trade, & was for instance skilled at handling fabrics. But was he, like Sargent, something more?   Did he too create a speaking likeness & paint more than the person he faced, namely a person often larger than life & a painting not infrequently making a comment on upper class society?   The answer appears to be negative. Many of his sitters are wooden, though this they may have been. [However he was of course painting royals, aristocrats & the upper classes at a time of decline.]  webimages.
Repute: He is not itemised in the Yale Dictionary, or the Oxford Dictionary of Modern Art, Brigstocke & he is not mentioned in Spalding,1986.   His work has been described as “glittering degradation” [says an art critic making a typically uncharitable comment.] Shone1977 p13, See Art Critics & Criticism: A Critique in Section 7

** Georges DE LA TOUR, 1593-1652 (confusable with Maurice-Quentin) France: Rococo

Background: Born at Viv-sur-Seille Brigstocke

Influences: Terbruggen & Hornhurst in c1621 & around1639-42. There was a Franciscan religious revival in Lorraine which was reflected in religious pictures of humble folk & settings L&L

Career: Little is known & it is not clear whether his Caravaggesque manner was acquired through direct study in Rome or from French & Dutch artists. In 1620 he became a master at Luneville, Lorraine, where he mostly remained, though he was probably in Paris during 1638-9 Brigstrocke, Blunt1954 p177, Allen p43.

Oeuvre/Characteristics: Only 35-40 works are known. His work divides into (a) day scenes which are often theatrical & flamboyant with figures in ostentatious dress making side-long glances & knowing gestures. Here Le Tour’s work is more expressive than Caravaggio’s; & (b) night scenes, almost always by candlelight -not used by Caravaggio- with their simplified forms & an absence of distracting violence & movement Brigstocke, Treves p27

Phases: His early works featured detailed naturalism, featuring chiaroscuro, of peasants, card-sharpers & other low-life genre Blunt1954 p177, L&L, OxDicArt. From the early 1630s he painted religious night scenes of unshaded candles in warm coppery tones but they remained naturalistic L&L, Allen p46, Blunt1954 p78. He finally employed shaded or unshaded candle-light effects but now his forms were generalised & non-naturalistic possessing a mysterious stillness which was monumental yet intimate Blunt1954 p178, L&L.

In his mature work De La Tour eliminated all violence & movement, & his work approached Poussin’s Classical & Champaign’s nobility Blunt1954 p178, Kitson1966 p75.

Verdict: Georges De La Tour was by far the greatest of the French realists who responded to Caravaggio Brigstocke

Clientele: It was mainly bourgeois together with French administrators Blunt1954 p177

Repute: He was only rediscovered in the 20^th century OxDicArt

– Maurice-Quentin DE LA TOUR/LATOUR, 1704-88 (confusable with Georges) France; 18th Century Realist

Background: Born in Saint Quentin L&L
Training: In Paris as an engraver Tardieu, Spoede, Restout Wakefield p68
Influences: He was impressed by Carriera’s success & pastels’ popularity and soon abandoned oils Wakefield p68
Career: After an early stay in London, he went to Pairs during Rosalba Carriera’s 1620-1 visit; her success leads to pastel adoption L&L; He exhibited in Salon 1737-73 Wakefield p68; From 1750-73 he was a portraitist to Louis XV; before having a nervous breakdown OxDicArt; He was popular with philosophes (admired his intellect), created portraits of Voltaire, Rousseau, D’Alembert, Diderot Lucie-S1971 p154
Characteristics: Vivid/vivacious pastels L&L, OxDicArt; with notable exceptions, no more than a superficial expression without inner truth though his aim Wakefield p67; He favoured bluish backgrounds which created a sense of distance Baur p17
Status: He was the best-known French portraitist of the mid-18^th century L&L; One of the most successful French pastelist of the 18^th century OxDicArt

Issues:
(a) draftsman ship: A swift & accurate draftsman ship both sketched & elaborate OxDicArt; always somewhat uncertain, at best in impressionistic preparatory studies Wakefield p68;

(b) Facture: portraits vivid/vivacious with superb velvet finish OxDicArt, L&L; he often ruined his portraits through over-working with freshness lost due to excessive hatching & unnecessary black chalk over pastel (mania for perfection); preparatory studies with sitters reduced to a few chalk strokes capture fleeting aspects of character Wakefield p67
Friends: Abbe Huber Wakefield p67; Diderot Lucie-S1971 p154
Beliefs: Enlightenment concern for reason, tolerance & humanity Wakefield p67
Status: Rococo Baur p17
Personal: temperamental instability, enthusiasm for passing fads Wakefield p67; presented himself as a character, capricious, vain, often rude L&L

.. DE MEDEIROS, Jose Maria, 1849-1925, Brazil: National Romanticism:

Background: He was born at Faial Island, Portugal Art Renewal Center site
Training: Lyceum of Fine Arts, 1867, & Imperial Academy of Fine Arts, 1868 Art Renewal Center site
Influences: Victor Meireles Bethell pp 77-8
Career: Professor at the Academy of Fine Arts, 1879-91, & at the Asylum of Desperate Minors, 1891-1911 Art Renewal Center site
Oeuvre: Landscapes, paintings featuring native Brazilians, & classical subjects Webimages
Characteristics: His early classical Independencies our Morte! 1878, is highly academic but the brushwork in his later works such as Iracema, 1881, is border & the colour more painterly Webimages
Grouping: He belonged to the National Romantic movement because he painted imaginary & idealised native Brazilians thus providing the nation with a fitting pre-history See Schwarcz p110 & painting following p262

..Jules-Elie DELAUNAY, 1828-91, France; Academic Painting:

Background: He was born in Nantes. Norman1977

Training: At the Ecole des Beaux-Arts under Joachim Sotta, Hippolyte Flandrin & Louis Lamothe from 1848, etc Grove8 p659

Training: He studied with Flandrin and Lamothe, entering the Ecole des Beaux-Arts in 1848. Norman1977

Influences: In his early work, Ingres, but after winning the first Rome prize in 1856, he was much influenced by the 15^th century masters Uccello, Botticelli and, especially, Gozzoli. Norman1977

Career: He won the Prix de Rome, studied at the Academie de France in Rome Grove8 p659

Oeuvre: Initially genre but then religious, historical & mythological works, together with portraits. He also received many important mural commissions including the Opera, the Palais Royal, and the Pantheon Grove8 p659, Norman1977

Characteristics/Verdict: He was able to construct a dramatic narrative in which feature sharply contrasting figures as in The Plague in Rome, 1860 (Musee d’Orsay, Paris) [Go to Section 3 & insert this work under NATURAL DISASTER. While there also insert Daniel Macdonald An Irish Peasant Discovering the Blight of the Store, 1847 (National Folklore Collection, University College, Dublin) & then look up Paintings of Famines on the web & select the half a dozen of the most graphic works, including the one by Watts) ]. His portraits are intensely characterised, vivid & colourful as in his Portrait de Mademoiselle Stephanie Brouset (Museum of Arts, Nantes) Grove8 p659, webimages

Grouping: He was an academic painter Wikip

Reception: He was a popular portraitist Norman1977

Repute: He is not itemised in the Oxford Companion, etc

Collections: Musee d’Arts de Nantes

– DEL BIONDO, Giovanni, recorded 1356-1399, Italy=Florence;

Influences: Giotto, Lorenzetti, Andrea & Jacopo di Cione, & Bernardo Daddi Wikip
Training: Initially he worked in Nardo di Cione’s workshop Wikip
Career: He lived in Florence from 1359 until his death Grove12 p708
Oeuvre: Religious works initially in fresco & then tempera on panels. He was prolific Wikip, Grove12 p708
Characteristics: Harsh, metallic treatment of form & violent colour contrasts in paintings that stress the symbolic nature of sacred imagery L&L p278
Phases: Initially his works are simple, brightly coloured & flattish. They are emphatically linear with dramatic chiaroscuro in his male faces, striking colour contrasts & delight in ornament. Gradually they gain in detail but his figures become more formalised & the use of assistants led to some loss of quality Wikip, White p560
Innovation: In his [as in] altarpiece Scenes from the Life of Saint Sebastian, 1370s (Miseo dell ‘Opera del Duomo, Florence) he is being shot at with arrows in the central section of the triptych in contrast to the customary treatment of a central non-narrative iconic image surrounded by narrative scenes
Repute: He is not mentioned by Ghiberti or Vasari Grove12 p708

..DEL CAIRO, Francesco 1607-65, Italy=Milan & Turin:

Background: He was born at Milan where mystical & intensely emotional visions were a creature of Baroque devotional art Grove5 p405

Influences: Morazzone & Crespi Grove5 p405

Oeuvre: Religious & mythological paintings Grove 5 pp405-6

Career: He fled from Lombardy due to plague & involvement in homicide. In 1633 he became court painter to Victor-Amadeus I, Duke of Savoy, in Turin but in 1637 spent year in Rome. By 1648 he had left Turin & returned permanently to Milan Waterhouse1962 p143, Grove5 p405-6.

Phases: Before 1639 he painted sharply lit works in orange, browns & greens, highlighted with whites & yellows. They are small with at most two figures close to the picture plane & carefully painted, mystical & emotional visions with a new clarity of space & gesture which feature tragic heroines revealing a morbid, sometimes melodramatic, fascination with violence & death as in Herodius with the Head of St John the Baptist Grove5 p405-6, Waterhouse1962 p143.

After his return from Rome, now under the influence of the grand, decorative style, warm Venetian colour & tender sentiment variously imparted by Pietro Cortona, Castiglione & Van Dyke, his work became less idiosyncratic. He used lighter colour without sharp contrast of light & dark, his figures fuller, his pigments thinner & his brushwork looser & more painterly as in the Virgin Appearing to Petrina Tesio, 1647 Grove5 p406.

During his later years in Milan from 1648 his work displayed declining intensity with a thinning out of form & pigment. Although his best works are sensitive & diaphanous with high-keyed blues, reds & yellows, others are vacuous & boring Grove5 pp 406-7, Waterhouse1962 p143

Status/Verdict: His later boring works end the brilliant, original & passionate era of early 17^th Milanese painting Waterhouse1962 p143, Grove5 p405

Patronage: Religious orders, especially the Carmelites Grove5 p405

Grassi. See dei Grassi

Mazo. See Velazquez

Mijtens. See Mytens

Milano or Giovanni da Milano. See Da Milano

Del Mazo. See Velazquez

** DEL CASTAGNO, Andrea, c1419-57, Italy=Florence; Early Italian Renaissance:

Background: Born at the mountain village of Castagno where his father was a farmer L&L p21, Grove6 p10
Training: He was possibly trained by an itinerant follower of Masaccio L&L
Influences: Masaccio, Donatello & Domenico Veneziano L&L

Career: He moved to Florence around 1437; helped complete frescoes in Venice, 1442; & went back to Florence. In 1454 he & assistants were paid work in the Vatican palace L&L, OxDicArt, Grove6 p13

Oeuvre: Frescoes, tempera on panel, & the design of stained glass windows & mosaics L&L

Characteristics: The three-dimensional depiction of figures defined by strong contours & emphatic line which, together his ability to portray movement & disquieting facial expressions, produce an effect verging on illusionism. His great works the fresco series of 1447, for the former convent of S. Apollonia have emotional vigour & sinewy realism. Andrea’s colouring is highly original & ranges from those which are softly glowing to the use of striking contrasting blue greens & salmon pinks etc in the same painting as in his Last Supper, 1445-50 (Museo di Cenacolo di Sant Appolonia, Florence), & in his Crucifixion, c1450 (NG) Grove6 pp 10-13, OxDicArt, Brigstocke, webimages. From 1453 until his death he painted further great frescoes, this time in SS Annunziata, Florence including the [as in] Trinity Appearing to SS Jerome, Paula & Eustochium, c1455 9 (Carboli Chapel) with Jerome depicted with relentless realism Grove6 pp 10-14, OxDicArt, Brigstocke, webimages.

Innovation: The use of preparatory drawings for fresco painting rather than sketches/sinopia on the wall which were then covered by plaster. Preparatory drawings hitherto impossible because of the absence of large paper provided greater accuracy Grove6 p14.

Status: He was one of the most powerful Florentine painters in the generation after Masaccio & was during his time the foremost exponent of disegno OxDicArt

Feature: He painted an equestrian portrait & a sacra conversazione OxDicArt

Influenced: Mantegna, Antonio Pollaiuolo, Andrea del Verrocchio, Francesco del Cossa; & also the introduction of Florentine innovations into Venice Grove6 p14, L&L, Brigstocke

Repute: Vasari praised del Castagno for his mastery of disegno but criticised his ungraceful colouring, & 19^th century critics from Cavalcaselle to Berenson regarded his realism as vulgar & brutal. Subsequently his figures have been regarded as dignified, stoic & creating a powerful presence, as reinforced by his colours Grove6 pp14-15.

-DEL CASTILLO, Juan, 1590-1657, the nephew of Pablo Legot, the husband of the daughter of Vasco Pereira & Anton Perez, & the husband in his second marriage of a close relative of Alonso Cano, & a cousin by marriage of Murillo’ mother, Brown pp 5, 100, Spain=Seville:

Training: Zurbaran L&L
Influences: Vazquez, Pereira & Pacheco Brown p104
Oeuvre: Religious frescoes & oils Wikip
Characteristics: According to one authority he has a backward looking Italian-Flemish style, as shown in the Adoration of the Shepherds, 1630 but commissioned in 1636!! Brown p104. However, another authority says that in his most important commission, 1636, for Monte Sion the naturalistic details & vivid colours show the links with Roelas despite harder drawing than in a previous work Grove6 p48. Most of his paintings appear to be dark. static & undramatic so it looks as if he was backward looking Webimages
Status: He was a major painter in Seville during the 1630s & 40s Brown p5
Pupil: Antonio Castillo; Murillo L&L
Grouping: Baroque Wikip

– DEL CASTILLO Y SAAVEDRA, Antonio, 1616-68, Juan’s nephew, Spain=Seville:

Background: He was born in Cordoba & his father Augustin, 1565-1626, was a minor painter Brown1998 p207, L&L
Training: His uncle Juan L&L
Influences: Zurbaran’s dramatic sobriety; Bloemart & other Netherlandish engravers & their genre treatment of religious subjects; Frans Francken the Younger & his workshop Murrays1959, Brown1998 p207
Career: After his marriage in 1635 he began his career as a painter & polychrome. His best known works are six paintings depicting Joseph’s life painted in the 1660s as in the Triumph of Joseph (Prado) with its colourful costumes & theatrical setting Brown1998 p207
Oeuvre: Religious paintings & landscapes featuring peasants webimages
Characteristics: Despite his eclecticism he developed an engaging individual manner with sculpturesque yet lively figures. Both his colouring & content are dramatic Brown1998 p207, webimages
Pupil: Valdes Leal L&L

..DEL CONTE, Jacopino, 1510-, Rome, Italy:

Background: Born Florence Freedberg p303
Training: Andrea del Sarto Freedberg p303
Influences: Michelangelo, Raphael Grove7 pp776-7
Career: He settled in Rome in 1638, & belonged to the Accademia di S. Luca Grove7 p776
Oeuvre/Phases: Initially devotional works of moderate size; altarpieces, frescoes, & portraits. The austerity of his earlier work was replaced by ornamental opulence & then around 1550 by increasingly sober & schematic painting Grove7 pp776-7
Status: During the 1540s he was the favoured portraitist of the Roman clergy & aristocrats Grove7 p777
Grouping: High Mannerism Freedberg p300

– DEL COSSA Francesco, 1436-78, Italy:

Background: He was born in Ferrara, a mason’s son Brigstocke
Influences: Mantegna & Piero della Francesca OxDicArt
Career: He worked in Ferrara painting carvings for his father & in Bologna where he appears to have settled after 1370. Together with Cosimo Turra he painted elaborate fresco depictions of the months of the year for Duke Borso d’Este at Ferrara at the Palazzo Schifanoia but, disappointed by low payments, he abandoned work & settled Bologna after 1370 & executed altarpieces under the patronage of the Bentivoglio family Webb p107, L&L, Wikip
Oeuvre: Frescoes, religious paintings, portraits & stained-glass design Brigstocke, Wikip
Characteristics/Phases: Precise, expressive line; strongly contoured sculptural forms, & metallic colours against elaborately fanciful ornamentation. His months are sophisticated secular decorations in glowing colour including scenes of court & city life. His [as in] Griffoni altarpiece of which there are parts at the NG & the Pinacoteca Nationale, Bologna, are more sombre & monumental Brigstocke, OxDicArt p426
Innovation: His season fresco, the Allegory of April has a very early depiction of the Three Graces Wikip
Status: With Roberti & Tura he was the leading artist in Ferrara during the period OxDicArt
Grouping: The School of Ferrara Wikip
Follower: Leonardo Scaletti of Faenza Wikip

.DE LELIE, Adrian, 1755-1820, Netherlands:

Background: He was born at Tilburg Grove19 p116
Training: He was largely self-taught but received some training from Cornelis van Spaendonck Grove19 p116
Influences: Rubens, van Dyke & Dutch 17^th century genre Grove19 p116
Career: He went to Antwerp in 1733 where he worked with Peters & Andreas de Quertenmont, & then to Dusseldorf & 1784 to Amsterdam Grove19 p116
Oeuvre: Historical, allegorical & genre scenes, art gallery & art class pictures, portraits & group portraits of the bourgeois & enlightened & cultural figures Grove19 p116, webimages
Characteristics: His work is highly naturalistic, he employed chiaroscuro with dual light sources Webimages
Feature: His work is extraordinarily Biedermeier-like

Webimages, Norman1987

..DE LEMPICKA, Tamara, c1895-1980, Russia/Paris/USA:

Background: Born in Moscow to wealthy parents OxDicMod

Training: De Lempicka studied at the St Petersburg Academy & under Denis & Lhote Hayward1979 p128

Influences: Art Deco Hayward1979 p128

Career: In 1916 she married Tadeusz de Lempicki, a Russian lawyer & socialite, & in 1918 they fled to Paris OxDicMod. She exhibited at the Salon des Independents from 1923 Hayword1979 p128. In 1939 she moved to America with her second husband, baron Raoul Huffner, & repeated her artistic success in New York & Hollywood. Between 1963 & 1978 she lived in Houston &, although she ceased to exhibit, continued to paint OxDicMod

Oeuvre: Portraits which in Paris were of those in smart social circles. The figure compositions are mainly of hefty erotic nudes, & the still-life’s depict tropical calla lilies Hayward1979 p128, OxDicMod

Characteristics: Hard, streamlined elegance & sense of chic decadence. By the 1950s her work went out of fashion & she tried working in a much looser style & even painted abstracts OxDicMod

Personal: She had a voracious bisexual appetite & became a social celebrity in Paris & America OxDicMod

Status: De Lempicka better than anyone else represents is an Art Deco painter OxDicMod

Repute: Interest in her started to revive in the 1970s & by the 1990s her work was fetching enormous prices OxDicMod

Della Porta. See Fra Bartolommeo della Porta

.. DE LIMA, Vitor Meireles, 1832-1903, Brazil; National Romanticism:

Background: He was born in th southern Santa Catrina province Encyclopedia.com
Career: He was one of the Emperor’s proteges. After receiving a travel stipend in 1852 he went to Europe for eight years. He painted The First Mass in Brazil, 1860, became pofessor of history painting at the Academy & during 1866-79 received important commissions for works depicting scenes from the recent war with Paraguay & the battle, 1648, in which black, indiginous & Brazilian troops fought against Dutch colonialists: Primeira Batalha dos Guarapes, 1879. In The Legend of Moema, 1866, he painted a beautiful & seductive native woman who representred the nation Schwarts p1100, after p262, Encyclopedia.com.
Oeuvre: History paintings, landscapes & portraits Encyclopedia.com.
Status: With Pedro Americo de Melo he was one of Brazil’s most important early historical painters Encyclopedia.com
Grouping: Brazilian Romabtic academicism Schwarts after p262

**DELL ABATE/ABBATE, Nicolo/Nicollo 1512-71, Italy:

Background: He was born at Modena the son of the stuccoes, Giovanni Grove 1 p17

Training: Almost certainly his father & the stuccoes & sculptor Antonio Begarelli Grove 1 p17

Influences: Giulio Romano, Raphael, Correggio, Parmigianino, Dosso Dossi, Netherlandish landscape Grove1 p17, L&L

Career: After apparently serving as a soldier, he was by 1537 working under Alberto Fontana in Modena. From 1547 he was in Bologna but in 1552 he went to France mainly working at Fontainebleau where he appears to have worked under Primaticcio. He stayed in France until his death Grove 1 p17, OxDicCon

Oeuvre: Decorative fresco cycles & landscapes with mythological figures, together with portraits; also tapestry design & artisan work L&L, Grove1 pp?-19

Grouping: Mannerist Clark1949 p95, L&L

Status: He was a most important artist of the first Fontainebleau School Grove1 p17

Phases: His early works display a love of the picturesque, pastoral & scenes featuring the concert. Around 1540 he painted frescoes based on Virgil’s Aeneid. In 1645 he & Fontana decorated the Sala dei Conservatori of the Palazzo Público, Modena. His early works display a love of the picturesque, pastoral & scenes featuring the concert as in his [Wikimedia Commons] Concert, c1550 (Palazzo Poggi, Bologna) Grove 1 p17.

Characteristics: His mature paintings in oils as in The Death of Eurydice, c1565 (NG), & the Rape of Proserpine, c1670 (Louvre) are works of high drama both in subject matter & in composition featuring dark stormy skies partly relieved by whitish areas, chiaroscuro of an extreme type, gesticulating naked female spectators, & a fleeing woman with buildings in the background

Innovations: The idyllic classical style derived from Italian Mannerism which he brought to France Grove 1 p19

Influenced: The Carracci’s L&L

Patrons: Anne Duc de Montmorency Grove1 p19

Repute: He is not itemised in the Oxford Companion, though he is in WestS1996

Collections: The Palazzo Pozzi, Bologna. & the Pinacoteca Nazionale di Bologna

Son: Guilio Camillo, 1552-82, who worked at Fontainebleau Grove1 p19

-DE LOUTHERBOURG, Philip, 1740-1812:

Background: Born Strasbourg, the son of a minature painter Wakefield p163

Training: With Carle Vanloo, the engraver Jeab-George s Wille (who alerted him to Dutch landscape), & Francois Casanove, who painted battle & hunting scenes, & pastoral landscapes Wakefield p163

Career: He moved to Paris in 1755 became & made his debut at the Salon of 1763 with a landscape in the Dutch manner. This was praised by Diderot for its fresh colouring & truth to nature Wakefield p163. He became an Academician in 1767 . From 1767 he was in London & during 1773-81 was a stage designer at Drury Lane where he broadened the range & credibility of natural effects on stage L&L. In 1778 he toured Derbyshire & in 1786 made a longer trip to Wales & the Lakes Wakefield p165. In the Edophusikon, 1781, which was a panoramic moving peepshow, landscape painting was combined with artificial light & sound effects to simulate natural phenomena ranging from the cheerful to the Picturesque & Sublime. He published The Romantic & Picturesque Scenery of England & Wales, 1805 L&L

Oeuvre: Battle scenes, shipwrecks & landscapes, including both gentle rustic pastorals & dramatic scenes of the Industrial Revolution L&L, Wakefield p163

Phases: His landscapes up to 1771 have picturesque animation & a down-to-earth Dutch simplicity & a detailing no Rococo artist would have contemplated. Their colour is fresh & vivid but sometimes crude & nature is made to seem more more picturesque & dramatic than in reality Wakefield p163

Characteristics: His work is of uneven quality Wakefield p163

Grouping: The Pre-Romantic movement Wakefield p165

Friends: Caspar Wolff Wakefield p165

Influence: It was important for Romantic painting, especially on Turner L&L

*DE LA FOSSE, Charles, 1636-1716, France; Rococo

Training: Lebrun L&L
Influences: Pietro da Cortona, Veronese & Correggio Blunt1954 p271
Career: During 1655-60 he studied in Rome, spent 1660-3 in Venice, & visited Modena & Parma. In the later 1670s he mainly assisted Lebrun at the Tueries & Versailles L&L, Blunt1954 p272. He supported his friend de Piles in the controversy over colour OxDicArt. During 1689-92 he was in London decorating Montagu House but was summoned back to Paris L&L
Phases: During the 1680s he abandoned Classicism for colourism L&L
Style: Baroque during 1680, when abandoned Classical, L&L, Blunt1954 pp 272-3, H&P p166
Friends Roger de Piles L&L
Status/Verdict: He was one of the most original of a group of history painters which included Noel & Antoine Coypel & the Boulognes. He anticipated Rococo & his nymphs have a slender elegance & rosy flesh-colour which foreshadows Boucher L&L, Blunt 1954 p273
Innovation: He was the first French artist to make full use of Rubens as a model & inspiration Blunt1954 p272
Patrons: The Church was his mainstay Wakefield p12

..DELLA VECCHIA/MUTTONI, Pietro, 1603-1678, Italy=Venice; Baroque

Background: Born Venice into a well-known Venetian family & was apparently the son of a painter Grove32 p102, Wikip
Training: Il Padovanino Waterhouse1962 p117
Influences: Carlo Saraceni & Jean Leclerc Grove32 p102
Career: He worked in Venice & its environs apart from a supposed period in Rome, & he ran an academy in his house Wikip
Oeuvre: Religious, mythological & historical paintings; genre, grotesques, together with the restoration & imitation of old works, mosaic design & artisan activity Wikip, Waterhouse1962 pp 115-6
Characteristics: Academic eclecticism in which he combined the monumentality of Titian & Tintoretto, etc & dramatic Caravaggisi effects. His work featured chiaroscuro of an extreme nature, very accomplished painting in scenes in which the participants relate to each other in a fascinating manner as in A Fortune-Teller Reading a Soldier’s Palm (College of Optometrists, London, c1640). His subject matter was often unusual & esoteric as in his Allegory of Hearing (Scarpa Collection Venice) with its ugly, bizarre figures Wittkower1973 p347, Wikip, web images
Speciality: What has been described as Hollywood Giorgione as in his Two Warriors (Private?) Waterhouse1962 p117
Circle: He was close to the humanistic & libertine circle around the Academie deli Incognita, or unknowns, which included freethinking intellectuals Wikip
Status: By the latter 1630s he was a leading painter in Venice & he had a very large workshop Wikip
Grouping: He was a Baroque painter Waterhouse 1962 p117
Verdict: Opinions differ. His work has been described as somewhat superficial but he has also been regarded as a talented artist who reflected many aspects of 17^th century Venetian taste Wittkower1973 p347, Grove32 pp 102-03
Repute: He is not itemised in the Oxford Companion or the Yale Dictionary
Wife: The painter Clorinda Regnier/Renieri whom he married in 1649 Wikip
Son: Gasparo Prospero became a minor painter, etc Wikip

Del Mazo. See Velazquez

de Lutero. See Dossi

-DEL MAZO, Juan, c1614-67, Velazquez’s son-in-law, Spain:

de Lutero. See Dossi

..DE MELO, Pedro Americo, 1843-1905, Brazil; National Romanticism::

Background: He was born at Areia Grove1 p774
Training: The Academia Imperial das Belas Artes, 1855, & under Ingres & Horace Vernet at the Ecole des Beaux-Arts when in Paris, 1859-64 Grove1 p774
Career: He accompanied an expedition by to the north-east of Brazil, 1853. In Paris he painted Carioca, 1862, a notable image of a naked & sensual mulatto woman. After France he taught at the Academia Imperial. He lived in Florence from 1873 & joined the constituent assembly when Brazil became a republic Grove1 p774
Oeuvre: Historical & biblical scenes, allegories & portraits Grove21 p6, Schwartz p277.
Characteristics/Phases: His works were Neo-Classical but later with romantic elements Grove1 p774.
Status: Together with Meirelles de Lima he is considered to be Brazil’s greatest history painter Grove 21 p61.
Repute: He received Imperial commissions Schwarcz & the Emperor, Dom Pedro II, enrolled him in the Academy & paid for his studies in France Schwartz pp 108-9.

– Frans DE MOMPER, 1603-60, nephew of Joos, Belgium:

Background: Born Antwerp the son of the landscapist Jan de Momper Grove21 p830
Influences: Initially his nephew, later Jan van Goyen & then David Teniers II L&L,Vlieghe p189
Career: In 1629, he joined the Antwerp Guild of St Luke. From about 1645 to 1550 he lived in The Hague, Haarlem & Amsterdam but returned to Antwerp L&L, Vlieghe p189
Oeuvre: His work included winter, beach & river landscapes; rural scenes sometimes with dancing peasants & city views Wikip, Vlieghe p189
Characteristics: From 1650 he painted monochrome landscapes like those of Jan van Goyen. His works create a homogeneous impression because he applied paint in an even manner regardless of subject matter Grove21 p830, Wikip
Grouping/Innovation/Verdict: His work reflects the new & more naturalistic, atmospheric & instantaneous depiction of nature which from the mid-1620s had developed in the Netherlands by van Goyen, Salomon van Ruysdael & others, & which was then recognised in what is now Belgium. The late paintings by Frans combine the low horizon & light-filled sky of Dutch painting with the delicate figures & feathery trees & buildings of the Italian-tradition of his uncle Vlieghe p189
Influenced: Hercules Segers Wikip
Brother: Philip II & possibly Jan/Giovani de Momper Wikip

– Joos/Josse/Jocundus DE MOMPER, the Younger, 1564-1635, nephew of Frans, Belgium:

Background: He was born at Antwerp.   His grandfather was a landscapist & his father Bartholomeus the Elder Grove21 p828
Training: His father Grove21 p828
Influences: Pieter Bruegel the Elder & Paul Bril Vlieghe p184
Career: He was active in Antwerp where in 1581 he became master in the Guild of St Luke & its Dean in 1611.   During the 1580s he almost certainly visited Italy [& it was here presumably that he saw mountains].   Most of his work was produced during 1600-20 Wikip, Vlieghe p184
Oeuvre: Landscapes mountainous & flat, either using the conventional three colour scheme -brown foreground, green middle & blue background- or using more natural colours Vlieghe p184, Wikip, Webimages.
Characteristics/Phases: His earliest work features steep mountains often with jagged , geometrical rock formations, sometimes conical, through which lonely roads wind.    The sometimes rather stiff & contrived earlier compositions give way to very realistic depictions of majestic & diverse high Alps painted in a light, rather loose manner.     Flat landscapes often with views of villages begin to feature. In his post-1620 work he shows a notable preference for large sizes & his freer touch gives a more explicitly pictorial appearance to his later work Vlieghe p184.   His paintings are sharply drawn in clear colour & almost always display strong chiaroscuro.   They are not tonal paintings Webimages
Verdict: On the one hand many of his grand mountain panoramas are seen as the among the most impressive by Flemish landscapists. On the other, his work has been dismissed as a formulaic & repetitious.   [What can scarcely be denied is that it is painterly & beautiful.]  Vlieghe p184, Wikip, Webimages
Patronage; From the mid-1590s he received commissions from the archducal court Vlieghe p184
Grouping: Baroque at least for his works that poses unity O&V p335
Follower: Hercules Seghers Wikip
Son: Philippe became a painter Wikip

– DE PAREJA, Juan, c1608-c70, confusable with Antonio de Pereda, Spain:

Background: He was born at Antequera, Seville, probably to an enslaved woman of African descent & a white Spaniard Budick FT 8-9/3/2023

Career: By around 1635 Velazquez had become his owner. He ground colours & prepared canvases in Velazquez’s workshop , accompanied him to Italy in 1649-51, & was freed in 1654. By 1661 he had completed The Calling of Saint Matthew & it suggests that he had done more than grind colours Grove24 p109, L&L, Budick FT 8-9/3/2023

Oeuvre/Characteristics: Religious paintings & portraits in an eclectic style generally using warm colours Grove24 p109

Verdict: Opinions differ. His religious works have been judged barely competent & his portrait of Jos de Rates, c1660, is the only work with something of Velazquez’ style & sober colouring L&L, Grove24 p109. However, the St Matthew painting has been described as a fine example of the period’s most sumptuous style Budick FT 8-9/3/2023

Repute: He was re-discovered in the early 20^th century by the black Puerto Rican intellectual & collector Arturo Schomberg Budick FT 8-9/3/2023

** Sebastiano DEL PIOMBO/LUCIANI, VENEZIANO, c1485-1547, Italy=Venice/Rome, High Renaissance;

Background: Venice was his native city & he probably came from an upper middle-class family. He was born Sebastiano Luciani but after moving to Rome was called Sebastiano/ Veneziano/Viniziano. Del Piombo was a nickname Grove28 p331, Wikip

Training: Under Giovanni Bellini but he left to study under Giorgione Grove28 p331

Influences: Giovanni Bellini’s late style, Michelangelo who supplied him with drawings, & apparently Fra Bartolommeo Steer pp73,p Grove28 p31

Career: From 1511 he was in Rome; worked at the Villa Farnesina, owned by the Papal banker Agostino Chigi, the richest man in Rome; became Michelangelo’s protege who after about 1515 provided him with ideas & drawings; Cardinal Giulio de’ Medici commissioned Del Piombo & Raphael to paint companion, rival altarpieces for Narbonne Cathedral, 1516; apparently became part of Vatican court life when Guilio became Clement VII in 1523, went to Venice after the Sack of Rome, 1527; returned to Rome, 1529; solicited the sinecure & lucrative keepership of the Papal seal or piombo, 1531, though he had to take vows as a friar despite his wife & children; Michelangelo broke their friendship because Piombo had the Sistine wall prepared for oil not fresco painting, 1534; latterly he painted less but continued producing admirable portraits Wikip, L&L, HallM1999 pp 130-32.

Oeuvre: Religious, mythological works & portraits in oils, & in fresco, though he abandoned this after 1516 Grove28 pp 331-36, Brigstocke

Characteristics: His work was a fusion of Venetian colourism, central Italy disegno, & Roman monumentality. Figures are delineated with hard-edged & sculptural clarity. [This contributed to the highly dramatic nature of so many of his works, which would appear to be their principal feature. He was a master of the dramatic gesture, & of compositions in which the figures move or face in different directions], as in his Judgement of Solomon, c1505 (National Trust, Kingston Lacy), or his Raising of Lazarus, 1519 (NG) HallM1999, p131. However this was certainly no innovative feature.]

Phases: His earliest Venetian work is very Giorgionesque; a little later his figures have greater fullness of form & breadth of movement & he aimed at a monumental effect; in Rome he attempted to fuse Venetian colour & light with Roman solidity of form which it has been said to have resulted in an oddly artificial style, powerfully rhetorical but never quite convincing, consisting of well-conceived elements which do not cohere as in Virgin mourning the Dead Christ, c1517 (Museo Civico, Viterbo). However, the unusual composition in which the figures do not touch appears to have been deliberate attempt to heighten the tragic effect Steer pp 92-93, Wikip

Innovations: Pictures painted on stone. He was the only major artist to combine Venetian colouring & the monumental forms of the Roman School HallM1999 p131, Wikip

Status: After Raphael’s death in 1620 he was the leading painter working in Rome Grove28 p331, L&

Friends: Giorgione, who was an associate, Titian L&L, Hall2011 p146

Legacy: In his last decade he produced sublime half-length figures of Christ which inspired religious paintings in the future; and his [as in] Visitation, one of his last works, with its simplified forms & intense expressiveness, anticipated much of the painting of the late 16^th century The half lengths are in the Hermitage & Szepmuveszeti Museum, Budapest Brigstocke, Grove28 p335

** DEL POLLAIUOLO, Antonio, Antonio/DI JACOPO POLLAIUOLO, Antonio c1432-98, & Piero his brother, c1441-96, Italy=Florence; High Renaissance:

Background: They were born in Florence, & their father was a poulter. Although they had separate workshops they worked together on most major commissions Grove25 pp156, 60, Langmuir p84, L&L. [It therefore seems pointless to follow the current practice & discuss them separately] except to say (a) that Antonio was the senior partner & probably the more able artist. The documented work by Piero is very poor & the signed engraving by Antonio, The Battle of the Nude Gods, is of very high quality, (b) that Priero was primarily a painter while Antonio, although a notable painter & engraver, was primarily a goldsmith, sculptor & designer L&L, Murrays1959, Grove 25 pp156, 159.

Influences: A concern with the ancient world as in Hercules & the Hydra, c1475 (Uffizi), the landscape style of northern painting, Donatello, & Andrea del Castagno Grove25 p157, Wikip, Murrays1959
Career: Their joint careers culminated in a papal summons to Rome around 1484 L&L, Langmuir p84

Characteristics/Technique: Dynamic & expressive human figures as in The Martyrdom of Saint Sebastian, c1475 (NG) with its complicated poses, violent action, contrast between Sebastian’s soft inert fleshiness & the vigorous straining, muscly archers, the pyramid composition, & landscape background. Hethey employed fluid paintwork using walnut oil but not fully understanding the technique of using translucent glazes he premixed the colours as in tempera & applied them thickly with bold sweeping strokes. Freedom of execution, together with diffused light & elegant execution, is also evident in Appolo & Daphne (NG) in which she is being transformed into a tree. In the Rape of Dejanira (Yale University Art Gallery) the ease & fluency of the brushwork produced a wonderful aerial translucency Grove25 p156, Wikip, Langmuir p84, Venturis pp 188-90.

Innovation/Anticipation/Status : Wide landscape backgrounds & a predilection for the nude. This was an aspect of the discovery & [celebration] of man which was the pride & delight of the Renaissance. The Rape anticipates the great Venetian paintings of the 16^th century They were leading scientific painters immediately preceding Leonardo while the Rape anticipates the great Venetian paintings of the 16^th century Murrays1959, Wikip, Venturis pp 188-9
Legacy: In Antonio’s signed engraving Battle of the Ten Nudes, c1473, he demonstrated his skill in portraying muscular anatomy. It later became widely known & stimulated Durer, etc Grove25 p159, Murrays1959

– Ambrogio DE PREDIS/PREDA, c1455-1510, brother of Cristoforo & Evangelista, Italy=Milan, etc.

Background: Born Milan into a family of artists Grove25 p465, Brigstocke
Influences: Very little from Leonardo NGLeonardo p106
Career: Initially he worked with Cristoforo as an illuminator; then with his brother Bernardino at the Milanese mint from 1479; & at the court of Ludovico Sforza painting portraits, etc, from 1482. He , Cristoforo & Leonardo, who had arrived in Milan in 1483, worked at the chapel in S Francesco Grande. They painted the successful side panels (NG) of his Virgin of the Rocks, & Giovanni probably helped on the central part which is clumsy & in places harshly coloured. Giovanni joined Bianca Maria Sforza at the court of the Emperor Maximilian I after the French invasion Grov25 pp 465-66, NGLeonardo p21, L&L
Oeuvre: Illuminations, portraits, religious works & tapestry design Grove25 pp 465-66
Characteristics : Profile portraits of a traditional type although his [as in] forward facing portrait of Francesco di Bartolomeo Archinto, 1494 (NG) with its clear drawing & light & shade demonstrate his effort to update his work NGLeonardo pp 86,106
Verdict: His work was unskilful & dry Clark 1939 pp 97, 204

– DE SAINT-AUBIN, Gabriel-Jacques, 1724-80, France; Rococo:

Background: He was born in Paris Grove27 p530
Training: Etienne Jeurat & Hyacinthe Colin de Vermont Grove27 p530
Career: After repeatedly failing to win the Prix de Rome he rejected the Academy & exhibited at the Academie de St Luke. He never left Paris or found a patron, worked tirelessly & apparently died of exhaustion Grove27 p530, web Re Frick Collection Exhibition
Oeuvre: Drawings & etchings together with paintings in oils & watercolour, as shown by his fine [as in] Promenade at Longchamp, c1760 (Musee Hyacinthe Rigaud, Perpignan) & his [as in] Street Scene in Paris, 1760 (NG). As these works show he was a top rank colourist painting works that combine marked chiaroscuro deep red & pastel pinks. He made his living through his lively prints of Parisian life L&L,
Characteristics: He was a passionate & unconventional recorder of Parisian street scenes & the social world. In his numerous drawings he used pencil, chalks, ink & watercolour to create dazzling effects [& the same is true of his oils]. He was highly versatile & his work ranges from ancient history to artists painting nudes as in his Academie particularize, 1755 Grove27 p530. [Failed to find location. Please see if you can]
Verdict: He was more talented than Gabriel-Jacques L&L
Grouping: Rococo L&L
Pupils: He had a few but they were mediocre pupils T&C p231
Repute: Not until the exhibition of his work at the Frick Collection in 2008, the first major shoe of his work for 80 years was his stature recognized web Re Frick Collection Exhibition
Brothers: Charles-Germain, 1721-86, was an ornamental draughtsman & etcher; Louis-Michel, was a designer at the Sevres porcelain factory 1731-79; & Augustin, 1736-1807, was a draughtsman, etcher & engraver Grove27 p530, L&L

Saint Aubin. See De Saint Aubin

***Andrea DEL SARTO, 1486-1530, Italy=Florence, High Renaissance:

Background: His father was a tailor L&L

Training: After apprenticeship to a goldsmith, he trained under Piero di Cosimo & Raffaellino del Garbo L&L

Influences: Fra Bartolommeo, Michelangelo, Raphael & contemporary Northern prints by Durer, van Leyden etc L&L. From Leonardo he derived soft modelling & the tell tale smile Murray p155

Career: His first mature work was the Birth of the Virgin, a fresco of 1513-4 in the cloister of SS Annunziata. From 1514 to 1526 he worked at intervals on a series of frescos in grisaille on the life of St John in the Chiostro della Scalzo. During 1518-9 he worked for Francis I in France but, according to Vasari, left because he missed his wife L&L

Oeuvre: Frescos, altarpieces & smaller devotional works, together with a few portraits L&L

Characteristics: He had a complex but harmonious individual style combining firm draftsman ship with energetic & expressive colour, naturalism with idealisation, & sketchy brushwork with high finish. His colour was warmer & more varied than Leonardo’s & his figures, are less enigmatic & look out more directly L&L. The heads of his women are all alike because they are all modelled on his wife Vasari2 p312

Status: He was the leading Florentine painter from about 1510 displacing Fra Bartolommeo L&L

Innovations: He initiated a new trend in Florentine art in his use of chiaroscuro. Raphael’s illumination is even & clear, which makes the subject plain whereas Sarto in his Birth of the Virgin has a glancing, moving intermittent light which gives mystery & emotion Murray pp 157-9.

Grouping: Del Sarto has been seen as anticipating Counter-Reformation painting through his clarity & decorum, & the way in which he bears witness to the truth of transubstantiation in the Luce Pieta F&N pp 91-2

Personal: In the first 1568 edition of Vasari accuses del Sarto of not living a civil & honourable life & of being, because of his sexual appetite, in thrall to a woman, Lucrezia del Fede, who kept him poor & lowly. However, this is omitted in the l568 edition where Vasari merely says that he was good-natured & easy-going with a yielding & simple nature, that his spirit was timid, & that he lacked burning ardour & dash. It was this which prevented his painting from being truly divine F&N p27, Vasari2 pp303, 305. Lucrezia was Del Sarto’s model whom he married on her widowhood in 1517 or 1518. According to Vasari she was unfaithful & jealous Daily Telegraph 22/11/2004.

Verdict: He has been acclaimed as the perfect artist who never made a mistake Murray p157. Vasari identified an absence of ornamentation & grandeur, hence he was not truly divine L&L

Patrons: He mostly worked for the Florentine bourgeoisie, confraternities & religious communities L&L

Pupils: Salviati & briefly Pontormo OxDicArt

Influence: He was a principal source for both Florentine Mannerism & later for Allori, di Tito & other anti-Mannerists L&L

*DEL VARGA, Perino/Bonaccorso, Piero, c1500-47, Italy: Mannerism

Background: He was born in Florence L&L
Career: He went to Rome around1516;joined Raphael’s workshop, 1518, worked on the Vatican Logge (gallery); left Rome after the Sack, 1527; settled in Genoa, 1528-36/7, where he was in charge of decorating the Doria palace; returned to Rome becoming Paul III’s chief decorator, executing the Pauline apartments in the Castel S. Angelo L&L
Oeuvre: Altarpieces & scenes of classical history & mythology Brigstocke, Grove24 p419
Phases: The influence of Raphael & Michelangelo is particularly marked in his early as in the Pucci chapel, S. Trinita dei Monti, Rome Brigstocke
Characteristics: His Doria & Roman work is energetic, elegant & sophisticated but his religious paintings are conservative as in the Nativity (NG of Art, Washington)
Influence: He was one of most influential decorative artist of the 16^th century & his stylish Mannerism was widely followed in Rome & Genoa where he established an enduring school L&L
Grouping: High Mannerism Freedberg p292

*DELVAUX, Paul, 1897-1994 (confusable with Delville), Belgium

Background: Born Antheil, near Huy, the son of a lawyer OxDicMod
Training: 1920-4 at the Academie des Beaux-Arts Brussels where he initially studied architecture but changed to decorative art OxDicMod, Grove8 p699.
Career: He visited Italy, 1938-9; & during 1950-62 taught at Ecole Superieure d’Art et Architecture, Brussels, 1950-62 OxDicMod
Oeuvre: Paintings, murals & prints Grove8 p699
Phases: His early work was close to Social Realism but after discovering the work of Giorgio de Chirico as shown in a Brussels exhibition of 1934 he switched to Surrealism, although he was never a formal member of the movement & in 1932 had already discovered the Musee Spitzner’s annual exhibition of medical curiosities & a nude waxwork woman who appeared to breathe was the source for a series exploring love & death OxDicMod
Characteristics: His Surrealist works depict are dream-like: they are precise & almost photographic & painted in natural colour but the figures but with figures in odd surrounding as in Iron Age, 1951 (Museum vor Schone Kunsten, Ostend) in which a reclining nude woman is located in a 19^th century railway station. His figures are frequently females of an innocent type with large dark eyes, rather heavy breasts & black pubic hair. They are often in groups. Sometimes there is an austerely dressed man totally indifferent to his surrounding Grove8, p699, Alexandrian pp125-7.

**DEL VERROCCHIO/DI CONTI, Andrea, 1435-1488, Italy=Florence:

Background: He was born in Florence, the son of a bricklayer Grove32 p359-60
Training: Probably in Donatello’s workshop but he was mainly trained as a goldsmith OxDicArt
Career as painter: He had early ambitions in this field Grove32 p364
Oeuvre: Altarpieces, sculpture & metal work Grove32 pp 359-60.
Characteristics: It is difficult to evaluate his paintings as so few can be safely attributed to him. However, those that can such as Baptism, c1475-85 (Uffizi), Tobias & the Angels, late 1470s (NG), & Madonna with Seated Child, 1468-70, (Gemalde Galerie, Berlin) are impressive, imposing dynamic & beautiful works featuring activity, movement & interacting figures Grove32 pp 364-5, Wikip
Workshop: It was the largest in Florence OxDicArt
Pupils: Leonardo, Lorenzo di Credi, Perugino, Domenici Ghirlandaio Brigstocke

-DELVILLE, Jean, 1867-1935 (confusable with Delvaux) Belgium:

Career: In 1894 he went to Florence & Rome. During 1900-5 he taught at the Glasgow School of Art & in 1900-37 at the Royal Academy in Brussels etc. After the Great War he formed a group to decorate public buildings often with grandiose allegorical compositions. He edited Idealist Art & in his writings he promoted Theosophy L&L
Oeuvre: Painting, poetry, critical articles L&L
Characteristics: His work is a poetic mingling of sexual & spiritual anxieties in a climate of fascination & strangeness GibsonM p251
Beliefs: Divine fluid, reincarnation, dangerous telepathic forces, invultuation GibsonM p106
Grouping : Symbolism GibsonM p331

.DE MAREES/DESMAREES, George/Georges, 1697-1766, Germany (Sweden): Rococo

Background: His father was descended from French emigres to Sweden Web Gallery of Art
Training: Under his great uncle Martin Mytens the Elder in Stockholm from 1710, & in Nuremberg with Johann Daniel Preissier Hempel p240, Web Gallery of Art
Influences: Hyacinthe Rigaud & Nicolas de Largilliere Web Gallery of Art
Career: In 1724 he went to Amsterdam, Nuremberg, & Venice where he visited or trained with Piazzetta, & in 1731 Munich. Here he settled becoming a court painter but also worked elsewhere Hempel p240, Web Gallery of Art
Oeuvre: Portraits with sitters & style ranging from the limp & decadent to more vigorous Hempel pp 240-1
Phases: Under Rococo influence his colour became lighter & more varied with greater attention to costume but later his portraits were more restrained Hempel p240, Web Gallery of Art
Verdict: His work was brilliant but superficial, though sometimes striking a personal note Hempel p241
Status: He was the leading portrait painter of his day Hempel p240

-DE’MENABUOI, Giusto active 1349-90, Italy=Padua:

Background: He was born in Florence L&L

Training: Daddi or Maso di Bianco L&L

Influences: Giotto, Maso di Bianco, Nardo di Cione Grove21 p111

Career: He probably left Florence during the Black Death in 1348 for Lombardy & was probably based in Milan. However he visited Florence around 1367. By 1370 he had settled in Padua & by 1375 had become a citizen L&L, Grove21 pp 111-2.

Oeuvre: Frescos & works on panel L&L

Speciality: Vigorously illusionistic frescos L&L.

Characteristics: His figures are bulky & monumental with their emotions suggested by lively & varied gestures rather than by facial expressions. Crowd scenes are less impressive Grove21 pp 111-2

Innovations: The use of architectural settings for narrative works with glimpses through half-open doors Grove21 p113. He was perhaps the only 14^th century painter to make conscious selections from differing pictorial languages Wikip

Feature: His work illustrates the widening stylistic gulf following the Black Death between Florentines in Florence & those who moved north where the most significant developments of Giotto’s legacy occurred Grove 21 p111

Legacy: Together with Altichiero he established Padua as a major centre for late 14^th century painting Grove21 p111.

de Molijn. See de Molyn

-DE MOLYN/MOLIJN, Pieter, 1595-61, Netherlands=Haarlem:

Background: He was born in London OxCompArt

Influences: Allart van Everdingen TurnerRtoV p107; Van de Velde although De Molyn’s landscapes are more unified Fuchs p106

Career: In 1616 joined painters’ guild in Haarlem, where mostly lived L&L.

Phases: In 1626 he began painting small, atmospheric, monochromatic, landscapes of dunes & cottages. Here the weather conditions were a crucial factor. Later he used more green, strengthened the foliage, reduced the strong light & cloud effects. Human & animal figures help create a peaceful scene, though sometimes it is with a robbery OxCompArt, Haak p240

Innovations: He initiated the great age of Dutch Rea[list] landscape with Van Goyen & Solomon Van Ruysdael, & was an originator of the tonal & atmospheric phase of Dutch landscape. He introduced a new dimension into landscape by using a diagonal path to empasize the slope in his dune landscapes OxCompArt, L&L, Haak p242

Grouping: This included Abraham Bloemaert &Solomon van Ruysdael Haak p242

Verdict: van Ruysdael was distinctly more talented & his colour was superior Haak p242

Pupils: Terborch, Gerard the Younger OxCompArt

– Frans DE MOMPER, 1603-60, Belgium:

Background: Born Antwerp the son of the landscapist Jan de Momper Grove21 p830

Influences: Initially his nephew, later Jan van Goyen & then David Teniers II L&L,Vlieghe p189

Career: In 1629 he joined the Antwerp Guild of St Luke. From about 1645 to 1550 he lived in The Hague, Haarlem & Amsterdam but returned to Antwerp L&L, Vlieghe p189

Oeuvre: His work included winter, beach & river landscapes; rural scenes sometimes with dancing peasants & city views Wikip, Vlieghe p189

Characteristics: From 1650 he painted monochrome landscapes like those of Jan van Goyen. His works create a homogeneous impression because he applied paint in an even manner regardless of subject matter Grove21 p830, Wikip

Grouping/Innovation/Verdict: His work reflectes the new & more naturalistic, atmospheric & instantaneous depiction of nature which from the mid-1620s had developed in the Netherlands by van Goyen, Salomon van Ruysdael & others, & which was then recognised in what is now Belgium. The late paintings by Frans combine the low horizon & light-filled sky of Dutch painting with the delicate figures & feathery trees & buildings of the Italian-trradition of his uncle Vlieghe p189

Influenced: Hercules Segers Wikip

Brother: Philip II & possibly Jan/Giovani de Momper Wikip

– Joos/Jocundus DE MOMPER, the Younger, 1564-1635, Belgium:

Background: He was born at Antwerp. His grandfather was a landscapist & his father Bartholomeus the Elder Grove21 p828

Training: His father Grove21 p828

Influences: Pieter Bruegel the Elder & Paul Bril Vlieghe p184

Career: He was active in Antwerp where in 1581 he became master in the Guild of St Luke & its Dean in 1611. During the 1580s he almost certainly visted Italy [& it was here presumably that he saw mountains]. Most of his work was produced during 1600-20 Wikip, Vlieghe p184

Oeuvre: Landscapes mountainous & flat, either using the conventional three colour scheme -brown foreground, green middle & blue background- or using more natural colours Vlieghe p184, Wikip, Webimages.

Characteristics/Phases: His earliest work features steep mountains often with jagged , geometrical rock formations, sometimes conical, through which lonely roads wind. The sometimes rather stiff & contrived earlier compositions give way to very realistic depictions of majestic & diverse high Alps painted in a light, rather loose manner. Flat landscapes often with views of villages begin to feature. In his post-1620 work he shows a notable prefernce for large sizes & his freer touch gives a more explicitly pictorial appeqrance to his later work Vlieghe p184. His paintings are sharply drawn in clear colour & almost always display strong chiaroscuro. They are not tonal paintings Webimages

Verdict: On the one hand many of his grand mountain panoramas are seen as the among the most impressive by Flemish landscapists. On the other, his work has been dismissed as a formulaic & repetitious. [What can scacely be denied is that it is painterly & beautiful.] Vlieghe p184, Wikip, Webimages

Patronage; From the mid-1590s he received commissions from the archducal court Vlieghe p184

Grouping: Baroque at least for his works that poses unity O&V p335
Follower: Hercules Seghers Wikip
Son: Philippe became a painter Wikip

– DE MORALES/EL DIVINO, Louis, nicknamed El Divino, c1523-86, Spain; Counter Reformation:

Training: Almost certainly the Flemish Mannerist painter Peeter de Kempner in Seville Grove22 p72

Influences: Portuguese painting, particularly Frei Carlos & the Evora School, & indirectly by Leonardo & Raphael. The fervid & impassioned spirituality of Spanish society Grove22 p72
Career: He is documented in Badajoz from 1546 until his death leaving only to undertake commissions. From 1564 when he painted a portrait of Juan de Ribera (Prado) he virtually became his official painter, the bishop & future Archbishop being an ardent Counter-Reformation reformer Grove22 pp 72-3. 1558-78 large altarpieces of Passion etc with assistants L&L
Oeuvre: His work was exclusively religious & he specialised in small exquisite private devotional images but also painted large altarpieces during 1858-78, with the help of assistants Grove22 p72, L&L
Characteristics: Meticulous technique with enamel-like finish achieved by means of glazing, an Italianate clarity of form & harmony of composition. He produced deeply expressive images using sfumto. His subject matter was restricted & he concentrated on the Passion, & the Pieta as in his work in the Real Academia de San Fernando, Madrid, 1560-70 Grove32 p72, Brigstocke.
Status: He was the greatest native Spanish Mannerist & along with El Greco was most successful exponent of the fervid & impassioned spirituality of Spanish society L&L, Grove32 p72

*DEMUTH, 1883-1935, Charles, USA:

Background: He was born at Lancaster, Penn, into a wealthy family OxDicMod

Training: During 1904-11 he went to the Pennsylvania Academy of Fine Arts OxDicMod

Influences: Avant-garde art, especially Cubism, during his second European visit OxDicMod. However, like Sheeler, he was never motivated by theretical concerns BrownM1955 p115

Career: He visited Europe during 1907-8, 1912-14 & 1921, mostly staying in Paris OxDicMod

Speciality: His “poster portraits “ ie pictures composed of words & objects associated with the person represented OxDicMod

Oeuvre: This includes sinister & sexually morbid book illustrations which he produced for pleasure OxDicMod

Characteristics: His work, which is often on a small scale, displays fastidious taste & concentrated energy OxDicMod. In his works from 1917 until the earlier 1920s forms were simplified & systematised but not greatly distorted. He used Futurist ray-lines but they often appear superficial & fortuitous. His taste for mechanical forms, acquired from Duchamp, was not due an interest in industrial life but to their obvious mechanical precision. Its absence made his still-life’s brittle & rigid Brown1955p115.

Firsts: He painted the earliest American industrial landscapes BrownM1955 p115

Politics: His Incense of a New Church, 1927, lampoons the worship of big business & My Egypt alludes to the tomb-like suffocation of a culture committed to profit Doss pp 79-80, 82

Personal: He was lame from childhood & during his last decade was debilitated by diabetes OxDicMod

Status: Precisionism OxDicMod

de Navarrete. See El Mundo

**DENIS, Maurice, 1870-1943, France:

Background: He was born at Granville OxDicMod

Training: From 1888 at the Academie Julian OxDicMod

Influences: Gauguin on his early work OxDicArt. Also early Florentine Renaissance art & late Northern Gothic work with its clear delineation without depth or chiraroscuro L&L. He was steeped in Catholicism from childhood Chasse p13. When he was 14 he wrote in his Journal, “I must become a religious painter” Denvir p123

Career: Denis attended the elite Lycee Condorcet Chasse pp 9–10, Wikip. In 1888 he founded the Nabis painters’ group & with Serusier was its chief theorist. In 1890 in his article Definition du Neo-traditionalism famously said “Remember that a picture -before being a war horse or a nude woman or an anecdote – is essentially a flat surface covered with colours assembled in a certain order”. However, it was not his intention to discourage representational art. Between 1909 & 1919 he taught at the Academie Ranson. Denis was the co-founder of the Ateliers d’Art Sacre in 1919 to provide mosaics, stained glass & other decorations for churches. In the same year he painted his first large-scale religious composition, a mural in the Chapelle de la Sainte Croix at Vesinet. This was followed by many others, as well as by secular decorative work. He spent most of his life in St Germain-en-Laye, a suburb of Paris OxDicMod

Oeuvre: Denis was a prolific painter, illustrator, designer, lithographer, & writer on art theory OxDicMod

Phases: His early work was best & after about 1900 he became increasingly bland & classical (influenced by visits to Italy in 1895 & 1897-8) OxDicMod, L&L

Characteristics: his religious works are typically harmonious, tender & mild with pale colours & relaxed lines OxDicMod, L&L. He had no interest in reproducing nature’s appearances believing that art’s function was to present ideas by visual means L&L

Beliefs: In 1890 he advocated what he called Neo-Traditionalism in opposition to Neo-Impressionism. He claimed that Gauguin, Puvis de Chavannes, etc had revived formal & traditional decorative art, having given up illusionism & rigid perspective. Denis asserted that Christianity provided art with both its aim & its means. This was an age of passionate concern for religious Beauty. “Today Christ is living. The times are propitious.” Denvir pp 122-3.

Aim: he was a devout Catholic who wanted to bring about a revival in religious painting OxDicMod

Grouping: The Symbolists L&L

Patrons: Ivan Morozov for whom he painted eleven large canvases for his Moscow house OxDicMod

Collections: Musee de Prieure (at his old home), St Germain-en-Laye OxDicMod

-DE NITTIS, Giuseppe, 1846-84, Italy:

Training: The Naples Academy, 1861-3, but was expelled for indiscipline. He was a pupil of Gerome in Paris Norman1977
Career: After settling in Resina he helped form the School of Resina. In 1866 he visited Florence & was enthusiastically welcomed by the Macchiaioli. During 1867-70 he was in Paris, & settled permanently in 1872. In 1874 De Nittis exhibited at the first Impressionist exhibition, & had his first major success at the Salon Norman1977.
Oeuvre: Paintings, pastels during his last years, & etchings 1977
Phases/Characteristics: His early landscapes, painted in bright sunlight, have a crystalline clarity but he later painted high society, townscape & city life using broader brushwork Norman1977
Grouping: He was a realist Adler p95, Norman1977
Friends: Degas & Manet OxDicArt
Collections: Pinacoteca Communale, Barletta.

.. DE NUNCQUES/NUNQUES, William Degouve, 1867-1935, Belgium:

Background: He was born at Montherme in the Ardennes, France, into an old aristocratic family, but after the Franco-German war his parents moved to Belgium Wikip
Training: Briefly at the Brussels Academy but he was largely self-taught Wikip
Career: He shared a studio with his strong friend Jan Toorop & later with Henry de Groux. In 1894 he married the artist Juliet Massin who introduced him to the symbolist poets who influenced his work. He belonged to Les XX & exhibited at Le Libre Esthetique. He painted in Italy, Austria & France, during 1900-02 lived in the Balearic Isles, had a religious crisis around 1910, was overwhelmed by his wife’s death in 1919, lost the use of a hand, & in 1930 settled in Stavelot in Wallonia Wikip
Oeuvre: Landscapes including parks at night orange groves & coastline in the Balearic Isles, tormented paintings following his religious crisis, & snow scenes at Stavelot Wikip.
Characteristics: Dramatic chiaroscuro in which dark or light trees, etc, often stand out against the sky, etc Webimages

-DENNER, Balthazar, 1685-1749, Germany:

Background: He was born at Hamburg Grove8 p762
Training: The Dutch painter Franz von Amama; then in Danzig, 1698-1700; & from 1707 at the Academie der Kunste, Berlin Grove8 p762
Career: In 1717 he worked in Copenhagen & during 1721-8 in London Grove8 p762
Oeuvre/Characteristics: Initially miniature portraits, then mostly half-lengths & head & shoulders; & a few families groups in interiors. He portrayed his subjects in & austere style. His genre figures & character heads of the wrinkled old were particularly popular for their detailed & accurate execution Grove8 p762
Status: He was the most famous north German painter of his day Hempel p228
Collections: Schwerin Museum: 46 members of the court including secretaries & footmen, though without his usual finish Hempel p228

-DENNY, Robyn, 1930-2014, England:

Background: He was born at Abinger, Surrey, the son of the Rev Henry Denny, 7^th Baronet OxDicMod, Wikip
Training: St Martin’s School of Art & the Royal College of Art, 1951-7 OxDicMod
Influences: Hugely by Abstract Impressionism’s scale & energy OxDicMod
Career: He organised Situation: An Exhibition of British Abstract Painting, 1960, In 1961 he moved to Los Angeles but retuned to London in 1988 OxDicMod, L&L
Oeuvre: Paintings, prints & design OxDicMod
Characteristics/Phases: His work is calm & meditational & from the early 1960s he used soft, muted colours within a subtle geometrical framework which suggests doorways, etc. His works initially had an immaculate finish but later his brushwork became more painterly. In Los Angeles he began producing works in which a few marks on & into dark colours produce complex light & spatial effects OxDicMod, L&L

-DE NOME, Francois, c1593-1640=Italy (France):

Background: He was born in Metz L&L
Career: From around 1610 he mainly worked in Naples
Speciality: Small pictures of fantastical architecture with figures inserted by others L&L

..DENON, Baron Dominique-Vivant, 1747-1825, France:

Career: In 1798 he accompanied Napoleon to Egypt & recorded his travels in Voyage dans la Basse et la Haute Egypte, 1802, illustrated with his own drawings. During 1804-15 he was director of the national museums, developed the Louvre collection & advised Napoleon on what top loot. He was a much-liked archaeologist, diplomat & art historian OxDicArt
Oeuvre: Engraver & draftsman OxDicArt
Innovations: He was one of the first Frenchmen to make lithographs OxDicArt

..DE NUNCQUES, William, 1867-1935, Belgium:

Background: He was born at Montherme in the Ardennes, France, into an old aristocratic family,but after the Francvo-German war his parents moved to Belgium Wikip
Training: Briefly at the Brussels Academy but he was largely self-taught Wikip
Career: He shared a studio with his strong friend Jan Toorop & later with Henry de Groux. In 1894 he married the artist Juliet Massin who introduced him to the symbolist poets who influenced his work. He belonged to Les XX & exhibited at Le Libre Esthetique. He painted in Italy, Austria & France, during 1900-02 lived in the Balearic Isle, had a religious crisis around 1910, was overwhelmed by his wife’s dearh in 1919, lost the use of a hand, & in 1930 settled in Stavelot in Wallonia Wikip
Oeuvre: Landscapes including parks at night orange groves & coastline in the Balearic Isles, tormented paintings following his religious crisis, & snow scenes at Stavelot Wikip.
Characteristics: Dramatic chiraoscuro in which dark or light trees, etc, often stand out against the sky, etc Webimages

-DEPERO, Fortunato, 1892-1960, Italy/Austria:

Background: He was born in Fondo/Trento L&L
Training: At the Scuola Reale Elisabettina, Rovereto Braun p432
Career: He had Austrian citizenship but worked in Italy to which he moved in 1913. Befriended by Balla & Marinetti he joined the Futurists & signed its 1915 manifesto. He lived in New York during 1928-30 & then mainly lived near his birthplace at Rovereto OxDicMod
Oeuvre: Paintings & murals stage design & experimental art OxDicMod
Characteristics: His work is clear cut & hard edged, ranging from abstract designs to highly stylised scenes with figures. The colouring is harmonious & clear but not soft Webimages
Grouping: Futurism OxDicMod
Collections: The Depro museum, Roverto

– Giovanni Ambrogio DE PREDIS/PREDA, c1455-1508, half-brother of Cristoforo & Evangelista, Italy=Milan:

Background: He was born in Milan Grove25 p465
Career: He began his illumination career working with Cristoforo & painted portraits etc at the court of Ludovico Sforza/il Moro. In 1482 he went to Ferrara for Ludvico to paint the Duchess Eleonora d’Este. He probably helped Leonardo paint the Virgin of the Rocks & he painted its sidepiece Angel in Red Playing the Lute, & probably its other sidepiece Angel in Green with a Vielle Grove25 pp465-6, webimages
Oeuvre: Portraits, religious works & illuminations Grove25 p465
Characteristics: Clear drawing & the effects of light & shade Grove23 p466, Webimages
Brother: Evangelista, died 1490 or soon after, was an artist L&Lp562

– Cristoforo DE PREDIS/PREDA, brother of Ambrogio & Evangelista, Italy=Milan:

Influences: The French artist Jean Colombe, & Phillippe de Mazerolles, Jean Hennecart & other Flemish artists active in the Burgundian court Grove25 p465
Career: He worked as an illuminator at least from 1471 & won important commissions from noble Milanese families & the Duke Galeazzo Maria Sforza. He had an important workshop Grove25 p465
Oeuvre: Illuminations L&L
Characteristics/Phases: He had an elegant & refined style & used Renaissance motifs. His masterpiece New Testament after his move away from Flemish art combines the new directions in Lombard art with an element of fantasy Grove25 p465

-DE PEREDA, Antonio, 1611-78, confusable with Juan De Pareja, Spain:

Background: He was born in Valladolid Brown1998 p122.

Training: His father & then Pedro de las Cuevas Brown1998 p122

Career: In 1622 he moved to Madrid. After the death of his protector Giovanni Batista Crescenzi, marquis de la Torre, in 1635 he ceased to work as a court artist possibly due to Velazquez’s jealousy. Subsequently he found ecclesiastical clients in & around Madrid Brown 1998 pp 122-3, L&L

Oeuvre: Battle compositions, small & later splendidly elaborate large-scale vanitas still-lifes & religious works Brown 1998 pp 122-3, 186-7, L&L,

Phases/Characteristics: Although his forms continued to be carefully drawn & his details were naturalistic, he, like Zurbaran, responded to the growing interest doing the 1640s in more dynamic compositions. This resulted in a traditional style as in Profession of Sor Ana Margarita to St Augustine, 1650 Brown1998 p186

Innovation: His granular textures & strong illumination were a new feature in still-life painting Brown1998 p187

Grouping: He has been regarded as Spanish Baroque L&L. [However, this is an over-simplification initially his work was not Baroque & thereafter only semi-Baroque] See Eloquent Painting in Spain Section 9

– DE PAREJA, Juan, c1610-c70, confusable with Antonio de Pereda, Spain:

Background: He was born at Antequera, Seville, of Muslim descent Grove24 p109
Career: During the 1630s he ground colours & prepared canvases in Velazquez’s workshop & accompanied him to Italy in 1649-51 Grove24 p109, L&L
Oeuvre/Characteristics: Religious paintings & portraits in an eclectic style generally using warm colours Grove24 p109
Verdict: His religious works barely competent & his portrait of Jos de Rates, c1660, is the only work with something of Velazquez’ style & sober colouring L&L, Grove24 p109

..DE PUJOL, Alexandre, 1787-1861, France:

Background: Born Valenciennes Norman1977
Training: He was a favourite pupil of David Norman1977
Influences: Gros Norman1977
Career: In 1811 he won the Prix de Rome prize & he exhibited regularly at the Salon from 1808 to 1855. In 1835 he became a member of the Institute where he was a powerful enemy of the Romantics Norman1977
Oeuvre: Religious & history paintings including murals for many public buildings such as the grand staircase at the Louvre & the ceilings of the Bourse de Paris & the Galerie de Diane, Fontainebleau Norman1977, Wikip, webimages
Characteristics: His works are boldly coloured & of a melodramatic nature as in his La Clemence de Cesar, 1808, & the Execution of Mary Queen of Scots, 1850, with their gesturing figures & powerful highlights (both Musee des Baux-Arts, Valenciennes) webimages
Grouping: Neo-classical Norman1977

**DERAIN, Andre, 1880-1954, France:

Background: Born at Chatou on the Parisian outskirts, the son of a prosperous pastry cook OxDicMod

Training: 1898-9 at the Academie Carriere OxDicMod

Influences: Initially Gauguin’s heightened colour & sinuous forms L&L

Career: Derain became a friend of Matisse at the Academie & in 1900 he met Vlaminck with whom he shared a studio. After military service from 1901 to 1904, he worked closely with Matisse & Vlaminck, painting at Collioure. In 1905 Vollard bought the contents of his studio & he was one of the Fauvist painters at the Salon d’Automne. Impressed by Monet’s London paintings, Vollard sent Derain there in 1905-6. In 1907 Derain lived in Montmartre close to the Bateau Lavoir in frequent contact with Picasso & Braque & signed a contract with Kahnweiler, their art dealer. He also had contact with Apollinaire, illustrating his first book with woodcuts. However, his links with Cubism were short-lived. Like Vlaminck he was a pioneer of primitive art. He served in the army & during the twenties his now more conservative work made him wealthy & famous. During the occupation he was courted by the Nazis & in 1941, with Vlaminck & other artists, Derain visited Germany to attend the House of German Art in Munich & smiled for the newsreel cameras. One inducement was probably the release of prisoners but the motivation remains controversial. In his final years he became reclusive & separated from his wife OxDicMod, L&L.

Oeuvre: Paintings, prints, theatrical design & sculpture OxDicMod

Phases/Characteristics: In his Collioure paintings he placed slabs of colour against white backgrounds to evoke the warmth of the son & in London painted its grimy scenes in brilliant colour. Later his work appeared looked like monumental Cubism stabilised by a classicism derived from Cezanne. By 1912 he had become more openly traditional, combining aspects of early Renaissance & Byzantine simplicity & stylisation with clarified outlines in the manner of Ingres L&L, OxDicMod

Beliefs: He criticised Monet, [probably with reference to his London paintings,] for using fugitive short-lived colour to produce mere impressions, when what was wanted was something more fixed, eternal & complex. Africans are primitive, uncomplex uncultured, instinct-driven & produce carvings informed with emotion: the material from which he constructs a world of his own Whitfield pp 105-6, Burgess p407.

Status: Derain has been classified with Neue Sacklichkeit Hayward1979 p10

Reception: His later more conservative work dismayed many in the avant-garde & led to controversy OxDicMod

P De Ribera. See Ribera

-DE ROELAS, Juan, c1559-1625, Spain=Seville:

Career: During 1598-1602 he worked with Carducho in Valladolid. He was a priest & in 1603 became a chaplain near Seville where he soon began working as as a painter. In 1606 he relinquished his benefice & moved there. During 1617-21 he was in Madrid trying unsuccessfully to become court painter. He then returned to his chaplaincy Brown p104

Oeuvre: Large multi-figure compositions, together smaller more intimate works, virtually all for churches & religious houses in & around Seville OxDicArt, Brown p106.

Characteristics: He had an eloquent & fervid style combining realism, vigour & delicate handling similar to Murillo’s late vaporous work L&L, OxDicArt. His figures are rounded, move with grace & have lively, varied expressions. He animated his work rich impastos & abundant highlights Brown pp 104-6

Status: He was the leading Sevillian painter of his era OxDicArt

Innovation: He reinvigorated Sevillian painting Brown p104

Grouping: Baroque See Brown pp 105-6

Influenced: Murillo, Herrera the Elder & Zurbaran L&L, Brown p106

P De Saccis. See Pordenone

P De Saint-Aubin. See Saint-Aubin

-DE SAX, Andres Marzal, recorded 1393-1410, Germany:

Background: He was probably from Saxony L&L
Career: He was active in Valencia where he is last mentioned impoverished & ill receiving free lodging from the city in recognition of his generous training of local painters OxDicArt
Characteristics: His works have a somewhat rough vigour OxDicArt
Legacy: His style had considerable influence in Valencia OxDicArt

-DE SEGONZAC, Andre Dunoyer, 1884-1974, France:

Background: He was born at Boussy Saint-Antoine, near Paris Grove9 p396
Influences: Cubism & in a few paintings Expressionism prior to the Great War
Career: He began painting in 1903 frequenting the Academie de la Palette & the studios of Luc Meron & Jean-Paul Laurens & shared a studio with Jean-Louis Boussingault, 1907. In 1908 he visited St Tropez, where he painted much of his work. He exhibited regularly at the Salon des Independents from 1909 & Salon ded’Autome from 1910, & took part in the Salon de la Section d’Or in 1912, & the Armoury Show, 1913. During the war he made remarkable drawings of the trenches
Oeuvre: Paintings in oil & watercolour of landscapes, still-life & nudes, prints & theatrical design. In 1925 he purchased a villa with Andre Ville boeuf at St Tropez L&L p213
Characteristics: His work is impressionistic & realistic, using thick paintwork for the oils. Unlike other Parisian artists he was not dazzled by Mediterranean light but painted dull grey days or cloudy skies producing it is claimed a sense of timelessness & melancholy Webnimages, Wikip, Grove9 p306
Friends: Colette Grove9 p396

..DE SEQUEIRA, Domingos, 1768-1836, Portugal:

Background: Born in Ajuda, Belem Norman1977
Training: He studied at the Lisbon School of Drawing before going to Rome on a state grant Norman1977
Oeuvre: Neoclassical paintings, mainly of religious and historical subjects Norman1977
Career: Two scenes from the life of Christ, painted in Italy, brought him fame. After a return to Portugal De Sequeira was appointed first painter to the court. He executed mural decorations for the Royal Palace at Ajuda Norman1977
Characteristics: A fine colourist. His final works show his ease in composing and balancing masses Norman1977
Status: The most illustrious artist of his generation in Portugal Norman1977

.. DES GRANGES, David, c1612-1670s:

Background: He came from a Guernsey family but was born in London Waterhouse1953 pp 64, 123
Influences: John Hoskins whose work he often copied Grove13 p309
Career: He was a royalist during the Civil War, followed Charles II to Scotland, producing many miniatures copied from the portrait but David Hannemann. Disabled & indigent he had to plead for payment Grove13 p310
Oeuvre: He was an uneven portraitist & a minor miniaturist Waterhouse1953 p123
Characteristics: His miniatures were painted in a reticent style using an unusual grey or light brown background. The attributed oil painting of the Saltonstall Family, though naively composed, has a sensitivity & intimacy rare in Stuart paintings Grove13 p309

-DESHAYS, Jean-Baptiste-Henri, 1729-65, Boucher’s son-in-law, France; Baroque

Background: He was born at Coleville near Rouen, the son of an obscure painter Grove8 p794

Training: His father & the studios of Hyacinthe de Vermont in Paris around 1740 & Jens Restout II from 1749 Grove8 p794

Influences: Raphael, Domenichino & the Carracci Grove8 p795

Career/Reception: He won the Prix de Rome in 1751 & spent four years in Rome at the Academie de France , returning to Paris in 1758 & married Boucher’s daughter in 1759 he was received in the Academy & St Andrew Refusing to Worship Idols, 1759 (Musee des Beaux-Arts) was a turning-point in French painting because of its crude realism. This shocked Diderot but in 1761 he was universally acclaimed Grove8 p795

Oeuvre: Religious & mythological paintings Brigstocke

Characteristics: Dramatic composition using Baroque diagonals & pyramidal forms, strong colouring, the absolute conviction with which he treated convention subjects & versatile changes of mood: the Last Communion of St Benedict,1761 (Musee des Beaux-Arts, Orleans) featuring great intimacy & tender feelings Grove8 pp 794-5, Wakefield p108.

Status: He was the most celebrated painter of big religious & mythological scenes around 1750 Brigstocke

Grouping: Baroque of an almost pre-Romantic type Wakefield pp 107-8

Influenced: David’s early history paintings Brigstocke

-DE SMET, Gustave, 1877-1943, Belgium:

Background: Born Ghent OxDicMod
Training: At the Ghent Academy, 1888-95
Influences: Jan Shuyters & Henri Fauconnier had an Expressionist influence whom he met during the war
Career: During the first decade of the century he was at the artists’
colony of Laetham-Saint-Martin. He took refuge in Holland during the war but returned to Belgium in 1922 & lived in numerous places L&L, OxDicMod
Oeuvre: Paintings OxDicMod
Phases: Initially his work was Impressionist OxDicMod.
Characteristics: De Smet mostly painted schematic scenes or rural & village life which often have a Chagall-like air of unreality
Grouping: Expressionism OxDicMod
Influence: It was considerable during the inter-war period OxDicMod
Brother: Leon, 1881-1966, was also a painter OxDicMod

de Solario, Antonio. See Lo Zingaro

*DE SOTO, Jesus, 1923-, Venezuela:

-DESPORTES, Alexandre-Francois, 1661-1740, France:

Training: Nicasius Bernaerts (1620-78), who was a Fleming & pupil of Snyders L&L
Career: During 1695-6 he was a court portraitist in Poland. He achieved considerable celebrity & was well-received when he visited England, 1712 OxDicArt
Oeuvre: Mainly paintings of dogs, game & hunting subjects which he took up after returning to France OxDicArt
Characteristics: His paintings were lavish in the Flemish tradition of Snyders OxDicArt
Patrons: Louis XIV who commissioned paintings of his favourite dogs & menagerie animals; & also Louis XV OxDicArt, L&L
Status: In his field his only rival was Oudry OxDicArt
Innovations: Desportes was one of the first 18^th century artists to make landscape studies in oils on paper for his backgrounds for which he was considered eccentric OxDicArt, L&L
Collections: The Louvre & Wallace Collection

-DE STAEL, Nicolas, 1914-55, Russia/France:

Background: He was born an aristocrat in St Petersburg L&L
Training: Courses on architecture at the Academie de St Gilles & on decoration & design at the Academie Royale des Beaux-Arts, Brussels, 1933-36 Grove29 p492
Influences: 17^th century Dutch painting, & Matisse & Braque Grove29 p492

Career: The Revolution forced the family to leave Russia for Poland. He & his now orphaned sister were adopted by Russian expatriates in Brussels in 1922. He worked in The Netherlands, travelled widely & settled in Paris, 1938. After a period in the Foreign Legion until 1943, he moved to Nice & then returned to Paris in 1943 & was soon one of the most admired painters of the Art informel movement. He ultimately committed suicide feeling he had failed to reach a satisfactory compromise between figuration & abstraction OxDicMod, L&L

Oeuvre/ Characteristics/Phases: In Nice he turned from figuration to abstraction though his forms were usually suggested by real objects. From around 1945 he used rich colour in thick layers leaving some hint of lower strata in work showing a delight in handling paint & featuring luscious areas of thick paint subtly varied in colour & texture, often applied with a knife. In paintings such as [the as in] Hard Life, 1946 (Pompidou) he produced all-over works featuring a network of long thin forms, dashes & squiggles. From 1951 he began introducing figurative elements in works which are said to suggest landscape & still-life as in Landscape Study, 1952 (The Tate) with simpler & more stable & geometric blocks. His later work was more representational, the paint more fluid & the style less geometric as in Le Fort-Carre d’Antibes, 1955 (Museo Picasso, Antibes) in work which anticipates colour field painting & lyrical abstraction. He also produced lithographs, woodcuts & collages OxDicMod, L&L, Grove29 pp 493-94, Brigstocke, wikip

Circle: In Nice the lively circle of avant-garde artists which included Sonia Delaunay, Hans Arp & Alberto Magnelli Grove 29 p493

Reception & Repute: From the1940s he gained an international reputation as an outstanding painter of the School of Paris, & he wielded an immense influence during the 1950s especially in France & Britain. He is said to have demonstrated that paintings could be simultaneously abstract & representational OxDicCon, Grove29 p495
Collections: The Tate

..DETAILLE, (Jean-Baptiste), Edouard, 1848-1912, France:

Background: He was born in Paris into a prosperous family & his father, an amateur artist, encouraged his interest in art Grove8 p819

Training: Meissonier, impressed by his talent, took him as a pupil at the age of 17, & was a hugely important influence. A Corner of Meissonier’s Studio was his first Salon exhibit in 1867 Grove8 p819, Norman1977

Career: In 1870 he first made a sketching trip to Algeria & then obtained a staff position which enabled him to observed the hostilities of the Franco-Prussian War, which had just commenced Grove8 p819

Oeuvre: He painted battles and military life, largely drawn from the Franco-Prussian war of 1870, but also including Napoleonic victory scenes etc, together with two lavishly illustrated volumes on military uniforms, His scenes are naturalistic, & painted with close attention to detail as in The Defence of Champigny, 1879 (the Met), an incident he had witnessed Norman1977, web images & entry on the latter work

Feature: His [as in] painting The Dream, 1888 (Musee d’Orsay) shows sleeping French conscript soldiers who are dreaming about the glory of their predecessors & exacting revenge for their country’s defeat in the Franco-Prussian War Wikipedia entry.

Reception: His popular success was outstanding; he was received in the highest society and armies manoeuvred for him to sketch Norman1977.

Repute: He is not itemised in any of the obvious works of reference except the Grove Dictionary & Wikipedia

..DE TIVOLI, Serafino, 1826-1892, Italy:

Background: He was Born in Livorno but moved with his family to Florence, 1836 Norman1977, Wikip
Training: He studied with Carlo Marko the Elder Norman1977, Wikip
Influences: The work of the Barbizon painters whom he saw in 1855 regarding their realism & powerful chiaroscuro as a way of renewing art in the modern age Wikip, Broude p52
Career: He fought as a Tuscan volunteer for Garibaldi, 1848-49, & then frequented the Caffe Michelangelo discussing politics & art with future Macchi aioli artists. In 1853 he founded the Scola di Staggia & visited the Exposition Universelle in Paris, enthused his friends at the Caffe, sparking off the Macchiaioli Movement. He made further visits to Paris, went to London, & moved to Paris, 1863, exhibiting at the Salon des Refuses, but returned to Florence in 1890 Norman1977, Wikip
Oeuvre: Initially he painted Landscapes en plein air in the Tuscan countryside around Siena. A key work was the [as in] Pasture, late1860s (Gallery of Modern Art, Palazzo Pitti, Florence) Wikip, Broude pp 52, 54.
Characteristics: His work is highly pleasing [as in] Old Fish Pond at Bougival, c1877 (Private) [but Wikimedia] with its gentle colouring, spontaneity, activity & Impressionist brushwork. This is a genre work & his subject matter was diverse & includes tree portraits, river scenes & townscapes often featuring animals, figures & buildings Broude, facing p85, webimages
Circle: At the Caffe with the future Macchiailo artists Telemaco Signorini & Vito D’Amcona the caricaturist Angiolo Tricca. In Paris he frequented the Cafes Guerbois & Nouvelle-Athens where he associated with the future Impressionists. He became friends with Degas & associated with Boldini, De Nitti’s, etc Wikip
Repute: He is not itemised in the Oxford Companion, The Yale Dictionary, or the Grove Dictionary, as published.

Francois DE TROY, 1645-1730, Jean-Francois’ father, France; Baroque

Background: Born Toulouse into a family of painters, the son of Antoine de Troy, 1608-84 Grove31 p377

Training: By his father & probably with the accomplished regional painter Antoine Durand with whom he moved to Paris to study with the portraitist Claud Lefebre & then with Nicolas Pierre Loir Grove 31 pp 377-8

Influences: The Low Country painting of Rembrandt, Gerrit Dou etc to which he was introduced by his friend Roger de Piles Grove31 p378

Career: He was elected a member of the Academy, 1674; dedicated himself to portraiture from 1675; worked continuously in court circles; became assistant professor at the Academy,1692; Director, 1708-11; & Assistant Rector, 1722 Grove31 pp 378-9

Oeuvre: Fashionable portraits, religious & mythological works, & tapestry design OxDicArt, Grove31 pp 378-9.

Characteristics/Phases/Innovations: His portraits were in the mode of Van Dyke with free moving, loosely painted draperies. By the mid-1690s he had a reputation among women for portraying them as beautiful as in Anne-Marie de Bosmelet, Duchesse de la Force, 1714 (Musee Beaux-Arts, Rouen). Using shimmering draperies but with a French classicizing reserve he nevertheless produced an individual likeness. During the Regency he depicted sitters as mythological deities, novel through combining realism & sensuality. They anticipated the Rococo portraiture of Drouais & Nattier. Around 1700 he began painting group & family portraits helping to initiate 18^th century paintings of figures intimately arranged in contemporary settings as in Family of Francois de Troy, c1709 (Musee Tesse, Le Mans) His pictures for the Parisian bourgeoisie are more naturalistic & intimate than his court work. He also painted works which celebrate historical events L&L, Blunt1954 p277, Grove31 p378-9

Status/Friends: Along with Rigaud & Largillierre he ranks among the best late Baroque portrait painters Grove31 p379, Wakefield p45

Verdict: He was a less talented portrait painter than Hyacinth Rigaud & Nicolas de Largillierre Blunt1954 p277

Grouping: The Baroque. Like Hyacinthe Rigaud & Nicolas de Largilliere he belonged to the generation of French painters at the end of the 18^th century who were inspired by Van Dyke & painted works that combined impressiveness & intimacy,& featured a Baroque sweep of draperies L&L, Blunt1954 p277

* Jean-Francois DE TROY/DETROY, 1679-1752, Francois’ son, France; Rococo

Background: Born Paris Grove31 p 379
Training: His father & lessons at the Academy L&L
Influences: The Venetians, especially Veronese & Palladio Wakefield p45

Career: He was in Italy, 1698-1706; was elected an Academy member, 1708; was commissioned to paint produce decorative works for the present Hotel de Ville, Versailles, 1724; received numerous other commissions including those for decorative genre paintings for the petits appartements at chateau &Fontainbleau.1734 &1737; was Director of the French Academy in Rome, 1738-50; & after being dismissed went back to Paris in disgrace Grove31 pp 378-9, Wakefield pp 45, 50-1

Oeuvre: Large religious, mythological & history paintings; smaller genre pictures which were realistic observations of contemporary dress, behaviour & settings as in the Hunting Breakfast, 1737 (Wallace Collection) ; & cartoons for Gobelins tapestries which were picturesque with brilliant colour effects L&L, Grove31 p379

Characteristics: He met the fashionable demand for erotic biblical scenes as in Susanna & the Elders, c1725 (Musee des Beaux-Arts, Rouen). However, he was content to use well-worn themes from history & mythology without much creativity, although he did, as in his Bathsheba,1727 (Musee des Beaux-Arts, Angers) seek to depict the bodies of real women . Wakefield p51, Levey1966 pp 42-3

Status/Reception: His fashionable life scenes epitomize the Rococo & anticipate Boucher & contemporise considered him one of France’s finest history painters. However he was the first painter to be criticised for banality etc as tastes changed, his 1748 Salon pictures being unenthusiastically received Grove31 p379, Wakefield p51

Patrons: The financiers Samuel Bernard & de Lalive Wakefield p46

Personal: He was vain, ambitious, & loved money, pleasure, luxury, gambling & women but not hard work Wakefield p45

Verdict/Status: He was a brilliant, facile, interesting & attractive artist & the outstanding representative of early French Rococo. In 1737 was hailed as the leading painter of his generation Wakefield pp 44-5, 50

-DEUTCH, Nikolaus Manuel I, c1484-1530, Switzerland:

Background: Born Berne Grove8 p822

Training: He appears to have been self-taught Brigstocke

Influences: Hans Fries, Durer’s woodcuts, Hans Burgkmair, Grien & Urs Graf Brigstocke

Career: He was admitted to the guild,1512; joined the mercenaries fighting for the French in Lombardy, 1516 & 22; painted frescoes in the cathedral, around 1517; but reduced his artistic activity in the early 1520s due to rising career as a statesman & insolvent with the Reformation which he actively supported. During 1523-8 he was governor of Erlach Grove8 pp 822-3.

Oeuvre: Paintings, frescoes, prints, drawings & design work. His known paintings were produced during 1513-20 & are religious & mythological Brigstocke, Grove8 pp 822-3

Characteristics/Feature: A recurrent theme is the power of women as in his pen & ink drawing Allegory of Man’s Mortality, 1513 (Kupferstichkabinett, Basle) & his panel painting Pyramus & Thisbe, 1513-4 (Kunst Museum, Basle). His paintings are dramatic & mostly in striking colour Grove 8 p823, Wikip

Friend: Zwingli Wikip

Sons: Hans Rudolf Manuel, 1525-71, & Niklaus Manuel II, 1528-88, became artists Grove8 pp 822-3

..DEVERIA, Eugene, 1805-65, France; Romantic Melodramatic:

Background: He was born in Paris Norman1977
Training: Girodat-Trioson & Guillaume Lethire Norman1977, Grove8 p829
Influence: His brother, Rubens &Veronese Grove8 p829
Career: His studio became a meeting point of young French romantics in the 1820s. In 1827 his first [as in] Salon exhibit, The Birth of Henry IV (The Louvre), was rapturously received, & for a time gained him numerous official commissions. He went to Avignon, 1838; settled at Pau in the Pyrenees, 1841; & converted to Protestantism, 1843 Norman1977, Grove8 p829
Oeuvre: History & religious paintings; murals in fresco & encaustic painting; & skilful & sympathetic portraits Grove8 p829
Characteristics: Vivid colours, robustly modelled forms, & painstaking depiction of costume & landscape in dramatic works featuring animated, crowded figures in richly coloured works using strong chiaroscuro as in The Death of Jane
Seymour, 1847 (Musee Beaux-Art, Valance) Grove8 p829, web images
Phases: As the above work shows he remained faithful to works of the type that had brought him success Grove8 p829
Circle: Bonnington & Boulanger, also Victor Hugo, Musset, Sainte-Beuve, Fontenay Norman1977
Brother: Archille, 1800-57,was a painter, lithographer & stained-glass designer Grove8 p828
Locations: The Salle d’Amasis in the Louvre, the Musee de L’Histories at Versailles, & in Notre-Dame-des-Dooms, Avignon.

-DEVIS, Arthur, 1711-87, England:

Background: He was born at Preston, the son of a man who became a Town Councillor there Grove8 p832, Waterhouse1953 p193

Training: In London by the Belgian topographical & sporting painter Peter Tillemans L&L, Grove9 p832

Career: Devis worked in London from 1729 &, after a trip to Preston in 1734-35, established himself as a painter of conversation pieces with a studio in Great Queen Street, Covent Garden by 1742 He exhibited at the Free Society between 1761 & 75, becoming its President in1768 His heyday was from 1742. By 1764 he was eclipsed by Zoffany & turned to painting on glass & picture restoration Grove8 pp 832-33 OxDicArt, L&L

Oeuvre: Interior & exterior scenes with figures together with full length portraits of ladies & gentlemen standing or sitting webimages

Characteristics: His sitters are usually in repose, often somewhat artificially posed & doll-like in delicately detailed settings of their homes or grounds as in Mr & Mrs Van Hartals & their Son, 1749 (Upton House, Warwickshire, NT). However here & elsewhere his figures, although linked, do not converse but seem isolated. The other type of painting he produced was the single figure as in his engaging Unknown Young Man, 1761 with his ingenious posture (Manchester City Art Gallery). He used thin, transparent paint featuring muted colour of a pleasing nature at once tender & gay with silvery highlights OxDicArt, webimages, Waterhouse1953 p194

Phases: During his heyday his style scarcely altered, though after about 1748 he preferred to place sitters out of doors, apparently during the afternoon, in spreading parkland which conveys a sense of their ownership, which doubtless enhanced his popularity. In his [as in] Robert Gwillym of Atherton with his Family, 1745-7 (Yale Centre for British Art) ownership is explicit as the squire is pointing out his domain Waterhouse1953 p194, Grove8 p832, Shaw-Taylor pp127-28.

Innovations: He was the first English painter to specialise entirely in Conversation Pieces & small full-length portraits but not the first painter to produce them L&L, Waterhouse1953 p192

Patrons: He found favour with the newly prosperous middle class of merchants & squires, but not with the aristocracy OxDicArt, L&L

Repute/Verdict: He was virtually forgotten until the 1930s but has since attained considerable popularity. Although a minor artist he cultivated a special talent so exquisitely that some have regarded him as the prince of the conversation piece L&L, BurkeJ p302

Repute: He was virtually forgotten until the 1930s but has since attained considerable popularity L&L

Collections: Preston Art Gallery

Half-Brother: Anthony, 1729-1816, who painted landscapes & country houses in oils & watercolour Grove8 p833

Arthur’s Sons: (a)Thomas Anthony, 1757-1810, & Arthur William 1762-1822, who painted portraits which are less sophisticated than his father’s & exhibited at the RA, 1782-88. (b) Arthur William, 1762-1822. He joined an expedition as a draughtsman to the East Indies but ended up in Canton & then India where he painted portraits & paintings for engravings featuring Bengal, etc. He also produced history paintings of Indian subjects & after returning, & bankruptcy, British topics including his heroic Death of Nelson, 1805 (National Maritime Museum, 1805) which contributed to the Nelson cult together with portraits Grove8 p833, webimages

* DE VLAMINCK, Maurice, 1876-1958, France:

Background: He was born in Paris into a family who lived at Vesinet near Paris & then at Chatom on the Seine. His father was Belgian violin teacher & his mother taught the piano L&L p723, Grove32 p667

Training: Self-taught L&L

Influences: Cezanne, 1907-10 Grove32

Career: From 1892 he took an interest in painting; became a racing cyclist, 1893-6; then mainly a cafe violinist but also a semi-professional billiard player; wrote for Le Libertaire & other Anarchist papers; met Derain & shared a studio in the early 1900s; was impacted by the Van Gogh Exhibition, 1901; exhibited at the Salon des Independents & des Automne, 1905, in the latter being dubbed a Fauve along with Matisse & Derain; painted in England, 1911; worked at Martigues with Derain; painted on the Cote d’Azur & from Valmondois where he bought a house, 1917; after the War he moved from Paris & worked alone in the countryside; during the Second World War he was courted by the Nazis & visited Germany with other artists, 1941; was arrested & interrogated after the Liberation which damaged his career Grove32 pp 667-9, L&L, OxDicArt, OxDicMod

Oeuvre: Landscapes, still-life, & portraits in oils, gouache & watercolour, together with prints, drawings, & numerous novels Grove32 pp 667-69, L&L

Aim: “I try to paint with my heart & my loins, not bothering with style” OxDicMod

Phases/Characteristics: His paintings of the early 1900s are violently expressive using non-descriptive colour & painted broad, turbulent brushstrokes. He then painted jaunty works in a Fauvist manner, 1904-7 as in Barges on the Seine/Bateau sur La Seine, 1905-6. His Fauve works unified with deep blue whereas Matisse & Derain celebrated the sun using brilliant white (Pushkin Museum, Moscow); & having seen Cezanne painted dramatic, structured landscapes, until about 1910, as in Payage d’Or age, c1909-10 Musee National d’Art Moderne/Pompidou, Paris) Thereafter his landscapes, though still vigorous, are in more austere colour. At Vaslmondois & elsewhere his works featured violent light & his favourite subjects are said to be a road, a few houses & trees tossed by wind. His work eventually became somewhat repetitive, slick, theatrical & melodramatic Grove32 p669, L&L, OxDicMod, OxDicArt, web images Whitfield p38

Feature: He had little interest in life’s dark side unlike Kirchner & Die Brucke Whitfield p38

Technique: In his Fauve works he often painted with oils from the tube OxDicArt

Firsts: He was probably the first artist who collected African tribal sculptures L&L

Politics: Every year from about 1900 to 1939 he donated the proceeds from selling a painting to the Anarchist cause Zeldin Vol 1 p778

Gossip: He boasted that he had never entered the Louvre OxDicArt

..DE VLIEGER, Simon, 1601-53, Netherlands=Amsterdam:

Background: He was born in Rotterdam L&L
Career: From around 1633 to 38 he worked in Delft, & thereafter in Amsterdam L&L p723
Oeuvre: He specialised in seascapes but he was versatile & his work included landscapes, genre, tapestry cartoons, stained-glass window design, etchings, animal studies L&L, OxDicArt
Phases: Initially he painted stormy subjects but was soon mainly interested in atmospheric, serene & majestic depiction of the sea, sky & clouds L&L, OxDicArt.
Characteristics: In his calm pictures the cloudy sky forms a unity with the waters & using sensitive nuances of grey the works suggest enormous distances, or the vaporous atmosphere of an oncoming storm as in Estuary with Ships in Rainy Weather (National Maritime Museum, Greenwich) Haak p308.
Status: He was an outstanding marine painter of his time. His paintings of water & sky are among the most evocative in Dutch marine art OxDicArt, Haak p309
Influenced: Van de Cappelle, Willem Van de Velde the Younger OxDicArt

..DE VOLAIRE, Pierre-Jacques, 1729-1802, France; Romantic Sublime:

Background: He was born at Toulon into a family of artists & his father, Jacques, was official painter in Toulon & attached to the arsenal Grove 32 p684, Wakefild p161

Influences: He painted several views of the 1771 eruption of Vesuvius Grove32 p685

Career: After meeting Vernet in 1854, he became his assistant until 1762, working with him at Toulon on his Ports of France Wakefield p16, L&L p716. In 1763 he set up in Rome & by 1769 had settled in Naples Wakefield p716.

Specialities: His attractive views of the Neapolitan coastline & in particular his paintings of the eruptions of Vesuvius as in Eruption of Vesuvius, 1771 (Musee des Beaux-Art, Nantes) L&L.

Characteristics: In his notable night scenes, he used vivid contrasts of cool moonlight & warm fires with figures depicted as lively silhouettes Grove32 p685

Innovation: His paintings of Vesuvius take the depiction of horrific drama a stage than the works of Vernet, almost to the point of complimenting Burke’s theories of the sublime Grove32 p685

Influences: His eruptions of Vesuvius contributed to the taste for sublime & majestic imagery & he strongly influenced Wright of Derby during his Italian tour of 1773-5 Wakefield p163

Repute: Despite his international success he had no official recognition in France. However, his work was known & reproduced by the Abbe de Ant-Non who may have commissioned an eruption painting Grove32 p685

–Cornelis DE VOS, c1584-1651, Paul’s brother & Frans Snyders’ brother-in-law: Belgium=Antwerp:

Background: He was born at Hulst Grove 32 p702

Influences: Rubens & Van Dyck L&L

Career: He became a master in the Guild of St Luke, 1608 & in 1619 its dean. In about 1617 he was involved in painting the Garland of Roses cycle for the church of St Paul with Rubens, Jordaens & VanDyck. Around 1636-8 he assisted Rubens in decorating Philip IV’s hunting lodge the Torre de la Parada near Madrid. He was also an art dealer Vlighe p127, Grove32 p702-3

Oeuvre: Religious works, history paintings, a few genre pieces, & portraits which from about 1626 included large-scale family groups Vlieghe p45, L&L, Grove32 p703

Phases: Prior to 1620 his work was of a conventional nature. Subsequently it benefitted from Van Dyck’s innovations as in the portrait of Margarethe, c1620-1 (Frick Collection). From about 1624 his portraits begin to feature distant views of scenery as in Antonia van Eversdyyck-Canis, 1624 (Thyssen-Bornemisza Collection, Madrid), & during the later 1620s his work became livelier & Baroque-like as in Portrait of a Family, c1626 (Mainfrankisches Museum, Wurzburg). This is set out of doors against a French-style garden. By 1630 his biblical & history paintings, now produced in greater number, became more complicated with more figures & the composition sometimes broadened to include several episodes side by side. After1635 his creativity declined Vlieghe pp 45, 127, 140, Grove32 p703-5

Characteristics: His earlier portraits were attractively coloured, well-balanced with faces well-lit & modelled & painted with broad strokes Grove32 p702.

Feature: De Vos painted some donor portraits Grove32 p703

Innovation: Perhaps the originator of the portrait history in Belgium in which the sitter appears as a mythological figure, etc L&L

Reception: In the 1620s he began achieving success with his portraits Grove32 p702

Status: From 1620 he was the most important portraitist for the Antwerp bourgeoisie Vlieghe p140

Pupils: Simon de Vos & Jan Cosier Grove32 p705

Brother: Paul, 1596-1578, specialised in hunting scenes much influenced by Frans Snyders L&L

– Maerten DE VOS, 1532-1603, Belgium, Antwerp:

Training: Frans Floris L&L
Influences: Tintoretto L&L
Career: From the early 1550s until 1558 he was in Italy & worked as Tintoretto’s studio assistant. He then returned to Antwerp L&L
Oeuvre: Altarpieces & mythologies L&L
Characteristics: His work was highly decorative with Venetian colourism, anticipating Baroque L&L
Innovation: He anticipated Baroque L&L.
Status: He was Antwerp’s leading artist from 1570 L&L
Grouping: Mannerism TurnerRtoI p193
Pupils: Hendrick de Clerck L&L

– Simon DE VOS, 1603-76, Belgium:

Training: Cornelis de Vos to whom he was probably related L&L
Influences: Rubens & Van Dyke for biblical subjects, & Frans Francken the Younger & Vranx for genre L&L
Oeuvre: Biblical subjects, genre scenes & portraits L&L
Characteristics: His genre scenes were lively L&L

De Vriendt. See Floris

– Hans Vredermann DE VRIES, 1527-c1636, Paul’s father, The Netherlands:

Background: He was born in Leeuwarden Wikip
Training: Cornelis Floris L&L p725.
Career: He went to Amsterdam & Kampen, 1546; moved to Mechelen, 1549; was appointed city architect & fortification engineer in Antwerp but fled because he was a Protestant & was then active throughout the Netherlands & Germany including Danzig, 1592; Amsterdam, 1600; & also Prague 1596. He wrote an important treatise on perspective, 1604, L&L, Wikip
Oeuvre: Paintings, prints & design work, etc L&L, webimages Wikip
Characteristics: His paintings feature carefully delineated structures in dull brownish colour as in Palace Gardens with Poor Lazarus in the foreground (Rijksmuseum), though his interior Jesus at the House of Martha & Mary (Royal Collection) [is more life-enhancing] webimages
First: Dutch specialist in imaginary architecture L&L p725

– Paul Vredermann DE VRIES, 1567-c1630, Hans’ son, Netherlands:

Background: Born Antwerp L&L p725
Training: His father L&L
Career: Worked in Danzig, 1592-5; in Prague 1596-9; in Amsterdam, 1599-17, where he entered Rudolf II’s court. He collaborated with his father on large assignments & also with other artists including Frans Franken the Younger & Jan Brueghel the Elder Wikip, L&L
Oeuvre: Paintings, especially imaginary churches, & palaces with richly ornate facades & colonnades opening onto flowered courtyards with fountains & sculptures, these being the setting for scenes from ancient & sacred history. Figures are often by other artists. Also engravings L&L, Wikip
Characteristics/Phases: His paintings feature meticulous perspective & an atmospheric, silvery shimmering light as in Duel, c1600 (Kunsthistorisches) Wikip

-DE VARGAS, Luis, 1506-68, Spain=Seville; Mannerism

Background: He was born in Seville, the son of a minor painter Brigstocke
Influences: Mannerist painting in Florence & Italy in the 1540s especially Vassari, Francesco Salviati & Parino del Varga Grove31 p708
Career: After 28 years in Italy, he returned to Seville by 1553, L&L, Grove 31 p708
Oeuvre: Oils & frescoes L&L, webimages
Characteristics: Italianate forms with expressive naturalistic elements as in the Nativity, 1555, & Allegory of the Immaculate Conception, 1561 (Cathedral, Seville). Both are crowded, complex, & clearly defined works using emphatic colours & chiaroscuro Grove31 p907, webimages
Innovations: Italian Mannerism & fresco L&L
Grouping: Mannerism Grove31 p907
Collections: Seville Cathedral

..DEWHURST, Wynford (Smith, Thomas Edward), 1864-1941, England; Impressionism, British & Irish:

Background: Born Manchester into an affluent family McConkey1989 p156, Wikip
Training: At the Ecole des Beaux-Art under Gerome, & at Julian’s atelier McConkey1989 p156
Influences: Greatly by Monet Wikip
Career: He made regular painting trips to the Seine valley; in 1904 wrote the first important study of French Impressionism in English arguing that they had followed in footsteps of Constable &Turner, a view generally accepted at that time; he exhibited at the RA 1914-26 McConkey1989 pp 140, 156, Wikip
Oeuvre: Landscapes in oils & pastels webimages
Characteristics: His paintings have Monet-like surface textures. They are pleasing & colourful [but highly derivative] though his later work is more expressive especially his Creuse valley paintings McConkey1989 p140, Wikip, webimages

..DEWING, Thomas, 1851-1938. USA; Aethetic Movement

Background: He was born in Boston Grove8 p841. The problem then facing artists was to paint saleable works that were not a mere commodity. A solution was to follow Whistler & paint what was regarded & described as decorative & would, due to its beauty, refine popular taste & be life-enhancing Burns pp 67-72.

Training: After apprenticeship in a lithography shop he studied from 1876 under Jules Lefebre & Gustave Boulanger at the Academie Julian Grove8 p841

Influences: Whistler Burns p71

Career: In 1898 he was a founder member of The Ten. After 1920 he painted little Grove8 p841

Oeuvre: Oils, pastels & silverpoint drawings Gerdts1984 p23.

Characteristics/Phases: His earliest mature work from the late 1870s is tightly structured with aesthetic & stylized figures that are reminiscent of Albert Moore & Alma-Tadema due to their classical setting, precision & rendering of highly polished marble. Even this early he emphasised the feminine & ethereal depicting figures with uncertain motivation & elegant elongation. From the 1890s he mainly painted elegant, aristocratic women lost in reverie walking in lush but barely indicated landscape or set in sparse but tastefully furnished interiors. His women are dignified rather than beautiful, often with a book or musical instrument. Both interiors & exteriors are somewhat melancholic, though his figures never suggest distress. His drawing is infinitely delicate & refined with contours that fade or reappear with the changing light. Only the things that count are carefully delineated in soft & shimmering colour I&C p476, Grove8 p841.

Aim: To produce decorations which were what he called his landscapes which he regarded as too subtle for the general public. Hence he withdrew his landscapes from the 1901 Pan American Exposition Burns p71.

Friend/Patrons: Stanford White who designed many of his frames & introduced him to his patrons John Gellatly & Charles Freer Grove8 p841

Personal: He accompanied White & others in predatory engagements with models & lower class women Burns p73.

Grouping: Although a member of The Ten his aesthetic was Tonalist & akin to later Pre-Raphaelitism & the British Aesthetic movement Gerdts1984 p22

-DE WINT, Peter, 1784-87, England:

Background: Born in Stone, Staffordshire Wikip

Training: In 1802 he began an apprenticeship at Royal Academy School with William Hilton, they became very good friends and Peter married his sister Harriet Hilton in 1810 Wikip

Influences: John Varley gave De Wint art lessons, introduced to Dr Monro who ran an informal academy for young artists Wikip

Career: He exhibited in 1807 and in 1810 was elected Associate of the Old Water Colour Society and made a full member the year after. Spent summers teaching as an established master-drawer to well-to-do provincial families. In 1812 he became a member of Society of Painters in Watercolour where he exhibited for many years.

His work is found in National Gallery, V&A Museum and Collection, Lincoln. Roman Canal, Lincolnshire 1840 Wikip

Oeuvre: Watercolour, oils and recognised as drawing-master Wikip

Characteristics: Panoramic landscapes of haymaking scenes, Lincoln town and various rural scenes Wikip

Personal: Married Harriet Hilton and had one child. A cenotaph was erected by Harriet De Wint at Lincoln Cathedral in memory of him and William Hilton Wikip

-DE WITTE, Emanuel, c1615-91, Netherlands=Rotterdam:

Background: Born Alkmaar, the son of a schoolteacher Hodge2020 p66
Training: Evert van Aelst Hodge2020 p66
Career: In 1642 he joined the local Guild of St Luke. Around 1639-40 he was in Rotterdam, between about 1641 & 51 in Delft, & by 1562 in Amsterdam.   He committed suicide Hodge2020 p66, L&L
Speciality: Church interiors with a dramatic use of light & shadow OxDicArt
Oeuvre/Phases: Initially he painted history paintings & portraits but after 1660 he turned to architectural subjects & from 1660 to market scenes.   He also produced domestic interiors, harbour & marine views L&L
Characteristics: Light filtering through windows & creating bright areas.   His interiors are frequently seen from oblique angles & besides figures they often contain dogs. He palette was rather muted, his tonal contracts soft & his brushwork frequently loose Hodge2020 pp66-7
Verdict: He was the greatest Dutch architectural painter L&L
Personal: Unhappy & constantly in debt OxDicArt

-DEXEL, Walter, 1880-1973, Germany:

Background: Born in Munich NCStateUni
Training: Studied graduated from Munich University with a History of Art Major. Took a study abroad trip to Italy in 1912 where he painted his first picture L&L
Influences: In 1921-2 he was influenced by constructive art by Van Doesburg L&L
Career: Began painting in 1912, after 1918 he was known as abstract artist. His work was condemned as degenerate in 1935 so turned to teaching theory in Berlin. Started painting again in 1960’s. Received his doctorate in 1919 under Botho Graf. Most famous oil on canvas picture was Sailing Ship or Segelboot. The most notable contribution to the art world was his invention of the illuminated street sign in 1925 NCStateUni
Oeuvre: Bright colours, simple shapes, vibrant and dynamic NCStateUni
Characteristics: Abstract NCStateUni

Deybeka. See Deineka

– Gijsbert/Gysbert D’HONDECOETER, 1604-53, Gillis’ son & Melchoir’s father, brother-in-law of Jan Baptist Weenix, Netherlands:

Training: His father L&L
Oeuvre: Bird paintings OxDicArt
Innovations: He brought a naturalistic element to the depiction of poultry & birds L&L

–Gillis D’HONDECOETER, Gillis, c1580-1638, Gijsbert’s father, father-in-law of Jan Baptist Weenix, Netherlands=Utrecht:

Training: Savery L&L
Career: He may have been a Flemish refugee L&L
Oeuvre: Animal filled landscapes L&L

-Melchior D’HONDECOETER, 1636-95, Gijsbert’s son, Netherlands:

Training: Gijsbert; Jan Weenix (uncle) L&L
Career: He became internationally famous
Oeuvre: Prolific painter of birds, still-lifes, etc OxDicArt, L&L
Speciality: Poultry yards & & dramatic compositions of exotic birds & poultry L&L
Characteristics: Vigorous & brightly coloured canvases OxDicArt
Status: The most renowned Dutch painter of birds OxDicArt

*DI ARPO, Guariento, recorded 1338-1369, Italy=Padua:

Influences: Trends in the Veneto following visits to the area by Giotto & Giovanni Pisano Grove13 p746
Career: He is first recorded as a master in 1338 & by the late 1550s was working for the de Carrara, Lords of Padua. In 1365-7 he painted a vast Coronation of the Virgin fresco for the Doge’s palace, the large fragments of which show it to have been outstanding for its many-tiered Gothic architecture Grove13 p747, L&L.
Oeuvre: Paintings & frescoes Grove13 pp 746-7
Characteristics: He had an eclectic, highly distinctive, courtly & elegant style featuring a straight nose, square mouth & exaggeratedly large, staring eyes with pronounced lower lid. The various postures of his figures & illusionistic space display considerable powers of invention draughtsmanship His chromatic range was distinctive & rich Grove13 pp 746-7
Status: He was the leading painter of his time in Padua Grove13 p747
Influence: On his presumed pupil Nicoletto Semicolon & on Altichiero, Giusto de‘ Menabuoi & Jacobello del Fiore Grove13 p747, L&L

Dias de la Pena. See De la Pena, Dias

-Maso DI BANCO, Maso, active 1341-50, Italy=Florence:

Career: Almost nothing is known OxDicArt
Oeuvre/Characteristics: According to Ghiberti he painted, late 1330s, the St Sylvester frescos in the Bardi chapel, S Groce, Florence. They are lucid & beautifully coloured compositions of almost geometric clarity. Other works have been attributed OxDicArt, L&L
Status: Regarded as the greatest of Giotto’s followers OxDicArt.

– DI BARTOLO/CINI, Andrea c1361-1428; Bartolo di Fredi’s son; Italy =Siena

Background: Born Siena Grove7 p330
Training: His father Grove7 p330
Influences: The Sienese tradition of Ducio & Simone Martini; & Tadeo di Bartolo, Martino di Bartolomeo & Spinello Arentino Wikip
Career: He appears to have set up his own workshop after 1390 & was active at various towns in central & northern Italy Grove7 p330; Andrea di Bartoloa at NGA on web
Oeuvre: Frescoes & oils including altarpieces, illuminations, painted wooden sculptures & stained glass window design Grove7 p330

Characteristics/Phases: He gradually abandoned some of the harshness of his father’s manner, painting his figures in compact profile without linear complexities, but enlivened by a brilliant palette, as in the signed altarpiece Annunciation & Saints (Museo d’Arte Sacra, Buonconento, south of Siena). From the early 15^th century he elongated his figures & enlivened their movements with more expansive gestures & agitated gestures as in panels of a polyptych, 1413 (Franciscan Osservanza church, Siena) Andrea di Bartoloa at NGA on web

Feature: Because of collaboration with his father, sons & Luca di Tommi it is difficult to identify his own work See Andrea di Bartoloa at NGA on web

Verdict: Excellent craftsmanship & a talent for small-scale works but he remained a traditionalist under his father’s influence Grove7 pp 330-31, See Andrea di Bartoloa at NGA on web

Patronage: From his father’s patrons & Fra Tommaso Caffarini Grove7 p330
Status: He was one of Siena’s most successful painters Grove7 p330
Sons: Giorgio & Sano Andrea di Bartoloa at NGA on web

*Domenico DI BARTOLO, c 1400-45, Italy=Siena:

Background: Vasari believed that Taddeo was his uncle Grove 9 p94.

Training: He may have been a pupil of Filippo Lippi L&L

Influences: Florentine art of the 1420s as shown by his first securely attributed work Grove9 p94.

Career: It seems likely that he worked early on in Florence but must have returned to Siena before 1433. In 1433 he painted his masterpiece the Madonna of Humility. During 1435-40 he frescoed scenes from the lives of the patron saints of Siena in the sacristy of the cathedral but only a fragment survives. He frescoed scenes of everyday life at the Sienese Hospital of S. Maria della Scala between 1440 & 1444 Grove9 pp 94-5.

Oeuvre: Panel paintings & frescos Grove9 pp 94-5.

Phases: In the late 1430s he seems to have returned to a traditional Gothic style Grove9 p95.

Innovation: The transformation at Siena from Gothic to Renaissance style work Grove9 p94.

Status: Di Bartolo was with Vechietta the most modern Sienese artist in the mid-15^th century L&L

-Taddeo DI BARTOLO, c1362-1422, Italy=Siena:

Background: He was born in Siena, the son of a barber Grove30 p231
Influences: He looked back to Simone Martini & the Lorenzetti Grove30 p232
Career: In 1389 he was first listed as an independent painter. Grove30 p231. He worked in San Gimignano, 1393, Pisa & Perugia. Taddeo is best known for his frescos in the Palazzo Publico, 1406-7 & 1413-4 L&L, OxDicArt.
Oeuvre: Altarpieces & frescos L&L
Characteristics: His work is essentially late Gothic but he shows awareness of Florentine models in his extreme foreshortening within his crowded compositions & the reduction of polyptychs to triptychs L&L.
Innovation: Depictions of Roman Republican heroes & civic virtues of a type that became popular in the Renaissance OxDicArt

di Betto. See Pintoricchio

– Andrea DI CIONE/ORCAGNA/ ORGAGNA/ARCAGNUOLO active 1343-68=Florence; Early Renaissance:

Background: He was born in Florence Grove7 p332
Influences: Maso di Banco & Taddeo Gaddi & later Giovanni da Milano Grove7 pp 332,5
Career: Around 1346 he joined the painters’ guild & by around 1350 had become a leading Florentine painter Grove7 p333
Oeuvre: Panel paintings & frescos, sculpture & architecture Grove7 p333 L&L
Characteristics: The Strozzi Altarpiece & other works the sharply outlined figures are painted in bold contrasting colours Brigstocke, webimages
Innovations: The Strozzi Altarpiece has a politico-theological aspect because Christ is brought handed the works of St Thomas Aquinas, a Dominican, & he is being presented to Christ by the Virgin. Moreover, Christ surrounded by seraphim is unprecedented in 14^th century Florentine & Sienese altarpieces. In an age of increasing emphasis on the supernatural elements in religious belief it epitomises the growing tendency to return to the Hieratic & transcendental patterns of the early 13^th century Brigstock etc, White pp557-8
Status: With Nardo he was the most influential Florentine painter at the end of the 14^th century Murrays1959
Brother: There was another brother who was a painter, namely Jacopo, c1327-98 or after. However, his works had serious weaknesses almost all of his more important works until 1383 were collaborative Grove7 pp 337-8

– Nardo DI CIONE, active 1344-d1366, brother of Jacopo & Orcagna, Italy=Florence; Early Renaissance :

Background: Born Florence Grove7 p336
Career: Around 1347 he enrolled in the painters’ guild Grove7 p336
Oeuvre: Frescoes & panel paintings Grove7 p336
Characteristics: His work was lyrical & poetic with strong human sympathies & great sensitivity to colour for subtle differentiation & soft modelling. His mature works were unmistakably beautiful Grove7 p336
Status: With Jacopo he was the most influential Florentine painter at the end of the 14^th century Murrays1959

-DICKINSON, Edwin, 1891-1978, USA:

Background: Seneca Falls, New York OxDicMod
Training: At the Art Students League & the Academie de la Grande Chaumiere, Paris OxDicMod
Career: From 1920 to 1944 he lived at Cape Cod. Dickinson then moved to New York where he taught at various art schools. From 1959 he visited Greece & produced delicate pencil drawings of ruins OxDicMod
Oeuvre: Painter & draftsman OxDicMod
Technique: He often worked on his large pictures for several years OxDicMod
Characteristics: Dickinson often painted enigmatic or disquieting subjects, especially his self-portraits in which he is sometimes dead. His paintings are heightened by selective attention to detail & dramatic use of space OxDicMod, L&L
Grouping: He has been called a Surrealist & seen as a sophisticated culmination of 19^th century Romanticism or poetic naturalism OxDicMod, L&L

..DICKSEE, Sir Frank, 1853-1928, England; Aesthetic Movement

Background: He was born in London came from a family of artists & his father Thomas, 1819-95, painted portraits & historical genre OxDicMod, Grove8 p864
Training: At the RA schools under Leighton & Millais Wood1999 p243
Influences: Leighton’s classicism curiously blended Watts’ abstracted idealism Grove8 p864
Career: He was successful at the RA in 1877 with Harmony; was an illustrator at the Cornhill, etc; became an became an RA in 1891, & its President due to his seniority, 1924, & was an outspoken critic of Modernism, Reynolds1987 pp 71-2, Grove8 p864, OxDicMod, Wood1999 p243
Oeuvre: Romantic history scenes often painted from imagination; occasional scenes of modern social drama which were Orchardsonesque, generally with two people conversing emotionally; & latterly portraits OxDicMod, Wood1999 p243
Specialities: Affecting sick room pictures Dijkstra p31
Characteristics: Richly orchestrated colour, & at his best he had a sumptuous technique employing bold & unusual light effects as in A Reverie, 1895 (The Walker). However his work was sometimes twee. He produced large, lush, romanticised medieval subjects; nudes superficially like those of Burne-Jones & Rossetti but without disturbingly cruel sexual overtones Grove8 p 864, OxDicMod, Wood1999 p245, Treuherz1993 p178
Status/Reception/Repute: He belonged to the Last Romantics; in 1900 his Two Crowns was voted the most popular RA picture. However by the end of his career he was regarded as old fashioned Wood1999 pp 242-3, OxDicMod

*DI CREDI, Lorenzo, c1456-1536, Italy=Florence:

Training: Verrocchio, being a fellow pupil with Leonardo OxDicArt
Career: In 1482-3 he took over Verrocchio’s Florence workshop & in 1488 he became his executor & heir. He worked as a restorer but introduced changes L&L. Under Savonorola’s influence he is reputed to have destroyed all his pictures with profane subjects OxDicArt
Speciality: Domestic Madonna’s, Adorations & images of saints L&L
Phases: His early work is a prosaic version of early Leonardo but he later absorbed some High Renaissance ideas OxDicArt
Characteristics: He was technically excellent but had a slick & highly coloured Leonardesque style L&L):

..DIDAY, Francois, 1802-77, Switzerland (France until 1815) Romanticism, Sublime:

Background: He was born in Geneva the son of a watchmaker & scrap dealer Norman1977,Wikip
Training: After drawing lessons, he attended the Societe des Arts in Geneva & took lessons from the landscape painters Charle Auriol & Wolfgang-Adam Topffer Geneva. In Paris he worked under Antoine Gros, 1821. Nevertheless he has been described as largely self-taught Norman1977, Wikip
Career: With a travelling scholarship from the Societe he went to Rome in with his friend Adrien Rival . After returning to Geneva his Alpine views became popular & he opened a popular art school. He was a staunch patriot devoting his life to promoting the beauty & grandeur of the Swiss landscape as in Wikip, Norman1977, web Collection Picet Francois Diday .
Innovation: Alpine landscape painting in Switzerland Norman1977
Characteristics: Dramatic mountain landscapes featuring waterfalls & lakes mostly with overcast skies as in Path from Grimsel to Handeck, 1855 (Valais Art Museum, Sion, Switzerland)
Status: He was considered the leader of Genevan Romanticism Collection Picet Francois Diday .
Pupil: Alexandre Calme Norman1977
Repute: He is not itemised in the Oxford Companion

-DIEBENKORN, Richard, 1922-93, USA:

Background: Born Portland, Oregon, but in 1924 his family moved to San Francisco OxDicMod
Training: At Stanford University & Berkeley L&L
Influences: Rothko, Still, De Kooning & Matisse L&L, OxDicMod
Career: He mainly lived in the Bay area &from 1963 in Santa Monica, teaching at the California School of Fine Arts, San Francisco, 1947-50, etc. In 1967 he began a series of large works called Ocean Park, abstract but with light-filled colours suggesting sky, sea & sand OxDicMod
Oeuvre, Phases: Still-life & interiors, Abstract-Expressionism, & in the mid-1950s he returned to figuration with broad areas of colour into which he placed simplified figures, but retaining vigourous brushwork. Finally, abstraction again OxDicMod, L&L

Diepenbeck. See Van Diepenbeck

..DIEZ, Wihelm von, 1839-1907, Germany:

Background: Born in Bayreuth Norman1977
Training: Diez was self-taught through copying in galleries after a brief spell at the Munich Academy Norman1977
Influences: Dutch & Flemish Old Masters Norman1977
Career: He became successful as an illustrator in the 1860s; from 1870 he was an influential Professor at the Munich Academy Norman1977
Speciality: Vagabonds & soldiers often in scenes from the 30 Years War Norman1977
Oeuvre: Small realistic genre paintings Norman1977
Characteristics: Finely observed detail Norman1977
Friends: Busch Norman1977

-Bartolo DI FREDI, active 1353-1410, father of Andrea di Bartolo, Italy= Sienna:

Influences: Barna Murrays1959
Oeuvre: Frescos & panel paintings L&L
Characteristics: He transformed designs by the Lorenzetis & Simone Martini through bold simplifications, a flatter & more decorative character,
harsh colour & increased emotionalism L&L, OxDicArt

DI GIOVANNI, Benvenuto 1436-after 1518, Gerolamo’s father, Italy=Siena:

Background: Born Siena, a bricklayer’s son Grove3 p75
Training: Vecchietta L&L p710
Influences: Sanodi Pietro, Simoni Martini, Matteo di Giovanni, Franceso di Giorgio, Neroccio de’ Landi, Gentile de Fabriano together with elements of Umbrian & Florentine painting, & also a growing fascination with the landscapes & detailed realism of northern European painting Grove3 pp 75-6
Career: He lived & worked in or near Siena all his life Grove3 p750
Oeuvre: Altarpieces , frescoes, & design work Grove3 p750
Phases: After 1470 he used rich deep colour in place of subtle colour; & from 1500 his work was less imaginative Wikip, Grove3 p751
Characteristics: His borrowed & combined motifs & ideas from many diverse sources. Two notable works are the Maesta (S Domenico) & the as in Ascension, 1491 (Pinacoteca, Nazionale, Siena). They feature beautifully described & polished surfaces, spatial distortion & the decorative potential of gold, colour, light, landscape & perspective Grove3 p751
Son: Gerolamo followed his style closely L&L

.. DI GIOVANNI, Berto, active 1488-1626, Italy=Perugia; High Renaissance:

Teacher: Perugino in whose workshop he became friends with Raphael NGUmbria
Influences: Raphael & his circle, & also Giulio Romano & Giovanni Penni Grove3 p858
Career: He painted in Perugia, 1497-1525, & was treasurer of the painter’s guild four times between 1499 & 1522 Wikip, Grove3 p858
Oeuvre: Altar panels & frescoes Grove3 p858
Characteristics: He used Raphael’s sketches & drawings & his paintings are very similar to those of Perugino & Raphael, as in four scenes from the Life of the Virgin Galeria Nazionale Umbria. His work features strong colour contrasts, dark backgrounds & mannered figures Grove3 p858

Dijck. See Van Dijck

* DI GIOVANNI/DA SIENA, Matteo 1435-95, Italy =Siena:

Background: He was born at Borgo Sansepolero Grove20 p844
Influences: Simone Martini & other Sienese 14^thcentury masters & the latest Florentine developments L&L
Career: He was active in Siena by 1452` Grove20 p844
Oeuvre: Religious works Grove20 pp 845-6
Characteristics: He continued the painting of simple & pious Madonna’s but modernised them with energy & movement borrowed from Andrea del Castagno, tender colour & grace from Fra Angelico, & motifs & stylistic elements from Roman art Murrays1963 p120, L&L. In his mature work of 1460 the Virgin & Child with SS Catherine, John, Bartholomew & Lucy (Cathedral, Pienza) the saints are clothed in dazzling colours, the drawing is softer & more flexible than previously, & the figures graceful & elegant Grove20 p845
Innovations: Angels in a celestial ballet playing instruments Murrays1963 p120

Dijck. See Van Dijck

–DI/DE LIONE/LEONE, Andrea, 1610-85, Italy=Naples:

Background: Born Naples Grove19 p434
Training: The late Mannerist Belisario Cornezio, & Anillo Falcone from whom he received a rigorous academic training L&L
Influences: Castiglione whom he met in Naples in 1635, & probably later. Also, the Venetianising elements in Poussin’s early work & then his more classical style L&L, Grove19 p435
Career: He was commissioned by the Viceroy of Naples, 1637-44, to paint works for the palace of Buen Retiro, outside Madrid Grove19 p434
Oeuvre: Paintings & frescoes including Bible & battle scenes, Roman history, & also bucolic & pastoral subjects, still-life & portraits Grove19 pp 434-5, L&L
Characteristics: His battle scenes are more dramatic with richer colour & looser brushwork than Falcone’s Grove19 p434

.. DI LORENZO, Fiorenzo, c1445-c1521, Italy=Perugia; Early Renaissance

Background: Born Perugia Grove11 p116
Influences: Contemporary Florentine art, the Rossellini brothers, Andrea del Verrocchio & Pietro Perugino Grove11 p117
Career: In 1470 he has treasurer of the painters’ guild & in 1472 briefly it prior. He played an important part in the Padua’s administrative life Grove 11 p117
Oeuvre: Religious frescoes. At a time of plague, 1476, he painted a Madonna of Mercy & the Adoration of the Shepherds is notable for its animation & innovative composition (Galleria Nazionale dell ’Umbria, Perugia, both works) Grove11 p117, Wikip
Characteristics/Verdict: His fastidious works have been praised for clarity, intense feeling & the expression of character but criticised for their dryness of contour Grove11 p117, Wikip
Reception & Repute: ]He was not explicitly mentioned by Vasari & does not mention in standard art historical sources.]
Collection: Galleria Nazionale dell ‘Umbria, Perugia
Brother: Bernardino, active 1501-10 was a painter & possibly collaborator Grove 11 p118
Grouping: The Umbrian School Wikip

-DILLER, Burgoyne, 1906-65, USA:

Background: Born in New York but grew up in Michigan OxDicMod
Training: At the Art Students League, 1928-33, & privately with Hans Hoffman OxDicMod
Influences: Mondrian L&L
Career: During 1935-40 Diller was supervisor of the New York Mural Division of the Federal Art Project. He exhibited with the American Abstract Artists to which he belonged until 1949. Between 1945 & 1964 he taught at Brooklyn College & the Pratt Institute OxDicMod, L&L
Oeuvre: Paintings & sculpture OxDicMod, L&L
Phases: His early works echoes Impressionism & Cubism L&L
Innovations: Diller pioneered geometrical abstraction in America from about 1934 L&L
Reception/Repute: His work received little public attention & it was not until the end of his life that he was seen as one of the best American abstractionists of his generation OxDicMod

..* Matteo DI GIOVANNI/DA SIENA, 1435-95, Italy =Siena:

Background: He was born at Borgo Sansepolcro Grove20 p844
Influences: Simone Martini & other Sienese 14^thcentury masters & the latest Florentine developments L&L
Career: He was active in Siena by 1452` Grove20 p844
Oeuvre: Religious works Grove20 pp 845-6
Characteristics: He continued the painting of simple & pious Madonna’s but modernised them with energy & movement borrowed from Andrea del Castagno, tender colour & grace from Fra Angelico, & motifs & stylistic elements from Roman art Murrays1963 p120, L&L. In his mature work of 1460 the Virgin & Child with SS Catherine, John, Bartholomew & Lucy (Cathedral, Penza) the saints are clothed in dazzling colours, the drawing is softer & more flexible than previously, & the figures graceful & elegant Grove20 p845
Innovations: Angels in a celestial ballet playing instruments Murrays1963 p120

..DILLIS, Maximilian Johan, von 1759-1841, Germany:

Background: He was born in Grungiebing Norman1977
Influences: The Dutch 17^th century landscapists Norman1977
Career: He travelled widely; From 1808-13 attended the Munich Academy’s as first Professor of Landscape; and was employed by the Wittelsbachs to buy paintings. In 1822 he was given overall charge of the Munich galleries & in 1827 arranged the purchase of the Boisseree collection of Gernan & Flemish primitives; Dillis helped found the Munich Kunstverein in 1924 Norman1977
Oeuvre: Naturalistic landscape Norman1977
Phases: Mostly careful detail & muted colours; then after 1800 looser brushwork & a brighter palette Norman1977
Characteristics: A draftsman rather than a colourist Norman1977
Pupils: Kobell, who influenced Dillis to lighten his palette & loosen his brushwork Norman1977

-Coppo DI MARCOVALDO, Coppo, c1225-after 1274 , Italy=Siena:

Background: He was born in Florence L&L
Career: He served in the Florentine army & settled in Siena around 1260 OxDicArt
Innovations: He founded the Sienese School along with Guido da Siena & introduced new solidity & humanity into the Byzantine style by showing the Virgin with her head inclined towards the Child OxDicArt, L&L
Verdict: He carried out a quiet revolution Eimerl p60

Dinant. See De Bles

-DINE, Jim, 1935-, USA:

Background: Born Cincinnati, Ohio. His father & grandfather were storekeepers who sold painting materials OxDicMod
Training: Cincinnati Arts Academy, 1951-3; School of the Museum of Fine Arts, Boston, & Ohio University, Athens, 1954-7 OxDicMod, Grove8 p902
Influences: Abstract Expressionism OxDicMod
Oeuvre: Painter, sculpture, prints, illustrations, stage design, performance art, & poetry Grove8 p902
Career/Phases/Characteristics: He moved to New York,1959; staged theatrical Happenings, 1959-60; created Pop Art canvases often incorporating clothing, toothbrushes & other domestic objects, etc, etc; though he was at odds with the deadpan style of Warhol & Lichtenstein . Later in the 1960s & 70s he refined his work to achieve a quieter more sensual, & in the 1980s more sombre & monumental effect. He has had a peripatetic lifestyle & had a studio in London, 1967-71, then returning to America OxDicMod, Grove8 pp 902-4

di Stefano. See Pesellino

..DIONYSIUS, c1440-1505, Russia; Byzantine Movement

Background: As a layman he could, unlike a monk, devote himself entirely to art RiceTT p138.   He painted in the early days of the Russian state when art & culture were flourishing 50Rus p20
Career: he was well known from his youth onwards & worked all over Muscovy 50Rus p17.  In 1470 he painted the murals at the Perfuntiev Monastery (about 60 miles south-west of Moscow) RiceTT p137.  Between 1467 & 1477 he (& Mitrofan) decorated the Church of the Nativity of the Virgin Mary in the St Pafnutiev Monastery. He then went to Moscow & painted the iconostasis for the Kremlin Church of the Holy Virgin.   Later he led a team of icon painters at Church of the Dormition at the Monastery of St Joseph, Volokolamsk.   Between 1500 & 1502 he (& his sons) painted frescos in the Church of the Nativity of the Holy Virgin in the Ferapont Monastery 50Rus p17
Characteristics: his compositions are more arresting than those of Rublev.   They have an unusually distinctive style with extreme elongation of the human figure & swirling drapery which produces an exciting impression of movement.   He achieved monumental effects, e.g., by an angel’s wing which reflects the curves of draperies  RiceTT pp138, 140.   Even his servant girls & mendicants have a regal bearing & his figures do not covey strong passions.   He favoured many–figured scenes, that are well balanced despite their complexity.    His colouring provides the greatest emotional effect.   Although he toned down his palette & was not fond of bright colours, producing a light, delicate & soft effect.   Pale-green, golden-yellow, pinkish, white, cherry & silvery-grey hues intertwine harmoniously with a leitmotif of azure blue 50Rus pp 18-20
First religious painter known to have been a layman & to have run a large workshop along professional lines RiceTT p117

*DI PAOLO/DAL POGGIO/DI GRAZIA, Giovanni, c1399- 1482, Italy=Siena:

Background: Born Siena Turner12 p714.

Training: Taddeo di Bartolo OxDicArt

Influences: Gentile da Fabriano from 1427, Fra Angelico, Sassetta from 1428, & the reliefs by Ghiberti & Donatello for the Siena Baptistery Turner12 p714-5, L&L, OxDicArt

Career: In 1428 he joined the Sienese painters’ guild , the Ruolo dei Pittori, becoming its Rector in 1441. Giovanni created numerous fine works from the 1440s, producing some o his greatest works around 1450-5, but his skill began to decline in the 1460s Turner12 p715-6

Oeuvre: Panel paintings including small-scale devotional panels & old-fashioned polyptychs; book illumination Turner12 p714, L&L

Phases: The Pecci Altarpiece, 1426, is his first work in a fully poetic & late Gothic style with sinuous lines & decorative details. During the 1440s he reached artistic maturity Turner 12 p715 .

Characteristics: More than Sassetta, Vechietta or Matteo di Giovanni, his work derives from that of the 14^th century Sienese masters with its subtle colour, & slender & the elegant forms. He adopted Florentine perspective but not its reality. Despite borrowings his work seems fresh, he reconciles decorativeness & precise observation of nature, & is a consummate story-teller L&L, Murrays1963 p119. His figures are rather whimsical & inhabit strange landscapes OxDicArt. However, in his great paintings around 1450-55 the figures have a severe nobility, there is purity of line & surfaces have a slivery sheen Turner 12 p716

Innovations: He painted narrative subjects which was highly unusual in Siena Turner12 p715.

Verdict: One of the most attractive of the Sienese masters of the 15^th century L&L

Repute: Di Paolo/Dal Poggio was rediscovered by Berenson OxDicArt

DI SANO, Pietro, 1406-81, Italy=Siena:

Background: He was born at Sienna Grove27 p765
Training: He was a pupil of Sansetta L&L p629
Career: He was commercially successful & ran a large workshop L&L
Oeuvre: Numerous altarpieces & devotional images for Sienese religious orders L&L
Characteristics/Verdict: He only slight modernises the tender 14^th century Madonna’s but he debases them into tedious & standardised pious imagery Murrays1963 p120

–DISMOOR, Jessica, 1885-1939, England:

Background: Born Gravesend the daughter of a rich businessman. The family moved to Hampstead in the 1890s OxDicMod, Wikip
Training: At the Slade, 1902-3; under Max Bohm at Staples, 1904, & at the Atelier La Palette, Paris, under Jacques-Emile Blanche, Dunoyer de Segonzac, & Metzinger, 1910-3 OxDicMod, Wikip
Influences: Cubism Harrison pp 103-4
Career: She met Wyndham Lewis & joined the Vorticist; signed the manifesto in Blast; took part in all the group’s key activities; served in France during the war; had a nervous breakdown & exhibited with ex-Vorticist as Group X, 1920; travelled through Europe, 1920-4; from 1926 belonged to the London Group & 7+5; & displayed with the Artists’ International Association during the 1930s OxDicMod, Wikip
Oeuvre: Oils, watercolours & drawings Shone1977 p214
Phases/Characteristics/Verdict: She produced some near-abstract work during 1914-16, but also painted landscapes & street scenes then & thereafter. They are stylised, semi-geometric with clearly defined planes of colour with little or no modulation; [works that are not unpleasing but perhaps a little dull]. From 1937 her work was completely abstract as in Related Forms, 1937 (Tate Gallery) OxDicMod, webimages
Status: She was an Edwardian New Woman who participated in almost all the avant-garde groups active in London between 1912-37 Wikip

– DI TITO, Santi, 1536-1603, Italy=Florence:

Background: Born Sansepolcro Grove31 p53

Training: Bastiano da Montecarlo, Bronzino & Bandinelli Grove31 p53

Influences: Andrea del Sarto, Fra Bartolommeo & Zuccaro. From 1571-2 he was influenced by venetian art, particularly Veronese Grove 31 p54, L&L p630.

Career: He was admitted to the Florentine guild of St Luke, 1554; worked in Rome, 1558-64; returned to Florence; joined the Accademia del Desegno, 1564; & was regularly employed by Vasari. In 1568 he joined the confraternity of St Thomas Aquinas whose members devoutly observed Counter-Reformation principles, & challenged the prevailing Florentine Mannerism as in his Feast in the House of Simon, 1573 (SS Annunziata, refectory, Florence) 1573 Grove31 p54, F&N p99

Oeuvre: Altarpieces, devotional paintings, mythological scenes, religious frescoes & portraits. Also architecture Grove31 p 53

Characteristics: Naturalism tempered with classicising recollections of High Renaissance art. His many Counter Reformation altarpieces are gentle & unrhetorical L&L. He showed little interest in colour except around 1573-4, & during his final period when he responded to the new interest in colour of the younger Florentine artists such as Ludvico Cigoli & Domenico Passignano Hall1999 p252, Grove31 p55

Innovation: He was the first artist to challenge the dominant Mannerism of Florentine painting L&L

Circle: Tito led a group of painters, now called the Florentine Reformers, in a return to Raphael’s clarity & a quest for descriptive naturalism Bailey p29, 35, L&L

Verdict: Opinions differ widely. According to Friedlaender his work was unenjoyable & pretentious. His paintings have, unlike those of Barocci, been seen as a cul-de-sac because they are deadpan Friedlaender1925 p51, Hall2011 p207. However, he has been described as an outstanding but understated Florentine painter who produced work of the highest poetic level L&L, F&N p99.

Status: His role was crucial in Florentine paining’s transition between Mannerism & Baroque Grove31 p53

-DIX, Otto, 1891-1969, Germany:

Background: He was born at Untermhaus, near Gera, Thuringia, the son of an iron-foundry worker Karcher p17. In 1928 Brecht’s Beggars’ Opera, & in 1930 his Rise & Fall of the City of Mahogany, 1930, exposed the unsavoury urban underworld & its nightlife Harrison p321

Training: He was apprenticed to a local house painter, 1905-9, & then went to the School of Arts & Crafts, Dresden, 1910-4, & the Dresden Art Academy under Max Feldbauer & Otto Gassmann, 1919-22 Karcher p211, OxDicMod, L&L

Influences: Die Brucke early on & the Van Gogh Exhibition,1913; & then the German Renaissance masters after the first World War OxDicMod. His early portraits were influenced by Hodler (stiff composition & flattened spaces), & Cranach & Durer (menacing facial expressions & an absence of flattering) Hamilton1967 p320. Above all he was influenced by his wartime experience. He wrote “War is something so animal-like: hunger, lice, slime, these crazy sounds…War was something horrible , but none the less something powerful. Under no circumstances could I miss it! It is necessary to see people in this unchained condition in order to know something about man” Grove9 p41 . [This knowledge helps explain his early perception of the threat posed by right-wing militarism.]

Career/Reception: During the Great War for which he enlisted voluntarily he experienced trench warfare & in 1920 he participated in the Berlin Dada Fair. During 1921-3 his painting some of his works g of a girl at a mirror caused a scandal, the painting was banned from exhibition & sale, & Dix was charged for obscenity. He was cleared & the state had to cover costs. This was not his only prosecution. In 1922 Dix moved to Dusseldorf, & in 1923 married Martha Koch. He went to Berlin in 1925 & exhibited in the Neue Sachlichkeit Exhibition. In 1927 he became a professor at the Dresden Academy, & in 1931 he was elected to the Prussian Academy. In 1933 he lost his chair & was excluded from the Academy. Eight of his works were included in the exhibition of

Degenerate Art, 1937. In 1936 he moved to Hemmenhofen near Lake Constance, & in 1939 was arrested but then released. He was conscripted into the Home Guard in 1945. During 1945-6 he was a prisoner of war in France where he painted a triptych for the prison chapel. He returned to Hemmenhofen & held professorships at Dresden & Dusseldorf OxDicMod, Hayward pp 26-7,29, L&L, Karcher pp 74, 212, 213-4.

Oeuvre/Phases: During the 1920s there were no landscapes or still-lifes. At Dusseldorf he concentrated on watercolours, drawings, & etchings, with 50 war etchings, the Der Krieg series Hayward1979 pp 26-7. From 1920 he also painted oils of war cripples, sex murders, frustrated soldiers & sailors fondling women’s breasts, prostitutes & a jazz club, etc Karcher pp 49, 51, 61, 65-6, 70, 73, 79, 81. [These pictures are bewildering & hard to read. Are they a critique of a decadent & uncaring society. This is how the disregard for a blind & crippled ex-soldier in The Match Vendor has been interpreted, or are these paintings primarily a humorous portrayal of social outsiders & a critique of bourgeois values? [At the time black humour was a way of coping with the grim reality of the post-war situation, a mode of escape that Dada had pioneered OxDicMod p195, Karcher p62. One difficulty in the case of some of his earlier works earlier works such as The Skat Players, 1920, is the need to spot & understand his clues].

After the mid-1920s Dix no longer painted what might be regarded as a grotesque form of black humour] & it was in Berlin that he started to produce his great portraits Karchner pp 86, 90, 133-4, Hayward1979 pp 26-7. [During the latter 1920s his mood seems to have become still darker. His Street Fight in which soldiers & civilians fire at each other was presumably inspired by the Hitler pitch] & in the Big City Triptych, 1928-9, the central panel shows a jazz band & the affluent having fun, & there are high class prostitutes & war cripples in the side panels Karchner pp 129-30, 155. In his earlier paintings of lusting soldiers & sailors there are smiling faces but here merely sex for sale. It has been observed that the colder his paintings become the more they speak; his passionate involvement is not revealed directly in overheated expressiveness but indirectly in a psychological penetration of the figures & an intensification of colour into poisonous & trashy colour Hayward1978 pp 25-6.

Ultimately, as the political situation deteriorated, & Dix returned to war painting. This culminated in Der Krieg, 1929-32, & Flanders, 1934-6 Kircher pp172-3, [In the latter the emotional impact of the piercing eyes of the soldier(s) on the right is beyond description & a painterly triumph. Go & see it.]

From about 1936 he painted traditional landscapes. (A retreat by artists to a country area near the border with Switzerland & the production of safe subjects by those artists who did not go into exile was not uncommon.) His post-1945 work was looser & often inspired by religious mysticism OxDicMod, JRS p46

Beliefs: Due to the achievements of the old masters, he was sceptical about the widespread contemporary slogan that new forms of were expression needed, & declared “what I see as the new element in painting lies in the expansion of subject matter”. According to Dix, his early pictures revealed one side of reality never previously depicted, “ugliness”. Moreover, he believed that, “in the rendering of external form one also captures the internal…The first impression is the right one & has to be preserved in all its freshness. If I can only see the outside, the inside then follows of its own accord”. For Dix, “All art is banishment” by which he appears to have meant a creative process by which he could understand what he was perceiving & come to terms with it Karcher pp 10, 20, 22, 29. [At a time of bewildering social & political dislocation in Germany the attempt to make sense of what was happening through depiction was a pressing matter]

Technique: During the twenties & after he made meticulous use of glazing in which layers of transparent & semi-transparent oils were placed over tempera underpainting which was heightened with white & applied to a support prepared & smoothed with gesso Hayward p27, JRS p481, Grove9 p42

Verdict: His war etchings etc are probably the most powerful & nastiest anti-war statements in modern art Harrison p320

Circle: In Dusseldorf he identified himself with the revolutionary Junges Rhineland group. This centered on the art dealer Mutter Ey & included Jankel Adler, Otto Pankok, Karl Schleswig, Siegfried Trillhasse, Gert Wollemi, Adolf Uzarski & briefly Nax Ernst. In Berlin his contacts were mainly with the Rote Gruppe: George Grosz, John Heartfield, Rudolf Schlichter & Georg Scholz, & at the Romanisches Cafe Hayward1979 pp 26-7

Grouping: With Grosz he was the outstanding Neue Sachlichkeit artist OxDicMod

-DOBELL, Sir William, 1886-1963, Australia:

Background: Born at Newcastle, New South Wales OxDicMod
Training: To begin with as an architect but he then took evening classes in art & in 1929 went to the Slade.   He also had some tuition from Orpen OxDicMod
Career: In 1923 he settled at Sydney to which he returned in 1939 after spending a year in Holland studying Rembrandt & Van Gogh.     In 1949 & 50 he visited the highlands of New Guinea OxDicMod
Oeuvre: Portraits & landscapes OxDicMod, L&L
Phases/Characteristics: His solidly constructed & carefully studied naturalism was by 1939 replaced by a much looser & more Expressionist manner that was sometimes satirical.   His later work has been seen as less confident OxDicMod
Feature: In 1944 he was awarded a prize for portraiture but two unsuccessful competitors contested this arguing that it was only a caricature.   The case was dismissed & this was regarded as a modernist victory OxDicMod

*DOBSON, William, c1610-46, England:

Background: He was born on London into respectable family but had an improvident father Waterhouse1953 p80

Training: Francis Cleyn from whom he gained knowledge of the Italian High Renaissance & Venetian portrait painting L&L

Influences: Not Van Dyck L&L

Career: He painted at Charles’ court in Oxford during the civil war, was imprisoned for debt, & died shortly after his release OxDicArt

Oeuvre: Portraits, nearly all of prominent of Civil War Royalist men Waterhouse1953 p82

Specialities: Half & three-quarter length portraits & group arrangements L&L

Characteristics: His work has richer colouring & more vigorous & impacted paint handling than Van Dyck, his characterisation is more robust & direct & his portraits pictures have leaned symbolic allusions to his sitters’ qualities & interests OxDicArt, L&L. He worked closer to his sitter than Van Dyck so figures are burlier sometimes seeming larger than life & also sad & heroic Piper p111, Waterhouse1953 p82

Status; He was the only purely British painter before Hogarth of capable stature to his continental contemporaries L&L

..D’ OGGIONO, Marco, c1470-1549, Italy= Milan

Career: During the early 1490’s he was in some way associated with Leonardo of whom he was a follower Grove 23 p368, NGLeonardo p224
Oeuvre: Frescoes, altarpieces & small-scale paintings Grove 23 p368
Characteristics: He has a particularly revolting style & his work lacks originality & taste. His compositions are repetitive & formulaic, & his colour is unfortunate. At his best, as in his Blessing Christ Child in the Borghese his work was technically accomplished Clark1939 p171.
Repute: He was highly regarded by clients & contemporaries, & died wealthy Grove23 p368

*DOLCI, Carlo/Carlino, 1616-86, Italy=Florence; Baroque

Background: Born in Florence OxDicArt
Career: Dolci was active in Florence for virtually all his career & was intensely devout L&L, OxDicArt
Oeuvre: Portraits that are soberly objective, altarpieces, & pietistic cabinet paintings of Christ or ecstatic saints L&L, OxDicArt
Technique: He was painfully slow & his many commissions were completed by his daughter Agnese (d1689) & his pupils Onorio Marinari (1627-1715) L&L
Phases/Characteristics: He evolved from a fresh & charming naturalism in the 1640s into an enamelled hyper-realism the 1670s L&L. His religious works are cloyingly sweet OxDicArt
Patronage: His pietistic works were popular with the bigoted Cosimo III & his mother Vittoria della Rovere L&L
Legacy: Dolci’s bust-length portraits have been seen as a baneful influence on Greuze L&L

-DOMELA Nieuwenhuis, Cesar, 1900-, Netherlands:

Background: Born Amsterdam L&L
Training: He was self-taught L&L
Career: He belonged to the Novembergruppe in Berlin, moved to Paris & joined De Stijl. In Paris from 1933 he belonged to Cercle et Carre & Abstraction-Creation In 1954 he visited Brazil & had a marked impact on South American art L&L
Oeuvre: During 1927-33 he worked on pictorial low-relief constructions
Status: He championed abstract Constructive art L&L

OK Donducci. See Mastelletta

Donducci. See Mastelletta

Domela. See Nieuwenhuis

*DOMENICHINO/ZAMPIERE, Domenico, 1581-1641, Italy=Bologna; Baroque, Baroque Classical

Background: He was born in Bologna Grove9 p88

Training: Briefly with Calvaert & at the Carracci Academy, 1595 OxDicArt, NGArt1986 p430

Influences: Annibale Carracci’s landscapes & Aggucchi, with whom he discussed Classicism. His best works were painted when he was most closely in touch with him NGArt1986 p431, Waterhouse1962 pp 15-6

Career: During 1602-30 he was mainly in Rome. He went there to join Annibale Carracci’s shop & until 1610 he worked closely with helpful Bolognese colleagues. From 1631 until his death, he was mainly in Naples NGArt1986pp 430-1

Oeuvre: Figure compositions & landscapes H&P p98

Technique: He made careful preparatory designs Waterhouse1962 p15

Phases: During 1605-28 he painted his great frescos mainly in Rome. From 1622 his works has an increasingly Baroque tendency, although his Napolitan work is defective because he was unsympathetic to Baroque art Waterhouse1962 pp 15-8, L&L

Characteristics: His landscapes were more rationally constructed than Annibale’s luxuriant panoramas & his figure compositions were incisive, studied & balanced as in his Last Communion of St Gerome, 1614. His St Celia frescoes, 1613-4, are more rigidly classical than his previous work. The figures are larger, are clearly individualised, their gestures are studied and some figures are directly derived from classical statues Wittkower1973 p80 –1. His compositions are much more open & spacious than those of Agostino Carracci because he no longer felt it necessary to stress the density & weight of his figures in order to repudiate Mannerism. Around 1617 he attempted to make his works more animated & exciting in response to the popularity of the new Baroque style. However, the results are disappointing apart from those at Sant ’Andrea della Valle NGArt1986 p431, H&P p98. In these paintings from about 1624 he began to move away from classicism MahonD p104.

Verdict: He was a greater artist than Agostino whose designs look dull & heavy-handed in comparison, vide Agostino’s Last Communion of St Jerome H&P p98

Status: By 1610 he was Rome’s leading painter but faced hot competition from Lanfranco OxDicArt, L&L

Grouping: Early Baroque Classicism L&L

Friends (& Enemies): Reni & Albani. From around 1608 Lanfranco was a rival & this intensified during the 1620s. He was harassed in Naples by Ribera etc NGArt1986pp 430-1

Personal: He was nervous & melancholy Waterhouse1962 p14. In 1634 he fled from Naples to Rome when harassed OxDicArt

Influenced: Poussin in the 1620s, & also Claude OxDicArt

Repute: It reached astonishing proportions during the 19^th century H&P p98

Domenico di Bartolo. See Di Bartolo, Domenico

Domenico Veneziano . See Veneziano

*DOMINGUEZ, Oscar, 1906-58, France (Spain):

Background: Born in Tenerife in the Canary Islands, the son of a banana exporter OxDicMod
Training: Self-taught OxDicMod
Career: In 1927 Dominguez visited Paris & encountered Surrealism & in 1934 moved to Paris OxDicMod
Oeuvre: Paintings & sculpture OxDicMod
Phases: Initially his paintings were Dali-like but around 1935 he began experimenting with automatism OxDicMod
Innovation: Probably decalcomania OxDicMod
Verdict: Decalcomania apart he mainly plagiarised OxDicMod
Grouping: Surrealism OxDicMod

..DONGHI, Antonio, 1897-1963, Italy:

Background: Born in Rome Ateneum p88
Training: At the Royal Academy of Art in Rome until 1916 Ateneum p88
Influences: de Chirico Ateneum p88

Career: After war service, he spent several years studying Italian art in Rome, Florence & Venice, particularly that of the 18^th & 19^th centuries. He participated in exhibitions from 1922 & in 1927 had a one-man show in New York . After the war he isolated himself Ateneum pp 88-9.

Oeuvre: Portraits, genre & other works with figures, landscapes Ateneum pp 7, 45-6, 58, 62.

Characteristics: His work features solid forms, sharp outlines & attention to detail, a mood of high tension, & often very simple composition. Paintings are both realistic & otherworldly. Donghi art became increasingly idiosyncratic & with landscapes displaying a niaive realism Ateneum p89.

Circle: Although he did not want to join any group, he had contacts with Novecentro & keenly followed the debates within the social circles of Valori Plastici & at Caffe Arango Ateneum p88.

Grouping: Together with Casorati & di San Pietro, he was the third pillar of Italian Magic Realism & Franz Roh saw him as a leader of the movement Ateneum pp 53, 89.

-DORE, (Paul) Gustave, 1832-83, France:

Background: Born in Strasbourg Norman1977

Career: In 1848 Dore was contracted to produce caricatures for the Journal pour Rire & first exhibited drawings at the Salon Norman1977. In 1869-71 he made drawings of the London slums OxDicArt

Oeuvre: Dore was a prolific & successful book illustrator who later executed some oil paintings & sculpture Norman1977

Technique: For his London drawings he seldom sketched on the spot, but made summary notes & relied on those of his assistant (the engraver Bourdelin). The latter filled in the backgrounds which Dore animated in pencil Treuherz1987 p65

Characteristics: He had a quirky & sometime visionary imagination Norman1977. Much of his work is rather naive but with a highly spirited love of the grotesque, though his London drawings are more sober OxDicArt. Nevertheless he did not favour the everyday street scene &, for instance, transformed warehouses & railway viaducts into Piranesi-like stage sets Treuherz1987 p65

Style: Dore occupies an intermediate position between the early Romantic movement & Symbolism Norman1977

-Louis DORIGNY, 1654-1742, France:

Influences: Lebrun L&L
Career: He mainly worked in Venice & the Veneto. L&L
Oeuvre: Frescos L&L
Characteristics: His style was a classicising one L&L
Circle: He belonged to the team that worked for the architect Le Vau & included Le Sueur, Bourdon, Lebrun Blunt1954 p156

..Michael DORIGNY, 1618-65, married Vouet’s daughter, France:

Training: Vouet Allen p94
Career: He belonged to the team that worked for the architect Le Vau & included Le Sueur, Bourdon & Lebrun Blunt1954 p156
Characteristics: He had a fluent, decorative & Vouet-like style Allen p94

*DOSSI, DOSSO/DE LUTERO/LUTERI, Giovanni, c1489-1542, Italy=Ferrara; High Renaissance

Background: His father was bursar at the court of Duke Ercole I at Ferrara. Ariosto was employed there & Dosso illustrated a magical scene from one of his poems Grove9 p183
Influences: Initially Giorgione & developments in Venice, which he visited in 1516 & 18, & Raphael during the 1520s Grove9 p184
Career: He entered the service of the Este family in 1514, & was along with his brother Battista the leading painter at Ferrara under Alfonso I d’Este & Ercole II Brigstocke, Grove9 p184
Oeuvre: Religious, mythological & subject paintings Grove pp184-6
Characteristics: His work was highly distinctive with a strong feeling for colour & light effects. He painted works of a lyrically romantic type marrying the mood of Giorgione & the brilliant colour of Titian, distinguished by sultry glowing light effects in which landscape plays an important, dramatic & highly expressive role as in the Three Ages of Man, 1518-20 (The Met) in which nature is depicted as fecund with a dramatic juxtaposition of flashes of light & patches of glowing colour against areas of deep shadow & as in the even more richly & starkly coloured Myth of Pan, 1524 (Getty Museum, Malibu). a work of poetic enchantment. His last works from 1534 were of a post-classical type akin to that of central Italian Mannerism & that of the advanced Girolamo da Carpi in Ferrara Grove9 pp 184-5, Brigstocke
Grouping: High Renaissance Murray p127

-DOU, Gerrit, 1613-75, Netherlands=Leiden:

Background: Born Leiden; his father was a glassmaker L&L

Training: 1628-31 Rembrandt (Rembrandt had a greater influence than appears, eg his treatment of light) L&L, Haak p269

Career: In 1648 he founded Guild of S. Luke with Steen, Leiden. Dou was prosperous & respected OxDicArt; founded Leiden School of Fine Painters Haak p269

Speciality: Nocturnal scenes L&L; domestic interiors OxDicArt. He made a noteworthy contribution to the theme of domesticity in Dutch genre painting Franits pp120

Technique: Sometimes painted using magnifying glass OxDicArt

Phases: His early work is Rembrandt-like. These were followed by small pictures of almost enamelled smoothness L&L. Later on, he often depicted often girls & women at work in the house Haak p96. Dou’s pictures became increasingly refined both in technique & in the opulence of his interiors. He used saturated colours & tonalities that were generally brighter Franits p121

Characteristics: interiors with a few figures, often framed by the stone arch of a window or enhanced by a curtain that is partly pulled back, & surrounded by books, instruments & household paraphernalia L&L, OxDicArt, Haak p271. His pictures often have double meanings Haak pp 96, 270

First to popularize school pictures, figure(s) enclosed by window frames, candlelight scenes, & hermits Haak pp 96, 272.

Workshop: It was large with many painters L&L

Patrons: Pieter Spiering, who paid an annual retainer for the right of first refusal; & the Leiden collector Johan de Bye who owned 27 paintings. Dou’s stable relationship with these affluent clients meant that he was able to labour on works of magnificence for which he charged huge prices. He was one of the few 17^th century Dutch genre painters to sell to foreign courts, including Charles II Franits pp 120-1

Position: Dou was at a comparatively early stage in the refinement of Dutch painting & he occasionally depicted amorous, seductive subject matter. Houbraken later criticize him for not representing more dignified & praiseworthy things Franits p122

Repute: Dou’s works fetched consistently high prices until the Impressionist era OxDicArt

Pupils: Van Mieris, etc Haak p273

Legacy: Fijnchilder (fine & miniature painting) continued until the 19^th Century OxDicArt, L&L

..DOUGHTY, Thomas, 1793-1856, USA:

Background: Born in Philadelphia Wikip
Training: He was self-taught Wikip
Career: Doughty initially worked in leather manufacture & began painting rather late. With others he held an exceptionally successful exhibition in Boston in 1833 I&C p213
Oeuvre: Landscapes of the rivers & mountains of Pennsylvania & especially the Hudson River valley I&C p213, Wikip
Characteristics: His works are small with luminous, milky skies & violet distances. They have a peculiar personal charm I&C pp 213-4.
Feature: His work included atmospheric views which include industrial buildings & structures Bjelajac p173, Wikip
Innovations: He was a precursor of the American school of landscape painting & the first to devote himself exclusively to the genre I&C p214, Wikip.

..DOUGLAS, Aaron, 1899-1979, USA:

Background: Born in Topeka, Kansas, into a working class family OxDicMod
Training: At the University of Nebraska until 1922. Douglas was taught privately by the German-born artist Winold Reiss who passed on a dramatic use of black & white OxDicMod
Influences: Cubism & West African masks which he studied at the Barnes Foundation, 1927-8 OxDicMod
Career: In 1925 Douglas moved to New York. From 1936 he made illustrations for the journals of the National Association for the Advancement of Coloured People & the National Urban League, which fought racial discrimination. Between 1940 & 1966 he taught at Fisk University, Nashville, where he lived for the rest of his life OxDicMod
Oeuvre: Landscapes, portraits & murals OxDicMod
Grouping: The Harlem Renaissance OxDicMod

*DOVE, Arthur, 1880-1946, USA:

Background: He was born in Canandaigua, New York State OxDicMod

Training: Law & art at Cornell until 1903 OxDicMod

Influences: Fauvism etc from his European visit of 1907-9 OxDicMod. He was interested in theosophy & believed that his work had penetrated beyond appearances to reveal a greater underlying truth Grove30 p711.

Career: Dove settled in New York & mostly earned his living as a commercial illustrator. He was often hard up despite being championed by Stieglitz & paid a regular allowance by Duncan Phillips. From 1924 Dove was married to the painter Helen Torr OxDicMod

Oeuvre: Paintings & collages OxDicMod

Phases: From around 1935 the last vestiges of representation began to disappear & in the 1940s his work became more geometric & hard-edged OxDicMod

Innovations: In 1910-11 he painted what may have been the first American abstracts & similar works were exhibited at Stieglitz’s 292 Gallery in 1912 OxDicMod

Grouping: He refused to espouse a movement L&L

Beliefs: His ideas were derived from science, occult thought & Theosophy L&L

Repute: His fame was largely posthumous L&L

..DOW, Thomas Millie, 1848-1919, Scotland:

Background: He was born at Dysart in Fife where his father was the town clerk Billcliffe p23
Training: At the Ecole des Beaux Art under Gerome; at Carolus-Duran’s atelier; & at the Academie Julian Billcliffe p23
Career: Early truncated law studies at Edinburgh until he went to Paris 1877. During 1883-4 he was in the USA with his friend from Paris Abbott Thayer Wikip, Billcliffe p23
Oeuvre: Flower studies, landscapes, portraits and allegorical works Wikip
Influences: William Stott of Oldham, American Abbott Handerson Thayer and friend Norman Garstin Wikip
Characteristics: Geographical range of landscapes using refined palette to depict quiet moods of nature as in The Hudson River 1884 (Kelvingrove Art Gallery and Museum, Glasgow) Wikip

-DOWMAN, John, c1750-1824, England:

Background: He was born at Ruabon, North Wales Grove9 p205
Training: Benjamin West 1768, & entered the RA Schools 1769 Grove9 p205
Career: He exhibited at the RA from 1770; was in Rome with Wright of Derby, 1773-4; went to Cambridge; & from 1777 to 1804 lived in London Grove9 p205
Oeuvre: Portraits & also small historical mythological, literary & theatrical subject paintings Grove9 p205
Characteristics: He made elegant likenesses in chalk & reproduced them in lightly tinted watercolour L&L
Speciality: Portraits of children & young people of fashion L&L

.. DOYEN Gabriel-Francois, 1726-1806, France: Romantic-Melodramatic:

Background: He was born in Paris Grove9 p208

Training: Carle Vanloo at Ecole Royale des Eleves Protges, Paris Grove9 p208

Influences: Raphael, Domenichino, the Baroque masters & 17^th century Bolognese painters Brigstocke

Career: He went to the French Academy in Rome, 1752; visited Venice, Bologna & Turin; stayed in Palma; returned 1756; & became a full member of the Academie Royale, 1759. He exhibited enormous & acclaimed canvases of scenes from classical literature such as Venus Wounded by Diomedes, 1761 (Hermitage, St Petersburg); & in 1772 completed seven scenes from the Life of St Gregory, probably the outstanding masterpieces of large-scale decorative painting in late 18^th century France. After the Revolution he was involved in the foundation of a national museum in the Louvre; & went to St Petersburg as professor at the Academy Brigstocke, Grove9 pp 208-9

Oeuvre: History, mythological & religious paintings Grove9 pp208-9

Characteristics: He used intense Venetian-inspired colour & brushwork to produce works that were extremely dramatic & tumultuous & powerfully composed, as in St Genevieve & the Miracle of the Victims of Burning-Sickness, 1767 (St Roch, Paris) Brigstocke, Grove9 pp208-9.

Innovation/Grouping: He was one of the most innovative history painters of his period & along with Jean-Baptiste Deshays, Francois-Guiollaume Menageot & Francois-Andre Vincent, he created a new more serious & passionate type of post-Rococo painting without Neoclassical drabness & one which anticipated Romanticism Grove9 p209, Brigstocke, Wakefield pp 107-12

Influenced: Menageot Grove9 p208

Pupil: Alexandre Lenoir Grove9 p209

Reception/Patronage: He became a fashionable painter, his work was praised by Diderot, & he was appointed Premier Peintre to the future Louis XVIII & Charles X Grove9 pp 208-9

..DOYLE, Richard, 1824-83, Ireland:

Background: He was born in Dublin, the son of John Doyle, 1797-1868, a well-known caricaturist. Fairies were a feature of contemporary literature Norman1977, WoodDic
Career: In 1843 he joined the staff of Punch; designed its cover, 1849; resigned over its opposition in 1850 to papal plans for English bishoprics; & turned to book illustration Grove9 p209
Oeuvre/Verdict: Although primarily an illustrator, he also produced landscapes in oil and watercolour of outlying areas in Wales & Scotland, & numerous exuberant & beautiful fantasy paintings of fairies, some containing hundreds. The landscapes were rather ordinary Norman1977, Grove9 p209, WoodDic, WoodC1999 pp 45-6
Personal: He had great charm & many great figures in the art world were his friends WoodC1999 p45
Brothers: Henry, 1827-92, who produced religious subjects, portraits & cartoons; & Charles, 1832-93, who painted fantasies with elves, etc in his spare time WoodDic, WoodC1999 p47

..DRAPER, Herbert, 1863-1920, England; Aesthetic Movement

Background: He was born in Covent Garden, London, the son of a fruit merchant Wikip
Training: St John’s Wood School of Art, the RA School from 1884, & the Academie Julian, Paris WoodDic
Influences: The classicism of Leighton & the aestheticism of Burne-Jones WoodC1999 p242
Career: The Lament for Icarus was bought by the Chantry Bequest, 1898 WoodDic
Oeuvre: Historical genre, & mythological subjects particularly classical subjects from Homer, portraits & murals WoodDic, Wood1999 p243
Characteristics/Phases: His draftsman ship was excellent in his sensuous works featuring male & female nudes as in The Kelpie, 1913 (Lady Lever art Gallery, Port Sunlight). As mythical works became less popular, he painted more portraits Wikip
Verdict: Some of his works have regarded as depicting predatory female sexuality [but on examination, & with the tame exception of Ulysses & the Sirens, the works cited do not bear this out & the Lament depicts the reverse: sorrowing nude women See Wikip, etc
Question: Was he along with Renoir & Modigliani the last celebrated painter of the beautiful & erotic female nude?
Repute: His work has at least until recently been unduly neglected Wood1999 pp 242-3

..DREYER, Dankvart, 1816-52, Denmark:

Background: He was born in the country town of Assens in Funen NG1984 p249
Training: At the Copenhagen Academy under Lund (the Danish Nazarene) & in 1835 perspective by Eckersberg NG1984 p249
Influences: Dahl & also Kobke NG1984 p249
Career: Dreyer went to Jutland in 1838, He found it hard to gain recognition & ended by giving up painting & buying a farm NG1984 p249
Oeuvre: Landscapes & to begin with history paintings NG1984 p249.
Speciality: Vast panoramas of windswept nature NG1984 p249
Characteristics: Large & carefully wrought paintings marked by excitement & drama NG1984 p249
Grouping: He formed part of the Romantic-Nationalist tradition NG1984 p249
Features: Some of his paintings are Constable-like NG1984 pp 252, 254.
Friends: Lundbye NG1984 p249.
Repute: He died forgotten & was not rediscovered until around 1900 NG1984 p249

..DROLLING/DRELLING, Martin, 1752-1817, France:

Background: Born in Oberbergheim Norman1977
Career: A self-taught artist who, in Paris, painted small genre paintings and portraits that found a ready market, though little official recognition. Drolling/Drelling exhibited in the Salon from 1793 and decorated Sèvres porcelain Norman1977
Characteristics/Influences: His peaceful middle-class interiors are based on the Dutch and Flemish example Norman1977

-DROST, Willem, c1630-active 1680, Netherlands; Baroque Classical

Background: Born in Amsterdam TurnerRtoV p94
Training: Rembrandt TurnerRtoV p94
Career: Around 1662 he was in Rome TurnerRtoV p94, Haak p369
Oeuvre: Apart from portraits & a few half-length figures in historical costumes, he mainly painted biblical scenes with full-length figures TurnerRtoV p95
Characteristics/Phases: His earlier work is Rembrandt-like as in Noli Me Tangere (Kunstsammlungen, Kassel), & also Bathsheba, 1654. Although here his palette is cooler with varying shades of white & grey in which cloth & fur are splendidly rendered & his paintwork smoother than Rembrandt’s. Subsequently he partially switched to a smoother more up-to-style & after 1660 his work became fully elegant & polished Haak p369, TurnerRtoV p94
Friends: Van der Meer & Johann Loth TurnerRtoV p94

-Francois-Hubert DROUAIS, Francois, 1727-75, Hubert’s son, France:

Background: He was born in Paris Grove9 p 301.

Training: His father, Donat Nonotte, Carle Vanloo, Charles-Joseph Natoire & Francois Boucher Grove9 p301

Career: In 1755 he first exhibited at the Salon & in 1756 painted the royal children. He became an Academician in 1758, the official court portraitist, & produced the last portrait of Madame de Pompadour, 1763. She is working at her embroidery, the picture having a restraint which marks the ending of Rococo. His portraits of the new royal mistress Madame du Barry, witness the arrival of neo-classicism Wakefield pp 70-1, Grove9 p301

Oeuvre: Court, society & aristocratic portraits Grove9 pp 299-300

Speciality: Noble children dressed as gardeners or Savoyard beggars L&L

Characteristics: His portraits are careful & fluent in a porcelain-like style. They were calculated to please & have a gracious, artificial charm. The sitters are often in pastoral settings, posed in a relaxed manner, & in fancy dress. His stereotypical elegant female, as derived from Madame du Barry, has an oval face, slanting eyes, swept-back hair, usually decorated at the parting with a flower Grove9 p301, L&L, OxDicArt, Wakefield p71

Innovations/Movement/Status: He & Roslin were part of a swing back from the naturalism of Tocque & Aved to a new formality & convention. A pretended naivete & chastity was the new ideal during the 1760s & Drouis was its chief representative. Diderot complained that his work was false, & likened his creamy flesh tones to chalk, but to no avail Wakefield p70, Grove9 p302.

Patrons: He inherited Nattier’s aristocratic clientele L&L

Verdict: His best portraits bear comparison with Boucher’s OxDicArt

-Hubert DROUAIS, 1699-1767, Francois-Hubert’s father, France:

Background: He was born at Saint-Samson-de-la Roque, Eura Grove9 p301
Training: Initially in Rouen & then, after moving to Paris in 1717, in Francois de Troy’s studio where he was mainly a copyist Grove9 p301
Career: He joined the Academie Royale in 1730 & exhibited regularly at the Salon, 1741-57. He was successful at court from 1749 Grove9 p301
Oeuvre: Miniatures & Portraits in oil & pastel, especially of ladies painted in a light-hearted, erotic, mythological manner in which oils often seem pastel-like Grove9 p301.

-Jean Germain DROUAIS, 1763-88, Francois-Hubert’s son, France:

Background: Born Paris Grove9 p302
Training: With his father, at the Academie Royale under Nicolas-Guy Brenet, & in David’s studio from around 1781 Grove9 p302
Influences: Jean-Francois Peyron, Pousin etc Grove9 p302
Career: In 1784 he won the Prix de Rome & went to Rome where he joined David He overworked & died of smallpox Grove9 p302, L&L
Oeuvre/Verdict/Characteristics: Brilliant & powerful history paintings with shallow, stage-like settings, a limited cast, clear & expressive gestures, muted colours & other Davidian features. In his last work Philoctetes, 1787-8, with its brooding lighting he began moving beyond David in depicting more intense inward emotion Grove9 p302, L&L
Innovation: His Marius at Minturnae, 1786, was the first authoritative Neo-classical work by a pupil of David Grove9 p302

..DRUMMOND, Malcolm, 1880-1945, England:

Background: He was born at Boyne Hill near Maidenhead, the son of an Anglican vicar Tatesite (Nicola Moorby)
Training: After graduating in history at Christ Church, Oxford, & becoming an estate manager in Yorkshire, he trained at the Slade, 1903-7, took classes at the Westminster School of Art under Sickert, 1908-10, & in 1910 entered his new art school, Rowlandson House Tatesite, Baron p84
Career: After graduating in history at Christ Church, Oxford, & becoming an estate manager in Yorkshire, he turned to art, joined the Fitzroy Street Group, 1911, the Camden Town Group, & was a founder member of the London Group. He worked in the War Office for five years.   During 1921-31 he taught at the Westminster School of Art.   In 1937 he lost the sight of one eye & became blind in 1943 Tatesite
Oeuvre: Genre scenes, interiors, London Street scenes & landmarks, house backs, from 1922 religious works from 1922, & portraits  Tatesite, Baron pp 27, 224
Characteristics: He often painted from ambitious & unusual angles, & used simplified & structures & statuesque forms.   He initially favoured bright decorative colour. as in St James’s Park, 1912 but it later became more muted Tatesite, Baron pp 47, 344.
Beliefs: He became a Catholic at school Tatesite
Friends: Bevans, Spencer Gore & Charles Ginner Tatesite
Wife: His first wife was the artist, Zina Ogilvie, 1887-1931 Tatesite

-DRYSDALE, Russell, 1912-91, Australia (England):

Background: He was born at Bognor Regis and his family settled in Melbourne in 1923 Grove 9 p310
Training: George Bell in Melbourne at the only school devoted to modern art, and under Iain McNab at the /Grosvenor School of Art in London, 1938, & then with Orthon Friesz at the Academie de la Grande Chaumiere, Paris Grove 9 p310
Influences: Cezanne, Van Gogh, Gauguin, Matisse and Picasso from 1924, & later the Ecole de Paris, Graham Sutherland and Henry Moore Grove 9 p310
Career: Education at [the elite] Geelong Grammar School he gave up farming to study art after starting sketching following an eye operation. He visited Europe in 1932-3 and moved to Sydney in 1940. He was commissioned to record the effects of the great drought around 1944 and became increasingly interested in the Aborigines from the early 1950s and during the 1950s & 60s he made extended trips to inland Australia with scientists and writers. During the early 1960s he had periodic depression Hughes1966 pp 190-1, OxDicMod, Grove 9 p310
Oeuvre: Landscape paintings, still-life and from 1955 colour photography. In 1980 he made his first etching Grove 9 pp 310-1, Hughes1966 p192
Phases/Characteristics: His early work was bright & decorative, but in the 1940s it became sombre & serious, returning to the hardship & melancholy associated with the Australian bush prior to the Heidelberg School as in Bushfire, 1944 (Queensland Art Gallery, Brisbane), & Road with Rocks, 1949 (Art Gallery of New South Wales, Sydney). His work featured careful drawing, glazing and scumbling. It had a touch of theatre but has been criticised as frequently semimetal OxDicMod, Hughes1966 p191
Innovations/Status: He was one of the most Australian in spirit among his county’s major artists and he gave the Aborigines greater dignity than any previous Australian painter OxDicMod
Legacy: He enabled other painters to react freshly to their environment &, together with Nolan, escape from its long era of fleece and gum-tree painting Hughes1966 p191

-DUBBELS, Hendrick, 1621-1707, Netherlands, Amsterdam

Background: He was born at Amsterdam Grove9 p314
Influences: Italian & Belgian works, largely engravings L&L

Career: He worked in Amsterdam from around 1641 & was employed in Simon de Vlieger’s studio during the early 1650s where he developed close contacts with Jan de Capelle & Willem Van de Velde II. He mainly worked for Amsterdam’s other marine painters including the latter’s studio until about 1659 Grove9 p314
Oeuvre: He produced relatively few independent works, painting seascapes, beach scenes, views of inland waters, winter landscapes & moonlit scenes Grove9 p314, L&L
Characteristics & Phases: Initially seascapes in the style of Jan Porcelli’s using the current restricted tonal, greyish palette, but later his work became more colourful. His best period was the 1650s & he painted richly detailed harbour views. He painted both calm seas as in A Dutch Yacht & Other Vessels Becalmed near the Shore, c1665 (NG) & stormy seas & was brilliant at depicting waves as in A Dutch Fleet in the Texel Roads (Amsterdam’s Historic Museum). However, during the 1680s & 90s he produced insipid replicas of his earlier work & some based on Ludolf Bakhuizen’s paintings Grove9 p314, Haak p474
Pupil: Bakhuizen L&L
Status/Legacy: During the 1650s he was one of Amsterdam’s leading marine painters, playing a decisive role in the development of marine painting. Its impressive development during the second half of the 17^th century being unthinkable without him Grove9 p314, Haak p474

-Ambroise DUBOIS, c1542-1614, France (Antwerp, Belgium); Mannerism

Background: He was born in Antwerp Wikip Influences: Niccolo dell ‘Abbate & Francesco Primaticcio. His Mixture of Flemish & Italian styles was largely drawn from engravings Wikip, L&L
Career: He went to France as a youth & was in the service of Henry IV & painter to Marie de Medicis in 1606 L&L
Oeuvre: He primarily painted mythological scenes & portraits Wikip
Characteristics: His work was fluent. It epitomizes late Mannerist affectations with fantastic distortions, erotic nudes, weak drawing, & confusions of space & scale as in The Baptism of Clorinda, 1601-6 (Musee Nationale de Fontainebleau) Turner RtoI p113, Allen p21, Murray1967 p142
Verdict: He was less original than Dubreuil & mediocre TurnerRtoI p113, Blunt1954 p124
Grouping: Mannerism: the second Fontainebleau School L&L

..Guy Pene DU BOIS, 1884-1958, USA:

Training: Henri OxDicMod
Influences: The French tradition of Daumier, Guys, etc Brown1955 p169
Career: After a year in Paris in 1906, he became a reporter & then art critic on the New York American, assistant to Royal Cortissoz at the Tribune, & art critic for the New York Evening Post, etc.   In the 1920s he resumed serious painting & during 1924-30 he lived in France Brown1955 p168
Oeuvre: New York scenes, particularly the social life of the rich in which they are often satirised & look like mannequins OxDicMod
Phases/Characteristics: His earlier work is Ashcan in mood & setting but later he satirised the well-fed bourgeois when at play.   The men are threatening as in The Confidence Man, 1919, & his women are lecherous as in Evening, 1929 (also Brooklyn Museum), or they are simply fashionable & sawdust-stuffed as in Americans in Paris, 1927 (MoMA) . It is often impossible to tell whether the scene is in Paris or New York.   In the 1930s his work was less stinging Brown1955 pp 169-70
Verdict: According to Milton Brown his work essentially displays an uninspired mediocrity Brown1955 p170. [However, this may well be unfair.   His paintings reflect the roaring post-war period as a Marxist critic might have been expected to recognise.].
Status: He was a leading spokesman for the painters in Henri’s circle OxDicMod
Collection: Brooklyn Museum

-DUBREUIL, Toussaint, 1561-1602, France; Mannerist Movement

Influences: Primaticcio L&L
Career: He produced paintings for Henri III & IV at Fontainebleau, the Tuileries, & Louvre but only a few survive and according to Mander, he painting very little himself Brigstocke
Oeuvre: Paintings including cartoons for tapestries Brigstocke
Characteristics: His work had elements of realism & Classical harmony. His compositions are fertile and elegant. He used Mannerist forms using a broad-brush technique & bright decorative colour Allen p21, TurnerRtoI p113, Brigstocke
Verdict: Opinions differ between great talent & mediocre work TurnerRtoI p113; Blunt1954 p124
Status: He was the linking figure between Fontainebleau Mannerism & the Poussinesque Classical L&L
Grouping: The second Fontainebleau School in which he was a leading figure L&L, Brigstocke

*DUBUFFET, Jean, 1901-85, Jean, France:

Background: He was born at Le Havre, the son of a wealthy wine merchant Grove9 p332, OxDicMod

Training: Briefly at the Academie Julian, 1918 OxDicMod

Inspiration: The art of children, the insane, & the unschooled (l’art brut) MOMAH p212

Career: He moved to Pais in 1918, stopped painting in 1924 doubting the value of art, entered the wine trade & managed his father’s wine business, made an abortive attempt at painting in 1933, resumed painting in 1942 & gained immediate success OxDicMod, WestS1996

Oeuvre: Paintings, lithographs & sculpture OxDicMod

Characteristics: Subjects drawn from Parisian Street life. He frequently incorporated sand, plaster, tar, etc into his paintings. His paintings undermine the distinction between human & animal with cows having human characteristics OxDicMod

Phases: In his Corps des Dames series of 1950-51 the female form, with graphically exposed sex, is coterminous with the ground on which she is figured; in his Assemblage series of 1956 he explored the expressive potential of matter in collages employing various materials; his Texturologies of 1957-9 have blotched surfaces; & the Hour loupe series from1962 with their tightly interlocking forms he said he had erased all categories & regressed towards an undifferentiated continuation WestS1996.

Beliefs: “I believe very much in the value of savagery; I mean instinct, passion, mood, violence, madness” OxDicMod

Innovation: With Fautrier he was one of the first to develop a type of painting largely dependent on texture & matter OxDicMod p228.

Reception: Initially outrage, then acceptance & eventually reverence OxDicMod

Verdict: In retrospect the practitioners of art informel & tachism seem almost without exception to be minor figures, not venturing from their own small territory, but Dubuffet was the notable exception being a many-sided artist of great complexity & subtlety Bowness p169

Influence: He was a key figure in the depreciation of traditional materials & methods. His raw treatment of the female figure powerfully effected the work of Kenneth Armitage & William Scott OxDicMod

See The Dehumanisation of Art in Section 7

**DUCCIO DI BUONINSEGNA, first recorded 1278-c1318, Italy:

Background: Italian love poetry SpenceFT 20/12/2014

Influences: Duccio may well have known the murals at Assisi as there is circumstantial evidence that he worked in Perugia, & the Rucellai Madonna has common features with a Cimabue fresco at Assisi Norman pp 53, 60.

Career: In 1278 he was painting chests for account books for the commune, & similar commissions followed. All his known activity was in Siena apart from the Rucellai Madonna in Florence, commissioned in 1285. The Maesta was painted during 1308-11 Martindale p194, Norman p50.

Characteristics/Phases: He modelled forms in light, the fall of which is more or less consistently & evenly observed. This development took place between the Rucellai Madonna & the Maesta. One of his features is the meandering decorative drapery border, as in Madonna of the Franciscans Martindale pp 197-8.

Personal: Duccio refused to pay allegiance to the local representative of the Holy Roman Empire; failed to appear for military service & was fined repeatedly for disorderly conduct, for sorcery & for failure to pay. He died in debt Eimerl p62

Innovations: His new & softened style of painting drapery, due to modelling forms in light, was a real departure from the old stylized damp-fold drapery of Byzantine art, although this had already been modified by Guido da Siena & Cavallini Martindale pp 194-7. Duccio painted the almond-eyed beauty of Byzantine Madonnas with a new vitality & tenderness SpenceFT 20/12/2014. Although now lost, Duccio produced an early predella below an altarpiece Martindale p202. He seems to have been the prototype for the artist as a nonconformer Eimerl p62

Verdict: His work has a new elegance & refinement in Italian art Martindale pp 197-8.

Status: By 1308 when he was commissioned to paint the Maesta Duccio was probably Siena’s leading painter Norman p49.

Workshop: Suggested members include Simone Martini, the Lorenzettis, Ugolino di Nerio & Segna di Bonaventura Norman p49

Circle: Giovanni Pisano who was a fellow member of a committee in1295 Norman p50.

Followers: Barna da Siena & his work was a model for others painters who worked in & around Siena Norman pp 49-50.

Repute: Although Sienese chroniclers left lively accounts of the installation of the Maesta, he was not given the repute assigned to Giotto. This was due to early development of art history in Florence & to the breakup of the Maesta. In 1979 it was observed that his stature had only recently & partially began to be recognized Norman p49, L&L

***DUCHAMP, Marcel, 1887-1968, France:

Background: He was born in Blainville in Normandy, the son of a successful notary OxDicMod

Training: The Academie Julian, 1904-5 L&L

Influences: Initially Cezanne & Fauvism L&L

Career: In 1906 he settled at Neuilly in Paris. His Nude Descending a Staircase attracted admiration & mockery at the Armoury Show in 1913. In 1914 he issued his first readymade. Exempt from military service on health grounds, he went to New York in 1915, became the centre of a Dada-minded group. In 1916 together with his friend Walter Arensburg, etc, he formed the Society of Independent Artists but resigned in 1917 when his urinal (entitled Fountain & signed R. Mutt) was rejected. In 1918 he painted his first painting for four years. It was his last & in 1923 gave up art, dividing his time between France & America, & between chess & various collaborations on exhibitions, films etc L&L. Even in chess he adopted a destructive version in which only illegal moves were allowed BrownM1955 p111

Oeuvre: This was small OxDicMod

Characteristics: Symbolic images & fragmentation to suggest passing time L&L

Aim: “When I discovered ready-mades “, he wrote in 1962, “I thought to discourage aesthetics. In Neo-Dada they have taken my ready-mades & found aesthetic beauty in them. I threw the bottle-rack & the urinal in their faces as a challenge & now they admire them for their aesthetic beauty” Lucie-S1975 p11

Verdict: He was throughout his life cursed with a logical faculty which interfered with & eventually stifled his creative ability. Duchamp, with his phobia against repetition, moved from one position to another almost with pauseBrownM1955 p100

Legacy: According to the Yale Dictionary, “Duchamp rescued (sic) art from providing visual satisfactions & retuned it to older functions” L&L. However, according to the Penguin Dictionary, his “extreme nihilism & contempt for the actual production of works of art seems to result in a dead end” Murrays1959. His ready made elevated the artistic idea above artistic creation & ideas themselves took on aesthetic significance. On the other hand, he dissolved the boundaries between the arts & between the artistic & the non-artistic. He negated art as a specific compartment of human activity, & ended by even denying conscious human creativity when, in his Trois stoppages etalon, he dropped strings haphazardly upon a blank surface & fixed them there BrownM1955 p111

Circle: He was the centre of the Arensberg salon where he came into close contact with Demuth, Sheeler & Stella BrownM p111

Collections: The Philadelphia Museum of Art OxDicMod

-DUCK, Jacob, 1600-60, Netherlands=Utrecht, etc:

Background: He was born at Utrecht NGUtrecht p62
Training: As a goldsmith, & in 1621 he took drawing lessons from Droochloot NGUtrecht p62
Influences: Codde & Duyster Franits pp 82-3
Career: In1629 he joined the painters’ guild L&L
Oeuvre: Paintings & etchings. His specialities were guardroom scenes & prostitution but he also painted merry companies, women in domestic activities & religious works L&L, Franits pp 82, 84, Grove9 p364
Characteristics: Small genre works painted with great delicacy & high finish. In the guardroom scenes the figures are placed in high bare interiors with cool, greyish-brown backgrounds as in Guardroom with Sleeping Soldiers (NG Prague). In his tranquil Woman Ironing (Central Museum, Utrecht) the colouring is mellifluous & without the lively colour accents of some of his guardroom scenes NGUtrecht p62, Grove9 p364, Franits p83, webimages
Beliefs: He was a Catholic & an uncle & two brothers were priests NGUtrecht p62
Repute/Verdict: He was a talented painter & innovator whose work was neglected until fairly recently Franits p82

-DU FRESNOY/DUFRESNOY, Charles, 1611-68, France:

Background: He was born in Paris, the son of a well-to-do apothecary  Grove9 p371
Training: He studied with Francois Perrier & Vouet around 1631-3 Grove9 p371.
Influences: Titian & other Venetian painting which he saw there around 1654 Grove9 p371
Career: During 1633-56 he was in Italy where he was a constant companion of former fellow student Pierre Mignard I.     He wrote Latin poems in which he championed classicism but also tentatively defended Venetian colourism, which was taken up by De Piles L&L
Oeuvre: Very little has survived Grove9 p371
Characteristics/Phases: He initially worked in the classicising style of Vouet & Pousin.   However, from around 1647 his works became more Titian-like as he began to consider colour an essential element in Beauty Grove9 p371.
Feature: He is chiefly known for his Latin poem De Arte Graphica which presents the academic artistic theory of his day.   De Fresnoy regarded poetry & painting as sister arts & regarded beauty as indispensable with the artist free to interpret by adopting one of the aesthetic categories corresponding to one of the famous antique statues. The work was completed around 1658 though it was not published until 1668.   A French edition with copious notes was published by de Piles in the same year.   It was translated into English by Dryden in 1695 & then into German, Italian & Dutch with new editions appearing until around 1800  Grove9 p371-2.   Du Fresnoy must have read his poem to Le Brun who painted his portrait in Rome around 1644 Allen p133.   In 1667 [what must have been another poem] De Arte Pingende was published.   This continued a theoretical but tentative defence of the importance of colour. Only in de Piles’ notes was its value made clear Blunt1954 p257.

Duychinck, Evert I (1621-1702), Gerrit (1660-1710, & Geradus II (1723-97) See USA in Section10

*DUFY, Raoul , 1877-1953, France:

Background: He was born in Le Havre OxDicMod
Training: Evening classes at the Ecole Municipal des Beaux-Arts from 1892; & the Ecole des Beaux-Arts, Paris, under Leon Bonnat, from 1900 OxDicMod, Grove29 p372
Influences: Poussin, Claude, Boudin, & especially Delacroix & in 1905 Matisse Grove9 p372
Career: He exhibited with the Fauves, 1906-7, painted with Braque at L’Estaque. During the 1920s he travelled extensively visiting southern France, Italy & Morocco; & in the 1930s he often stayed in England OxDicMod, Grove9 p372
Oeuvre: Paintings in oils & watercolour especially scenes of luxury & pleasure, particularly race-course scenes & regattas as in Henley Regatta, 1934 (Musee des Beux-Arts, Nice), together with prints, textile & theatrical design work, book illustration & wood engraving OxDicMod, Grove9 pp 372-3.
Phases/Characteristics: Initially Impressionism, Fauvism from 1905, then more sober work but before long a return to a lighter style. He then developed a distinctive, personal & manner with rapid calligraphic drawing on backgrounds of thinly washed colour. During the early 1920s he elaborated his style using lively brushwork, arbitrary colour independent of line creating an impression of verve dynamism & humour. From an early stage his work has joie de vie, although towards the end it became more austere OxDicMod, Grove9 pp 372-4.
Verdict: A pleasing minor modern master unconcerned with weighty matters OxDicMod, L&L
Repute: His popularity has continued undiminished OxDicMod

-DUGHET/POUSSIN, Gaspard/Gaspar, 1615-75, Poussin’s brother-in-law, France:

Background: He was the son of the French cook who had tended Poussin when he fell ill soon after arriving in Rome T&C p54

Training: Between 1631 & 1635 he trained in Poussin’s studio L&L

Career: He lived & worked in Rome. In 1630 Poussin married his sister Murrays1959, OxDicArt

Oeuvre: Landscapes including fresco L&L

Technique: He was a fast worker & painted with a fury that astounded contemporaries T&C p55

Phases: Initially his style was rather romantic in the manner of Elsheimer & Brill, featuring storms, abrupt light contrasts, Mannerist compositions, etc. During the later 1640s he became more Classical under Poussin’s influence. From c1650 his composition were less geometrical than those of Poussin but more finite than those of Claude. He lacked Claude’s fine light but treated it more generously than Poussin Blunt1954 p201

Characteristics: He combined Claude’s romanticism with Poussin’s solidity & Rossa’s picturesque OxDicArt, L&L. He did not go so far as Rosa towards the sublime, but replaced open prospects & glassy bodies of water with rugged scenery through which a path can be picked only with difficulty. Space extending indefinitely, whereas Poussin bounded it with buildings & hills Allen p203. His figures merely serve to emphasise the solitary grandeur of nature or her benevolent calm. He had an intense personal feeling for plant life, luxuriant foliage & dark copses. Unlike Claude, he did not try to evoke the different times of day T&C p55. However, in his landscapes around Rome he depicts the shifting patterns of light & shade across a rugged terrain Grove9 p375

Feature: His paintings were based on intense study from nature in the Campagna L&L.

Personal: He was described as small, stout, jovial, rather a spendthrift, & so jealous of his freedom & independence that he never married or took pupils. Men of high rank were pleased to have him as a guest, he was a passionate hunter, & bought houses at Tivoli & Frascati where he could enjoy the countryside T&C pp 54-5

Collaborators: Testa & Mola Waterhouse1962 p65

Status: From about 1647 he was Rome’s leading landscapist L&L

Patrons: Lorenzo Colonna Haskell p155.

Influenced: Orizzonte, who was his leading 18^th century follower, & Wilson Solkin p14, OxDicArt. His paintings became models for the landscape gardens & parks of the supporters of the Picturesque Movement. And his style was imitated by painters in Rome until well after 1700 L&L

-DUJARDIN/DU JARDIN , Karel/Carel, c1622-78, Netherlands=Amsterdam:

Background: Born in Amsterdam L&L
Training: Nicolas Berchem L&L
Influences: Paulus Potter for landscapes & van der Helst for portraits Haak pp 329, 468, L&L
Career: During the 1630s he went to Rome & around 1656-8 was in the Hague. He was in Amsterdam between 1652 & 1675 but then made a trip to Tangiers Haak pp 459, 468
Oeuvre: Landscapes, biblical subjects, excellent portraits, regent paintings & etchings Haak p468, L&L
Characteristics: His paintings are usually small, his landscapes are warm & sunny with drowsy cattle Haak p468
Patrons: He became popular with Amsterdam’s ruling classes during the 1660s L&L
Verdict: Though no trail blaser he was talented Haak p468
Groupings: The Bentveughels & Dutch Classicists Haak p404, MB

..DUMAS, Marlene, 1953-, South Africa/Netherlands; Post-War Realism

Background: She was born in Cape Town & grew up in Kulis River in the Western Cape where her father had a vineyard Grove9 p 384, Wikip
Training: In fine arts at the University of Cape Town, 1972-75; & then at the Ateliers’63 in Haarlem in the Netherlands, 1976-78 Grove9 p 384
Career: She began painting in 1973 & during 1979-80, followed a general course in psychology at the Psychological Institute of the University of Amsterdam, where she now lives. She has taught at various institutions including the Ateliers & featured in films Grove9 p 384, Wikip
Oeuvre: Paintings, drawings & collage Grove9 p384
Belief: If, as Picasso once said, photography has liberated painting from the subject, anything can be painted without permission or negotiation with the subject. At art school she came to believe [surprise, surprise] that the image can only come to life through the viewer looking at it & that this is how it gains meaning OxDicMod.
Characteristics: Her paintings are bold & striking employing vibrant & even lurid colour as in The Visitor, 1995 (Private) & her brush work is loose & her work freely painted. The resulting images are unsettling, especially her children. She works from photos, sometimes her own, including friends or lovers, & from magazines & pornographic material, often diluting the pigments down to silky shades that deny decorative harmony. The disturbing nature of the paintings partly arises from the way in which human limbs are distorted into impossible shapes as in The Visitor (Private) & Naomi, both 1995 (Sitelink Museum, Amsterdam). The latter is a recognisable image of Naomi Campbell in which the face of a black woman celebrated for her beauty is depicted with a seemingly prehensile mouth & sinister, disconcerting eyes. Nevertheless, her work is concerned with social & political issues, as in the Against the Wall series about the Israel-Palestine conflict Grove9 p384, OxDicMod, Spence FT4/10/2014, Wikip , Hessel pp 385-87.
Phases: In the mid-1980s she adopted paint as her sole medium Spence FT4/10/2014
Verdict: She has or so it is claimed become the world’s most interesting figure painter Spence FT4/10/2014
Reception: Her works have since 1985 sold for huge & rapidly rising sums Wikip

..DUNSTAN, Bernard, 1920-, England:

Background: He was born at Teddington OxDicMod
Training: 1939 at the Byam Shaw School of Art, & 1939-41 at the Slade OxDicMod
Influences: French & English 19^th century art OxDicMod
Career: From 1945 he was a regular RA exhibitor & he belonged to NEAC OxDicMod, McConkey2006 p218. He was married to Diana Armfield RAWeb
Oeuvre: Figures in interiors, especially nudes; also some portraits & townscapes OxDicMod
Beliefs/Aim: He never felt the need to be Modern & aimed at combining everyday charm & solid painting, finding the colour & pattern by observation OxDicMod
Promoters: Roland, Browse & Delbranco (Cork Street art dealers). helped to establish his reputation OxDicMod

..DUPLESSIS, Joseph, 1725-1802, France:

Background: He was born at Carpentras in Provence Levey&K p185.
Training: Joseph Vernet & Subleyras in Rome, although they had no distinct influence Wakefield pp 72-3
Career: After working at Carpenteras he went to Paris in in 1749, but did not become a member of the Academy until 1774. He was Louis XVI’s official portraitist Levey&K p185, Wakefield p72.
Characteristics: His work is highly accomplished but his portraits are often painfully hard in which shiny materials compete with the sitter’s face. His works from 1774 have a a robust strength & accuracy which produces a powerful human presence that is sometimes close to the directness & honesty of portraiture in the Romantic age. However his later works are the antithesis of Rococo exhubarence & his search for purity & simplicity led to the exclusion of free brushwork & lively colour & finally produced wax images with little trace of life & movement Wakefield pp 72-75, Levey&K p185
Verdict: There is something stultifying about his blandly academic approach Levey&K p186

-DUPONT GAINSBURGH, c1754-97, Thomas Gainsburgh’s nephew, England; British Golden Age:

Background: Born Sudbury, Suffolk Grove9 p 400
Career: He worked at his uncle’s studio, 1772-88; was his only assistant; engraved his pictures; completed the unfinished Whitbread family portraits; & began exhibiting at the RA in 1790 L&L p213
Oeuvre/Characteristics: Portraits, landscape’s & mezzotints. His original paintings were Gainsborough-like but his technique was more agitated, his palette more varied & his drawing weaker. Nevertheless, scholars had difficulty distinguishing their work Grove 9 pp 400-01, OxDicArt
Patrons: The Royal Family, William Pitt, Trinity House, etc Grove9 pp 400-01
Collections: The Garrick

Gainsburgh, Dupont. See Dupont Gainsburgh

..DUPRE, Jules, 1811-89, France:

Background: Born Nantes. His father owned porcelain factories TurnerDtoI p154

Training: With the landscape painter Demarne in Paris TurnerDtoI p154.

Influences: His early experience of the beauty of the landscape in central France TurnerDtoI p154. Constable in Paris & during his English visit R&J p182.

Career: Initially he worked in a porcelain factory founded by his father. He began to see nature with a new awareness of its moods, painting alone & in plain air. In 1830-31 he associated with Louis Cabat painting with him in the Forest of Fontainbelau & visiting Berry along with Troyon. During 1834 he visited England, where he met Constable, Turner & Bonnington. He travelled to the Landes & Pyrenees with Rousseau in 1844. Dupre settled in 1849 at the village of L’I sle-Adam, north of Paris TurnerDtoI pp 40, 154

Oeuvre: Landscapes

Characteristics: He was fascinated by bad weather, changes in light & sunsets. Many of his paintings depict quiet woodland glades, often with a pond or stream. His approach to nature falls somewhere between realism & Romanticism. He saw nature as a majestic alliance of the ephemeral & eternal in which the natural world was dominated by trees which linked Heaven & earth. It was a mystical vision partly influenced by the paintings of van Ruisdael & Hobbema etc TurnerDtoI p154

Innovation: He was one of the first French landscapists to visit England TurnerDtoI p154f

Grouping: The Barbizon School, although he did not visit Fontainbleu as frequently as other members TurnerDtoI p154.

Repute: His work was received with enthusiasm during his lifetime. He was admired by the Impressionists & Durand-Ruel for his perception of atmosphere & light TurnerDto I p154

..DURAND, Asher, 1796-1886, USA: Romantic Sublime

Background: He was born in Jefferson Village Norman1977

Training: He was apprenticed to Peter Maverick Norman1977

Influences: He was a close friend of Cole, with whom he made several sketching expeditions. Visiting Europe in 1840-41 he was much impressed by Constable and Claude, together with the writings of John Ruskin Norman1977, Wilmerding p107

Career: Duran was an engraver who turned to landscape. After the death of Cole, he became the leader of the Hudson River School & was president of the National Academy of Design,1845-61 Norman1977, Wilmerding p246

Oeuvre: He painted both panoramic views and wildly tangled woodland interiors Norman1977

Phases/Status: After his apprenticeship he engraved pictures for periodicals, bank-notes, etc, & became America’s leading engraver. He turned to painting around 1834 Norman1977

Beliefs: His Letters on Landscape Painting, published in the 1850s, expressed the philosophy of the Hudson River group, who saw nature as God’s creation & their work as a religious endeavour: a painting “will be great in proportion as it declares the glory of God by a representation of his works, & not the works of man”. In some of Durand’s works nature appears to have been closely observed. Nevertheless, in Landscape with Birches, c1855 (Museum of Fine Arts, Boston), & Sunset, 1878 (New York Historical Society) & were produced with other works in mind & feature central glowing light which is basic to the mature luminist style Norman1977, Wilmerding pp 31, 33-34, 107

Circle: His home at Catskill Clove was a gathering place for Hudson River artists Norman1977

Grouping: Luminism Wilmerding

****DURER, 1471-1528, Germany; Byzantine Movement

Background: Durer was born in Nuremberg, the son of Albrecht the Elder, who was a goldsmith from Hungary. His godfather Anton Koberger, one of Germany’s foremost printers & publishers, reprinted the Malleus Maleficarum which denounced witches in prurient detail L&L, OxDicArt, Spence FT 31/9/13. Nuremberg was a very wealthy manufacturing centre where furniture, silver-plate, stoves etc were produced. It was situated on the trade route between Italy & the North East, & was a self-governing free imperial town ruled by patrician families EBrit16 p241

Training: Michael Wolgemut, Nuremberg’s leading painter & book illustrator OxDicArt

Influences: To begin there was Mantegna‘s linearism & during his second Italian trip Leonardo, Mantegna & his friend Bellini, who together stimulated his intellectualism Murrays1963 pp 192,198. He also gained a new triangular & balanced form of composition & sense of colour as shown by Feast of the Rose Gardens,1506 Wollflin1971 ppn147-9, OxDicArt.

Career: At a Latin school he met the future humanist & poet Wilibald Pirckheimer who became his lifelong friend & correspondent. During 1490-4 he visited Colmar, Alsace, Basle where he worked on woodcuts for books, & Strasburg. In 1494 he returned to Nuremberg, married, & made a trip to Italy & on the way made numerous landscape watercolours. After his return in 1495 he established a workshop &, though he painted, was preoccupied with woodcuts & engravings. These included the large series of the Apocalypse, 1498, the Great Passion, & the Life of the Virgin, 1510, which are alive with dramatic tension & pathos. Durer was deeply troubled by the reforamation which he supported but gained liberation & consolation through Luther’s writings. He wrote 1525 a Treatise on Measurment, 1525, & Four Books on Human Proportion, 1528 OxDicArt, Wolf pp 92, 95.

Development/Phases: From early he concentrated on the Renaissance problems of perspective, ideal beauty, proportion & harmony. He sought instruction from Jacopo de’ Barbari who visited Nurembourg, read Vitruvius & & in 1595-7 went to Venice returning with a system of human proportions OxDicArt. His nudes begin with horrified curiosity as in his drawing of what looks like a Nuremberg Hausfrau, 1493. He then studied the Italian nude & the The Women’s Bath, 1496 contains both shapely & monstrous nudes. The Four Witches, 1497, appears to have begun as the Three Graces but one woman upsets the classical scheme. In 1504 he produced a fully classical engraving of Adam & Eve but thereafter he lost interest in ideal beauty Clark1949 pp 324-7, 329.

Characteristics: His work, at least in his portraits, was linear as opposed for instance to Frans Hal’s painterleness Wolfflin 1915 pp 43-4. Although he is said to have brought the Italian Renaissance to northern Europe, & to have stressed originality & invention, [what is striking is the extent to which his paintings were of a traditional type.] L&L. According to Otto Benesch, the various paintings he executed for the Schlosskirke in Munich, show no trace of Mantegna’s influence [ie that of Italy]. They were “intended for the ordinary churchgoer & so had to be easily understandable & make the same universal impression as a sermon, There is accordingly nothing muted or discreet about them … but a glowing eloquence expressed in flowing enamel-like colour. They carry on the Late Gothic manner, the tradition of Schongauer, & show the direct continuity with the panels painted in the Upper Rhine region. Surging upwards in the characteristic S-shaped curve of the Late Gothic style, the Virgin is far from being a static Italianate figure…In it, the Late Gothic style takes on an unaccustomed grandeur & urgency…The religious pathos of the medieval world is here endowded with a new depth of expression reflecting the mood of a tense & troubled world “ Benesch p19.

Nudes; northern & Italian/Classical figures together & movement back & forth between Clark1956 pp 321, 24, 29; mixed response (curiosity, horror, beauty) Wolfflin 1915 pp 43-4

Patrons: Frederick the Wise & Hallers & other patrician families of Nuremberg Benesh p19. From 1615 he worked for Emperor Maximilian I from whom he received a stipend Wolf p95

Circle: In 1498 he joined the Herrentrinkstube, an exclusive club for patricians Wolf p93.

First artist to sell work widely throughout Europe MacGregor p303. His watercolours were apparently made for pleasure & not as preliminary studies OxDicMod.

Status/Verdict: Durer was the greatest Renaissance artist in North Europe, & his works of 1513-4 show a mastery of line engraving that has never been surpassed OxDicArt

-DUSART, Cornelis, 1660-1704, Netherlands:

Background: Born in Harrlem Haak p528.
Career: Dusart joined Adriaen van Ostade’s studio & helped complete his pictures before & after his death. In 1679 he entered the Guild of St Luke in Haarlem & in 1692 was appointed a hoofdman, or leader L&L, SuttonP p196,
Oeuvre: Paintings of peasant scenes etc & etchings SuttonP p196, Haak p390
Phases: After 1682 he began developing a more personal style inspired by Jan Steen SuttonP p197.
Characteristics: Dusart’s compositions are usually weaker & his colour less well balanced than Van Ostade but his interiors are broader, deeper & richer in their portrayal of light & atmosphere. Colouring & execution were hard & figures are cariatured Haak p390, SuttonP p197
Verdict: Opinions differ: Dusart has been viewed as taking Ostade’s weaknesses rather than his strengths but as painting better interiors Haak pp390-1, SuttonP p19 7.

..DUVENECK, Frank, 1848-1919, USA:

Background: Born in Covington, Kentucky Norman1977
Influences: After visiting Europe, he was influenced by the Munich Realists, and introduced the style to America Norman1977
Career: Duveneck worked as an interior decorator of churches and chapels before visiting Munich in 1870, where he studied at the academy under Diez. On return to the USA Duveneck exhibited at the Boston Art Club, which brought him sudden fame. He started an art school in Munich, then Florence, staying in Italy until 1888. When, having returned to Cincinnati, Duveneck became closely involved with the Museum and Academy of Art, and became a member of the National Academy of Design (1906) Norman1977
Oeuvre: A portrait, genre and landscape painter Norman1977
Characteristics: His work was ‘realistic and atmospheric in vision, dark and warm in tonality, and dashing in its bravura displays of brushstroke.’ Richardson, quoted in Norman1977.

-DUVET, Jean, 1485-1561, France:

Background: He was born at Langres, his father was a goldsmith and engraver L&L, Grove9 p468
Influences: Marcantonio Raimondi Grove9 p468
Career: He became a master goldsmith in Dijon, 1509, but mostly lived in Langres; he was a Calvinist who took refuge in Geneva, Geneva. During 1546-56 produced 24 prints of the Apocalypse indebted to Durer and of a visionary & impassioned nature Grove9 p468, L&L
Oeuvre: Prints & decorative work Grove9 p468
Characteristics: His knowledge of Italian art was considerable; his work is delicate & unconventional with long flowing cuts & short flicking ones for shading. The Apocalypse prints are entirely covered with motifs producing a decorative brilliance. The figures are strongly modelled & vigorous but perspective is disregarded Grove9 p468
Status: He was a great printmaker of the French Renaissance Grove9 p468

-DUYCKINCK, Geradus I, The Elder, 1695-1746, USA:

Background: He was born in New York City. His grandfather Evert I , 1621-1702, known as the Glazier, was a Dutch emigrant who painted miniatures & installed works in glass; & his father Geririt, 1660-1710, painted portraits, etc NGArt web entry for Geradus Duyckinck, L&L
Career: He lived in New York, travelled elsewhere, & carried on his father’s business NGArt
Oeuvre: Portraits of which only one is signed but others have been assigned on the basis of style & scientific analysis. He also painted religious works NGArt
Characteristics: His portraits are clearly delineated & well composed, though on occasion somewhat naive & unsophisticated. Nevertheless, he frequently succeeded in making his works arresting. In [the as in] Christ Healing the Blindmen, c1727 (The Met) where the figures are animated & in the [as in] Franks Children with Lamb & Rose, c1735, where the lamb is being cuddled (Museum of American Art, Bentonville, Arkansas) webimages
Son: Geradus II, 1723-1797, taught painting on glass etc L&L

-DUYSTER, Willem, c1599-1635, Netherlands=Amsterdam:

Background: He was born in Amsterdam the son of a textile cutter, carpenter & minor official, & his mother was Norwegian. The family was financially comfortable Grove 9 p470
Oeuvre: Genre & portraits Grove 9 p470
Characteristic: Small guardroom scenes & merry companies in which soldiers mostly smoke, gamble, make music & woo. However, in other paintings they loot, take hostages & fight over booty as in the dramatic, stagey & richly coloured Soldiers Fighting over Booty in a Barn, c1623-4 (NG) L&L, Grove9 p470, SuttonP p198, Haak p301, ArtUK.
Feature: He was an innovative painter as in his Soldiers beside a Fireplace (Philadelphia Museum of Art) in which & used a dual light source which enhances the illusion of depth & by flickering over the figures animates & enriches the scene with a play of tonal values SuttonP p198, Grove 9 p470
Influenced: Teniers, David the Younger L&L p681

..DUXBURY, Leslie, 1921-, England:

Background: He was born in Accrington, the son of a mill worker AskArt

Training: Accrington School of Arts & Crafts & the Royal College of Art, 1941 & 1944-6 AskArt, F50s p58

Career: He was invalided out of the army in 1943. For most of his life he taught part-time at The Borough, Hammersmith, Camberwell, & then printmaking at Kingston 1967-86. He was a prolific short story writer AskArt, Arkansite

Oeuvre: Familiar working-class subjects: unemployed coal miners, female mill workers, mothers with children, Welsh landscapes in oil, acrylic, pastel, charcoal & ink, & later etching ArtUk, Goldmarkbsite, ARCAsite

Phases: After retirement he discovered music & sketched musicians & audiences ARCAsite

Characteristics: His work is bold & forceful but sometimes crude ArtUk,Goldmarksite

Circle: His housemates: Arthur Berry, Derek Greaves, George Fullard, Geoff Dudley & Ernest Adsetts AskArt, F50s p58

Grouping: The Kitchen Sink School, although he was not considered a central figure AskArt, ARCAsite

*DYCE, William, 1806-64, England, Scotland; Nazarene Movement

Background: He was born at Aberdeen, the son of a lecturer in medicine at Mariscal College Grove9 p473

Training: He graduated in medicine & theology, 1823 Grove9 p473.

Influences: Raphael, & other 14^th & 15^th century Italian painters. He was influenced by the Nazarenes but criticised their restricted naturalism & lack of cast shadows OxDicArt, Vaughan1980 pp 182-3

Career: After embarking on portraiture & history painting, 1823-4, he went to Rome in 1825 & 1827-30. At some stage he became acquainted with the Nazarenes & at least by 1840 had formed a strong friendship with Overbeck Grove9 pp 473, Brigstocke, Andrews pp 81-2. During 1840-3 he was Superintendent of the Government School of Design & in 1844 was commissioned to paint mural frescoes in the Palace of Westminster (the Baptism of King Ethelbert, 1846, House of Lords Chamber; & later a series based on Malory’s Morte d’Arthur in the Queen’s Robing Room) Brigstocke, Grove9 p475. After the difficulties & miseries with the House of Commons murals he had a terminal collapse Bell pp 19-20

Oeuvre: Simple devotional images after his 1827 visit to Rome as in Madonna & Child, 1838 (Castle Museum, Nottingham) & the similar Virgin & Child, 1845 (Royal Collection) with their clear Raphael-like clarity & colour. He also painted more ambitious works such as Josh Shooting the Arrow of Deliverance, 1844 (Kunsthalle, Hamburg) the first of a series which led him to be called The British Nazarene. They were a combination of Nazarene design & direct observation as in The Meeting of Jacob & Rachel, 1853 (Kunststhalle, Hamburg). There was also Pegwell Bay,1859 (Tate Gallery), an early work of modern life genre which featured naturalistic detail. Portraits were yet another activity but these were rather conventional R&J p167, Royal Collection Trust, Grove9 p474, Vaughan1980 p183, OxDicArt

Beliefs & Aim: He became a very high Anglican who decorated the walls of All Saints, Margaret Street & whose aim was a revived Christian art for the Anglican church Bell p17, Vaughan1980 p182

Patrons: Prince Albert who purchased the Madonna & Child & commissioned the fresco Neptune giving the Empire of the Sea to Britannia Bell p17

Status: His bright colours & naturalistic detail formed a bridge between the Nazarenes & the Pre-Raphaelites OxDicArt

Influence/Innovation: He provided the aesthetic climate for the Pre-Raphaelite movement Bell p20

Dyck, Anthony van. See Van Dyck, Sir Anthony

Dyck, Floris. See Van Dijck

**EAKINS, Thomas, 1844-1916, USA:

Background: Born in Philadelphia OxDicArt

Training: At the Pennsylvania Academy, & during 1866-9 in Paris under Gerome etc L&L

Influences: Barbizon, Courbet & Manet; & then Velazquez & Ribera, whose paintings he saw on his post-Paris trip to Spain L&L Eakins made full use of Muybridge’s photographic researches. At the time there was anxiety concerning the feminisation & intellectualisation of the upper classes. This lay behind Eakins’ many paintings of athletic young men, Bjelajac p258

Career: In 1870 & with financial support from his father embarked on a career as a portrait painter. From 1876 he taught at the Academy becoming head of the painting school, 1878. He insisted on painting from the nude; & in 1886 was forced to resign after a mixed class drew a nude male model. Eakins taught at the arts Students League in Philadelphia & at his own school. However he was deeply hurt & missed the lack of authority & prestige. His wife, whom he married in 1884 was a painter, photographer & pianist. Although she provided emotional support, he worked for most of his later career in bitter isolation. He experimented with photography & sometimes used photos when painting L&L, OxDicArt, Grove9 pp 500-1.

Phases: During the late 1890s he began painting boxing scenes after attending matches (Between Rounds, 1898-9) Museum of Art, Philadelphia

Specialties: Boating & bathing scenes, together with two paintings of surgery: the Gross & Agnew Clinics OxDicArt

Characteristics: His work has a precise & uncompromising sense of actuality & his portraits are Rembrandt-like with dramatic & sombre lighting & a sense of inner truth OxDicArt, L&L. His pictures have pronounced masculine themes Bjeljac p250

Beliefs: Eakins had an almost mystical faith in the beauty & purity of the human body. He wanted to avoid hiring professional models because he that being prostitutes they would taint art classes with immorality Bjelajac p253. “I do not believe that great [as opposed to good enough] painting, sculpture or surgery will ever be done by women” Burns p179

Grouping: Realism; American naturalistic painting OxDicArt, L&L

First major artist to assert that the progress of American art would come by staying at home L&L

Status: Most critics regard him as the greatest American painter of the 19^th century OxDicArt

Repute: His work aroused controversy &, although he received considerable press coverage during the last part of the 19^th century, his true fame only started to build up after his death OxDicArt, Burns p3. Though praised for his characterisation, his work was criticised for lacking the beauties & graces of painting, in particular for vast expanses of thin or muddy background I&C p525

Pupil: Thomas Anchutz OxDicMod

Collections: The Philadelphia Museum of Art

..EARDLEY, Joan, 1921-63, Scotland (England):

Background: She was born in Sussex but had a Scottish mother OxDicMod

Training: 1938-9 at Goldsmiths; 1940-3 at Glasgow School of Art OxDicMod

Influences: Josef Herman whose studio she often visited & by whom she was befriended Spalding1986 p155, F50s p23. She was also influenced by Cowie’s everyday subjects, & perhaps by his austerity, although Eardley’s pictures were more earthy & sensuous OxDicMod, Macmillan1994 p84.

Career: From 1943 Eardley worked as a joiner’s labourer F50s p59. During 1948-9 she was abroad mainly in Italy. Eardley then divided her time between living in a Glasgow tenement slum & from at 1956 Catterline, a fishing village 20 miles south of Aberdeen OxDicMod, Spalding1986 p155

Oeuvre: Glasgow subjects that were Kitchen Sink-like & stormy sea scenes OxDicMod

Technique: She consistently worked on the spot at her landscapes, whatever the conditions; & it is this which makes her seascapes so authentic Macmillan1994 p88.

Characteristics: Eardley used a rich palette which was unusual at the time & probably derived from Herman F50s p23. Her work has a directness & intensity which distinguishes it from the Kitchen Sink painters such as BratbyMacmillan1994 p84. Her pictures of street life, which concentrated on the young & elderly, were a blend of realism & compassion but without sentimentality Grove9 p504

Aim: To capture in her landscapes the dramatic intensity of immediate, transitory experience in permanent form. Lanyon, Heron & Soulanges were, in contrast, content to take the freedom of expressive abstract painting as self-sufficient Macmillan1994 p88

Verdict: Eardley’s sea pictures are among the most powerful & individual 20^th century British landscapes OxDicMod. She was a great painter in the main European tradition & links back, via the elder McTaggart, to Constable & Romantic landscape Macmillan1994 p89

Promoters: Roland, Browse & Delbranco (the Cork Street art dealers) helped establish her reputation OxDicMod

Collections: Scottish NG of Modern Art, Edinburgh OxDicMod

-EARL, Ralph, 1751-1801, USA:

Background: He was from Connecticut L&L
Influences: Copley L&L
Career: Fearing imprisonment as a spy, he fled to London in 1878 & entered the studio of Benjamin West. He returned in 1785 L&L. Earl was imprisoned for debt, died an alcoholic, & deserted by two wives OxDicArt
Oeuvre: Portraits & topographical drawings L&L
Characteristics: His work generally has sincerity & freshness with a forthright presentation of character, though his work became softer & sophisticated after studying with West OxDicArt
Status: He was one of the finest American artists in the 18^th century OxDicArt
Family: His brother James, 1761-96, & his son Ralph E.W, c1785-1838 were also painters L&L

-EASTLAKE, Sir Charles, 1793-1865, England:

Background: Born in Plymouth, the son of an Admiralty lawyer Grove9 p682

Training: In 1809 Eastlake became Haydon’s first pupil & was a student at the RA Schools Grove9 p682

Influences: The Nazarenes L&L

Career: He had early success with Napoleon on Board the Bellerophon, 1815, a scene which he had witnessed. During 1816-30 he studied & worked in Rome. After returning, he turned increasingly to writing & administration. Eastlake was Secretary to the Fine Arts Commission, 1842-8, which commissioned murals at the new Palace of Westminster; Keeper of the National Gallery, 1843-7, the post of Director not yet having been established; President of the Royal Academy from 1850; Commissioner for the Great Exhibition, 1851; & director of the National Gallery from1855. Hitherto there had been no purchases on the Continent. With Lady Eastlake he made annual tours to find eligible paintings. He made outstanding purchases of early Renaissance work etc Grove9 p682-3, L&L, OxDicArt

Speciality: Picturesque genre paintings, set in Italian sites & peopled by banditti, which were popular back home L&L, OxDicArt, WoodDic

Verdict: His biblical & historical works are somewhat dry & his Italian genre subjects are undoubtedly his best WoodDic

.. EBER, Elk/Wilhelm, 1892-1941, Germany; Nazi

Background: He was born at Haard, the son of a wine merchant Wikip
Training: At the Ludwig Maximilians University in history & anatomy, & at the Academy of Fine Arts, Munich under Frans von Stuck, etc, 1812-8 Wikip
Career: He became a war artist, returned with impaired hearing, joined the Freikorps, Nazi party & Brown Shirts, took part in the Munich Putch, & from 1931 illustrated Nazi newspapers. In 1939 he again became a war artist Wikip
Oeuvre: Watercolours & drawings during the Great War, sketches of the Putch & later of mountaineering & skiing. Sixteen of his oil paintings were exhibited at the Nazi Munich exhibition of 1937, etc, & work was sold to Hitler Wikip.
Feature: He claimed to be the son of a Sioux woman in 1926 painted Custer’s Last Stand apparently in the United States artprice.com

*ECKERSBERG, Christoffer, 1783-1853, Denmark:

Background: His father was carpenter cum painter Kent p30

Training/Influences: 1803-1809 at the Copenhagen Kunstakadiemiet under Abilgaard; with David, 1811. Eckersberg followed his admonition to find Truth by painting after Nature & the Antique JacksonD p26, Kent p30

Career: During 1797-1800 he was an apprentice painter & between 1810 & 1813 was in Paris; then 1813-6 in Rome, 1813-6, Eckersberg shared a house with Thorvaldsen & got to know Ingres. Back in Copenhagen he worked on history paintings for Christiansborg Palace, 1817-41, & became professor at the Kunstakadamiet in 1818 Kent pp 30-2; Norman1987 p86. He was an inspired teacher. Traditionally nudes had been painted in artificial, & hence consistent, light but Eckersberg introduced natural light painting in natural light in a search for greater Realism. In 1822 he introduced summer courses where students painted outdoors, which was an unprecedented innovation in European academic training. Eckersberg kept meticulous meteorological records JacksonD pp 26-

Oeuvre: Portraits, which were necessary for income; landscape & history painting Kent pp 31-2

Technique: He appears to have used a perspective-octant which gives the impression of a scene casually chosen but with photographic vision JacksonD p27

Characteristics: Realism together with idealised, tranquil light & suspended time JacksonD p26. He mastered the pearly northern light where its dispersion in damp blurs hard edges Norman1987 p87. The harmonious proportions & refined sense of interval in his small Roman paintings is due to compositional planning normally reserved for large works NG1984 pp 44-5

Beliefs: Paint from nature, whatever is there; reach the divine & fundamental image by painting from nature; seek the eternal in the mundane JacksonD p18

Innovations: In Rome, equipped with a stool & portable paint box, he painted plein air pictures. These were distinctive in being neither spontaneous painterly exercises nor preparatory studies for a larger work JacksonD p26. They established the Golden Age speciality of small-scale scenes with unusual perspective effects rendered in high tones NG1984 p46.

Style: This has been termed Classical Kent pp 30-1. However, [he can also be seen as having an affinity with] the Romantic Naturalists See Rosbenblum1984 pp 156, 176-7. Some of his works such as Russian Ship at Anchor are lumanist Wilmerding p22

Status: Ecksersberg dominated the Danish Golden Age through his professorship of painting (though not Lundbye whom he did not teach) Norman1987 pp 82, 98

Pupils: Kobke; Constantin Hansen; Marstrand; Rorbye Kent p32

..Johan Frederik ECKERSBERG, 1822-70, Norway:

Background: He was born at Drammen Grove9 p702
Training: During 1843-6 at the Tegneskolen under Flintoe. He was also a pupil of Hans Gude with whom he made a trip to Norway,1846, & then went to the Akademie at Dusselforf, 1846-8 Kent p72, Grove9 p702
Influences: Schirmer’s classical style Kent p72
Career: He went to the Low Countries as a clerk to study trade was inspired by the Old Masters & became a painter. In 1846 he went to Dusseldorf & in 1859 founded a painting School. This was patronised by many young artists put off by the more restrictive Tegneskolen Kent p72. During 1852-4 he visited Madeira & painted exotic, tropical viewsGrove9 p702
Oeuvre: Landscapes Kent p221
Characteristics/Verdict: After Dusseldorf he had a cool, meticulous, linear Classical style. He stressed space & form in his large mountainous landscapes, but had little sense of colour or imagination Kent p221
Innovations: He was the first notable painter from Norway to locate there Grove9 p702

.. ECKHOUT, Albert, confusable with Eekhout, c1610-65, The Netherlands:

Background: He was born at Groningen Grove9 p702
Career: In 1637 he went to Brazil with the new governor Johann Maurits, Count of Nassau-Siegen, who had been appointed by the Dutch West India Company. He & Frans Post accompanied Maurits in order to depict the area & Eckhout had the task of painting, people, plants & animals. After remaining with Post until 1644, he entered the service of John-George I, Prince-Elector of Saxony in 1653 & remained in Dresden until 1663 when he returned to Groningen. Meanwhile he made Brazilian inspired ceiling decorations for the Hofflossnitz hunting lodge & large oils of exotic, mainly Asiatic peoples for the now destroyed Schwedt Schloss Haak p46, wikip
Oeuvre: Paintings of native South Americans & still-lifes of their handicraft & of tropical fruit H&P p226
Characteristics: His paintings of black & mulatto men & women are of a high order & of great interest. They are sober, direct & without artistic embellishment, featuring standing men & women facing the viewer, & ranging from beautifully clothed females to nudes, & are set in tropical landscape. One [as in work] depicts a Tapuya Cannibal Woman, 1641, holding a human hand with & with a foot in her basket, another shows a black woman with her child (National Museet, Copenhagen). The former has been seen a stereotypical image of indigenous Brazilians but this is misleading as many of the coastal tribes did practice cannibalism for ritual purposes Grove9 p703, Wikip

*EDELFELT, (Gustav) Albert, 1854-1905, Finland; Rural Naturalist Movement

Background: He was born at Borga Norman1977
Training: In Helsinki, 1873 at the Antwerp Academy, & in 1874 under Gerome Norman1977
Influences: Bastien-Lepage Norman1977
Career: He divided his life between Paris & his country villa at Borga Norman1977.
Oeuvre: Rustic scenes & also portraits Norman1977,Ateneum p72
Phases: Realist genre scenes & in the late 1880s luminous landscapes of outlying parts of Finland. Around 1900 his art became more spiritual with biblical & Norse saga subjects Norman1977, L&L
Characteristics: He adopted a lightish Impressionist palette together with a corresponding informality L&L
Circle: He befriended Gallen-Kallela & other younger Scandinavian painters L&L
Innovations: He studied in Paris helping to break the hold of the Dusseldorf School over Finnish painting Norman1977
Politics: He wanted Finnish art to have an independent status & he illustrated patriotic poems etc L&L
Status: Realism Ateneum p71

..EDEMA, Gerard, 1652-c1700, England/Netherlands:

Training: Van Everdingen Waterhouse1953 p154
Career: From about he was1670 based in London Waterhouse1953 p154
Characteristics: His work was lively & decorative, tending towards the bizarre & picturesque Waterhouse1953 p154
Innovations: Picturesque paintings in England Waterhouse1953 p154
Collections: Chatsworth, Althorp Waterhouse1953 p154

.. EDLINGER, Johann Georg, 1741-1819. Germany; Baroque:

Background: He was the son of a gardener from Graz Hempel p241
Training: Desmerees Wikip
Career: He settled permanently in Munich, 1771, became court painter to Elector Karl Theodor, 1781, apparently fell out of favour, sold to the middle classes & died impoverished Hempel p241, Gallery of Art site
Oeuvre: Portraits mostly of a head & shoulders type Webimages
Characteristics: His work features brown tones & broad, fluffy painterly technique & contrasts completely with that of George de Marees Hempel p241
Grouping: Sturm unt Drang, Hempel p241

..EFANOV, Vasili, 1900-1978, Russia:

Background: He was born at Samar/Kuibyshev Bown p241
Training: 1917-9 at the Samar Artistic-Industrial Technikum; 1920-6 in Kardovski’s private studio, Moscow Bown p241
Career: He taught at the Moscow State Art Institute 1948-57, & at Moscow State Pedagogical Institute 1959-78. He joined the Communist Party in 1952 Bown p241
Feature: He received Stalin Prizes for five paintings that he painted or helped to paint Bown p241

..EGEDIUS, Halfdan, 1877-99, Norway:

Background: He was born at Drammen Norman1977
Training: With Backer in Oslo & Xahrtmann in Copenhagen Norman1977
Career: He made summer sketching expeditions with students & friends & contributed important illustrations to a Saga of Nordic Kings, 1899 Norman1977
Characteristics: He painted works of rich fantasy with summer landscapes shimmering with light & figure paintings of wild movement Norman1977
Innovations: he led the reaction against Realism in Norway Norman1977
Grouping: Nordic staining painting Kent p221

-EGG, Augustus, 1816-1863, England; Nazarene Movement

Background: He was born in London, the son of a prominent gunsmith Grove9 p756
Training: At Henry Sass’ Academy from around 1834, & the RA Schools from 1836 Grove9 p756
Influences: Pre-Raphaelite advocacy of contemporary life subjects Reynolds 1966 p30. From Holman Hunt he learned the use of powerful symbolic detail as in his Past & Present Treuherz1993 pp 112-4
Career/Oeuvre: In 1837 he & his friends formed The Clique, a sketching club, & in 1838 he first exhibited at the RA. After criticism for being derivative he turned to large, innovative historical & literary subjects, which were successful. In 1858 he dealt with social themes in his triptych Past & Present. In 1861 he became an RA. He lived abroad in warmer climes for much of his life due to his asthma Grove9 p757, Reynolds1987 p30, WoodDic.
Characteristics: He had a firm, bright style even before Pre-Raphaelite influence & his technique was more robust & colourful than that of Leslie & others who painted subjects from English history & literature L&L, WoodDic
Grouping: Mid-Victorian Realism, etc Treuherz1993 pp 112-4
Reception: Past & Present was criticised as unhealthy & remained unsold Treuherz1993 p114
Friend: Dickens OxDicArt
Circle: The members of The Clique: Richard Dadd, Frith, Henry O’Neill & John Phillip Grove9 p756

-EGGELING, Viking, 1880-1925, Sweden:

Background: Born Lund OxDicMod
Training: Milan
Career: He taught drawing in Switzerland, moved to Paris in 1911, & then back to Switzerland, where in 1916 he became a Dadaist. He made sequential pencil compositions on paper & then collaborated with Richter on paintings & drawings consisting of sequences of images on rolls of paper. These showed the transformation of a geometrical form with the intention of conveying the impression of movement. In 1920, encouraged by Van Doesberg, he began to make short animated abstract films L&L, OxDicMod
Oeuvre: Paintings, drawings & films L&L,OxDicMod

..EGLEY, William Maw, 1826-1910; Victorian Modern Life

Background: His father William, 1798-1870, was a miniaturist WoodDic
Influences: Pre-Raphaelite hard-edged detail & acid colours Treuherz1993 p106
Career: he exhibited at the RA from 1843 to 1898 WoodDic
Phases: Literary genre mainly from Moliere & Shakespeare from about 1843 until 1855. Then until around 1862 contemporary life subjects which are his best works. He then turned to 18^th century costume & historical pictures similar to those of Marcus Stone Reynolds1987 p96
Friend: Frith, painting several backgrounds for Reynolds1987 p96
Verdict: His work is uneven & a large part is poor WoodDic, Reynolds1987 p96
Friends: Frith WoodDic

-EHRENSTRAHL, David, 1629-98, Sweden (Germany):

Background: He was from Hamburg Kent p6
Career: He was In Sweden from 1652 & moved to Stockholm in 1661 becoming court painter & with work commissioned by Charles XI L&L
Oeuvre: Official portraits & allegorical compositions; large hunting & animal scenes in which both landscape & animals were studied from nature L&L
Characteristics: His work is imperious Kent p6
Verdict: His work is highly accomplished & superior to any Scandinavian artists until the 1740s Kent pp 6-7
Innovations: The so-called father of Swedish painting L&L
Grouping: Baroque Kent p6

-EILSHEMIUS, Louis, 1864-1941, USA:

Background: He was born in New Jersey, the son of a Dutch merchant OxDicMod
Training: At the Art Students League, 1884-6; & the Academie Julian, 1886-7 OxDicMod
Career: After travelling very widely, he settled in New York, 1903. He became embittered when his greatness was not recognised & stopped painting in 1921 OxDicMod
Oeuvre:
Phases/Characteristics: His early work was Impressionistic, but by 1900 he was inventing visionary subjects with a naive & primitive quality OxDicMod
Verdict: He was one of the great eccentrics of 20^th century art OxDicMod

..EKELS, Jan, 1759-93, Netherlands:

Background: Born Amsterdam Grove10 p126
Training: His father & the Amsterdam Tekenacademie, 1774-81 Grove10 p126
Career: During 1766-7 he was in Paris & in 1783 travelled along the Rhine Grove10 p126
Oeuvre: Portraits, genre, modern conversation pieces & allegorical themes Grove10 p126
Characteristics: His genre paintings are reminiscent of Vermeer, de Hooch & van Ostade in composition, colouring & lighting Grove10 p126
Innovations: He anticipated 19^th anecdotal paintings Grove10 p126

*EKSTER/EXTER, Alexandra, 1882-1949, Russia:

Background: She was born in the Kiev region L&L. OxDicMod
Training: Kiev School of Art OxDicMod
Influences: Robert Dealunay, Malevich & Tatlin L&L
Career: From 1908 she regularly visited Paris & was close to the Cubists & Italian Futurists. She supplied Russian avant-garde artist with information from the West L&L. She belonged to the Knave of Diamonds OxDicMod. From 1920 to 1924 she organized a Supremeatist school in her studio & with her students painted decorations onto steamers carrying the message of revolution & Socialism. In 1921 she participated in the Rodchenko exhibition 5×5=25. She left Russia for Paris where she taught with Leger L&L. In her later career she was mainly active in theatre, ballet & fashion design OxDicMod
Oeuvre: Paintings &, during 1916-20 & again in 1923-4 she designed sets & costumes L&L
Phases: Her work became abstract around 1916 L&L, OxDicMod
Characteristics: Her abstracts were semi-geometrical slabs of colour in a manner something like a cross between Delaunay’s Orphism & Malevich’s Suprematism OxDicMod
Circle: Braque, Picasso & Apollinaire, early in Paris OxDicMod

Eliasz. See Pickenoy

El Divino. See Morales

***EL GRECO/THEOTOCOPULOS, Domenico, 1541-1614, Spain (Crete); Mannerist and Renaissance, Early Italian Movement

Background: He was born in Crete, then Venetian-owned. His father was a tax-collector. In 1561 Philip II moved his capital from Toledo to Madrid. However, the city retained its elite & during the Counter-Reformation splendid religious foundations were constructed. Castile had previously enjoyed a period of prosperity but from around the 1560s there was a rapid decline in trade & industry. [Nevertheless, accumulated wealth & continuing bequests would have financed ecclesiastical & private patronage.] For El Greco Toledo had the advantage that he did not face any serious professional competition L&L, Grove13 p339, & 31 p88, DaviesET pp 70-1, Moffitt p108

Training: As an icon painter Brown1998 p62

Influences: Titian from whom he acquired a grand manner & a taste for rich colour, Tintoretto, & Michelangelo whom he admired for depicting human form –heroic, isolated figures making grand gestures- but not for his colour Brown1998 pp 64-5, Moffitt p108

Career: He worked in Crete during 1558-66, was certainly in Venice between 1568 & 1570, & then went to Rome where he remained until 1577. Here he joined the Academy of St Luke in 1572 but had no great success. During 1577 he went to Spain & Toledo Grove13 pp 339-40, Brown1998 pp 63-5. At Toledo he began working for the Cathedral, the most important ecclesial patron in Spain. The commission was probably due to Luis de Castilla, a young Spanish priest who had become a lifelong friend in Rome, & whose father was dean of the chapter. The Disrobing of Christ, 1577-9, as in the cathedral, Toledo, was a masterpiece; although this was not recognised & there was a protracted legal battle over its propriety & price. Ultimately El Greco received something & the painting was hung in the cathedral Brown1998 pp 65-7. He was now chosen to paint a work for the Escorial, however his second painting the Martyrdom of St Maurice & the Theban Legion, 1580-2, was rejected by the King Brown1998 p67, Grove13 p341.

El Greco was now forced to become a contract painter in Toledo. However, the de Castillas provided him with an entree into its ecclesiastical elite & an initial & large commission for the convent of Santo Domingo, where there was to be a family burial chapel. This was followed by a series of jobs for churches, convents & hospitals in Toledo, & other places. From about 1603 his paintings become more luminous & restless Brown1998 p68, L&L

Oeuvre: Religious works, landscapes & portraits D&E illustrations

Technique: He used near black grounds Grove23 p377. His deep tones are relatively pure but for the highlights he added dull whites for his weird chalky effects. The pale tones were thus weak & his deep tones comparatively rich. His palette was unusual in containing pale grey Birren p107

Characteristics/Phases: His brushwork was expressive, his compositions were agitated & self-conscious, & his colours cold, acidic & either intense or washed out. He favoured cold greens & blues; His late work is Baroquesque with continuous upward soaring movement & emotions through fluttering draperies & ecstatic expressions in The Immaculate Conception Kitson1966 p11

Personal: He was an intellectual artist with a library which contained books in Latin & Greek. It contained works by Vasari & Vitruvius with his marginal notes of his own opinions. When he arrived in Toledo, he was shocked at being regarded as an artist. In Castile the value of a painting was in cases of dispute determined by an arbitrator. This system , called Tasacion worked against the artist who had invested his time & money in advance. In the dispute over the Disrobing of Christ El Greco fought long & hard for a better price & refused to alter his painting, though in the end the price was much lower than that of his appraiser. Nevertheless, his fight indicates that he was a proud man Hall2011 pp 227-8, Brown1998 pp 66-7. Although Toledo was no longer the capital city it retained its elite of nobles, intellectuals & ecclesiastics. It was among these that El Greco found his friends & patrons. They included his close friends Antonio de Covarrubias, a humanist & theologian, & Pedro de Mendoza who was as prolific & wide-ranging author Grove31 p88, Brown1998 p70. His closest colleagues & mistress, who was the mother of his child, were Jewish converts in Toledo Purcell FT 26/7/2014

Workshop: This did a booming trade in devotional paintings & supplied his daily bread. From the 1690s his son Jorge Theotocopoulos, c1578-1631, became an important assistant & took charge after El Greco’s death Brown1998 p70, Grove13 p344

Innovations: His figures seemingly advance out of the picture as in S. Martin Dividing His Cloak, though less so than in Baroque painting Kitson1966 pp 16, 33

Repute: During the 16^th & 17^th centuries he was viewed as a painter led to extremes by an excessive desire for originality who, despite high qualities, had a reprehensible contempt for decorum & religious devotion. During the 18^th century critics often thought he was mad. Not until Romanticism, Gautier & William Sterling-Maxwell was his work reconsidered but the idea persisted that he had periods of madness & Dore believed that his imagination was unhealthy. Later it was believed that he suffered from astigmatism, & his work was admired by varied 20^th century artists especially Germany Expressionists who were moved by his image of suffering Grove13 p345, Purcell FT 26/7/2014. During the 1920s El Greco was seen by Walter Friedlaender as an anti-classical painter & Mannerist if only because his treatment of space is irrational & illogical Friedlaender1925 pp 9, 52. However, it was pointed out both before & more recently that he was a Counter-Reformation painter who, unlike the Mannerists, was trying to create a new & more emotional type of religious imagery Grove13 p345, Hall2011 p225.

Son: Jorge Thetocopulos, born 1578, was a painter who produced some works in his father’s style but was mainly an architect L&L, Wikip

*EL LABRADOR (The Rustic), Juan, recorded 1630s, Spain:

Career: He did not live in Madrid L&L
Oeuvre: Still-life, flower paintings, religious pictures, landscapes L&L
Speciality: Grapes L&L
Characteristics: His still-life’s are trompe l’oeil L&L
Status: He was one of the few Spanish still-life painters to achieve international contemporary fame L&L

-ELLE, Ferdinand, c1580-1649, Flanders, Belgium:

Background: Born in Mechelen Grove10 p143
Career: He had considerable success & became court painter to Louis XIII Grove10 p144
Oeuvre/Characteristics: Mainly portraits most of which are only known through mediocre engravings, the exception being Henri de Lorraine, Marquis de Mouy , 1631 (Musee St-Denis, Reims). It is a striking work with Henri advancing out of the painting Grove10 p144,webimage
Pupils: Poussin for three months, his main claim to fame L&L, Grove10 p144
Progeny: His son Louis, 1612-89 was also a painter Grove10 p144

. .ELMORE, Alfred, England; Victorian Modern Life Movement

Background: He was born in Clonakilty, Cork WoodDic.
Training: At the RA schools from 1832 & in Munich WoodDic
Career: He came to London when twelve & first exhibited at the RA in 1832. During 1833-39 he mainly lived in Paris & was in Rome until 1842. During 1840-44 he visited Munich, Venice, Bologna & Florence, He became an RA in 1857 WoodDic, Wikip
Oeuvre: His earlier works were Shakespearian, historical & medieval but he later painted some modern genre & also Arabic figures Reynolds1987 pp 64,110, WoodDic, Wikip
Feature: Women being courted, seduced or subjected to temptation as in his dramatic On the Brink, 1865 (Fitzwilliam Museum, Cambridge),[a painting which also reveals his skill & competence] webimages, WoodC1999 p54
Friends: Frith Wikip
Grouping: He appears to have been associated with The Clique Wikip

El Mudo. See Navarette

*ELSHEIMER, Adam, 1578-1610, Germany:

Background: Born Frankfort & his father was probably a tailor Wilenski p61.
Influences: Conixloo, Rotten hammer, Titian, Giorgione, Tintoretto L&L. His strangeness & intensity of light derive from Altdorfer & Lucas Moser Clark1949p103
Career: In Venice 1598-1600 & from 1600 in Rome L&L. Although he received good prices, he was a slow worker, went bankruptcy & was imprisoned for debt Wilenski p61, L&L
Oeuvre: Small religious works & then poetic landscapes with biblical or mythological figures L&L
Characteristics: Often used different light sources in same picture L&L
Firsts: One was the poetic light enveloping landscape which was an essential element in Ideal Landscape. Another was the first moonlit night scenes in European painting as in The Flight into Egypt, 1609 (Pinakothek, Munich) . Significantly it was painted in the decade that Kepler & Galileo made their unprecedented advances in astronomy Kitson1966 p74, Klessmann p177
Personal: Rubens was moved to say, may God pardon Elsheimer “his sin of laziness, by which he has deprived the world of so many exquisite things…& reduced himself to despair”; but, unlike Rubens, he was probably a man who pondered rather than painted Wilenski pp 61-2
Circle: The scholars who were centred on Johann Faber & the natural scientist Federico Faber Klessmann p177
Influence: Rembrandt by his dark tones & night scenes; also Rubens & Claude L&L
Repute: neglected between death & c1925 Wilenski p62

Empoli. See da Empoli

*EMIN, Tracey, 1963-, England:

Background: She was born in Croydon, the daughter of a Turkish Cypriot who had made & lost money in the London property market  OxDicMod
Training: Maidstone College of Art, until 1986; & the Royal College of Art, which she hated  OxDicMod, L&L
Influences: Sexual experiences including being raped at the age of 13 while living in Margate, citing assaults in the area as “what happened to a lot of girls.” Emin later said in an article she wrote for the Evening Standard that she had “no memory of being a virgin” Wikip, OxDicMod
Career: In 1992 she opened a shop selling small artworks In Bethnal Green Road with Sarah Lucas.   In 1997 a drunken outburst on television brought her notoriety which continued with My Bed, 1998, etc, etc.   She became an RA in 2007 & in 2011 was appointed its professor of drawing OxDicMod, Tate Gallery, Wikip.
Relevant Oeuvre: Drawings & monoprints featuring cats, inspired by her own life together with a few watercolours produced in response to the charge that she had produced no paintings L&L,Wikip, Ranges from painting, drawing, video and installation to photography and sculpture and all highly shaped by her own life events. Wikip

web images, etc

Empoli. See da Empoli

..ENCKELL, (Knut) Magnus, 1870-1925, Finland:

Background: Born Hamina Grove10 p200
Training: In Finland & the Academie Julian, 1891 Grove10 p200
Influences: Puvis de Chavannes, Carriere, Manet; & intellectually Edouard Schure & Peladan.   Later he was influenced by Bocklin & Renaissance art, especially Masaccio & Leonardo Gibson p231
Career: In 1894 he went for a time to Italy Gibson p231
Oeuvre: Landscapes, portraits, murals etc Grove10 p200
Speciality: Solitary, self-absorbed boys, androgynous boys, usually nude painted during the early 1890s  Ateneum p114, Grove10 p200
Phases/Characteristics: Initially his colour was almost entirely limited to shades of black, grey & ochre; & without extraneous elements.   During the late 1890s his colour spectrum widened & in 1909 it became closer to that of Post-Impressionism.   After 1904 his work had become deeply mystical Grove10 p200, Ateneum p114, Gibson p231
Feature: He did not share the nationalist ideals of his age Ateneum p114
Grouping: Initially Symbolism Ateneum p113, Gibson p231

-ENGELBRECHTSZ/ENGELBRECHTSEN, Cornelis, c1463-1533, The Netherlands:

Influences: Metasys and in his later works, Van Leyden Cuttler p440, L&L
Career: He is first recorded as a master in 1482 & was active in Leyden from 1499 to 1522 Grove10 pp p216, Cuttler p440
Oeuvre: Religious paintings & a few portraits Grove10 pp216-7
Characteristics/style: His work is ornate, complex, crowded, playful & expressive in a Late Gothic mannered style with exaggerated emotionalism as in the Crucifixion triptych, c1520 (Stedelijk Museum De Lakenhal, Leiden). He used warm colours often with a deep green among reds & blues, & he created glistening surfaces. His figures are graceful & curvaceously posed as in Crucifixion, c1523 (The Met) L&L, Grove10 pp 216-7, Cuttler pp 440-1
Pupils: He taught many of the next generation of artists including Aertgen Claesz & Van Leyden Grove10 p216, L&L
Sons: Pieter Cornelis Kunst sic; Cornelis Cornelisz. Kunst, 1493-1544; & Lucas Cornelisz de Cock, 1495-1552 sicsic who all became painters Grove10 p216
Pupils: He taught many of the next generation of artists including Aertgen Claesz & Van Leyden Grove10 p216, L&L

..ENHUBER, Karl von, 1811-67, Germany:

Background: Born Hof but soon taken to Noerdlinger Norman1977, Wikip
Training: At the Munich Academy briefly in1832 Norman1977
Influences: Wilkie whose Opening of the Will, hung in Munich in 1826, & initiated a new school of genre painting. Also, Metsu & Terborch Norman1977, Wikip
Career: His genre scenes exhibited at the Kunstverein from around 1833 soon became popular & in 1858 he became a member of the Munich Academy Norman1977
Oeuvre: Initially animal paintings, then paintings of the 30 Years War followed by genre scenes Wikip
Characteristics/Phases: He depicted peasant & small-town life, focusing on the middle-class which he depicted with humour & a delicate delineation of character. His late work with its broader & more fluent brushwork inspired by Carl Spiztweg was most successful Norman 1977, Wikip
Status: He was Munich’s most renowned mid-century genre painter Norman1977

*ENSOR, James, 1860-1949, Belgium:

Background: He was born at Ostend where his parents ran a souvenir shop.    His father was English & an alcoholic OxDicMod, L&L
Training: 1877-80 at the Brussels Academy under Portaels  OxDicMod, Norman1977
Influences: Daumier & African art, which he was one of the first to appreciate L&L, OxDicMod
Career: Apart a few brief foreign trips he rarely left Ostend.   After early works were rejected by the Brussels Salon he joined the progressive Les Vingt.   However they rejected his Entry of Christ into Brussels, 1888, & he was almost expelled.   Thereafter he became reclusive & his work even more misanthropic OxDicMod
Oeuvre: Painting & etchings OxDicMod
Phases: Initially he painted naturalistic townscapes & interiors in warm, low colours L&L.   However, from about 1883 he began introducing fantastic & macabre elements.   After 1900 his work changed little OxDicMod
Characteristics: His mature work portrayed life as a kind of hideous carnival & it often has a didactic or satirical flavour involving social or religious criticism.   It featured carnival masks, grotesque figures & skeletons OxDicMod
Grouping: His work defies classification but he had a major influence on Expressionism & the Symbolists claimed him as a forerunner OxDicMod
Beliefs: “Reason Is the enemy of art”, “Artists dominated by reason lose all feeling, powerful instinct is enfeebled, inspiration becomes impoverished & the heart lacks its rapture” OxDicMod

**ERNST, Max,1891-1976, Germany:

Background : He was born at Bruhl near Cologne. His father was a keen amateur painter & a strong dogmatic man Hughes1991 pp 221-22

Training: He studied philosophy and psychology at the University of Bonn from 1909-11, but never completed. Nevertheless, he was deeply affected by the ideas of Freud, Nietzsche & the extreme individualist Max Stirner. He was self-taught OxDicMod, Grove10 p466.

Influences: His early works reveal an admiration for Van Gogh, Cezanne, Much, Robert Delaunay, the Italian Futurists & August Macke whom he met in 1911. Cubism had an impact on a series of works around 1917. During the early 1920s De Chirico had a major impact on his work CA p10, Grove10 pp 466-7, Brigstocke, Hughes 1991 p221

Career: He was a nervous & imaginative child. At 14 he was impacted by the apparently associated death of a cockatoo and the birth of a sister on the same day. This was followed by fits of hysteria & depressions. A confusion between birds and humans became a fixation. He was fascinated with the art of psychotics and visited the insane when at the University of Bonn. During the Great War he served in the artillery, concluded that it was an absurd bloodbath and rejected the values of his family and class. Subsequently he switched to painting and settled in Cologne becoming leader of its Dada group with his lifelong friend Arp. He organised a celebrated Dada Exhibition; settled in Paris. In 1922 he joined the Surrealist movement when it was formed and then in 1924 he broke with the Surrealist group over Breton’s demand that Eluard’s poetry be sabotaged. In 1938 he was interned and in 1939 released due to pressure from Paul Eluard etc. He was re-arrested by the Gestapo but he succeeded in fleeing to New York with the help of Peggy Guggenheim in July 1941. Here he became a leading figure in the emigre community OxDicMod, CA p7, Grove10 p469, Wikip

Ernst: Marriages & Relationships:

He married the art historian Louise Strauss, 1918; deserted her & his young child, 1922; lived in a marriage a trois with the Elouards in Paris; married Marie-Berthe Aurenche, 1927; met the painter Leonora Carrington in London, 1937; promptly bonded with her & left his wife & moved with Carrington to St Martin d’Ardeche, 1938; separated from her at the outbreak of war when he was interned & she had a severe mental illness,1940-41; married Peggy Guggenheim, who had helped him leave France, 1941; & after divorce married the painter Dorothea Tanning, 1946; they lived in Sedona, near Flagstaff, Arizona, where they had apparently already been co-habiting; then from 1949 they mainly lived in France; & finally in settled there, 1955 Grove10 pp 467. 469; & 30 p298, OxDicMod, wikip.

Beliefs: In 1934 he said that one of the most revolutionary aspects of Surrealism was to have attacked “the fairy tale of artistic creativity” & the emphatic recognition of “the purely passive role” of the painter. This was at a time of reaction against “the hand painted dream pictures” of Dali, which were then beginning to dominate the public perception of Surrealism OxDicMod. “I was born with very strong feelings of the need for freedom, liberty… & that also means very strong feelings of revolt. And then one is born into a period where so many events conspire to produce disgust: then it is absolutely natural that the work one produces is revolutionary work.” Hughes1991 p222

Oeuvre/Development: One of his earliest known works [the as in] Landscape with Son, 1909 (Private) features forceful brushwork conveying a sense of movement, obviously influenced by Van Gogh, & possibly by the German Expressionists with whom Ernst was to exhibit in 1913. This was the year in which he painted his disturbing & proto-surreal Expressionist [as in] work Immortality, 1913-4 (Fukuoka City Bank) in which a family is floating above a city being engulfed by trees, rampant vegetation becoming a theme in his works during the 1930s. He painted his [as in] Surrealist masterpiece, Celebes, 1921 (Tate Gallery), in which an elephant is transformed into a mechanistic monster. During the late 1920s he became obsessed with birds, especially Loplop, a birdlike creature with whom he identified. In 1935 he produced his first sculpture. Throughout the 1940s his paintings became increasingly abstract, geometric, colourful & conventional. Late on he even turned to realism CA pp 10-13, 36-37, 45, 54-55, 57-58, 60, OxDicMod

Innovations: He invented frottage in which paper was placed over a rough surface, to begin with grained floorboards, & then the paper rubbed with a crayon so as to obtained a series of images which suggested scenes & objects, 1925. Another way of conjuring up an illusionary, alternative world was through the Collage-Novels. Here from around 1930 he cut up Victorian steel engravings of genre scenes & reassembled the parts in order to produce bizarre & sinister pictures of a parallel world. These began with La Femme 100 Tetes, or the Hundred Headless Woman, & continued with Une Semaine de Bonte, 1933, or A Week of Plenty, in which there is for instance an [as in] image of a woman sitting unaware of the monster around her shoulders Alexandrian pp 62-5, Hughes1991 pp 225-26, wikip, See also CA pp 46-47. Another Surrealist technique which he promoted was decalcomania, for which See Section 7

Imagery/Features: It is hopeless to attempt a rational explanation of most of his images from the early 1920s Hughes1991 p222. [This is scarcely surprising as Surrealism was an attempt to gain entry to the sub-conscience.] His work does nevertheless have a number of crucial & identifiable features. First, & this is a characteristic he shares with Picasso, there is the dehumanisation of the female body because of the way in which it is distorted or mangled as shown not only by his Celebes but also by The Pleiades, 1920 (Private) & his [as in] St Cecilia/Invisible Piano (Staatsgalerie, Stuttgart) with their headless women CA pp 23–24, 28. He went on to a more comprehensive & continuing dehumanisation & bestilisationf of humanity from the 1930s as in his Human Figure, 1931 (Moderna Museet, Stockholm); The Antipope, 1941-42 (Peggy Guggenheim Collection, Venice) in which a woman has a horse face; & The Temptation of St Anthony, 1945 (Wilhelm-Lehmbruck Museum der Stadt, Duisburg) with is central animal visage. He also depicted sub-human figures in various works in the late 1920s & early 1930s CA pp 35, 44-45, 49, 53.

Verdict: In Paris Ernst by combining his collage technique with De Chirico produced the strangest fantasy works in in modern art. No other artist appears to have depicted the Oedipal conflict between father & son so directly; & childhood repression by his father & in a bourgeois home gave rise to his sardonic Pieta/Revolution by Night, 1923 (Tate Gallery) in which a father supports his grown-up son. Moreover, his collage novels which are a critique of bourgeois society in which men are dominant & women helpless Hughes1991 pp 221-22, 227, CA pp 26, 46-47.

Friends: Jean Arp from 1914; Johannes Barrgeld who founded the Cologne Dadaist group; Paul Eluard & his wife Gala Alexandrian pp 96-97, 237, OxDicMod

Reception/Repute: During the late 1920s he was excommunicated for The Blessed Virgin Chastises the Infant Jesus (Museum Ludwig, Cologne). However, this did not prevent him becoming increasingly successful & from 1945 he was honoured as a surviving representative of a heroic generation of avant-garde artists CA p32, Grove10 p466

Legacy: One specific influence was that he inspired Edward Burra’s bird women Martin pp 71-2

Collections: Max Ernst Museum, Bruhl, Germany; & The Menil Collection, Houston, Texas

-ESCHER, Maurits, 1898-1972, Netherlands:

Background: Leeuwarden OxDicMod
Training: The School of Ornamental Design, Haarlem, 1919-22 OxDicMod
Career: During 1922-34 he lived in Italy, then in Switzerland & Belgium but returned to the Netherlands in 1941, settling at Baarn OxDicMod
Oeuvre: Woodcuts, lithographs & wood engraving OxDicMod
Phases/Characteristics: His early prints were mainly land & townscapes, bold but fairly naturalistic. From about 1934 he painted “inner visions” of a Magic Realist type in which stylized animals are depicted in dense, interlocking patterns. Around 1940 he began producing his famed, strnge buildings that feature impossible spatial constructions, eg staircases which appear to ascend & descend OxDicMod, L&L

-ESTES, Richard, 1936-, USA:

Background: He was born in Kewanee, Illinois OxDicMod
Training: At the Art Institute, Chicago, 1952-6 OxDicMod
Career: He settled in New York in 1952, worked as a graphic artist, & did not become a full-time painter until 1966. By 1970 he was a leading figure in his field OxDicMod
Oeuvre: Paintings, screen prints & sculpture OxDicMod
Characteristics: His paintings are synthetic compositions derived from photos. They depiction the urban landscape focusing on people &, from about 1967, on buildings & streetscapes of a fairly typical type, often shop fronts, in bright light. They explore reflective surfaces & internal & external spaces OxDicMod, L&L
Status: During the 1960s he became known as a leading Photorealist or Super-realist L&L

..ETCHELLS, Frederick, 1886-1973:

Background: He was born in Newcastle-on-Tyne, the son of an engineer Shone1977 p214
Training: At the Royal College of Art, 1908-11, & in Paris Shone1977 p214.
Career: He taught part-time at the Central School & executed murals for the Borough Polytechnic & at Brunswick Square. A member of the Friday Club, he exhibited at the Second Post-Impressionist Exhibition, 1912. He was involved in the formation of the Omega Workshops in 1913 but joined the walkout led by Wyndham Lewis. During 1914 he was a founder member of the Rebel Art Centre & the London Group. He exhibited at the Vorticist exhibitions in 1915 & 1917, joined Group X in 1920, but then turned to architecture. During the Great War he was declared unfit Shone1977 p214
Oeuvre: Painting, murals & architecture Shone1977 p214
Circle: Bloomsbury, Wyndham Lewis, Edward Wadswoth Shone1977 pp 19, 214

*ETTY, William, 1787-1849, England:

Background: His parents were pious Methodists & his father was a miller & baker L&L, Grove10 p645

Training: At the RA Schools, 1805, & under Sir Thomas Lawrence, 1807-8 Grove10 p645

Career: He began by working as a printer but went to London in 1805. In 1820-1 his exhibits at the RA were a notable success. During 1822-4 he was in Italy where he studied Venetian painting & then painted Italianesque & Veronesi a subject on his return. One of these was purchased by Lawrence L&L, Pearsall p31, Levey2005 p279. Another, The Combat, 1825, has been described as one of the most striking triumphs of English High Art & was to be followed by other works of heroic size. They were painted when he was at the height of his powers. In 1828 he became an RA. During the 1830s & 40s his paintings were generally smaller & less ambitious Boase pp 164-5, Grove10 p646.

Personal: He never married & to women he was shy & respectful. A dedicated worker he continued to use the life room at the RA Schools throughout his career L&L, Pearsall p32

Oeuvre: Biblical, literary & historic subjects. Also, portraits &, during his later years, landscapes L&L, Grove10 pp 645-6

Speciality: The female nude often in mythological setting as in The Sirens & Ulysees (Manchester Art Gallery L&L, Grove10 p646

Characteristics: His colouring has been described as rich & warm but un-subtle. The composition is frieze-like with rhythmic groups of nude or semi-nude figures, but the pictures rarely have any depth. His female nudes are ageless, healthy with fashionable & coy faces Grove10 p645, L&L, Clark1956 p163

Patronage: Initially his works were to some extent bought by the nobility & landed gentry but from the 1830s they were increasingly purchased by the professional classes, merchants & industrialists. They included John Sheepshanks, Robert Vernon & Joseph Gillott Grove10 p646

Aim: To shine as a history painter L&L

Verdict: He was unable to make good life studies into good paintings Clark1956 p162. At best his works display robust energy & French Romantic colour but the subjects are often unconvincing. They were not his real concern Treuherz1993 p12. His nudes were delicately & solidly modelled but he did not know what to do with them Fry1934 p106.

Status/Innovation: Alone among major British artists before the 20^th century, Etty devoted himself to painting the nude, & he depicted both sexes. He was one of the few British artists to make a career out of history painting & appears to have been the only one to have achieved success. Indeed it can almost be claimed that he was the first British painter to depict the female nude. Which is not a preliminary study, a figure in a religious work, or alternatively a paining painting censuring sin as in Hogarth’s Satan, Sin & Death , c1735-40 (Tate Gallery) Grove10 pg 646-7, webimages, Bindman p101

Reception: His female nudes led to mounting & vitriolic criticism Boase p165

Influence: His sole follower was William Frost Wood1999 p22

Repute: His reputation declined after his death & has never fully recovered. However, in 2012 the York Art Museum staged the first reassessment of his work for 50 years Grove10 p647, L&L, etc.

Collections: Lady Lever Gallery (Port Sunlight), & York Art Museum

..EUGEN, Prince Napoleon, 1865-1947, Sweden:

Background: He was the youngest son of King Oscar II NG1900 p383
Training: At Leon Bonnat’s studio, 1887, & by Puvis de Chavannes NG1900 p383
Influences: Belgium Symbolism NG1900 p383
Career: He visited Italy, sympathised with the Moderns but could not openly join a group opposed to the Akademi NG1900 p383
Characteristics: His works express a sense of a pantheistic spirit Kent p153
Grouping: Staming painting Kent p153

..EURICH, Richard, 1903-92, England:

Background: He was born in Bradford, the son of Professor of forensic medicine & a bacteriologist McConkey p220, Wikip
Training: After Bradford Grammar School he went to Bradford School of Arts & Crafts, 1922; & then to the Slade, 1922-6, under Tonks Wikip, OxDicMod
Influences: Chritopher Wood’s advice to paint what you love & ignore what is fashionable . “I think it was the look of Bradford that made we want to paint. The Mills & the steep streets were so beautiful” OxDicMod, Wikip, ArtUK site
Career: He was befriended by the art patron Sir Edward Marsh & after a successful show was given a contract by the Redfern Gallery. In 1934 he settled at Hythe near Southampton Water; first exhibited at the RA, 1937; painted Dunkirk Beaches for the War Artists’ Advisory Committee, achieved fame; & had a full-time commission to paint Admiralty subjects, 1941-5; joined NEAC, 1943, & became one of its leading lights in the late 1940s; taught part-time at Camberwell School of Art, 1949-53. & the RA Schools, 1969-71 Wikip, McConkey2006 p197
Oeuvre: War paintings, landscapes, townscapes, seascapes with boats, coastal views, fantasy pictures, etc ArtUK site
Characteristics: Atmospheric landscapes & beach scenes sometimes with a touch of menacing fantasy. Some of his war paintings are highly dramatic as in Survivors from a Torpedoed Ship, 1942 (Tate Gallery). [The discovery of what is beautiful & stimulating makes his work notable at a time when artists were abandoning figurative painting for abstraction.] OxDicMod, ArtUK site

-Allart van EVERDINGEN, 1621-78, Caesar’s brother, Netherlands:

Teachers: Savery, Molijn; after 1644-5 by Scandinavian trip L&L
Influences: Savery’s Tyrolean views on East’s Scandinavian landscapes TurnerRtoV p107
Career: returned Haarlem; 1647 4 majestic mountain views; 1650s to Amsterdam L&L, TurnerRtoV p107
Oeuvre: early Seas a la Porcellis TurnerRtoV p106; landscapes, from 1645 specialised in scenes of Rocky Mountains, for forests, log cabins, waterfalls L&L; latter predominant from 1660 TurnerRtoV p107
Characteristics: early Nordic works = monochromatic grey–brown with delicate thinly applied paint, overlapping light/dark planes, diagonal organization, vertical design; later works = more decorative, fluid brushwork, lighter palette; from 1660 waterfalls in pastels or predominant brown with large zones of broadly applied paint TurnerRtoV p107
Innovations: sea’s drama=heaving waves/stormy skies TurnerRtoV p106
Pupils: Edema Waterhouse1953 p154
Influenced: Jacob van Ruisdael (Seas & Nordic picture after c1675 move to Amsterdam), de Molijn, Roghman, Van Kessel & later J.C Dahl TurnerRtoV pp 106-7

-Caesar EVERDINGEN, 1606-78, Allart’s brother, Netherlands=Alkmaar & Haarlem:

Background: He was born at Alkmaar Grove10 p659
Career: He mainly stayed in Alkmaar but during 1641-3 he was in Amersfoort & after 1648 he lived in Haarlem where he was dean of the Guild of St Luke, 1655-6. He then returned to Alkmaar Haak p312, Grove10 p660.
Oeuvre: Figure subjects of various types Grove10 pp 659-60
Speciality: Erotic subject matter. He repeatedly depicted courtesans, eg playing instruments or combing their hair Haak p259, Grove10 p660
Characteristics: He had a flowing style, fine draftsmanship & strong plasticity Haak p259
Grouping: The Dutch Classicists MB

-EVERGOOD, Philip, 1901-73, USA; Political Art, etc:

Background: His mother came from an upper middle class, cultured British family but his paternal grandfather was a Polish Jew. His father was an artist who emigrated to England & then America. He was born in New York ShapiroD p142, OxDicMod
Training: From 1921 to 1923 he was at the Slade under Tonks; during 1923 under Luks at the Arts Student League; & in 1924-5 at the Academie Julian with Laurens & Lhote, & the British Academy, Rome ShapiroD p149

Influences: The El Grecos he saw in Europe L&L. He turned to Social Realism after meeting groups of outcasts during the Depression OxDicMod. “That’s what brought me to life” Barter p155
Career: In 1909 he was taken to England & went to Eton, 1915-9; then to Trinity Hall until 1921, Cambridge, where he studied English. During 1930 he worked in Paris but in 1931 he settled in New York. He was baldly beaten up while on a picket line for the Artists Union. Between 1934 & 1937 Evergood was part of the Public Works Art Project, latterly on its Murals Section. From 1936 to 46 he taught or had connections with numerous institutions. In 1952 he moved to rural Connecticut ShapiroD pp 11-2, 149-50, OxDicMod

Oeuvre: Murals etc OxDicMod
Technique: Latterly he experimented, including mixing in marble dust to obtain a textured surface OxDicMod
Phases/Characteristics: His early works were mainly Biblical & imaginative subjects. He painted militant works of social criticism from 1931 but returned to allegorical & religious themes in the 1940s, though sometimes with social overtones. His work varied stylistically & sometimes inclined to the bizarre & grotesque OxDicMod

Politics: In 1936 he took part in the strike agains layoffs from the WPA Art Project ShapiroD p149.
Aim: “What use are you going to be to humanity if you can’t be a little part of your age?” Barter p155

-EWORTH/EWOUTS, Hans, active 1530-73, England (Belgium):

Background: He was a native of Antwerp but was expelled for heresy, 1644 Waterhouse1953 p29, Brigstocke
Career: He graduated from the Antwerp guild, 1540; & worked in London, 1549-73 Waterhouse1953 p29, L&L
Oeuvre: Portraits & also allegorical figures Waterhouse1953 p29
Characteristics/Phases: Initially he had a robust & bourgeoise style with landscape backgrounds rich in incident or allegory providing informing about his sitters as in Queen Elizabeth confounding Juno, Minerva & Venus, 1569 (Royal Collection). By1554 having achieved Court patronage, & influenced by Holbein & Moro, his work was generally more sober & reticent & under Elizabeth he painted if not before he generally painted costume portraits Waterhouse1953 pp 29, 31-32.
Innovation: The portrait which depicts action & movement as in Sir John Luttrell, 1550 (Courtauld Gallery) Waterhouse1953 p29
Patrons: Mary; Elizabeth L&L
Status/Verdict: Although he does not qualify as first rate & his work was uneven, he was a second-class painter the outstanding painter in England during the mid-16^th century, & sensitively responded to changing taste Waterhouse1953 p29, OxDicArt

Eyck. See van Eyck

..EXNER, Johann, 1825-1910, Denmark:

Background: He was born at Copenhagen Norman1977
Training:1839 at the Copenhagen Academy under Eckersberg Norman 1977
Influences: Professor Hoyen who advocated a national art Norman 1977
Career: He first exhibited in the late 1840s & became a member of the 1864 Copenhagen Academy in 1864 & during 1872-93 was a professor Norman 1977
Oeuvre: Traditional peasant life Norman 1977
Verdict: His work is almost sugary & childish Norman 1977:

Exter. See Ekster

-Barent/Barend FABRITIUS, 1624-73, Carel’s brother, Netherlands:

Background: He was born at Midden-Beemster Haak p368
Training: Rembrandt? L&L
Influences: The Delft School Haak p369
Oeuvre: Portraits & religious works OxDicArt
Career: He wandered about living in Midden-Beemster, Amsterdam, Delft, Leiden where he joined the guild, Midden-Beemster again, Leiden, & finally Amsterdam Haak pp368-9
Characteristics: His early but not his later work is somewhat Rembrandt-ish, his figures are weak & his palette bright & warm Haak p369

*Carel FABRITIUS, 1622-54, Barent’s brother, Netherlands= Delft:

Background: He was born at Midden-Beemster, a village about 18 miles north of Amsterdam.   His father was a schoolmaster & amateur painter Franits p158
Training: Between about 1641 & 43 with Rembrandt, becoming his most gifted pupil L&L, OxDicArt
Career: Initially he was a carpenter who in 1641 married & moved to Amsterdam.   By 1643 after his training he was back in Midden-Beemster.    At the time of his second marriage in 1650 he was living in Delft where he entered the guild in 1652.   Prior to this there is a baffling paucity of pictures  Franits p158, Haak p440.
Oeuvre: There are less than 12 securely attributable paintings L&L
Technique/Characteristics: He employed heavy & pasty paint with thin glazes, but his cool skylight hues are unlike Rembrandt’s warm brown tonality.   He silhouetted dark figures against light grounds.   In his scanty late work he seems preoccupied with evoking atmosphere & space by means of subtle light tints & gradations of grays & ochres  L&L, Haak pp 440-1
Innovations: Around 1650 he was the imitator of the Delft School L&L
Verdict: His work has outstanding originality & distinction OxDicArt
Influenced: Vermeer OxDicArt

..FACCINI, Pietro, c1562-1602, Italy=Bologna:

Training: The Carracci Academy
Influences: Venetian painting including Titian, Tintoretto; Correggio & Parmigianino Grove10 p746
Career: He only began to paint at around 30, & he opened his on school Grove10 pp 745-6
Oeuvre: Painter & printmaker Grove10 p745:
Characteristics: Although a Carracci follower, he gradually developed his own style which was freer & more colourful & with, for instance, dense, thickly applied paint &exaggerated facial expressions Grove10 p746

Faconnier. See Le Faconnier

..FAED, Thomas, 1826-1900, Scotland; Troubadour Movement

Background: Born Birley Mill, Kirkcudbrightshire Norman1977

Training: At the Trustees Academy, Edinburgh, & then with Sir William Allan & Thomas ??? Macmillan1990 p317

Influences: Wilkie & the Pre-Raphaelites’ bright palette & sharp detailing Macmillam1990 p217, Treuherz1993 p106

Career: He settled in London 1852 & made his reputation in 1855 with the London exhibition of [the as in] Mitherless Bairn, 1855 (NG of Victoria). In 1864 he became an RA 1864 WoodDic

Oeuvre: The life of the poor painted with humour or pathos with paintings dealing with emigration as a speciality as in The Last of the Clan, 1865 (Kelvin Grove Art Gallery & the Flemings Collection, etc). This is an innovator work dealing with the Highland Clearances Treuherz1993 p19, Macmillam1990 p217, web

Characteristics/Verdict: His paintings display an increasing inability to depict real human beings, though his rendering of the material world had been brilliant as in the Motherless Bairn, Macmillam1990 p217

Legacy: He influenced William McTaggart & George Paul Chalmers Macmillam1990 p217

Grouping: He belonged to the Kailyard. See Kailyard Painters, Section 8

Brother: John, 1820-1902, was also a painter. He painted biblical & historical genre & domestic & Highland scenes, & became an RA WoodDic

-FAHLSTROM, Oyvind, 1928-76, Sweden:

Background: He was born in Brazil L&L
Training: Self-taught L&L:
Career: He lived in Sweden from 1939 & from 1961 divided his time between New York & Stockholm L&L :
Characteristics: Works composed of many different pieces of a seemingly inconsequential type L&L, web images

FAIRCHILD/MACMONIES/LOW, Mary, 1858-1946, USA; US Impressionism:

Background: Born Newhaven, Connecticut NGArtinP p240
Training: School of Fine Arts, The St Louis, from 1885 at the Academie Julian, & from 1887 Carolus-Duran’s women’s class NGArtinP p240
Career: Before training she was a teacher for five years. In the summer of 1885, she painted Barbizon-style landscapes in Picardy. During 1886-90 she exhibited at the Salon & from 1893 at the Société National des Beaux-Arts. She also exhibited throughout the USA. She & MacMonies visited Giverny in 1890, 1893 & 1895, Mary painting several Impressionist works. She returned to Giverny & the couple divorced in 1909, & soon married Will Low & moved to New York
Oeuvre: Landscapes, seascapes, interiors, genre, & portraits NGArtinP p240, web images
Features: She painted a mural for the Women’s building at the 1893 World’s Columbian Exhibition in Chicago, 1893. Mary combined painting with motherhood, albeit with the help of a nurse maid, etc NGArtinP pp 24, 26, 240
Characteristics: Attractive & interesting paintings which are often colourful summer & autumn scenes web images

-FAITHORNE, William, c1616-91, England:

Background: He was born in London L&L
Influences: Mellan & Nanteuil whose pupil he may have been W&M p100, L&L
Career: His was in the Royalist garrison at Basing House & was in France during the Commonwealth W&M p100, L&L
Oeuvre: Engraved portraits W&M p100
Characteristics: His engravings are both from his own life drawings & the paintings of van Dyck & Dobson but even here they reinterpret with vigour W&M p100
Status: He was outstanding English portrait-engraver of the 17^th century & is the only one to stand comparison with Nanteuil L&L, W&M p100
Feature: In 1666 Pepys called at Faithorne’s shop to buy prints for his wife to draw W&M p103

– FALCONE, Aniello, 1607-56, Italy=Naples; Baroque:

Background: He was born at Naples Grove10 p762
Training: Briefly with Ribera Grove10 p762, L&L
Influences: For genre Pieter Van Leer, Michelangelo Cerquozzi & Velazquez Grove10 p762
Career: He quickly won fame as a battle-scene painter. His patron Ferrante Spinelli, Prince of Tarsia, gave him a residence in his palace softer 1651 Grove10 p762
Oeuvre: His speciality was battle scenes but he also produced paintings & frescos of religious & historical subjects. Low-life scenes of a bambocciante nature were another speciality as in St Lucy Distributing Alms (Capodimonte, Naples) in which the group is portrayed with a warmth & dignity reminiscent of Velazquez L&L, Grove10 pp 762-3
Innovation/Characteristics/Phases: He was perhaps the first Italian battle specialist with his, naturalistic, brutal & confused battle scenes in which anger & pain etc were carefully observed, there was no hero, & usually no specific historic subject as in Battle between Turks & Christians, 1621 (Louvre). In his later battle scenes & religious works as in the Life of St Ignatius (sacristy Gesu Nuovo, Naples), moved towards an academic style which was more painterly with richer colour & warmer light Grove3 p388, & 10 pp762-3.
Patrons: Gaspar Roomer a famous Neapolitan dealer & collector commissioned many battle scenes Grove10 p762
Legacy: The genre of battle scenes was developed by artists from his workshop, including Micco Spadaro, Marzio Masturzio, Carla Coppola, Andrea di Lionel & Salvator Rosa L&L, Grove10 p762

-FALK, Robert, 1888-1958, Russia; Tzarist Impressionist Movement

Background: He was born in Moscow OxDicMod
Influences: Cezanne early on OxDicMod
Career: In 1909 he was a founder member of the Knave of Diamonds. During 1918-28 he taught at Vkhutemas. He was a member the World of Art Group & during 1925-8 of the Association of Artists of Revolutionary Russia (AKhRR). Between 1928 & 1938 he lived in France. He taught at the Samarkand Regional Art Institute but in 1944 he settled in Moscow & taught at the Moscow Institute of Applied Decorative Art OxDicMod, L&L. During the brief thaw of 1945-6 it looked if he might gain acceptance but he was then excommunicated & lived a shunned & isolated existence. From 1947 to 1957 he could not exhibit in Moscow However Grigori Blokh & a few other private collectors enabled him to eke out a living Bown1991 p220
Oeuvre: Landscapes, portraits, still-lifes, graphic art, stage designer etc OxDicMod
Phases: His later works were mildly Expressionist OxDicMod
Characteristics: His works from the 1940s display reticence &, though realistic, convey a sense of ritual & the unseen Bown1991 p220
Repute: As late as 1962, he was attacked by Khrushchev OxDicMod. However in 1966 Falk was rehabilitated in a retrospective L&L
Status: he became a beacon for artists who struggled against Stalinist norms Bown1991 p220

*FANTIN-LATOUR, Henri, 1836-1904, France:

Background: He was born at Grenoble TurnerMtoC p168
Training: With his father & Boisbaudran at the Petite Ecole de Dessin in Paris, 1850-56, briefly at the Ecole des Beaux-Arts, & in 1859 at Courbet’s studio TurnerMtoC pp16-9

Influences: The music of Schumann, Brahms, & in particular Wagner which imbued him with the spirit of Romanticism TurnerMtoC p170
Career: He exhibited at the Salon des Refuses in 1857 & exhibited regularly at the Salon from 1861 to 1869 TurnerMtoC p169. In 1876 he attended the Wagner Ring cycle at Beyreuth L&L.
Oeuvre: Paintings & prints L&L

Speciality: His luminous flower paintings & from 1864 his group portraits L&L, TurnerMtoC p169
Characteristics: From early on his art featured both Realism & fantasy. His Dream of 1854 was one of the first of a series of imaginary scenes TurnerMtoC p169. He had a passion for poetic, imaginative & sometimes fanciful subjects but was a traditionalist. His portraits are in a precise & detailed style L&L, OxDicArt
Friends/Circle: Whistler, Manet, Monet, Renoir, Baudelaire & Zola OxDicArt, L&L

Innovation: He transformed the traditional group portrait into a bourgeois homage & friendly gathering TurnerMtoC p169
Grouping: Novotny classes him as a French intellectual painter of the latter part of the 19^th century, albeit for only part of his work & to its Romantic side Novotny p327. He was closer to the Symbolists than to the Impressionists L&L
Reception: His works were generally well received by the critics TurnerMtoC p169

-FANTUZZI, Antonio, recorded 1537-1520, Italy=Bologna:

Career: He worked in Bologna making chiaroscuro prints for Parmigianino. From 1573 to 1550 he was at Fontainebleau assisting Primaticcio & during 1542-5 making reproductive etchings L&L
Oeuvre: Etchings & unidentified paintings L&L, Grove10 p799
Characteristics: Violent handling & light effects gave way to a softer, more careful style Grove10 p799
Innovations: His etchings were among the first in France L&L
Grouping: The Fontainebleau school Grove10 p799

Farge. See La Farge

-FARINGTON, Joseph, 1747-1821, England:

Background: He was born at Leigh, Lancashire Grove 10 p806
Training: Wilson & the RA Schools, 1769 Grove 10 p806
Career: In 1763 he moved to London & lived at Keswick , 1776-81. He became an RA in 1785 Grove 10 p806
Oeuvre: Paintings & topographical illustrations Grove 10 p806
Verdict: He was an unimportant artist Waterhouse1953 p242
Feature: He was a diarist & from 1793 they provide a detailed history of the contemporary art world L&L

.. FARNY, Henry, 1847-1916, USA; National Romanticism:

Background: He was born at Ribauville in France. The family emigrated to America in 1853 & lived at Warren, Pennsylvania, near a Seneca reservation. He learned the lore of the woods from Indian hunters Wikip,

Training: During 1878-70 he had private lessons from Albert Bierstadt, attended the Dusseldorf Academy & studied in Rome & Munich Wikip, SAAM site.

Career/Oeuvre: In 1859 the family moved to Cincinnati, Ohio. In 1866 he became an engraver & cartoonist for Harpers’ Monthly in New York. After returning to America in 1870 he did odd jobs but in 1873 was commissioned by the Cincinnati Chamber of Commerce to depict the stages of pork packing. From 1881 he made trips to the West sketching & gathering material for paintings of native Americans of which he painted around 100 Wikip, SAAM site

Characteristics: Super-realistic genre paintings of Indian like, together with portraits where both are often set against wild Rocky Mountain backgrounds & in clear, clean light. An important feature of these works is the way in which figures are often cut off by the frame & thereby given a marginal status. In one telling painting Morning of a New Day, 1907, which depicts a straggling & halted line of Indians, there is a railroad in the distance webimages, Groveclose pp 163-5.

..FARUFFINI, Federico, 1831-69, Italy:

Background: He was born at Sesto San Giovanni, Milan Norman1977
Training: With Trecourt in Pavia Norman1977
Career: He accompanied his friend Cremona to Milan & Venice, & went with Carnovali to Rome in 1855. Lack of recognition & financial difficulties drove him to suicide Norman1977
Oeuvre: Realist historical scenes Norman1977
Status: His colour studies on conveying the effects of light provide a link between Giovanni Carnovali & the Scapigliatura School Norman1977

-FATTORI, Giovanni, 1825-1908, Italy:

Background: He was born at Livorno Norman1977
Training: From 1846 he was at the Florence Academy under Bezzuoli Norman1977
Influences: Around 1860 by Costa’s ability to combine poetic content, elements of classical composition & realist painting.   He studied the frescos of Filippo Lippi & Ghirlandaio Norman1977
Career: During 1848-9 he travelled through Italy as a messenger for patriotic conspirators.   From 1850 he painted from nature in the countryside with Signorini, Borrani, Sernesi & other Macchiaioli.   On Costa’s advice he embarked on heroic military paintings & moved away from the Macchiaioli.   He taught at the Florence Academy from 1886 Norman1977
Oeuvre: Paintings which from around 1860 dealt with history, recent military campaigns, other contemporary subjects.   His scenes often have a filmic quality.   He also produced some fine portraits & later on etchings Norman1977
Characteristics: He combined the macchia brushwork technique of colour spots with quickly painted outlines & produced summary contrast of tone & colour, which retained an element of formal composition as in Cart and Ox, 1868 (Palazzo Pitti, Florence) Norman1977, L&L
Grouping: He was closely associated with the Macchiaioli but later moved away from the group Norman1977
Influence: This was considerable in his own day & he may have inspired the spaghetti western vision Norman 1977, L&L.

-FAUTRIER, Jean, 1898-1964, France:

Background: Born in Paris. He was illegitimate & brought up by his grandmother OxDicMod
Training: He studied at the RA & briefly at the Slade OxDicMod

Career: After the death of his grandmother & father in 1908, he moved to London to live with his mother. In 1917 he had to join the French army & was gassed. After the war he returned to Paris, exhibited regularly at the Salon d’Automne & in commercial galleries with considerable success. His market was damaged by the depression & during 1935-39 he worked as a ski instructor. After brief imprisonment by the Germans in 1943, he fled to Chatenay-Malabry on the outskirts of the city where he was in earshot of woods where the Nazis conducted massacres. Here Fautrier began his famous series Hostages which were exhibited in 1945 OxDicMod.

Oeuvre: Paintings, prints & sculpture OxDicMod
Phases/Characteristics: Before the war his work included still-life, portraits & nudes in a Derain-like style. His hostage paintings have multiple layers of heavy paint with a central abstract suggesting a decaying human head. They are in powdery colours with his delicate handling & have a mysterious ambivalence OxDicMod

Innovations: With Dubuffet he was one of the first to develop a type of painting largely dependent on texture & matter. From 1950 He also produced multiple originals in which up to 300 canvases were printed with a basic drawing. This was then completed by hand OxDicMod

..FEARNLEY, Thomas, 1802-42, Norway:

Background: He was a native of Fredrikstad in southern Norway Kent p65
Training: At the Tegneskolen in Oslo; the Kunstakadamiet in Copenhagen, 1821-3; &at Konstakadamien under Fahlcrantz, 1823-7 Kent p65
Influences: Friedrich & latterly Constable Kent p66, Norman1977 p83
Career: He trained as an army officer. In 1826 he spent the summer with Dahl in Norway painting from nature, & in 1829 went to Dresden to study under Dahl. During the 1830s he travelled to Paris, London & during 1832-5 to Italy. In 1839 he visited fjords with Achenbach & Breslauer Kent pp 65-6, Norman1977 p83
Oeuvre: Landscapes Norman1977
Characteristics/Phases: From 1834, if not before, he emphasised mood & not naturalistic detail . Although his works often contain genre elements, his genuine enthusiasm for nature maintained their freshness Kent p66, Norman1977
Innovations: He helped found the Norwegian school of landscape Norman1977
Grouping: Romanticism Norman1977

*FEDOTOV, Paul, 1815-52, Russia:

Background: He was born in the outskirts of Moscow, the son of a retired lieutenant & his childhood was poverty stricken 50Rus p100. He painted during the later stifling years of Nicholas I Hamilton1983 p372
Training: Self-taught & then evening classes at the St Petersburg Academy Norman1977, 50Rus p100
Influences: Dutch genre paintings & the prints of Hogarth & Wilkie Norman1977

Career: Due to his father he embarked on a military career & served during 1834-44 in the household troops of the Finland Regiment in St Petersburg. Bored by the endless parades he turned to painting & drawing. After he finally retired & embarked on art his life was for a time impoverished & lonely except for a faithful batman. He drew everywhere & everything. In 1846 he completed his first oil painting & in 1848 he was elected an Academician on the strength of The Major’s Courtship . However a picture satirising an army officer brought censorship, enmity & lack of patronage. He went mad & died in an asylum Norman1977, 50Rus pp 101-2
Oeuvre: Genre paintings of city & army life Norman1977, 50Rusp104, Hamilton1954 p371

Phases: Initially he produced drawing s that were sharply critical but sometimes overcrowded & unfocused. His later satirical & socially critical oils –mostly humorous but occasionally bitter, are well composed with the detail & texture of objects conveyed with great virtuosity. In some of his final genre works & in his portraits he depicts the characters with empathy 50 Rus pp 101-5, Leek pp36-8
Innovations/Legacy: He established genre painting as a form of socially significant art 50Rus p104. His work had an important influence on the socially reformist painting of the next generation Norman1977

Grouping: Realism although he has [questionably] been seen as a romantic realist. His work may seem bland but at the time it was critical 50Rus p105, Hamilton1983 pp 371-2.

..FEHLING, Heinrich, 1654-1725, Germany: Rococo

Background: He was born at Seehausen Grove10 p857
Training: His cousin Samuel Bottschild until 1672 Grove10 p857
Career: He made a study trip in Italy with Bottschild, 1673-7, settled in Dresden, became court painter to Elector George IV, & then Augusts II, & worked with Bottschild on ceiling & wall paintings in palaces, all destroyed. |He became head of the Malerakademie Grove10 p857
Oeuvre: Portraits & decorations Grove10 p857
Characteristics: He favoured full or three-quarter length portraits Grove10 p857
Grouping: Rococo Grove10 p857
Pupils: Christian Friedrich & Paul Christian Zincke, Christian Benjamin Muller Grove10 p857

**FEININGER, Lyonel, 1871-1956, Germany/USA; Expressionism Movement

Background: Born in New York into a German-American musical family OxDicMod
Training: At the Kunstgewerbeschule Hamburg, 1887; at the Berlin Academy, 1892; & in Colarossi’s studio in Paris, 1891-3 & 1906-8 Dube p208

Influences: Cubism which he discovered in 1911 Dube p169
Career: In 1887 he went to Germany to study music but turned to art OxDicMod. In 1888 he moved to Berlin & began drawing caricatures for the Humoristiche Blatter but in 1908 he moved back to Berlin & in 1909 gave up cartoon work & began painting in earnest. He showed six pictures at the Salon des independents in 1911 & in the following year became friends with Kubin, Heckel & Schmidt-Rottluff. In 1917 a major solo exhibition at the Sturm Gallery established gave him fame & in 1919 he joined the Bauhaus Dube pp 167-8, 208-9. In 1937, after the Nazi exhibition of degenerate art, in which he figured, he settled in New York, where the architecture of Manhattan became a favourite subject OxDicMod

Phases/Characteristics: His early works were an impressionist style & colours that were somewhat muted. Between 1908 & 1912, again during 1916-17, he painted a series of works containing humorous, whimsical figures & situations, which no doubt hark back to his caricature period. The intervening & later Cubist works are gentle & somewhat mysterious in muted bluey-greens & browns that would seem to reflect his aim (1917) of painting pictures that are completely peaceful Phillips, L&L, Dube p172, Pls 133, 134.
Status: By 1900 he was Germany’s leading political cartoonist OxDicMod

Beliefs: “Each individual work”, he wrote in 1917, “ serves as an expression of our most personal state of mind…& of the inescapable, imperative need for release by means of an appropriate act of creation: in the rhythm, form, colour & mood of a picture”. In 1905 he penned a poetic description of realty, “so beautiful as to bring tears to your eyes” & expressed “love for everything, for everything”. In 1906 he doubted whether he would ever represent human subjects in the normal sense, but “humanity is the only thing that moves me in everything. Without warm human feelings I can’t do anything” Dube pp 168-9, 172.

-FEITELSON, Lorser, 1898-1978, USA:

Background: Born Savannah, Georgia, raised in New York, the son of an art-loving father Wikip
Training: He was largely self-taught although he studied life-drawing at the Academie Colarossi in Paris, 1919 L&L, Wikip
Influences: Initially Cubism, Matisse, Duchamp & the Italian Futurists L&L, Wikip
Career: By 1916 he had established a studio in Greenwich Village, made numerous European trips, became a figure in the New York art world, & settled in Los Angeles, 1927. He taught at the Stickley Memorial Art School where he met Helen Lundberg his future wife & artistic collaborator. Together with Stanton-Macdonald –Wright he oversaw the Works Progress Administration murals project on the West Coast Wikip, L&L
Oeuvre: Paintings L&L
Characteristics: In his mature work, after a Surrealist phase, he contrasted colours & tones, & tensions between positive & negative forms L&L
Grouping: Hard-edged painting L&L
Verdict: He has been celebrated as one of the founding fathers of hard-edged painting in Southern California which distanced itself from the expressive style of Abstract Expressionism. That there was a reaction against such expressionist painting is of great importance but there was nothing original about the work which Feitelson & others produced or if there was it was not because their work was hard-edged. All abstract art of a geometric nature is hard-edged & this dates back to the early part of the 20^th century. It is suggested that Feitelson’s work is different because it is impersonal “& has its roots in the physical & social world rather than the autonomous self”. Those who argue thus should look at his [as in] Surreal painting Flight Over New York at Twilight (Private) Wikiart/ Wikip & See L&L p314, etc
Collections: The Feitelson/Lundberg Art Foundation; Portland, Oregon
Repute: He is not itemised in the Oxford Companion or OxDicMod

-FEKE, Robert, 1705-51, USA:

Background: He was born in Oyster Bay, New York, the son of a Baptist preacher Wikip, Grove10 p864
Influences: Smibert & engravings of English portraits L&L
Career: In 1741 he moved to Boston; is recorded in Boston, Philadelphia & Newport, where he had a studio; & he may have been in England or Europe, 1742-45; Grove10 p864, L&L, Bjelajac p87
Oeuvre: Portraits L&L
Characteristics: His later works have a distinctive monumental elegance & he painted an impressive group work of Isaac Royall & his Family, 1741 (Harvard Portrait Collection), though it is somewhat rigid & his works are somewhat lacking in characterisation. However, his [as in] Brigadier General Samuel Waldo, c1748 (Museum & Art Gallery, Bowdoin College , Brunswick, Maine, one of a number of impressive full-lengths, is skilfully drawn & forcefully coloured. It is regarded as the best American full-lengths during the first half of the 18^th century L&L, Grove10 p864, OxDicCon
Legacy: His works set a new standard for aspiring colonial artists Grove10 p864

*FELIXMULLER, Conrad, 1897-1977, Germany:

Background: Born in Dresden, the son of a blacksmith Roh p67
Training: Various schools in Dresden OxDicMod
Career: From 1915 he made drawings & woodcuts for Die Aktion & other Socialist periodicals & for leftish art journals such a Der Sturm. In 1919 he helped found a Dresden Session Group with Dix; he joined the Communist Party & the Novembergruppe. He travelled in Switzerland, France & Germany. In 1934 he settled in Berlin & in 1937 his works he was well represented in the exhibitions of Degenerate Art. Near the end of the war he fought & was captured in Russia. After the war his works were widely exhibited in East Germany etc. During 1949-61 he taught at the University of Halle L&L, OxDicMod
Oeuvre: Paintings & graphic art OxDicMod
Phases: His early work was somewhat like that of the Brucke masters, but he then turned to a politically-orientated Expressionism. He also toyed with Cubist & Futurist mannerisms & eventually adopted an eclectic manner. Around 1930 his work lost much of its bite & became more conventional & naturalistic Roh p67, OxDicMod.

Female Half-Lengths. See Master of the Female Half-Lengths

..FENDI, Peter, 1796-1842, Austria:

Background: He was born in Vienna where his father was a schoolteacher Norman1977 & 1978 p34
Training: 1810-3 at the Imperial Drawing Academy under Lampi etc Norman1977
Career: In 1818 he became draftsman at the Imperial Coin & Antiquity Cabinet, which introduced him to Viennese high society. In 1826 Fendi went to Venice. He turned increasingly from official drawings to portraits & genre. He became a member of the Academy in 1836 & latterly spent a considerable amount of time to his dedicated teaching Norman1977 & 1987 pp 34, 36
Oeuvre: Genre, portraits & occasional landscapes in oil & watercolour Norman1977
Speciality: The sorrows of the poor & intimate scenes of mothers & children Norman1977
Characteristics: His genre in oil combine social stereotyping, emotional intensity & a moralising tone Grove10 p883. Gentle humour or melancholy, although never overstated sentiment, were features of his genre scenes Norman1987 p36, Grove10 p883. His best work was in watercolour in which he used pale, luminous & subtle tones Grove10 p883
Status: He was one of Vienna’s most popular painters Norman1987 p14
Pupils: The Schindlers Norman1977

..FERENCZY, Karoly, 1862-1917, Hungary; Rural Naturalism Movement

Background: Born Vienna into an affluent middle-class family Grove10 p892

Training: At the Accademia de Belle Arti, Naples, around 1885, & in Paris at the Academie Julian, around 1887-9, under Tony Robert-Fleury & Bouguereau Grove10 p892

Influences: Bastien-Lepage & then Munich plein air Grove10 p892

Career: In 1889 he settled at Szentendre but in 1893 went to the more stimulating Munich. In 1896 he moved with others to Nagbanya, now Baia Mare in Romania, where an art colony was established of which before long Ferenczy became the leader. In 1906 he began teaching at the Academy of Fine Arts, Budapest Grove10 p892, Jacobs1985 pp 133-41,

Oeuvre: Landscapes, genre works with figures in natural backgrounds, religious works &nudes Grove10 pp 892-3, web images

Phases/Characteristics: His early Bastien-Lepargist works have a unifying pearl-grey tonality. In Munich his brushwork softened, & his colours became fresher & more vivid, although he retained a preference for overcast skies. In his most successful works, there is an idealised harmony between man & nature in which figures are placed among luxuriant foliage in woods or gardens & balancing tone, colour & light endow them with equal compositional weight to the natural world. Around 1901 began painting sunlit scenes with blocks of intense greens, blues & yellows displaying an Impressionist joy in nature. He also applied his pigments more freely much like the Impressionists. Later his work become more stylised & his colour darker & more intense. His last works have dominant black backgrounds & dullish colours Grove10 pp 892-3, Weiesberg1992 p179.

Progeny: His three children became artists & Noemi’s tapestries became famous Jacobs1985 p141

..FERG, Francis, 1689-1740, Austria:

Background: He was born in Vienna Walpole2 p286
Career: He painted in Lower Saxony for the Duke of Brunswick. From about 1708 he was in England. He was always indigent & sometimes in prison with an unhappy home life Walpole2 p286
Oeuvre: He painted small landscapes, fairs & rural meetings Walpole2 p286

Characteristics: His work had an enamelled softness & mellowness of colouring. Figures were expressive figures with good cattle. His paintings were mostly painted on copper Walpole2 p286

Verdict: His work was pleasing & charming Walpole2 p286
Grouping: Covent Garden Burke p118

*FERGUSSON, John, 1874-1961, GB:

Background: He was born in Leith OxDicMod
Training: Apart from a brief period in Paris he was self-taught OxDicMod

Influences: Hals, the muted colours of Manet’s painting during the 1860s, & contemporary French painting. He absorbed its influences more completely than fellow Scotts Flemmings p116.

Career: He studied medicine in Edinburgh but gave up to study art. During the early 1900s he worked en plein air, painting dozens of small, swiftly painted urban scenes. From about 1895 he regularly visited Paris & lived there between 1907 & 1914. During 1911-3 he was art editor for Rhythm, an avant-garde journal. Between 1914 & 1929 he lived in London, during 1929-40 in France, & then Glasgow. Here he founded the New Art Club to hold exhibitions for progressive Glasgow artists OxDicMod, Flemings p118.

Oeuvre: Mainly landscapes & figure studies OxDicMod
Phases/Characteristics: Initially his work was Whistlerian, & then Manetian. By 1907 he had adopted the bold Fauvist palette & used emphatic outlines, curves & volumes OxDicMod, L&L

Friends: Hunter, Peploe TurnerEtoPM p342
Grouping: The Scottish Colourists, & the most uncompromising adherent of the Fauvist style OxDicMod.

-FERNANDES, Vasco, c1475-1545, Portugal:

Influences: Netherlandish artists, particularly Metsys L&L
Career: He was active at & around Viseu in the north west L&L
Oeuvre: Paintings L&L
Phases: He produced great works during 1535-41 L&L
Characteristics: The Maueline style L&L
Verdict: Outstanding L&L

–FERNANDEZ, Alejo c1475-1545, Spain=Seville:

Background: His father appears to have come from northern Europe & his mother from Spain Brown1998 p27
Influences: Netherlandish artists, particularly Metys, & Antwerp Mannerism L&L
Career: His first known work was painted around 1505 & in 1508 he moved to Seville from Cordova L&L
Oeuvre: Religious paintings, miniaturist work, gilded statuary & decorative work of an artisan nature Brigstocke
Characteristics/Feature: His work in Seville cathedral has a delicate, lyrical quality which is also evident as in his Virgin of the Navigators, 1530-40 (Alcazar, Seville). This work is distinctive because it is one of the few paintings which alludes to the Spain’s American conquests Brown1998 p 28, OxDicArt.
Studio: It was a busy one OxDicArt
Status: He was Seville’s leading painter L&L
Influenced several painters including his son Sebastian OxDicArt

..FERNELEY, John, 1782-1860, father of Claude Lorraine, England:

Background: He was born at Thrussington in Leicestershire & his father was a wheelwright WoodDic
Training/Influences: The tradition of Herring & Ben Marshall who may have taught him WoodDic, Maas p72
Career: He worked for his father until he was 21 only painting in his spare time. After working in Dover & Ireland, he settled in Melton Mobray. Although he exhibited at the RA he mainly worked for private patrons WoodDic
Oeuvre: Horse portraits together with hunting & racing subjects Maas p72
Characteristics; He was capable of great refinement when he was not working on a grandiose scale. Though he worked within a tradition he had a very recognisable style within the tradition Maas p72, WoodDic
Patron: The Duke of Rutland Maas p72
Pupil/Friend: Francis Grant Maas p72
Progeny: His sons John became s painter WoodDic

..FERNLEY, Claude Lorraine, 1822-91, John’s son, England:

Career: He was a Melton Mobray painter of horse & hunting scenes for local patrons in a similar style to that of his father WoodDic

Ferrara. See da Carpi & da Ferrara, Bono

Ferrari, Andrea. See de Ferrari

..Bernardino FERRARI, 1495-1574, Italy:

Background: He was born in Milan Wikip
Career: He worked in Vigeveno Wikip
Locations: Vigeveno Cathedral Wikip

*Gaudenzio FERRARI, 1480-1546, Italy:

Background: He was born at Valduggia between Novara & Freedberg p266
Influences: Late German Gothic, Perugino, Corregio, Leonardo, Pordenone & Lotto Murrays 1959, L&L, OxDicArt
Career: Between around 1517 & 1530 he worked at Sacra Monte near Varallo;. From about 1535 he settled in Milan L&L
Phases: His early work was Germanic & vernacular, was then more polished & Leonardesque, but from 1635 it was pedestrian L&L
Characteristics: His work was highly charged in a powerful & emotional style L&L
Influenced: Painting in Milan & Lombardy, notably Eusebio Ferrari (no relative) , Gerolamo Giovenone, & above all Bernardino Lanino , c1512-82) Waterhouse1962 p134, Freedberg p268

[Curious late art Friedlaender1955 p35. Use Freedberg pp266-8 to expand here & in Sacra Monte section]

*FETTI/FETI, Domenico, c1589-1623, Italy=Venice:

Background: He was in born Rome L&L
Training: Cigoli Waterhouse1962 p120
Influences: Rubens, Venetian art at Mantua, & Elsheimer Waterhouse1962 p120-3
Career: During 1613-21 he was mainly active at the Mantuan court where he was the painter to Vincenzo Gonzaga.   In 1622 he went to Venice L&L, OxDicArt.   The popularity of his genre-like pictures is shown by the existence of near duplicate versions OxDicArt
Oeuvre: He painted some large-scale court commissions, cabinet pictures in Venice, & excellent portraits L&L, OxDicArt
Speciality: Small pictures which illustrate Parables; & small genre-like figures, usually in landscape which are beautifully & broadly painted L&L. Waterhouse1962 p123
Phases: His early work was rather dark but his palette slowly lightened & was intensified with complimentary local colours.   His late Venetian pictures have loose pasty surfaces punctuated by rapid brushstrokes that produce the effect of vibrating light Wittkower1973 p107
Workshop: This produced genre pictures Pitti
Innovations: His warm humanity, lyrical colour & vibrating light transformed Venice’s pictorial traditions into a 17^thcentury idiom.   Latterly he created a sort of Venetian version of Dutch genre, which was wholly original L&L, Waterhouse1962 p123
Verdict: He was rarely at his best in largish figure painting, except for a few portraits Waterhouse1962 p123
Influenced: Liss (friend) & subsequent Venetian painters L&L, Wittkower1973 p108

..FETTING, Rainer, 1949-, Germany:

Background: He was born in Willhelmshaven, & his father was an art teacher OxDicMod
Influences: van Gogh with whom he identified OxDicMod
Career: In 1972 he moved to Berlin to avoid military service, & in 1977 he co-founded the Galerie am Moritzplatz in a factory building where he lived with Salome. During 1980 he participated in the Heftiger Maler (Violent Painters) exhibition. Afterwards he Salome, Bernd Zimmer & Helmut Middendorf; became known as the Neue Wilden (New Savages) OxDicMod, etc
Characteristics: Vigorous & vividly coloured painting with unsubtle political comment L&L
Status: His reputation is wilting OxDicMod
Personal: Homosexual OxDicArt
Grouping: Neo-expressionism Lucie-S2003

*FEUERBACH, Anselm, 1829-80, Germany:

Background: He was born in southern Germany into a highly cultured family. His father was a noted archaeologist & his uncle was the philosopher MET1981 p268

Training: From 1848 to 1848 at the Dusseldorf Academy under Schirmer & Shadow. In 1850 he went to the Munich Academy but dissatisfied he left with other students to study at the Antwerp Academy under Wappers. During 1848-50 he studied under Couture in Paris MET1981 p268

Influences: He reacted violently against purely decorative painting to an art based on the study of nature OxDicArt

Career: From 1854 he went to Padua, Florence & then Rome. Here where he settled in 1857 & remained until 1873. Between 1873 & 1877 he was Professor of history painting at the Vienna Academy but he then went to Venice L&L, MET1981 p268. He wanted to found a new school combining noble, didactic & idealistic subjects with a grand style derived from Venetian 16^th century painting. Throughout his life Feuerbach complained of being misunderstood & not receiving the recognition due to a very great artist. His self-pity makes his autobiography one of the most pathetic & repellent ever written OxDicArt

Speciality: His high quality, statuesque portraits because of their tranquility & clarity Novotny p318. For these he used his model & mistress Nanna Rissi, 1861-65 MET1981 p268, OxDicArt

Characteristics: Firmness & monumentality with cool composition & colour schemes. This makes his work seem rather remote & artificial as if the vision were second-hand. His work invites comparison with the contemporary French classicism of Puvis L&L

Patrons: Count Adolf von Schack for whom he painted copies of Italian old masters from about 1862 to 1866 MET1981 p268

Status: He was central Europe’s leading Romantic classicist L&L. Feuerbach has been seen as a Deutch Romer (German Roman) & bracketed with other intellectual painters such as Bocklin & Puvis de Chavannes Novotny pp 317-18, 326

Repute: Although he long failed to gain recognition, he was finally venerated Novotny p318

Collections: Neue Pinakothek, Munich

Feure. See de Feure

– Erastus FIELD, 1805-1900, USA= Massachusetts:

Background: He was born at Leverett, Massachussets Grove11 p58
Training: Under Samuel Morse during the winter of 1824-5 Grove11 p58
Career: He was to begin with an itinerant portraitist who obtained most of hi commissions from family connections in in western Massachussets & Connecticut. From 1841 he lived mainly in New York. He retired during the late 1880s Grove11 p58
Oeuvre: Portraits & from about 1850 history paintings which from 1865 were based mainly on biblical & patriotic themes. At least some of these are of a niaive & fantastic type L&L, HymanT p41
Characteristics: His portraits were strongly designed but after his use of photos lack their expressive characterization & decorative power L&L, Grove11 p58
Innovation: In the 1840s he began to base his portraits on camera images L&L

– Robert FIELD, c1769-1819, USA/Canada/Jamaica (England):

Background: He was born in London Grove11 p59
Training: At the RA Schools as an engraver L&L
Career: In 1794 he went to America. He worked in Philadelphia until 1800, & then in Washington & Maryland. In 1805 he moved to Boston, in 1808 settled in Halifax, & in 1816 went to Jamaica where he died of yellow fever L&L, Reid p25
Oeuvre: Paintings, miniatures & portrait engravings L&L
Characteristics: His Canadian portraits display sparkling , sophisticated brushwork, sensuous & beautiful faces, subtle flesh tints, & a relish for formal dress Reid p25
Status: He was the leading portraitist in Halifax where he completed a series of three-quarter lengths of the upper class L&L, Reid p25

– FIELDING, Anthony Vandyke Copley, 1787-1855, England:

Background: He belonged to a prolific Yorkshire family of watercolourists L&L
Training: His father, & John Varley in London L&L
Career: In 1810 he began exhibiting at the Royal Watercolour Society where most of his pictures were shown. In 1813 he became a member& in 1831 its president . In 1824 he received a medal at the Salon with Constable & Bonnington. He was championed by Ruskin whom he had taught WoodDic, L&L
Oeuvre: Marine & landscape watercolours & some oils WoodD
Speciality: Views of the Sussex Downs & storm scenes at sea WoodDic
Characteristics/Phases: At first his work was like Varley’s but it gradually became Turneresque L&L
Verdict: Much of his work is repetitive OxDicArt
Grouping: Along with Cox & de Wint he belonged to the second generation in the Old Watercolour Society who rescued British watercolour from the Calaudian rut into which it was falling Reynolds1971 p102

..FIGINO, Ambrogio, 1548-1608, Italy=Milan:

Background: Born Milan Grove11 p64
Training: Giovanni Lomaazzo Grove11 p64
Influences: Raphael, Michelangelo & Pelegrino Tibaldi Grove11 pp 64-5
Career: Around 1576-7 he made a trip to Rome Grove11 p64
Oeuvre: Paintings & especially drawings Grove11 p64
Characteristics: His portraits have a courtly style & some of his religious work has been described as severe & cool. Some of his later work has a Mannerist refinement but his last works are crowded & heavy compositions Grove11 p65
Status: He was one of the most important artists working in Milan during the second half of the 16^th century Grove11 p64

..FILDES, Sir Samuel Luke, 1844-1927, England, Academic Painting from 1845; Academic Movement

Background: He was born Liverpool & brought up by his grandmother. She was seriously wounded in the Peterloo Massacre & an active political reformer Grove11 p74

Training: At the Mechanics Institute, Liverpool, the Warrington School of Art, the South Kensington Art School, & the RA Schools, 1866 Grove11 p74, Treuherz1987 p83

Career: He began as an illustrator working for The Graphic etc but turned to painting in the 1870s. His Applicants for Admission to a Casual Ward, 1874 won him fame Norman1977. After a trip to Venice in the same year he painted a series of Venetian scenes. In 1887 he became an RA. Norman Shaw designed his house in Melbury Road, Kensington Grove11 p75. By 1900 he & Sargent were the most highly paid portrait painters in England Gillett p119

Oeuvre: It was highly varied & included pictures of social distress, colourful Venetian subjects, & portraiture Grove11 pp 74-5

Phases: In 1887 he more or less switched from Social Realism to portraiture Grove11 p74, Gillett p110

Characteristics: His Social Realist paintings were forceful & dark toned; his Venetian paintings were vibrantly coloured & featured pretty women; & his portraits were fashionable [& often academic in the worst sense] Grove11 pp 74-5

Status: Together with Holl & Herkomer, he led English Social Realism during the 1870s Grove11 p74.

Filippo Napoletano. See Napoletano

-FILLA, Emil, 1882-1953, Czech:

Background: He was born at Chropyne in Moravia OxDicArt
Training: At the Prague Academy, 1903-6 OxDicMod
Career: In 1906 he was a founder member of The Eight (a group of essentially Expressionist artists). During 1907-14 he spent much of his time in France, Germany & Italy. After spending the First World War in the Netherlands, he returned to Prague in 1920 where he led a Cubist movement. During the Second World War he was in Buchenwald. Subsequently he taught at the School of Industrial art, Prague OxDicMod, L&L
Oeuvre: Paintings, graphic art, sculpture & writing on art OxDicMod
Phases/ Characteristics: His early Expressionism was followed by Cubism, of which he was a pioneer in Czechoslovakia. In the 1920s etc his most characteristic paintings were still-life but in the late 1930s he turned to themes of violence. His post-war work was more naturalistic & included some large landscapes OxDicMod

* FILONOV, Pavel, 1883-1941, Russia:

Background: He was born in Moscow Bown1991 p241

Training: 1897-1901 at the St Petersburg Studios; 1903-8 under Dmitriev-Kavkazski; & 1908-10 in St Petersburg Bown1991 p241

Influences: Icon painting; mosaics; child art; primitivism; oriental & Africa art; Cubism; but not Constructivism OxDicMod

Career: In 1912 Filonov showed at the Donkey’s Tail. He travelled in Western Europe & in 1913 designed set costumes. In 1924 he exhibited at the First Russia Exhibition, Berlin. During 1924 he briefly taught at the reformed Academy in Leningrad but then left, & between 1925 & 1932 ran his own school The Collective Masters of Analytical Art L&L, OxDicMod. Its members were mostly from the Higher Artistic-Technical Institute, & were required use of bright colour & small finely pointed brushes to paint large forms built up from small details Bown1991 p62-3. During the 1930s he was much criticised & he worked isolated from the official art world. He pursued his vision through the darkest days of the Stalinist era but died of hunger during the siege of Leningrad L&L, Bown1991 pp72, 241

Oeuvre: illustrator, designer, poet. He often painted in watercolour & gouache OxDicMod

Characteristics: His pointillist Analytic Art technique sometimes led to paintings that produce a violent effect on the retina; but during the 1920s & 30s he also painted industrial subjects in a watered down style Bown1991 p63. His work is highly finished & deeply pessimistic OxDicMod

Verdict: He was one of most individual Russian artists of his time, & was described as both a proto Surrealist & a late Symbolist OxDicMod, L&L.

Belief: He was committed to Analytic Art pictures which comprised both visible & known & also invisible & secret elements or emanations RARus p105

* FINCH, Alfred William, 1854-1930, Belgium:

Training: At the Brussels Academy L&L
Career: In 1884 he helped found Les Vingt with Ensor. He was converted to Neo-Impressionism after seeing it in 1887. After about 1892 he mainly concentrated on ceramics. From 1897 he worked in Finland & from 1902 taught ceramics at the Helsinki School of Industrial Arts L&L
Oeuvre: Paintings, graphic art & design OxDicArt
Characteristics: An intense & sometimes austere Neo-Impressionism, although his later paintings were softer L&L
Status: Neo-Impressionism L&L
Friends: Seurat, Signac & Ensor OxDicArt, L&L
Legacy: In 1903 he organised a formative Impressionist & Neo-Impressionist exhibition in Helsinki L&L. He was a was powerful force bringing Finnish fine & practical arts into contact with European trends OxDicArt

..FINNIE, John, 1829-1907, GB:

Background: He was born in Aberdeen WoodDic. His father was a brass founder Wikip
Training: At the Newcastle School of Design under William Bell Scott Wikip
Career: He was apprenticed to a house painter in Edinburgh, worked in Newcastle, went to London in 1853 &, from 1855 to1896 was headmaster of the Mechanics Institute & School of Art, Liverpool. He exhibited at the RA from 1861 to 1902 WoodDic, Wikip
Oeuvre: Landscapes, engravings & etchings WoodDic
Characteristics: His landscapes were broad & naturalistic in style WoodDic
Status: He was a dominating personality in Liverpool art life Wikip

– FINSONIUS/FINSON, Ludovicus/Louis, c1580-1618, France (The Netherlands); Baroque:

Background: He was born in Bruges, son of the painter Jacques Fynson who with his family left for the Dutch Republic probably due to the religious conflict, 1585 Grove11 p115, Wikip
Training: In his father’s studio in Bruges Grove11 p115
Influences: Caravaggio, Elsheimer, & late Mannerism Blunt1954 p134
Career/Patronage: He visited Italy teaming up with up with Abraham Vinck, a Belgium painter & art dealer in Naples & then left around 1609 for Amsterdam where they became partners; was briefly in Rome, 1613; then went to France where he mostly painted in Provence being called to Aix by Nicolas-Claude de Fabri de Peiresc, a friend of Rubens & an early admirer & champion of Caravaggioto, to paint portraits, & also altarpieces which he did in the cathedral & in Arles. In 1614 he travelled from to Montpellier & then Paris, 1615, & Amsterdam L&L, Grove11 p115, Wikip
Oeuvre: Altarpieces & occasional genre & portraits L&L
Characteristics: His work is Italianised but retains many elements of his Belgian training & his compositions display the realism, tragic monumentality & powerful chiaroscuro of Caravaggesque work, though Belgian Mannerist elements distance him from the main Caravaggist circle. His paintings mainly feature one or two dominant persons or are alternatively crowded with figures [as in] his dramatic Massacre of the Innocents, 1615 (Saint Begga Collegiate Church, Namur). He specialised in martyrdom & other scenes of violence Grove11 p115, webimages
Circle: He belonged to Caravaggesque grouping in Southern France cantered on Peiresc which included Martin Faber & Trophime Bigot Wikip
Status: His work was well received Grove11 p115
Brother: Arnoud was a painter Wikip

Finson. See Finsonius

Fiore. See del Fiore

Fiorenzo di Lorenzo. See di Lorenzo, Fiorenzo

Pier FIORENTINO, c1445-active 1497, Italy=San Gimignano:

Background: He was born in Florence the son of the painter Bartolomeo di Donato Wikip
Training: In his father’s workshop Wikip
Career: He was ordained a priest when 25; worked with Benozzo Gozzoli in San Gimignano & Certaldo during the 1660s, & with Domenico Ghirlandaio on the nave of the Duomo, San Ghirlandaio, 1475 . He ran a busy workshop in San Gimignano Wikip, L&L p534
Oeuvre: Religious panel paintings & frescos L&L, Wikip
Characteristics: His works appear to be of a decorative nature as in Madonna of the Roses, c1485-90 webimages
Verdict: His work has been described as derivative or [what is less harsh] that he easily assimilated the work of other artists L&L, NGArt site

-FIRENZE, Andrea da/Bonaiuto, active c1343-77, Italy=Florence:

Influences: Andrea di Cione; Maso di Banco Grove2 p2
Career: During 1266-8 he painted frescos in the Spanish Chapel in the Dominican Church of S. Maria Novella, Florence HallJ p209
Phases: He progressively moved to more refined design & colour, latterly achieving formal elegance Grove2 p16
Characteristics: Although he followed traditional models his softening of details & contours with soft, blended shadows was innovative Grove2 p16
Status: He is usually considered a secondary Florentine painter Grove2 p16

-FISCHL, Eric, 1948-, USA:

Background: He was born in New York City Hughes1990 p346

Influences: Beckman Hughes1997 p601

Training: Arizona State University; California Institute of Arts but, under Modernist influence, this failed to provide him with proper training L&L, Hughes1997 p601

Career: He taught at the Nova Scotia College of Art & Design but in 1978 returned to New York OxDicMod

Characteristics: His paintings are like stills from Hollywood films dealing with adolescent rebellion etc & best work turns viewer into reluctant voyeur & an embarrassed witness Hughes 1980 p22

Beliefs: He says his paintings express anger at suburban hypocrisy, “the crisis of American identity, the failure of the American dream” Hughes1997 p601, 1980 p422

Verdict: His work is uneven due to lack of training Hughes1997 p601. Fischl wants to paint pictures that appear to be casually achieved & Manet-like but this requires a technical mastery of which he is incapable. Hence his work is a combination of assured painting & awkward smearing. Fischl was the painter laureate of American anxiety in the 1980s Hughes1990 pp 345-6

Grouping: He is a true American Realist but with an exceptional pitch of psychological truth, especially concerning adolescent sexuality Hughes1990 p346

– FISCHERELLI or Il REPOSO which was his nickname, Felice, c1605-69, Italy=Florence:

Background: He was born at San Gimignano Wikip
Training: He was an apprentice in the workshop Jacopo da Empoli & in 1629 enrolled at the Accademia dell ‘Arte del Disegno L&L p239, Wikip
Influences: Francesco Furini & Giovanni Bilvert in the 1630s L&L
Career: When very young he was sent to Florence & lived under the protection of Count Alberto d’Ottavio Bardi di Vernio, an aide to Cardinal Carlo de Medici Wikip
Oeuvre/Characteristics: Works often featuring single figures who are making emphatic jesters & are painted in clear bold colour, together with scenes of violence as in The Rape of Lucretia (Wallace Collection, late 1630s) in which the scene has a direct & claustrophobic intimacy. Like Empoli he was a copyist of earlier masters such as Perugino webimages, ArtUK re the Rape, L&L
Phases: From the 1630s he painted cabinet pictures intended to arouse conflicting fascination & repulsion as in & during the 1650s he created numerous religious works mostly of the Virgin L&L, Wikip

..FITTON, James, 1899-1982:

Background: He was born in Oldham to working class Methodist parents Lancashire. His parents had a tough life involving for his father an industrial accident, sacking for leading a strike & having to move work far from home. He was actively engaged in the Socialist movement Wikip
Training: Evening classes at the Manchester School of Art under Vallette, where Lowry was a fellow student, &, after moving to London in 1920, at the Central School of Arts & Crafts Wikip
Career: After a botched mastoid operation on the kitchen table he was permanently deaf in one ear & left Board School at 14. He worked as a printer & on poster design. His first exhibit at the RA was in 1932, he belonged to the London Group, & was a founder member of the Artists’ International Association in 1933. Fitton ran evening classes at the Central School & its facilities were used in support of suitable causes. He became an RA Wikip, Harrison pp 251-2
Oeuvre: Paintings, lithographs & theatre design Wikip

..FJAESTAD, Gustaf, 1868-1948, Sweden:

Training: Liljefors & Larsson Kent p222
Career: He was assisted by his wife who made his paintings into tapestries Kent p222
Oeuvre: Landscapes Kent p222
Speciality: The surfaces of lakes & rivers in winter Kent p222
Characteristics: Luminosity Kent p222

..FLANDRIN, Hippolyte, 1809-64, France; Academic Movement

Background: He was born in Lyons. His brothers Auguste & Paul were both artists OxDicArt

Training: 1826-29 at the Ecole des Beaux-Artes, Lyons under Revoil, & then in Paris with Ingres TurnerDtoI p161

Influences: 14^th & 15^th century Italian art, especially Raphael Norman1977, TurnerRtoI p161

Career: He went to Rome after winning the first Rome prize in 1832 (where was joined by Ingres in 1835). After returning to Paris he executed important church cycles, 1838-61. His success at the 1859 Salon (Jeune File a L’Oeillet) brought him a flood of portrait commissions & he was official portraitist to Napoleon III Norman1977

Oeuvre: Religious paintings & portraits Norman1977

Speciality: Portraits of women & young girls Norman1977, L&L

Phases: He began as a history painter Norman1977

Characteristics: The frigid pomp of his murals of the 1840s & 50s is like that of many of the late works of the Nazarene church painters Novotny p171. His portraits were Ingres-like Norman1977

Status: His church frescos have been considered the most important of the 19^th century Norman1977

Circle: His friend Overbeck & the Nazarenes Norman1977

Status: He worked in the Neoclassical tradition L&L

Influenced: Holman Hunt & Rossetti Norman1977

**FLAXMAN, John, 1755-1826:

Background: He was born in York, the son of a plaster cast maker Grove11 p162
Training: The Academy Schools L&L
Influences: Greek vase painting OxDicArt
Career: During 1775-87 he worked for Josiah Wedgewood for whom he modelled cameos, classical friezes & portraits for mass consumption. At the same time he built up a practice as a sculptor. In 1787 he went to Rome, where he lived until 1794, to direct the Wedgewood studio. He achieved international fame with his outline illustrations of Homer, Aeschylus & Dante, 1790-3. After his return he was a busy sculptor & specialised in funerary monuments. In 1810 he became the first professor of sculpture at the RA OxDicArt, L&L
Oeuvre: Draftsman & sculpture L&L
Characteritics: Known as a moulder and seller of plaster casts, using wax on slate. He produced the first book of illustration in Rome, where he became famous. Wikip
Friends: Blake & Romney L&L
Influenced: Ingres, Goya, Runge & the Nazareenes L&L
Status: Neo-Classicism OxDicArt

..FLEETWOOD-WALKER, Bernard, 1893-1965, England:

Background: Birmingham. He was the great –grandson of the artist & inventor Cornelius Varley Wilcox2006 p101
Training: The Birmingham School of Art & in London & Paris Wilcox2006 p101
Career: Initially he worked in the Birmingham silver industry. After war service he was an art master & in 1929 joined the Birmingham School of Art. He became Assistant Keeper at the RA Schools & exhibited nearly 150 works at the RA Wilcox2006 p101
Oeuvre: Figure compositions & portraits Wilcox2006 p101
Characteristics: His portraits & figure compositions have outdoor settings Wilcox 2006 pp 77-8

Flemalle Master of. See Campin-Flemalle

..FLETCHER, W. T Blandford, 1858-1936:

Background: He was born in London, the son of a linen draper & upholsterer Wikip
Training: With Verlat in Antwerp F&G p249
Career: He painted at Pont Aven during the summer of 1882, exhibited at the RA in 1884, worked at Newlyn during 1884-5, travelled & painted throughout England visiting popular sketching places including Staithes & Walsberwick & settled Dorking in 1904. He became a Catholic F&G p249, Wikip
Oeuvre: Genre, landscapes & seascapes, especially village & rural scenes with children & other figures WoodDic, webimages
Characteristics: Pleasant Newlyn type works webimages
Friends & housemates: Frank Bramley, Fred Hall, Friederick Millard, Stanhope Forbes, Chevallier Taylor Wikip
Grouping: The Newlyn School F&G p249

-FLICKE, Gerlach, -1558:

Career: He was from Osnabrucke & worked England from around 1547 Until his death OxDicArt
Oeuvre: Portraits OxDicArt
Characteristics: His earliest work was somewhat stiff and archaic but it soon became more fluent as in William Lord Grey of Wilton (NG Edinburgh) Groves11 p168
Status: He was the best portraitist working in England during the post-Holbein generation OxDicArt

..FLIGHT, Claude, 1881-1955, England:

Background: Born in London Wikip
Training: Hatherley School of Fine art from 1913-4 and then from 1918 Wikip
Influences: Cubism, Futurism & Vortism Wikip
Career: Bee-keeping & other occupations before turning to art. He first exhibited at RA in 1918 and became a member of 7+5. In 1923 he taught at Grosvenor School of Fine art from 1926-30 he ran an interior design business with his wife Edith Lawrence Wikip, Gallery on the Usk site
Oeuvre: Prints and from 1919 linocuts webimages, Wikip
Characteristics: Bold simple forms with a focus on speed & moving objects webimages
Beliefs: Cheap new materials would democratise art Wikip
Innovation: He was probably the first artist to specialise in linocuts OxDicMod
Pupils: Dorrit Black, Lilly Tschudi, Cyril Power, Eileen Mayo, Sybil Andrews OxDicMod, Wikip

*FLINCK, Govert, 1615-60, Netherlands:

Background: He was born at Kleef which was in Germany but near the Dutch border M&B p168
Training: Rembrandt around 1633-6 OxDicArt
Career: He mainly worked in Amsterdam & produced paintings for the Amsterdam town hall OxDicArt, L&L
Periods: His early work was Rembarandt-like. During the 1640s he abandoned Rembrandt’s chiaroscuro for a lighter & brighter Van Dyckism &/or a van der Helst elegance L&L, OxDicArt
Oeuvre: Portraits & allegorical & historical decorations for public buildings L&L
Patron: Amalia van Solms, the widow of the Prince of Orange L&L
Grouping: The Dutch Classicists MB

-FLINT, Sir William Russell, 1980-1969, Scotland:

Background: He was born in Edinburgh Grove11 p171
Training: Daniel Stewart’s College Edinburgh; & then apprenticed as a lithographic draftsman & designer, 1894-1900. He studied part-time RInstArt Edinburgh Grove11 p171
Career: Between 1900 & 1902 he was a medical illustrator, during 1903-7 a commercial artist at the Illustrated London News. He illustrated limited editions of the classics, 1910-24. After becoming an 1933 RA, he was President of the Royal Society of Painters in Watercolour, 1936-56 Grove11 p171
Phases: Watercolour landscapes of Scotland, France, Italy, & Spain made his reputation. He then produced [sexy] figure studies of girls nude, in Spanish costume Grove11 p171
Oeuvre: painter, printmaker, illustrator Grove11 p171

-FLORIS DE VRIENDT, Frans, c1518-70, brother of Cornelis (sculptor, architect), Belgium=Antwerp:

Background: He was born in Antwerp Grove11 p220

Training: During 1538-40 with Lambert Lombard in Liege L&L

Influences: Michelangelo with his Last Judgement having a momentous effect; Romano; Tintoretto; Fontainbleu Mannerism through his pupils. Late on he was influenced by Fontainbleu Mannerism, some of his pupils having worked there O&V p291, L&L

Career: He became a master in the Antwerp Guild of St Luke in 1539-40. Around 1641 he went to Rome & he visited other Italian cities. By 1547 he was back in Antwerp. Due to his studio he became wealthy & he built a magnificent house. This, lavish living & heavy drinking led to his downfall & death L&L

Oeuvre: Religious & mythological works, portraits L&L, Grove11 p221

Characteristics: His work was eclectic & he combined earthy Flemish realism with Italianate forms. Sometimes they were combined in the same painting but in other works there was differentiation. One type was the Romanist history painting as exemplified by the Fall of the Angels, 1554. Here bodies writhe in violent action, they overlap & are twined together, & the painting appears to be a fragment of a boundless whole. However other less ambitious but contemporaneous works are composed with striking clarity with fully modelled figures in clear space. His portraits were strongly characterised O&V p292, Pl 255, Grove11 p221-2

Studio/Innovations: He was largely responsible for the introduction of workshops organised in the Italian manner with skilled assistants, of which there were claimed to be around 120. These were probably already trained . Floris painted heads for their use. These were not real life studies but physiognomic types & heroic countencies. Another innovation was the genre of mythological & allegorical subject matter which was now being recognised as a separate genre. He anticipated the Baroque portrait & the group portraits of Hals & Rubens because many of his figures are purposely grouped Grove11 pp 221-2, O&V pp 288, 293, L&D p99

Grouping: Academic Mannerism O&V Chapter 14

Status: He was Antwerp’s leading artist & his workshop with that of his brother was the city’s artistic focus L&L, O&V p293

Patrons: The Antwerp guilds for whom he pained altarpieces & Nicholas Jongelinck, a rich merchant & tax collector Grove11 p221

Pupils: de Vos, the Francken brothers & numerous others L&L, Vlieghe p15

Legacy: His workshop continued to influence Flemish painting until Rubens returned from Italy L&L

**FLAXMAN, John, 1755-1826:

Background: He was born in York, the son of a plaster cast maker Grove11 p162
Training: The Academy Schools L&L
Influences: Greek vase painting OxDicArt
Career: During 1775-87 he worked for Josiah Wedgewood for whom he modelled cameos, classical friezes & portraits for mass consumption. At the same time he built up a practice as a sculptor. In 1787 he went to Rome, where he lived until 1794, to direct the Wedgewood studio. He achieved international fame with his outline illustrations of Homer, Aeschylus & Dante, 1790-3. After his return he was a busy sculptor & specialised in funerary monuments. In 1810 he became the first professor of sculpture at the RA OxDicArt, L&L
Oeuvre: Draftsman & sculpture L&L
Friends: Blake & Romney L&L
Influenced: Ingres, Goya, Grunge & the Nazareenes L&L
Status: Neo-Classicism OxDicArt

-FLEGEL, Georg, 1563-1638, Germany:

Background: He was born at Olmut/Olomouc, Moravia, & was a shoemaker’s son Grove11 p165
Influences: Durer’s watercolours, & botanical & zoological illustrations by Joris Hoefnagel etc. then being published in Frankfurt Grove11 p165
Career: He moved to Vienna probably because he was not Catholic, & became assistant to Lucas van Valckenborch I, whom he followed to Frankfurt Grove11 p165
Oeuvre: Landscape & still-lifes of flowers & fruit, & tables set for meals
Characteristics: His still-lifes are precise & factual using free brushwork, sometimes with artistic light effects. Their static & unornamental quality distinguishes them form contemporary Low Country work Grove11 p165

..FLEETWOOD-WALKER, Bernard, 1893-1965, England:

Background: Birmingham. He was the great –grandson of the artist & inventor Cornelius Varley Wilcox2006 p101
Training: The Birmingham School of Art & in London & Paris Wilcox2006 p101.
Career: Initially he worked in the Birmingham silver industry. After war service he was an art master & in 1929 joined the Birmingham School of Art. He became Assistant Keeper at the RA Schools & exhibited nearly 150 works at the RA Wilcox2006 p101.
Oeuvre: Figure compositions & portraits Wilcox2006 p101..
Characteristics: His portraits & figure compositions have outdoor settings Wilcox 2006 pp 77-8

-FLICKE, Gerlach, -1558:

Career: He was from Osnabrucke & worked England from around 1547 Until his death OxDicArt
Oeuvre: Portraits OxDicArt
Status: He was the best portraitist working in England during the post-Holbein generation OxDicArt

– *FLINCK, Govert, 1615-60, Netherlands:

Background: He was born at Kleef which was in Germany but near the Dutch border M&B p168
Training: Rembrandt around 1633-6 OxDicArt
Career: He mainly worked in Amsterdam & produced paintings for the Amsterdam town hall OxDicArt, L&L
Periods: His early work was Rembrandt-like. During the 1640s he abandoned Rembrandt’s chiaroscuro for a lighter & brighter Van Dyckism &/or a van der Helst elegance L&L, OxDicArt
Oeuvre: Portraits & allegorical & historical decorations for public buildings L&L
Patron: Amalia van Solms, the widow of the Prince of Orange L&L
Grouping: The Dutch Classicists MB

–FLINT, Sir William Russell, 1980-1969, Scotland

Background: He was born in Edinburgh Grove11 p171
Training: Daniel Stewart’s College Edinburgh; then apprenticed as a lithographic draftsman & designer, 1894-1900; & later studied part-time at the Royal Institute of Art Edinburgh Grove11 p171
Career: Between 1900 & 1902 he was a medical illustrator, during 1903-7 a commercial artist at the Illustrated London News. He illustrated limited editions of the classics, 1910-24. After becoming an 1933 RA, he was President of the Royal Society of Painters in Watercolour, 1936-56 Grove11 p171
Phases: Watercolour landscapes of Scotland, France, Italy, & Spain made his reputation. He then produced [sexy] figure studies of girls nude, in Spanish costume Grove11 p171
Oeuvre: painter, printmaker, illustrator Grove11 p171

-Lavinia FONTANA, 1552-1614, Prospero’ daughter, Italy=Bologna:

Background: She was born in Bologna Grove11 p269

Training: Her father who taught her his later styleGrove11 p269 , L&L

Influences: Corregio on her religious paintings Grove11 p269

Career: She moved to Rome in 1603, had 11 children, & kept her family with her earnings while her husband helped in the studio & became her agent Grove11 p269, SpenceFT28/3/20.

Oeuvre: Portraits & also religious & mythological works Grove11 p269.

Characteristics: Her portraits have a central Italian formality & a north Italian naturalistic tendency. They are often set in a suite of rooms. Her female sitters, often with small dogs, are dressed elaborately with detailing of embroidery & jewels Grove11 p269

Status: She became a highly reputed portraitist L&L

Grouping/Style: She was one of the last of the Late Mannerists Grove11 p269

Features: She painted a naked goddess so convincing that some scholars believe she may have used a model SpenceFT29/3/30

*Lucio FONTANA, 1899-1968, Italy=Bologna:

Background: He was born in Argentina the son of an Italian sculptor & an Argentinian mother OxDicMod
Training: Sculpture with his father & at the Brera Academy OxDicMod
Career: The family moved to Milan in 1905 & in 1935 he moved to Paris where he joined Abstraction-Creation. From 1940 he was in Argentina but returned to Milan in 1947 where he launched the Spatialise Movement. This aimed at co-operation with scientists to project colour & form into space by the use of neon lighting in blackened rooms, etc OxDicMod, L&L.
Oeuvre: Paintings, sculpture & ceramics L&L
Characteristics: In paintings which he began producing in 1958 he made gashes in a monochrome paint surface. Later he loaded paintings with sequins or coloured glass OxDicMod, L&L
Innovations: He was one of the first artists to see art as a gesture or process rather than as an enduring work OxDicMod p671

-Prospero FONTANA, c1512-97, Lavinia’s father, Italy=Bologna:

Background: Born in Bologna Grove11 p268
Training: He was del Vaga’s assistant in Genoa L&L
Influences: Vasari until around 1560L&L
Career: In 1539 he was in Bologna where he married.   By the early 1640s he had become an established artist & made frequent visits to Rome where he worked between 1544 & 1546, around 1550, & during 1553-5 NGArt1986 p136.   Around 1560 he worked briefly at Fontainbleau under Primaticio.    He assisted Vassari in Florence during 1563-5.   His activity slackened with the advent of Carraccis OxDicArt, L&L, NGArt1986 p136
Phases: From around 1560 his work has greater naturalism & expressivity L&L
Status: Fontana played a principal role in pontifical artistic policy under Julius III due to his friendship with Aliotti & other powerful prelates.   He was the leading painter in Bologna during the 1570s, & Archbishop Paleotti’s favourite artist.   He is generally seen as exemplifying all the Carracci opposed OxDicArt
Grouping: Mannerism, but of the reformed maniera style with strong Counter Reformation influences in his painting from the 1570s Friedlaender1925 p52,  NGArt1986pp 136-9
Verdict: Elegant but rather spineless is one verdict but his reformed maniera works have been considered fine OxDicArt, NGArt1986p136

..FONTANESI, Antonio, 1818-82, Italy:

Background: Born in Reggio Emilia Norman1977
Training: Fontanesi entered Reggios art school at the age of 14, under Minghetti Norman1977
Influences: Corot and T. Rousseau were the most important influences on his work. During 1848-50 he fought with Garibaldi and in Switzerland, in 1850, was influenced by Calame. In 1866, in London, he was impressed by the poetry of landscapes by Turner Norman1977
Career: He was given a professorship at Lucca in 1868, and in 1869 at Turin’s Accademia Albertina. He taught at the Tokyo Academy from 1876-1878 before returning to Turin Norman1977
Oeuvre: A Piedmontese landscape painter Norman1977
Characteristics: Fontanesi was not content with naturalistic landscape painting, seeking to imbue his work with poetry and mood by stressing effects of light Norman1977
Influenced: His landscapes influenced several Italian painters of the Symbolist generation as well as the 20^th century Futurist Carlo Carrà Norman1977

..FONTEBASSO, Francesco, 1709-69: Italy=Venice; Rococo:

Background: He was born in Venice Grove11 p286
Training: Sebastiano Ricci Grove11 p286
Influences: Tiepolo with whom he had contact & the Bologna School Grove11 p286
Career: He studied in Bologna & around 1728 in Rome.   In 1755 he was a founder member of the Accademia Veneziana where he subsequently taught & became President.   During 1761-2 he worked in St Peterbourg for Catherine the Great on palace decorations, etc Grove11 pp 286-7
Oeuvre: Frescoes, oils, prints & book illustrations.   Religious works, history paintings & portraits Grove11 p286
Characteristics/Verdict: His work was increasingly Tiepolo-like with its lighter palette, & sometimes his compositions border on plagiarism.   He had a charming feathery touch, his round-eyed saints’ putti & saints are consciously attractive & his colour is pleasing.   His art is slight & he clung to the style of his youth which had already reached its climax & was in decline Grove11 pp 286-7, Levey1959 p46

-FOPPA, Vincenzo, c1430-1516, Italy=Pavia & Milan:

Background: He was born near Brescia at Bagnolo, the son of a tailor Grove11 p292

Training: He probably trained in Padua with Mantegna’s master Francesco Squarcione Brigstocke

Influences: Jacopo Bellini & Gentile de Fabriano L&L

Career: He was in Pavia, then part of the Duchy of Milan, in 1458, but probably arrived earlier; Francesco Sforza summoned him to Milan promising work, 1463; & he joined the household of Galeazzo Maria Sforza in 1468, the new Duke of Milan but received little employment before 1474. By 1471 he was in Genoa completing unfinished work; & thereafter moved between Brescia, Pavia, Milan & Genoa Grove11 pp 292-94, & 24 p284

Oeuvre: Altarpieces, devotional works, frescos, portraits, & also architecture Grove11 pp 292-94

Characteristics: His use of perspective was skilled & he was able to depict space on a large scale as in St Peter’s Miracle at Narni, c1468 (Portinari Chapel, S Eustorgio, Milan). He used silvery-grey flesh tones throughout his career. His style was a curious mixture of old-fashioned gold ground, landscape & innovative spatial & architectural design as in the impressive polyptych which includes The Virgin & Child with Saints c1476 (Brera, Milan). His portraits were painted in profile. From the 1480s he demonstrated his mastery of the nude Grove11 pp 292-93, NG Leonardo p86, Brigstocke

His style was robust but his compositions were somewhat disjointed containing figures that are individualised & do not relate or interact with each other as in the Adoration of the Kings c1500 (NG). With their dark slivery-grey tonalities his light effects are striking Webimages, Bayer pp 24, 26, 28,

Status: He was the leading painter in Milan before Leonardo Murrays1963 p244

Grouping: He is one of Longhi’s Lombard Painters of Reality Bayer p106

Innovation: His command of large-scale perspective was a turning point in Lombard art Brigstocke

Legacy: His Virgin & Saints originally in S. Maria Delle Grazie, 1576, but now in the Brera, Milan, marked the beginning of the local school of painting in Bergamo Grove3 p771

..FORABOSCO, Girolamo, c1604-1679, Italy=Venice:

Background: Born in Venice Grove11 p297
Training: Padovanino & the Fragio dei Pittori in Venice, 1634-9 Waterhouse 1962 p118, Grove11 p297
Influences: Tiberrio Tinelli Grove11 p297
Oeuvre: Religious paintings & portraits Grove11 p297
Phases: His bold, fluid brushwork gradually yielded to a more finished style influenced by Cagnacci, Reni & Albani Grove11 p297
Characteristics: Academic eclecticism which he inherited from Padovanino. His Palma Vecchio-like portraits were remarkable & he had the ability to paint delightful light opera scenes. He produced clever pastiches of TitianWittkower1973 p347, Grove11 p297, Waterhouse1962 1962 pp 118, 133
Pupil: Gregorio Lazzarini who taught Tiepolo Waterhouse1962 p120

..FORAIN, Jean-Louis, 1852-1931, France:

Background: He was born in Reims Norman1977
Influences: Daumier and Degas were the most important influences on his work Norman1977
Career: Forain exhibited four times with the Impressionists (1879-86). He contributed caricatures and drawings to almost all leading newspapers and magazines of his time Norman1977
Oeuvre: Forain was primarily an illustrator, caricaturist and graphic artist Norman1977
Characteristics: He treated bourgeois life, café society and the demi-monde with biting satirical humour. Forain’s paintings and watercolours were done in the same spirit, with quick Impressionist brushwork, but muted colours Norman1977

..Elizabeth FORBES, Stanhope’s wife, 1859-1912; Looking Backwards Movement

Background: She was born in Canada, the daughter of a Canadian government official F&G p 187

Training: Briefly at the South Kensington Schools. at the Art Students’ League, c1877-80, mainly under Chase & in Munich F&G p 187

Influences: Bastien-Lepage Grove11 p301

Career: After a peripatetic period moving back & forth across the Atlantic & travelling in Europe, including several months at Pont-Aven, she moved to Newlyn in 1885, became involved with the Newlyn School, & married it leading painter, Stanhope Forbes, in 1889. She first exhibited at the RA in 1883 F&G pp 187-8, Grove11 p300

Oeuvre: Paintings & etchings F&G pp 187-8

Phases/Characteristics: Her earlier work was characterised by plein air naturalism of a Newlyn School variety but later as in A Dream Princess, 1897, her work is more reminiscent of late pre-Raphaelite paintings, featuring young girls, sometimes in medieval costumes Grove11 p300, Pryke p99

Verdict: Stanhope Forbes described her later works as charming [but they could alternatively be regarded as decadent whimsy] F&G p189.

..Stanhope FORBES, Elizabeth’s husband, 1857-1947; Rural Naturalism Movement and British Impressionism (later works)

Background: He was born in Dublin. His mother was French & he was a manager of an Irish railway company. An uncle James Stats Forbes was also a railway manger & collected contemporary paintings F&G p54

Training: At the Lambeth School of Art, 1876-8 at the RA Schools, & 1880-82 in Paris at Bonnat’s studio F&G pp 54, 56

Influences: Bastien-Lepage McConkey1989 p156

Career: He was educated at Dulwich College & in 1887 first exhibited at the RA. Much more important, in 1881 he went plein air painting in Brittany with La Thangue, & returned there in 1882-4. In 1883 two Breton paintings were exhibited at the RA. He went to Newlyn in 1884 & exhibited A Fish Sale on a Cornish Beach at the RA in 1884 which was a considerable success. In 1886 he became a founder member of NEAC & in 1889 married. He became the central figure of the Newlyn art colony. With his wife he founded the Newlyn School of Art in 1899 & it continued until 1938. In 1910 he became an RA F&G pp 54-63, OxDicMod

Oeuvre: Genre scenes urban, rural & interior, townscapes & portraits F&G pp 25, 72, Fox p38, 42, 44, etc .

Speciality: [Fishermen & their families]

Characteristics/Phases: Forbes was a tonal painter & boasted that he had never painted a wrong tone. [His colour was to begin with subdued but his palette lightened & this became more marked during the early 1900s when his paintings were on occasion bright & sunny. Moreover his technique became bolder, more stylised, [sometimes even Impressionistic], & the viewpoint receded with figures became smaller in relation to landscape Fox pp 36-7, F&G p63. His paintings of fisherfolk steer clear of anything that might have been considered coarse & brutal Weisberg1992 pp 127-8

Beliefs: Political liberalism & religious scepticism. He deprecated the hideous invasion of the modern builder & the sweeping away of quaint old houses & picturesque corners. During the 1890s he complained that the world was no longer so picturesque as in “the good old days”. He disliked the hideous new fashion among fishermen for new hard, black headgear & the replacement of the quaint old sou’wester. However, he believed that even in those persons & forms that were not beautiful were meaningful & important. The hard lines left by toil, hardship & poverty should be faithfully recorded F&G pp 54, 65-6

Hates: Sickert & the Whistler gang. He told his future wife that he could not find words strong enough to show his contempt & condemned a Sickert painting of 1888 as vulgar & tasteless F&G pp 60, 67

Friends/Circle: La Thangue from Dulwich days, Goodall from the RA Schools, Arthur Hacker [&, of course, the Newlyn painters] F&G p54

Grouping: The Newlyn School & Naturalism F&G, Weisberg1992 pp124-30

..FORTESQUE-BRICKDALE, Eleanor, 1872-1945:

Background: Born Upper Norwood, London Grove 11 p322
Training: The RA Schools where she won a prize for a mural design, 1897 Grove11 p322
Career: She exhibited regularly at the RA & the Royal Water-Colour Society, & taught at the school founded by her close friend Byam Shaw Grove11 p322
Oeuvre: Illustrations, paintings & design Grove11 p322
Speciality: Book illustration in pen & ink, & later colour Grove11 p322
Characteristics: Pre-Raphaelite precision together with a fairy-tale mood in which she re-worked romantic & moralizing medieval subjects, often in strong colour & with elaborate detail Treuherz 1993 p154
Grouping: She continued the Pre-Raphaelite tradition Grove11 p322
Collections: The Ashmolean Museum, Oxford, for her works on paper

..FORTUNY Y CARBO, 1838-74, Spain:

Background: He was born in Reus, Spain, and brought up by his grandfather who was a sculptor and modeller Norman1977

Training: He began his formal studies at the age of twelve, attending the Barcelona Academy from 1853 Norman1977

Influences: Gavarni Norman 1977

Career: In 1857 he won the Barcelona Academy’s Rome prize, arriving in the city the next year, and making his home there. Norman1977

Oeuvre: A genre painter, whose elegant scenes of daily life in 18^th century costume and of small dimensions were very popular in France, Italy and Spain. Norman1977

Phases: His visits to Morocco, in 1859 and 1862 resulted in a series of Oriental scenes, while during his last months in Portici he turned towards Impressionism, inspired by Manet Norman1977

Characteristics: He had a penetrating eye for character, fine draftsmanship, a brilliant palette and sparkling, virtuoso brushwork. Norman1977

Influenced: He had many imitators, notably in Italy and Spain.

Personal: In 1866-7 he was in Paris and Madrid, where he married the daughter of Madrazo, inspiring his most famous work The Spanish Wedding /La Vicaria. Norman1977

..FOSTER, Myles Birket, 1825-99, England; Looking Backwards Movement

Background: He was born in North Shields into a Quaker family. In 1830 the family moved south & his father founded a successful beer-bottling company Grove11 p331, Wikip

Training: He was apprenticed as a wood-engraver but was otherwise virtually self-taught Wikip, Reynolds p156

Career: He first worked for the Illustrated London News & was a successful book illustrator, but around 1860 started to devote himself to watercolour painting. In the early sixties he moved to Witley, near Godalming, where he built an elaborate Tudor style house, which became a social centre for his artist friends . He travelled widely on the Continent gleaning material for watercolours & publications Reynolds p156, Grove11 p331, Wikip

Oeuvre: He was prolific Wikip

Technique: Finding the traditional colour wash style uncongenial, Foster worked over a white ground, using a stipple technique with very fine brushes WoodC1988 p26

Characteristics: He avoided the realities of farm work by concentrating on peripheral activities as visiting the market & he preferred to show country people resting or relaxing. Foster was especially fond of depicting picturesque salesmen or craftsmen calling at a cottage door. His work is less poetic & subtle than that of Allingham WoodC1988 pp 51, 113, 131

Patron: In the 1870s he was commissioned to paint 50 watercolours of Venice for a Lincoln corn merchant, Charles Seeley Grove11 p331

Status: He was probably the most popular English landscapist from the 1860s WoodC1988 p26. His work was appreciated for its Pre-Raphaelite detail without their harsh colour & unorthodox compositional formats. Chromolithographs extended the audience for his works Grove11 p331

Feature: He received so many enquiries about the genuineness of works attribute to him that he charged a a guinea for authentication Reynolds p173

Grouping; The pastoral or idyllic school WoodC1988 p29

Friends: Fred Walker, Charles Keene, Orchardon, & alos Burne-Jones, Orchardson & William Morris who helped decorate his house Grove11 p331, Wikip

Influence: He had innumerable followers in the 1860s & 70s, & his influence remained pervasive for the rest of the century WoodC1988 p29

-FOUCQUIERES/FOUCQUIER/FOUQUIER, Jacques, 1590-1659, Belgium:

Background: He was born in Antwerp Grove11 p357

Influences: His early landscapes were influenced by de Momper, Jan Breughel I, Buytewech, Esias van de Velde & Jose de Momper II Grove11 p357

Career: In 1614 he became a master in the artists’ guild in Antwerp & in 1616 that in Brussels. Soon afterwards he worked for Frederick V, the Elector Palatine in Heidelberg. In1621 he settled in France where he intrigued against Poussin. In he was commissioned by Louis XIII to paint views of French towns Grove11 p357, L&L

Phases: Around 1620 his work became more classical following Bril & Claude L&L , Grove11 p358

Characteristics: His later work was a synthesis of descriptive northern landscape & heroic Italian Roman classicism Grove11 p358

Oeuvre: His work was influential in his time and widely circulated thanks to reproductions by various contemporary engravers Wikip

Patrons: His work was bought By Colbert & Richelieu etc Grove11 p357

Repute: By his death he had been forgotten

Pupil: de Champaigne L&L

Legacy: His later work had had a strong impact on French landscape during the first half of the 17^th century Grove11 p358

.. FOUGERON, Andre, 1913-98, France; Political Art/Tendenzkunst

Background: Born Paris into a working-class family OxDicMod

Training: He was an apprenticed draughtsman & attended evening classes but was otherwise self-taught, etching apart Grove11 p336

Influences: Picasso Courbet during the 1970s Grove11 p337

Career: In 1936 he exhibited at L’Art cruel show which was devoted to political works particularly the Spanish Civil War. He joined the French Communist Party in 1939 & never left. After demobilisation in 1940 he returned to Paris, joined the resistance & set up a clandestine print works. After the war he became the official painter of the French Communist Party Grove11 p336, Wikip, OxDicMod

Oeuvre: Paintings & from 1942 prints after being taught by Jacques Villon Grove11 p336

Characteristics/Phases: Especially during the later 1940s he produced some less committed works including still-life, & domestic interiors & scenes as in Return from the Market, 1953 (The Tate). From around 1975 he adopted a simplified linear style characteristic of the period. His later work lacks force & its message is unsubtle whereas his earlier satire on the American way of life & capitalist system [as in] Atlantic Civilisation, 1953 (the Tate) was, granted his political standpoint, an impressive piece of work Grove11 p337

Friends: Boris Teplitzky Wikip

Reception: When the French Communist Party began changing its cultural policy from the late 1950s his popularity & influence dwindled Wikip

Repute: He is not itemised in the Oxford Companion or the Concise Oxford Dictionary of Art & Artists

..FOUJITA, Jean, 1886-1968, Japan/France:

Background: He was born in Tokyo, the son of an army doctor OxDicMod

Training: At the Tokyo Academy, 1906-10, & with Kuroda Seiki who helped introduce a modern French influence in Japan OxDicMod

Career: In 1913 he moved to Paris & by 1918 was regularly selling work greatly helped by his wife the art dealer Fernande Valle. Between 1933 & 1950 he was in Japan apart from a Parisian trip in 1939-40. He now raged against the Western art world, became a nationalist , attacked Jewish gallery owners, & produced propaganda works. After returning to Paris he became a French citizen & in 1959 became a Catholic OxDicMod

Oeuvre: Landscapes, nudes, cats, portraits etc, & graphic art OxDicMod

Phases/Characteristics: In the 1920s he developed a distinctive, delicately mannered, melancholic Expressionism combining Western & Japanese traits & with a liberal use of white . Latterly he painted somewhat sentimental religious subjects OxDicMod

Circle/Feature: Bohemian in Montparnasse, once attending a party in a loincloth with a caged nude woman on his back OxDicMod

Status: He was the only Japanese artist with a considerable European reputation OxDicMod

Grouping: The Ecole de Paris OxDicMod

*FOUQUET, Jean, c1420-1481, France:

Influences: Italian perspective & handling of form L&L
Career: He became court painter in 1474 L&L
Characteristics: He combined the rich, strong colours of the Northern European tradition with the naturalism and mathematical construction of Italian art to create a unique style that was both realistic and sophisticated wikip
Oeuvre: Paintings, illuminations & design work L&L
Workshop: It was large & active doing much work for members of the French court L&L
Status; The foremost 15^th century artist in France L&L

***FRA ANGELICO, c1397-1455, Italy=Florence:

Background: He was born near Vichio Grove2 p30. In 1436 the Pope ceded the Sylvestrine monastery of S.Marco, Florence, to the Domenicans. Building work was then undertaken during 1438-44 at the expense of the Medici brothers who continued to finance its decoration. This work was entrusted to Fra Angelico Grove2 p34, B&B p4

Trained: Before he became a friar he trained as an illuminator in the manuscript industry Grove2 p31

Influences: Early on Gentile da Fabriano with his sophisticated handling of light & colour, & around 1440 Masacchio from whom he learned to have greater spatial clarity & simplification. The sculptor Ghiberti inspired his large-scale standing figures L&L, Grove2 pp 31-3.

Career: He moved to Florence with his brother & by 1417 had begun to receive commissions for small panel paintings. Around 1419 he entered the Dominican order but continued to paint, although he probably did little work before 1426. From about 1440 to 1445 he worked at S. Marco where he & assistants painted a total of around 50 frescos mainly in the friars’ cells together with an altar. Between 1445 & 1449 he was in Rome decorating in the Vatican, though he painted in the cathedral at Orvieto in 1447. In 1450 he became prior of Fiesole. During 1450-52 he worked at S. Marco again L&L. He died in Rome L&L, Murrays1959, Grove2 pp 31,34, 37-9

Assistants: Fra Angelico made considerable use of assistants . Only 10-11 of the cells at S. Maro his exclusive work. The remainder were executed by assistants probably from precise drawings. He also had assistants in Rome & at Orvieto B&B pp 71-2, Grove2 p39.

Characteristics: His work is serene, tender, meditative & delicately luminous. His paintings range from the austere frescos of S. Marco to the richly decorative frescos in the Chapel of Pope Nicholas V. He had a simple, direct, conservative style with Giotto & Massachio-like largeness of form. His eork was didactic rather than mystic L&L, Murrays1959, Vebturis p102. In his early work Fra Angelico emphasized local colour but from around 1432 he exploited the opposition between complementary colours in particular red & green un order to provide objects with plasticity. Here he adopted the Sienese style of Ducio, Martini & dassetta Grove 2 p40

Patrons: The Medici BurkeP p82

Collections: S. Marco, Florence

**FRA BARTOLOMMEO/BARTOLOMEO DELLA PORTA, 1472-1517, Italy=Florence, High Renaissance Movement

Background: He was born in Florence the son of a cater & muleteer who lived in a modest house Grove3 p302.

Teacher: He was apprenticed to Cosimo Rosselli in 1484 but his real teacher was Rosselli’s senior assistant Piero di Cosimo. The latter encouraged him to investigate the developments at other workshops & Netherlandish techniques & engravings Grove2 p302

Influences: Raphael, though also vice versa, & hearing Savonarola preach Murray p22. Wolfflin p140

Career: He set up a workshop with his fellow student Albertinelli. Bartolmeo was in the convent of San Marco when it was stormed & Savonarola its Prior was dragged off, 1498. He then vowed to become a monk & did so in 1500. In 1504 he became head of the monastery workshop & re-started painting. In 1508 he visited Venice & saw Bellini’s Sacra Conversazioni. During 1509-13 Bartoloemeo was in a profit sharing partnership with Albertinelli in which they collaborated on selected pictures . In 1513 he visited Rome did some painting but fell ill, returned & resumed work in 1515. For the rest of his life he was plagued by illness Grove2 pp 302-5, Murrays1959

Phases: At first his works were small but by the late 1490s he was receiving significant commissions After his Venetian & Roman visits his work has greater simplicity & balance in composition, picturesque detail is eliminated, telling gestures & rapt expressions are used, settings become sober & rather generalised, & his figures are in strong contrapposto. His colour is more tender & his art mellower Murrays 1959.Murray p22

Characteristics: His work features dark backgrounds & shadows, semi-circular niches for backgrounds, powerful simplicity with wholes not details, chariascuro, sweeping rhythms, & spaciousness Wolfflin1899 pp 140-1, 144, 279. Compositions are straightforward & carefully symetrical or pyramidal with closely knit groups of emotionally linked figures. However, his altarpieces are sometimes marred by over-vehement piety with exaggerated figures & gestures, billowing draperies & relentless contaposto Murray p22

Aim: [Here views differ. It has been argued that instead of representing supernatural phenomenon as an ordinary physical event, as in the 15^th century convention, Bartolommeo painted an innovative work in which saints are lifted off the ground by the rapture at a divine apparition, in accord with Savonarola’s belief that the love of God produces ecstatic transport . On the other hand, it has [convincingly] been pointed out that in this painting –God the Father with Saints Mary Magdalen & Catherine of Siena, 1508- we are mere observers & are not being solicited to enter or participate in the vision. This was a development which took place much later Grove3 p304, Hall2011 pp 74-5. Although he wished to strike down the worldly vanity & petty prettiness of Florentine religious art, he was no no fanatic or morose ascetic for he sang songs of rejoicing & triumph Wolfflin1899 p140 .

Innovations: He played a crucial part in initiating the High Renaissance & was the first Florentine artist to understand Leonardo. He transformed the Sacra Conversazione from a scene where the saints merely stand in devout contemplation to one where they observe & react. Like Raphael he contributed to the new High Renaissance Madonna with Saints, where she is not merely central, but pivotal. He replaced contemporary costume by nondescript drapery in religious pictures therby stressing the gulf between the earthly & the divine. Bartolomeo is credited with the invention of the lay-figure Murrays1959, OxDicArt

Status: He was one of first High Renaissances painters in Florence &from 1509, with departure of Raphael, Michelangelo & Leonardo, the leading Florence artist with Sarto Murrays1959, OxDicArt

Influence: This was spread through huge output of brilliant drawings where the mystical element clearer than in his paintings. They included fine landscapes & nature studies Murrays1959, OxDicArt

Fra Galgari. See Galgari

FRA GALGARIO/FRA VITTORE/GHISLANDI, Giuseppe, 1655-1743, Italy; late Baroque:

Background: He was born at Bergamo, the son of Domenico Ghislandi, a quadrature specialist Grove12 p559

Training: Giacomo Cotta, 1670-75, & for four years with Bartolomeo Bianchini Grove12 p559. Bombelli in Venice L&L p272

Influences: Moroni, the great Venetians, Salomone Adler whose art was influenced by Rembrandt Wittkower p493, Waterhouse1962 p140, Grove12 p559

Career: He was in Venice,1675-88; became a friar; briefly returned to Bergamo; went back to Venice from around 1689 to 1701, working in the studio of Sebastiano Bombelli; & settled permanently in Bergamo, living in the Convento, i.e. friary, del Galgario, 1702. He belonged to the Order of Minims which was a mendicant order of friars, nuns & laypeople founded in 1435 who vowed to lead a perpetual Lentern style of life involving penance, contemplation & austerity. As a lay brother, & not a priest, he devoted himself to his work instead of religious observance. The profits from his remarkably extensive practice in portraiture were transferred to his Order Grove12 p559, Wikip, Google, Waterhouse1962 pp 145-46

Oeuvre: Portraits mostly of males & fancy pictures. However his portrait of Isabella Camozzi de’Gherhardi is splendid Waterhouse1962 p147, Wittkower1973 pp492-93

Characteristics: His work is a magnificent blending of Venetian colourism & Moroni’s work from which he straightforward characterisation to which he subordinated pose & dress. He used a loaded brush & a rich palette to produce portraits that are extremely varied. They vary in particular in the extent to which those portrayed are depicted in a sympathetic or a critical manner. His [as in] portrait of Francesco Maria Bruntino (Academia Carrara), an antiquarian bookseller is realism of a sympathetic & affectionate nature. He has an intense shrewd expression but with his unkempt beard & open shirt he has not succeeded in making money. In stark contrast the [as in] Gentleman with a Tricorn Hat (Museo Poldi Pezzoli, Milan) is critical realism portraying a haughty & morally degenerate member of the nobility. A common feature of his work is Venetian colourism against a dark background Wittkowe1973 p493, Gislandi at Web Gallery of Art, Grove12 p560, L&L

Specialities: Portraits of those from every walk of Bergarmesque society, & in particular fanciful character heads under the influence of Adler often painted with great freshness & immediacy as in his [Wikimedia Commons] Portrait of a Young Boy/L’Allegrezza, i.e. gaiety, around 1719 (Museo Poldi Pezzoli, Milan Grove12 p559

Feature: His fancy pictures anticipated those of Drouais & Greuze; & his portraits were similar to those of Chardin & Hogarth, & some of the first portraits of human beings as we almost know them today, [although he was anticipated here by Moroni] Waterhouse1962 pp 145, 147

Circle/Studio: He was in contact with Sebastiano Ricci & Giambattista Tiepolo. Latterly he ran a rather unruly studio where his pupils demanded that the fancy pictures in which they figured be titled The Young Artist, etc Grove12 p559, Waternhouse1962 p146-47

Grouping: He was a Lombard painter of reality Waterhouse1962 p147

Status: He was the most distinguished late Baroque portrait painter Wittkower1973 p493, L&L,

Reception: His character heads attracted prestigious collectors including Prince Eugene of Savoy & Marshal von Schulenberg Grove12 p559

Collections: The Academia Carrara

Brother: Defenente was also an artist Grove12 p559

***FRAGONARD, Jean-Honore, 1732-1806, France; Rococo

Background: He was born at Grasse in the south-east & both parents came from families of shopkeepers & glove-makers but the family went to Paris, 1738 Grove11 p366, L&L

Training, etc: After a brief & unhappy period with Chardin, he became a pupil of Boucher around 1750 for about a year; went to the Academy school then under Carle Vanloo, 1753-56; & then having won the Prix de Rome spent five years in Rome L&L, Grove11p366

Influences: The painterly portraits of Rubens & Tiepolo; & also Rembrandt; Lucie-S1971 p151. but above all the gardens of the Villa d’Este, which he visited at the end of his Italian trip, memories of which occurred throughout his career. Natoire. the director of the French Academy in Rome, had encouraged him to go on sketching trips & this he did, sometimes with Hubert Robert whom he had met in 1758 Lucie-S1971 p151, L&L, OxDicArt, Grove11 p366

Career: After winning first prize, he went to the French Academy in Rome. Here he met the Abbe de Saint-Non, a wealthy art connoisseur who befriended young artists, & who in 1760 took him to the utterly neglected Villa d’Este at Tivoli for the summer where he made numerous drawings Ashton1988 pp 65-66 Back in France he exhibited Croesus & Callirrhoe (Louvre) at the Salon in 1765 aiming to become a history painter but, after exhibiting in 1767, he worked almost exclusively for private patrons. Mme du Barry did commission the Progress of Love series (1771-3) for her pavilion at Louveciennes, but they were rejected in favour of Neoclassical works by Vien. Fragonard & his wife then made a trip to Italy in 1773-4 with a patron. Although he was a republican sympathiser & a Freemason, he left Paris for Grasse, 1790-1, but he was drawn into art politics & administration by David L&L

Gossip: From 1775 Fragonard, his wife & her sister, Margaret Gerard, lived in what was almost certainly a menage-a-trois L&L

Oeuvre: Landscapes; history paintings, religious & mythological works; genre; small erotic paintings, larger decorative works & latter on affectionate, domestic family scenes as in The Happy Family, after 1769 (NG Art, Washington, Grove11 p366, L&L

Specialities: Dramatic trees especially those which embower & embrace the prospective lovers as they manifestly do in his Progress of Love series in the Frick Collection. [They are not merely the background for scenes of courtship but indicate that young men & women, & their coupling in love matches, are an aspect of the of the world of nature & to be expected but for] the arranged marriage then so frequent in French elite society. Other specialities included his fantasy portraits of real people in fancy dress; & paintings of girls in moments of solitude & relaxation with a love-letter, reading a book as in A Young Girl Reading c1769 (NG Art, Washington), or seated at a dressing table & lost in private reverie. Another notable work is the [as in] Bolt, c1778 (Louvre). Is the woman resisting rape or is she unable trust herself to resist the man’s advances Cobban1 p38, L&L, Walker p214, DG pp 282-83

Phases/Characteristics: He seems to have quickly abandoned Boucher’s blue & rose harmonies for a palette focused on shades of yellow, orange, together with rich dark red & green as in The Young Artist, c1770 (Louvre) & The Swing c1767 (Wallace Collection). His work was always energetic, spontaneous & painterly. Although he could & did, especially late on, produce high finish, he is renowned for sketchiness. A notable feature of his works was the dazzling, vivid highlights or what he called a coup de pistolet, or pistol-shot, as in The Waterfalls at Tivoli, c1761, with its cascade of light (Louvre c1761), & The Bathers/Women Bathing (Louvre, 1765). Although regarded as the last painter of a Rococo frivolity, he had a Romantic tendency & celebrated nature, impulse & instinct. He was above all an individualist who even painted Neoclassical works L&L, Sheriff p147 facing, webimage, Ashton1988 p77, OxDicArt, Levey1966 p116.

Innovation: His work disregards the distinction between genres, notably between landscape & genre & between portrait & Fancy Picture, together with the distinction between sketch & finished picture. In his portraits de fantasia four of which were probably commissioned by Saint-Non he produced a series of portraits of men & women in fancy dress. They were quickly painted in a free, virtuoso style & were almost certainly intended to challenge the current infatuation with Greuze, & the new sober history painting popular in royal circles, & to assert his own dedication to movement & light, as in his Fantasy Figure in Blue, 1769 (Louvre). In some ways he anticipated the Romantic movement L&L, Ashton1988 pp 121, 123-24, Wakefield p139.

Status: He became the most brilliant & versatile artist in 18^th century France Grove11 p366

Circle: Cochin, Robert his friend, Saint-Non, Wavelet, all of whom were interested in the picturesque Sheriff p229, Wakefield p149

Reception: Croesus & Callirrhoe was greeted with ecstasy & bought by the Crown. Had he continued painting such works he might have become the Director of the Academy. When he did not he was accused of pandering to the frivolous tastes of collectors who readily bought his new works. But why did he give up history painting? The Goncourt’s attributed this to his recognition of what he was best fitted to produce though they also uncharitably suggested that he was lazy. They might have added that he was an individualistic innovator & that alternative paths to success were beginning to open up & that he was working at a time when painters, including his tutors, were displaying a new spirit of independence Grove11 p 368, Goncourt’s pp 276-77, Ashton1988 pp 22-23

Pupil: Marguerite Gerard L&L

Legacy: It appears that he had little direct influence on French painting Grove11 p366

Repute: When he died, he was almost entirely forgotten his gaiety & eclecticism were out of fashion & it was his Neo-classical works that were most admired. However during the 1840s his Rococo works were championed by left-wing critics such as Theophile Thore & his works were picked up by young intellectuals, soon followed by the Rothschilds & other financiers, etc. Fragonard’s work received major critical & favourable attention from the Goncourt Brothers in their French Eighteenth-Century Painters, & his stature was endorsed when Henry Clay Frick acquired Fragonard’s Progress of Love series & they were hung in his New York mansion in 1916, having been purchased by Joseph Duveen. Nevertheless as late as 1988 it was said that his major works had rarely found enthusiasts Lucie-S1971 p145, Grove11 p369, DG pp259-309, Wikip, Ashton1988 p9

Son: Alexandre-Evariste, 1780-1850, having been taught by his father & David, was a painter & sculptor who worked for the Sevres porcelain factory who during the 1820s turned to history painting, became involved in the Troubadour movement & painted the as in the Battle of Marignan, 1836 (Versailles, Chateau) Grove11 pp370-71

-FRAMPTON, Meredith, 1894-1984, England:

Background: His father (Sir George) was a sculptor OxDicMod
Training: The RA Schools OxDicMod
Career: From 1920 he exhibited at the RA. Frampton stopped painting in 1945 due to failing eyesight OxDicMod
Oeuvre: It was small because he was a slow worker OxDicMod.   He only finished a couple of paintings a year E&L p11
Characteristics: His work has a delicate & insistent naturalism which is almost Surrealist.   He largely painted portraits but also produced some fine still-lifes L&L.   His paintings have a hypnotic clarity but his sitters are strangely remote, though he excelled in conveying their intellectual qualities OxDicMod
Aim: To paint pictures he would like to own & live assuming they had been painted by somebody else OxDicMod
Verdict: Frampton was an artist of great distinction OxDicMod
Repute: He was almost entirely forgotten until a 1982 exhibition at the Tate OxDicMod.   However, he is not itemised in the Grove Dictionary.

– FRANCESCHINI, Marcantonio, 1648-1729, Italy=Bologna:

Background: He was born in Bologna Grove11 p679

Training: In the studio of Giovanni Maria Gaslli-Bibbena Galli, & then the favourite pupil of Carlo Cingrani, thereby having an artistic lineage back into Bolognese Classicism & the work of the Carracci L&L, Grove11 p679

Influences: Albani, Domenichino & Reni NGArt1986 p450, Grove11 p679, NGArt1986 p450

Career: During the 1670s he was Cignani’s principal assistant & used his cartoons. He painted the fresco cycle, Corpus Domini Bologna, 1691-6 Grove11 p679, NGArt1986p450. He helped found Bologna’s Academia Clementina & succeeded Cignani as director NGArt1986 p450

Oeuvre: Altarpieces, cabinet pictures & frescoes

Phases: In his early work he employed full-blooded colouring; but later it was lighter, more airy, softer, & sometimes delicately tinctured with greys NGArt1986 p450

Characteristics: His work featured purity of form, a distinctive elegiac mood with sveltely elegant females with graciously relaxed poses & tapered, somewhat elongated, limbs as in the work of Charles Antoine Coypel, Francois Lemoyne, & Charles Nattoire in France. He painted arcadian scenes with a barochetto mix of Baroque & Rococo NGArt1986 p450. His large Romantic History paintings were clumsy, rather empty & lacked conviction but he was especially skilled at large scale fresco decorations Haskell p225, Grove11 p679

Phases: During the 1670s he was Cignani’s principal assistant & used his cartoons. In 1690 he developed an independent practice, making a brilliant debut with [the as in] Fortuna & the Seasons, Palazzo Giustizia, Bologna, though with the help of the quadrature painter Enrico Haffner. This was a lyrical work using lustrous blond tones. He painted the fresco cycle, Corpus Domini Bologna, 1691-6 Grove11 p679, NGArt1986 p450

Status: purest Italy 17^th century Classical, but adjusted austere aims to evolving taste NGArt1986p450; Classical Grove4 p277

Status: He was a leading master of his time Grove11 p679, NGArt1986 p450.

Reception: From around 1680 he established his reputation as a painter of altarpieces & cabinet pictures & worked as far afield as Piacenza Rimini Grove11 p680

Patronage: throughout Europe NGArt1986 p450; 42 paintings for Liechtenstein’s Haskell p194

Verdict: His small mythologies were his most agreeable works Waterhouse1962 p102

Repute: He is not itemised in the Oxford Companion or in WestS1996

Studio/Pupils: His studio at Bologna was vast & he also trained his pupils at his summer villa at Bolpoggio. Giacinto Garofalini was his closest follower but he also trained Giacomo Antonio Boni, Giuseppe Marchesi & Quaglio Grove4 p277; & 11 p679, L&L

Legacy: Sometimes his work with its purity & severe figure arrangements comes close to & foreshadows neoclassicism NGArt1986 p450

Francesco. See Giorgio

***Piero della/dei FRANCESCA/FRANCESCHI, 1415/20-92:

Franceschi, Baldassare. See Il Volterrano

-FRANCIA/RAIBOLINI, Francesco, c1450-1517, Italy=Bologna:

Background: He was born in Bologna Grove11 p699

Influences: Ercole de’ Roberta, Lorenzo Costa & then Perugino & Raphael Grove11 p699, L&L, OxDicArt

Career: He was originally a jeweler & goldsmith but became Lorenzo Costa’s partner after about 1483. Frequently he served as an officer in the goldsmith’s guild & was in charge of the Bolognese mint. OxDicArt, Grove11 p699

Oeuvre: Altarpieces, smallish devotional works & few accomplished portraits together with the design of coins Grove11 p699, OxDicArt

Speciality: Altarpieces which mostly feature the Virgin & Saints Grove11 p699.

Phases/Characteristics: Initially he had a harsh style in the Ferrarese manner but later a soft, graceful though it has been asserted somewhat monotonous elegance, his most typical work being sweet, softly rounded & appealing Madonna’s as in Madonna & Child with Saints Francis & Jerome, c1513 (The Met) L&L, Brigstocke, OxDicArt, webimage. However, the accusation of monotony cannot be entirely justified if only because of his [as in] early Nativity [date wanted] (Glasgow Museum & Art Gallery), a splendidly composed work in rich colour & full of incident, & his late St Roch, 1502 (The Met).

Status/Verdict/Legacy: He was the outstanding Bolognese painter of his time though it has been [uncharitably] observed that due to changing taste his art, like that of Perugino, suddenly looked old-fashioned. Nevertheless his works were highly popular in northern Italy & his late work is often regarded as initiating Mannerist painting in Bologna [which presumably indicates his response] Brigstocke. Grove11 p699, Brigstocke

Patrons: The Bentivoglio family & after their overthrow in 1506 monastic commissions Grove11 p701

Workshop: This produced numerous Madonna’s OxDicArt

Collection: Pinacoteca Nazionale di Bologna

Sons: Giacomo, c1486-1557, & Giulio, 1487-1540, took over the family workshop & together or separately executed many altarpieces. Their work features grandiose modelling. A notable work by Giacomo is the [as in] Virgin & Child with the Infant St John the Baptist, 1540s, which is however smaller & of an intimate nature (Walters Art Gallery, Baltimore)

– FRANCIABIGIO, Francesco, c1482-1525, Italy=Florence, High Renaissance:

– FRANCIS, Sam, 1923-94, USA:

Background: Born San Mateo, California OxDicMod
Training: Under David Park in San Francisco; took an MA in Fine Arts at the University of California, 1950; & under Leger in Paris OxDicMod
Influences: Art Informel painters, & Jackson Pollock OxDicMod
Career: He studied psychology & medicine at Berkeley 1941-3, took up painting in hospital after an air force plane crash, 1944; settled in Paris, 1950; travelled around the world with a long stay in Japan,1957-8; returned to California, 1961; & settled in Santa Barbara & then Santa Monica OxDicMod
Oeuvre: Paintings in oils & watercolour, murals, lithographs from 1960, & sculpture from 1965 OxDicMod
Beliefs: “Colour is the real substance for me, the real underlying thing which drawing & line are not” MOMAH p224
Characteristics: His work has a lyrical, freshness in contrast to the prevalent heavy emotional display. He had a drip & splash technique but used paint thinly & achieved an asymmetrical balance of colour against powerful voids often leaving patches of blank canvas with his colour often confined to the edges from the mid-1960s L&L, OxDicMod
Phases: After the mid-1950s he increasingly used contrasting & enhancing areas of white MOMAH p224
Status/Grouping: He was a leading second generation Abstract Expressionist OxDicMod
Circle: Riopelle & other Art Informel painters in Paris OxDicMod

Francisco de Hollanda. See Hollanda

FRANCISQUE/MILLET, Jean-Francois, 1642-79, France (Belgium):

Background: He was baptised in Antwerp but his father was from Dijon T&C p114

Training: Flanders Allen p89

Influences: Poussin’s late landscapes Allen p89

Career: In 1659 he went to Paris where he was mainly active L&L. He entered the Academy in 1673 & painted in Flanders, Holland & England T&C p114

Oeuvre: His work conveys grandeur with its broad, simple layout, buildings with clean cut lines or more often powerful & rhythmic tall trees. Sometimes his work is bolder: vast panoramas evoking the idyllic Italian coast or a dramatic incident. The colouring is delicate & sometimes enlivened with a few central dabs of orange or vermillion T&C p114,

Style/Grouping: Some sources say he worked mainly in the style of Poussin or Duguet, or simply refer to his classical landscape L&L, Brigstocke. However, according to the Grove Dictionary, his identifiable works fall into two broad categories: works inspired by the classing influence of Poussin, & paintings of a realistic strand which derive from Flanders. His Daughters of Cecrops is an example of the former, & his Storm of the latter Grove21 p610

Verdict: He was competent but only occasionally made imaginative use of Poussin’s principles Blunt1954 p222

Progeny: His son Jean Millet, 1666-1723, & grandson Joseph Millet, 1697-1777, were also painters L&L

..Ambrosius FRANCKEN the first, 1544-1618, brother of Hieronymus & Frans I Francken, Belgium=Antwerp:

Training: Frans Floris L&L
Career: In 1566 he started work at Fontainebleau where he became painter to the king L&L
Oeuvre: Portraits & large altarpieces L&L
Speciality: Paintings of masquerades & ballroom scenes L&L

..Frans FRANCKEN, the Second (Frans the Younger), 1581-1642, Frans III’s father, Belgium:

Background: The Catholic reconquest of Flanders led to the introduction of witch burning. Philip II’s letters patent of 1590 declared witchcraft a scourge & inaugurated a long reign of terror T-R pp 66-7. In 1606 the Archdukes Albert & Isabella issued an edict against witchcraft Davidson p39

Career: He frequently painted figures for other Antwerp painters OxDicArt

Oeuvre: This included some large altarpieces & landscapes L&L, OxDicArt

Speciality: He painted numerous small cabinet pictures on religious & mythological themes, & also genre & fantastical scenes L&L. These included a notable Witches Sabbath, 1607 Vlighe p107, Davidson p40.

Phases: Initially his figures were not clearly integrated in their surrounding space & he used dullish colours. Then after 1620 his palette gradually brightened & he made effective use of luminous glaze. His settings became richly decorative & his compositions were increasingly assembled from a repertoire of elements which began with female heads & from around 1620 including men in turbans, Phrygian caps or with bald heads. However, after 1630 he adopted a brownish monotone Vlieghe pp 107-8

Characteristics: His pictures were even smaller & more crowded than his father’s. They were also more colourful OxDicArt. His paintings were in their structure, twisting movements & facial expressions in a Mannerist style. One of his trademarks was the coal-black eyes of his figures Vlieghe pp 107-8

Grouping: He was one of the remarkable Antwerp painters who blended the pre-Rubensian style in which they were trained & Baroque monumentality Vlieghe pp 42-3

Innovation: His depictions of picture galleries with their faithful miniatures of the works shown OxDicArt

Status: He was the best known member of the family L&L

Legacy: He initiated a school of minor genre painters including van der Laemen, Hieronymus Janssen, & Frans Francken III L&L

Collections: Musee Royal, Antwerp

Son: Frans Francken III, 1607-67, was a minor genre painter who made numerous copies of his father’s pictures & is best known for his portraits & genre works. He arranged his figures & light effects skilfully [& he may have been underrated] L&L, webimages

..Hieronymus FRANCKEN, 1540-1610, brother of Ambrosius I Francken & Frans I Francken, Belgium/France:

Training: Frans Floris L&L
Career: From 1566 to 1572 he was in France & from 1578 until his death at Fontainebleau. He became painter to the king in 1594 Grove 11 p716
Oeuvre: Portraits & large altarpieces L&L
Speciality: Paintings of masquerades & ballroom scenes L&L
Characteristics: The eclecticism which he learned from Floris, with its admixture of Flemish realism & Venetian colourism was tempered by a cold classicism from Fontainebleau L&L

-Claude FRANCOIS,/FRERE LUC, 1614-85, France:

Background: He was born at Amiens Grove11 p722
Training: Vouet L&L p725
Influences: Raphael, Reni & Girolamo Muziano Grove11 p722
Career: In 1734 he went to Rome, returned to Paris in 1639 & worked for Pierre Suble de Noyers & Anne of Austria on decorative scheme for the Louver etc. In 1641 he joined the reformed Francican order of the Recollects for whose monasteries he painted in France &, during 1670-1, in Quebec L&L p725, Grove11 pp 722-3
Oeuvre/Verdict: His religious subjects were largely from the life of St Francis As in Our Lady of the Rosary, 1680 (Chapel of Salpetriere, Paris) & were painted in an honest but not very inventive manner Grove11 p722

-FRANKENTHALER, Helen, 1928-2011, USA:

Background: Born in New York OxDicMod
Training: Under Rufino Tamayo at the progressive Dalton School New York; with Paul Feeley at Bennington College; privately with Wallace Harrison, 1949, & briefly with Hans Hofmann Grove11 p729,Wikip, L&L
Influences: Ashile Gorky & Pollock OxDicArt
Career: During 1950 she met the leading Abstract Expressionists Grove11 p729
Oeuvre: Paintings, prints, woodcuts & sculpture OxDicMod
Technique/Characteristics: Colour stain painting with thin oil paint & from 1962 acrylic poured & dripped on to an absorbent canvas so producing the fusion of colour & cloth. The technique produced atmospheric effects of a water-colour type as in Mountains & Sea, 1952 (NG of Art, Washington). In the early 1960s she used single stains & blots & during the 1980s he work became calmer & her colour more sombre OxDicMod, L&L Grove11 pp 729-30
Beliefs: The way in which using an undeniable flat surface a work presents an intense drama of space, movement, light etc OxDicMod
Innovations: Colour stain painting OxDicArt
Influence: On Moris Louis & Kenneth Noland OxDicMod, Grove11 p729
Husband: During 1958-71 she was married to Robert Motherwell OxDicArt

-FREAKE LIMNER/MASTER, active 1670s, USA:

Career: He worked in New England L&L
Oeuvre: Various works are attributed to him L&L
Characteristics: His portrait of the Freake family is notable for its tenderness & detailing L&L

..FREDERIC, Baron Leon, 1856-1940, Belgium; Rural Naturalism Movement

Background: He was born in Brussels Norman1977
Training: Studied at the Brussels Academy Norman1977
Influences: Frederic spent two years in Italy and became deeply influenced by 15^th century Italian painting, particularly the work of Botticelli and Ghirlandaio Norman1977
Career: He exhibited all over Europe and achieved state purchases in France as well as Belgium Norman1977
Oeuvre: Often using the format of a triptych, he imbued the work with deeper meaning through a hierarchic formalism, though with highly finished Realism Norman1977
Characteristics: Frederic’s work, largely devoted to the sufferings of the poor, has a strong political overtone Norman1977

–FREDI, Bartolo di, documented 1353-97:

-FREMINET, Martin, 1567-1619, France:

Background: He was born in Paris Grove11 p754
Training: He studied with his father Mederic Freminet, where he painted St Sebastian (untraced) for a church of St Josse in Paris before leaving for Italy around 1587.
Influences: Cavaliere d’Arpino L&L Caravaggio, Michelangelo and Spranger Grove11 p754
Oeuvre: Vault paintings, biblical themes. Figurative. Grove11 p754
Career: Around 1587-1602 he worked mainly in Rome. In 1615 he received the Order of St Michel, where the King commissioned him to decorate the chapel of Trinity at chateau of Fontainebleau. In1602 he was summoned home by Henry IV L&L, Grove11 p754
Characteristics: Vehement style with highly pliable figures. Powerfully muscular figures clothed in flying draperies Grove11 p754
Status: Mannerism; Second Fontainebleau School L&L
Lasts: His death represented the second Fontainebleau School’s end Grove11 p754
Family: He married the widow of Ambroise Dubois and had a son; Louis Freminet who became the keeper of paintings in the chapel of the Trinity Grove11 p754
Verdict: Contributed towards to the renewal of Roman Mannerism that dominated the end of the century Grove11 p754 Earned the nickname the ‘French Michelangelo’ Grove11 p754 He was even mediocre Blunt1954 p124

-FREUD, Lucian, 1922-2012, England:

Fresnaye. See de La Fresnaye

-FREUNDLICH, Otto, 1878-1943, Germany:

Background: He was born in Stolp, Pomerania OxDicMod
Career: He studied the history of art under Heinrich Wolfflin in Munich, began painting in 1905, & during 1909-14 spent much of his time in Paris where he had a studio in the Bateau-Lavoir & contributed to Cubist group shows, joined the Noverbergruppe in Berlin in 1919r, lived in Paris from 1924 to 1939 joining Cercle et Carre & Abstraction-Creation. A sculpture appeared on the cover of the catalogue for the Degenerate art exhibition & he died in Maidanek concentration camp OxDicMod, L&L
Oeuvre: Paintings, sculpture & design of tapestries, etc OxDicMod
Phases/Characteristics: He flirted with Cubism & after the Great War produced purely abstract paintings with interlocking swathes of colour OxDicMod

**FRIEDRICH, Caspar David, 1774-1840, Germany:

Background: He was born at Greifswald, a small harbour town on the Baltic. His father was a devout Lutheran & the port provided him with the fish products with which to manufacture soap & candles. It was then part of Sweden but was ceded to Prussia in 1815. However Friedrich retained a feeling of loyalty towards the Swedish monarchy Vaughan2004 pp 14-8

Training: Gottfried Quinstorp who was a Greifswald architect & university drawing master, & from 1794 to 1798 at the Copenhagen Academy. Here he was influenced by the Romanticist landscapists Lorentsen & Juel Norman1977 p88, Vaughan2004 p20

Influences: Vernet’s coastal paintings & the Baltic island of Rugen [with its spectacular chalk cliffs] to which he made many visits certainly from 1801 onwards. Soon after Friedrich arrived in Dresden he went to the so-called Saxon Switzerland between Saxony & Bohemia. Here he made many studies of the remarkable sandstone formations Jensen p64, Vaughan2004 pp 25, 42-4

Career: When he was 13 he saw his brother drown: & one who had previously saved him from drowning Vaughan2004p18. In 1798 he went to Dresden meeting. After the battle of Jena & the invasion of Germany, Friedrich became violently patriotic & told his brother not to write until he had left France. He hoped that there would be a move towards democracy but became disillusioned. In 1814 he said that as long as Germans remained the lackeys of princes, & the people had no voice, there would be no progress. He took to the hills when the French occupied Dresden in 1813. He became a member of the Berlin Academy in 1810, & at that at Dresden in 1816. Here he had been exhibiting regularly from 1799. From 1820 he shared a house & studio with Dahl. After brief fame his work was eclipsed by the Dusseldorf Romantics. During 1825-6 he had a severe illness, was in extreme poverty & began to feel persecuted. In 1835 he had a stroke Norman1977 p88, Vaughan2004 pp 45, 55, 115-6, 148, 150

Phases: Friedrich began as a topographical draftsman in pencil, pen, watercolour & sepia wash. He did not specialize in oils until about 1805 OxDicArt, Vaughan2004 pp 24, 32-3. During 1808 he displayed his first major mature & allegorical oil, The Cross in the Mountains, & around the same time he painted his first important picture with a figure viewed from behind, The Monk by the Sea & in 1812 he exhibited the first of his explicitly political pictures Tombs of Ancient Heroes Vaughan2004 pp 72, 117, 144-5. Around 1818 he painted at least four pictures in which his new wife appears. His paintings conspicuously lightened up after his marriage Jensen pp 146-7

Characteristics: A mid-air viewpoint with the foreground often absent or with an immeasurable chasm for the middle ground. His figures see more than we do. They are introspective & extraneous to & estranged from the landscape. He depicts timeless moments Honour1979 pp 78-9, 81-2. His pictures stress simple verticals & horizontals with luminous light at sunrise or sunset Norman1977 p88. Like Runge & Blake he imposed a fixed, immutable order on his scenes transcending the irregularities & flux of the commonplace world. This was the counterpart to a search for themes of elemental truth Rosenblum1975 p45

Feature: Friedrich painted works that may be termed sublime & others that may be termed be described as beautiful in a Burkian sense, & subsequently used by Kant. Although it is unlikely that Friedrich had read Kant, he was influenced by scholars who had. It was Friedrich’s practice to paint contrary & contrasting images Vaughan2004 pp 127-8, 131.

Symbolism: His paintings include the cross of faith & the anchor of hope; ships which indicate time & life; owls which are a brooding presence; Gothic church ruins which show the decline of Catholic faith; & trees indicating the living religion of nature Honour1979 p77. Friedrich’s men are often portrayed in dark coats, with hair down to the shoulders & wearing broad floppy hats. This indicates the political grouping which he favoured. Such dress had been advocated in 1814 by friend Ernst Arndt, who belonged to his circle, & was the uniform of the Lutzow volunteers Jensen pp 39, 73, 113, 128, 187-8, 192.

Beliefs: “a painter should paint not only what he sees before him, but also what he sees within himself” R&J p86. “the artist’s feeling is his law” Nototny p95. “The Divine is everywhere, even in a grain of sand”, he told Cornelius, “here I have represented it in bull-rushes” Honour1979 p77.

Personal: He was intensely introspective & often melancholic, though his marriage when he was 44 brought him much happiness OxDicArt. Around 1806 he had a period of illness, probably psychological, & was rumoured to have attempted suicide Vaughan2004 pp 88, 122. Nevertheless his melancholy should not be overestimated. Although gruff he was cheerful, witty & ironic & many of his paintings are untroubled & hopeful. Only in his last decade when he was embittered by illness & misunderstanding did his life become dark Jensen p106.

Innovation: The use of a landscape –The Cross in the Landscape- for a devotional purpose Vaughan1980 p7. This fiercely criticised by the celebrated art critic Wilhelm von Ramdohr who said that Friedrich had broken the rules of genre by which only figurative painting could treat religious subjects & that the composition was d over-simplified. Fredrick had also broken the classical rule that form should be distinct from meaning. Paintings were supposed to convey a sense of beauty whereas meaning was to be conveyed not through the expressive nature of their form but through the use of accepted allegorical & narrative conventions Vaughan2004 pp104-9. Another innovation by Friedrich was the use of a back view of an enigmatic & contemplative figure (rukenfigur) who was disrupting the view Vaughan2004 pp 177-9

Circle: He encountered the Dresden Romantic grouping around 1803. It included Runge, Ludwig Tieck, & the Schlegels. During the Napoleonic occupation of Germany Friedrich associated with writers, artists & intellectuals (including Heinrich von Kleist, the poet Theodore Korner & the politician & publicist Ernst Arndt) who were opposed to the invasion. At the time of the repressive Carlsbad Decrees, 1819, several of Friedrich’s political associates were arrested & interrogated & his friend Arndt lost his professorship Vaughan2004 pp55-61, 115-6, 145, 158

Friends: Johan Dahl, Carl Carus Vaughan2004 p196, Kent p63

Influenced: Those above, together with Kersting, Oehme, & (indirectly) Olivier, & later Munch Norman1977 pp 25, 89

Patronage & Reception: Around 1800 the financial position of artists in Dresden was not easy but the town attracted art lovers who made purchases. Friedrich sold his work largely to visitors. In 1803 his works in sepia were enthusiastically received at the Dresden Academy; & in 1805 at Goethe’s Friends of Art Competition, where he won half the prize. His gradually rising tide of success reached its high point in 1810 when The Monk by the Sea & The Abbey in the Oakwood were exhibited at the Berlin Academy, received huge attention & were bought by the future Frederick William IV. William III bought two evening scenes in 1816 Vaughan2004 pp 42, 52, 71, 115, 162

Verdict: With Runge he was the greatest German Romantic artist MET1981 p42

Reputation: He was criticised by Goethe for painting patriotic art Vaughan2004 p134. He enjoyed fame from about 1805 to 1815 but was then virtually forgotten until the Berlin Centennial Exhibition, 1906 Norman1987 p23

Collections: Hamburger Kunsthalle

Friano. See Manzuoli

..FRIESKE, Frederick/Friseke, 1874-1939, France (USA):

Background: He was born in Michigan Gerdts1980 p87
Training: In Chicago & at the Academie Julian in Paris, 1898 Gerdts1980 p87
Influences: Bonnard, Renoir & advice from Whistler Gerdts1980 p87
Career: He summered in Giverny until about 1919 when he moved to Normandy where he settled Gerdts1980 p87
Oeuvre: Paintings of women including decorative works for stores & hotels Gerdts1980 p87
Characteristics/Verdict: His women were usually depicted outside & here some of his best paintings are erotic nudes with dappled coloured lights playing on soft, relaxed bodies. The interior scenes were often domestic in breakfast rooms, boudoirs, etc. He loved light effects: sunlight pouring through windows or figures silhouetted in doorways. Frieske was fond of pinks, violets & whites, & colourful decorative costumes set against patterns & foliage, sometimes with a multi-coloured umbrella for further effect. His paintings are never profound Gerdts1980 p8, &1984 pp 238-42
Grouping: American Impressionism Gerdts1980 p87
Reception/Repute: His work was admired in France & Italy; a Salon exhibit was purchased by the state in 1904 but by the mid-1920s his painting began to viewed as old-fashioned Gerdts1980 p87

-FRIESZ, Othon, 1879-1949, France:

Background: Born Le Havre OxDicMod
Training: Ecole des Beaux-Arts, Le Havre, 1896-9, where he became a friend of Duffy; & then at the Ecole des Beaux-Arts, Paris, 1899-1904 OxDicMod
Career: From 1929 he taught at the Academie Scandinave in Paris & during 1941-4 at the Academie de la Grande Chaumiere. In his final years he often painted on the Normandy coast. With Dufy he painted a large mural at the Palais de Chaillot, 1937-40 OxDicMod
Oeuvre: Landscapes, portraits, figure compositions, still-life’s, graphic art & design OxDicMod
Phases: Initially Impressionism; from 1905 to 1907 Fauvism from which his best work dates; then a more traditional & solidly constructed style under Cezanne’s influence; & from 1911 looser & freer handling OxDicMod
Circle: That of Matisse OxDicMod

*FRITH, William Powell, RA, 1819-93, England; Victorian Modern Life;

Background: He was born at Aldfield near Ripon. His parents were in domestic employment before taking a hotel in Harrogate in 1826. They encouraged him to become an artist, though he wanted to become an auctioneer Grove11 p795.

Training: At Sass ‘Academy, 1835-7, & the RA Schools, 1837 Grove11 p793

Influences: His friend John Leech & his Punch cartoons & Wilkie’s crowd scenes. The example of the Pre-Raphaelites led Frith to brighten his palette & sharpen his detail. Also, Maclise Grove11 p793, Treuherz1993 p106, Frith p92

Career/Oeuvre: Initially he was a portrait painter; first exhibited at the RA, 1840; established himself with entertaining historical & literary subjects during the 1840s; was elected an RA, 1852; visited Ramsgate, 1851; after much hesitation, produced his first ambitious modern-life work [as in] Life at the Seaside/Ramsgate Sands 1854 (Buckingham Palace); went on to produce other contemporary subjects while continuing to paint literary subjects until 1909. However, he left the RA in 1890, & largely turned to autobiography & other literary activity Grove11 p795-7, Brigstocke

Characteristics/Development: Life at the Seaside has light, delicious paintwork & Derby Day has clear colours, but his later big contemporary scenes are rather wooden. His big paintings of modern life are crowded with figures & those depicting popular locations feature diverse social types & different social classes in close proximity. After 1867 at least some of his paintings cease to display his fluent composition & inventiveness of his best works Treuherz1993 pp 107-8, Norman1977 p89, Grove11 p793, web images

Circle/Friends: The Clique, Dickens, Egg Grove11 p795, Frith p109

Reception/Influence: Life at the Seaside was purchased by the Queen; & Derby Day, 1858, was the first RA picture since 1822 to have a railing & a policeman Grove11 p793, Treuherz1993 p106-8.

Influence: His modern life works led to a flood of crowd & other modern scene paintings by George Hicks, etc Treuherz1993 pp 108-9

Repute: Clive Bell singled out Frith’s Paddington Station to exemplify painting that did not qualify as a work of art because, despite the pleasure it gave him, line & colour were not being used to provoke “aesthetic emotion” BellC pp 17-8.

Feature: Despite his moralistic paintings he had a mistress: Mary Aldford his former ward, who lived a mile from his house & by whom he fathered seven illegitimate children Wikip

..FROHLICHER, Otto, 1840-90, Germany:

Background: He was born at Solothurn Norman1977
Training: From 1859 at the Munich Academy under Steffan, & during 1864-5 at Dusseldorf under Achenbach Norman1977
Career: He mainly worked in Munich & during 1876-7 visited Paris & Barbizon Norman1977
Oeuvre: Alpine landscapes of the Norman1977
Friends: Thoma (close) Norman1977
Grouping: Stimmungland schaft Norman1977

FROMENT, Nicolas, active 1450-90, France:

Background: He probably came from Artois or Picardy Grove11 p799
Influences: The Master of Flemalle or the Rogier van der Weyden’s early workL&L
Career: He worked in Belgium settled in Provence, 1462-5, & was at Avignon in 1468 & 1472 Grove11 p799.
Oeuvre: Altarpieces & religious works, portraits & donor portraits, & design work Grove11 p799. L&L
Characteristics/Phases: His first known work the Raising of Lazarus,1461, has distinctive grimacing, gesticulating figures & intense realism. Around 1470 his work shows a new concern for space & an increased interest in monumentality which intensified Grove11 p799
Patrons: Rene I, Duke of Anjou. 1475-9, etc Grove11 p799

-FROMENTIN, Eugene, 1820-76, France:

Background: Born La Rochelle, the son of a doctor who directed the local mental hospital & who was a skilled amateur artist Grove11 p800, ThompsonJ p78

Training: With the Neoclassical landscape painter Jean-Charles-Joseph Remond & the more naturalistic Nicolas-Louis Cabat Grove11 p800

Influences: A love of natural beauty induced by the sweeping skies of his native Charente, & the rough impasto of Decamps, Diaz & Marilhat Grove11 p800

Career: In 1839 he went to Paris to study law but turned to painting; visited Algeria, 1846; first exhibited at the Salon, 1847; retuned to Algeria, 1847-8 & 1852-3; visited Egypt with Gerome & Narcisse Berchere, 1869; & went to Venice, 1870 Grove11 p800, ThompsonJ pp78

Oeuvre: Paintings together with travel books, a novel & art history including the previously neglected Vermeer Grove11 pp 800-1

Phases: Around 1850 he began establishing himself as an Orientalist & tried to paint Provencal peasants. The vigorous impasto of his early Algerian works was replaced by a softer mature style. In the late 1860s he pursued greater drama through battle scenes & centaur paintings, but then returned to the evocation of place & atmosphere Grove11 p800-1

Characteristics: His Orientalist works often have big & important skies filled with luminous silvery light as in Falcon Hunt, Algeria Remembered, 1874 (NG Ireland), & the companion but earlier Heron Hunt, 1865. They are exact, real & striking yet invented. [This luminosity calls to mind the works which were being produced by those who belonged to the Luminist Movement in America & Russia.] His works have a wistful sadness due perhaps to his love for the Orient to which he was so attached but in which he spent so little time ThompsonJ p87, Brigstocke, webimages, See Luminism in Section 8.

Collections: NG of Ireland

-Sir Terry FROST, 1915-, GB:

Background: Born Leamington Spa OxDicMod
Training: Evening classes when young.   Then in 1946 at the St Ives School of Art , & 1947-50 under Coldstream & Passmore (his God) at Camberwell School of Art OxDicMod
Career: He worked at various jobs mainly connected with electricity & radio. Not until 1943, when imprisoned in Germany, did he take up painting under the encouragement of Adrian Heath.   In 1951 he was Barbara Hepworth’s assistant.   During 1952-4 he taught at the Bath Academy of Art, at Leeds College of Art, 1956-9, & at Reading University, 1965-81 OxDicMod
Characteristics: Initially sober Euston Road realism but he soon turned to abstraction, though he avoided geometrical regularity & used patterns of interlinked shapes, strongly outlined.   However, his work was based on observations of nature, often at St Ives harbour OxDicMod.   His paintings had exceptional energy & rhythm L&L.
Grouping: The St Ives School, of which he was a leading artist OxDicMod

..William FROST 1810-77, GB:

Training: 1829 at the RA WoodDic
Influences: Etty of whom he was an early protégé WoodDic
Career: He exhibited at the RA from 1836 until his death & became an RA in 1870. In 1843 he won a prize in the Houses of Parliament competition & left portraiture for sylvan & bacchanalian subjects mainly drawn from Milton & Spencer WoodDic
Oeuvre: Portraits, mythological & historical subjects WoodDic
Characteristics: His chaste nudes did not give offence Wood1999 p22

-Rueland FRUEAUF, the Younger, 1470s-1545, Austria:

Background: His father Rueland the Elder, c1445-1507, was a fresco & panel painter whose work became increasingly expressive Grove11 p806

Career: He acquired citizenship of Passau not later than 1497 Grove11 p806
Oeuvre: Altarpieces Grove11 p806
Characteristics: His paintings have a strong element of landscape & architecture, often with small mobile figures. The large curves & concentric composition in his landscapes are highly expressive Grove11 p806.
Innovations: The Boar Hunt, c1505. as in the Belvedere, Vienna, is probably the first German spring scene to be observed from nature Brigstocke.
Grouping: He was a forerunner of the Danube School Brigstocke.
Collections: Augustinian foundation of Klosterneuburg, & the Belvedere, Vienna

*FRY, Roger, 1866-1934, England:

Introduction: This only deals with his work as a painter & involvement in related activities.   For his other activities & biographical details See Section 4.  He regarded his painting as a crucial activity Grove11 p809
Training: After Cambridge he trained as a painter under Francis Bate who had trained in France & come into contact with Impressionism, & he then spent two months at the Academie Julian in Paris Grove11 p809, Spalding1980 p29
Influences: Turner Mantegna Spalding1980 pp 33,200
Career: He went to Italy in 1891 where he painted sketches in oils & in 1893 joined NEAC, exhibiting   regularly until he resigned in 1908 after the rejection of work Spalding1980 pp 31-33, 43, 106
Oeuvre: Landscapes, still-life & above all portraits
Beliefs: The only aim worth pursuing in portraiture is “imaginative characterisation” Spalding1980 p200
Characteristics: In his portraits he exaggerated aspects of the sitters’ appearance & to reveal character & used pose & design for effect as in his Edith Sitwell, 1918 (City Art Galleries, Sheffield) which conveys her eccentric, quizzical character as indicated by an over-long finger pointed to her face. In his portraits he employed a striking & effective broad-brush approach  Spalding1980 pp 200-201, Pl 35, 39, webimages
Phases: During the early 1890s Fry turned away from modern painting, his work lost direction & made a detailed study of the techniques of the Old Masters & painted as if the Impressionists had never existed. He produced derivative paintings of Italian villas & their gardens which were meticulously designed & laboriously executed. Such work is represented by the [as in] Pool, 1899 (Private). During his Post-Impressionist phase, he painted landscapes of a simplified & highly structured type in which different sections were delimited using a cloisonne technique as in Studland Bay, 1911 (Rochdale City Art Gallery)  Spalding1980 pp 42, 71
Technique: He painted extensively en plein air Spalding1980 pp

-Rueland FRUEAUF, the Elder, c1447-1507, Austria=Passau:

Career: He appears to have been in Salzburg during 1470-80 but painted in Passau in 1481 & reacquired citizenship there Grove11 p806
Oeuvre: Frescoes & altarpieces Grove11 p806
Phases: Initially he worked in a manner derived from Rogier van der Weyden but in the 1790s he changed to a more classicizing & monumental style influenced by Michael Pacher Brigstocke, L&L.
Status: He was the leading master in Salzburg & Passau L&L
Works: Alterpiece panels, 1490-1 (Belvedere, Vienna). These are his only works that are firmly known Grove11 p806
Crucifizion, c1470 (Belvedere, Vienna)
Virgin of the Ears of Corn, c1495 (Carolino museum, Salzburg)
Man of Sorrows, c1500 (Alte Pinakothek, Munich). This painting reveals Pacher’s influence Brigstocke

-Rueland FRUEAUF, the Younger, 1470s-1545, Austria=

Career: He acquired citizenship of Passau not later than 1497 Grove11 p806
Oeuvre: Altarpieces Grove11 p806
Characteristics: His paintings have a strong element of landscape & architecture, often with small mobile figures. The large curves & concentric composition in his landscapes are highly expressive Grove11 p806.
Innovations: The Boar Hunt is probably the first German spring scene observed from nature Brigstocke.
Grouping: He was a forerunner of the Danube School Brigstocke.
Collections: Augustinian foundation of Klosterneuburg
Works: St Leopold with Anna Selbdrill, 1507 oil & tempera (Belvedere, Museum Mittelalterlicher Kunst, Vienna)
St Anne, the Virgin & the Christ Child, 1508 (Belvedere, Vienna)

..FRYE, Thomas, 1710-62, GB/Ireland:

Career: He went to London in the mid-1730s. Between 1744 & 1759 he was absorbed in founding & managing the Bow porcelain factory Waterhouse1953 p210
Oeuvre: Portraits, miniatures, & mezzotints Waterhouse1953 p210
Verdict: His later work was more advanced than Hudson’s & he was never uninteresting Waterhouse1953 p210

..FUGER, Heinrich Friedrich, 1851-1818, Austria:

Background: He was born at Heilbronn Norman1977
Training: Stuttgart, Leipzig with Oeser, & then Dresden Norman1977
Influences: The English school Norman1977
Career: In 1774 he went to Vienna but was in Italy from 1776 to 1783 Novotny p63.   He retuned to Vienna as vice-director of the Academy & became director in 1795.   However in 1806 he transferred to the directorship of the imperial gallery, partly because of criticism from the rising anti-academic movement Grove11 p817
Oeuvre: Portraits Norman1977
Phases: He was initially a miniaturist Norman1977
Characteristics: His treatment of paint was fluid & echoed the Austrian Baroque tradition from which he derived the charm of a cultivated use of colour &, in some sketch-like historical scenes & portraits, a harmonious golden-brown sfumato.   He thus converted Baroque vigour & mysticism into a gentle refinement Novotny p63, Norman1977.
Circle: In Italy he was in contact with Mengs, David, Kauffman & Gavin Hamilton Grove11 p817
Status: He was the leading figure in Austrian painting & between about 1783 & 1818 was the dominant influence at the Vienna Academy Novotny p62, Norman1977
Grouping: Neo-classical Norman1977
Influence: This was decisive for Austrian art because he was the legatee of its late Baroque Novotny p62.    It was in reaction to Fuger’s teaching that Pforr & Overbeck left for Rome in 1809 Norman1977

..FUGERON, Andre, 1913-68, France:

Background: He was born Paris into a working-class family OxDicMod
Influence: David in Fugeron’s mining pictures OxDicMod
Career: During 1930s drawn into left-wing politics; after War official painter of France Communist Party; series of painters of miners & their harsh conditions; 1953 anti-American Civilization Atlantique; this attacked by old ally Aragon for its anti-Realist montage technique but possibly because F had denounced Picasso’s portrait of Stalin OxDicMod
Innovations: use of disjointed popular imagery for political commentary OxDicMod

..FUHRICH, Josef von, 1800-76, Austria:

Background: Born in Kratzau, N. Bohemia, the son of a village painter Norman1977
Influences: Fuhrich was much influenced by the writings of Schlegel, Novalis and Tieck, as well as the work of Dürer Norman1977
Oeuvre: A sensitive draughtsman and a prolific but uneven painter Norman1977
Career: Sent by Metternich to Rome in 1827 Fuhrich met the Nazarenes and completed the frescoes begun by Oerbeck for the Casino Massimo. After returning to Prague in 1829 Fuhrich was summoned by Metternich to Vienna where he became professor at the academy in 1840 Norman1977
Characteristics/Repute: Fuhrich’s gentle religious works, which echo the early Italian masters, achieved an international reputation. His drawings and prints earned him the nickname ‘the theologian with the pencil.’ Norman1977

*FULLER, Isaac, c1606-72, England, Baroque:

Teacher: Perrier in France before 1635 L&L
Career/Collection: He mainly worked at Oxford & he painted untraced altarpieces for Oxford colleges & large pictures of Charles II’s adventures after Worcester, now in the National Portrait Gallery. In London he produced decorative murals especially in taverns HookJ p186, L&L, Wikip
Oeuvre: Large historical, mythological & biblical subjects, also decorative murals & etchings Grove11 p833, HookJ p186, Wikip
Characteristics: Bravura portraits with unusual features such as curious head-dress & double header, one upside down below the other. His Charles II paintings are dramatic, well-composed, current history paintings, in bright colours with landscape backgrounds as in King Charles II in the Royal Oak L&L, wikip
Innovatory: His vividness & lack of quietude contrast with the quiet pose & gesture of Van Dyck & Dobson Waterhouse1953 p89
Feature: He was a drunkard & increasingly besotted L&L, Waterhouse 1953 p89
Influence on Lely Waterhouse1953 p89
Repute: He has been accorded too little recognition, though it is conceded that his Self-Portrait (Bodleian Library, Oxford) is strangely moving See W&M pp 187, 291-2

-FULTON, Robert, 1765-1815, USA:

Training: Under West L&L
Career: After painting portraits & landscapes, he was in 1786 sponsored to study in London. He exhibited at the RA & went to Paris for seven years. There he was manly occupied with the successful development of a steam submarine & he later gave up painting I&C pp75-6, L&L

..FUNI, Achille, 1890-1972, Italy:

Background: He was born at Ferrara Ateneum p89
Training: At Ferrara & then at the Brera Academy Atheneum p89
Influences: Initially Futurism & in the 1930s Pompeian murals Ateneum p89
Career: After war service he settled at Milan. In 1920 he wrote a manifesto with Luigi Russolo & Mario Sironi etc opposing Valori Plastic aesthetics & championing modern art with influences from the 15^th century. In 1922 he cofounded Novecentro. He taught fresco at the Brera Academy from 1939, taught painting at Bergamo, returned to teach at the Brera in 1947 & was the academy’s director during 1957-61 Ateneum p89
Oeuvre: Oils & murals Ateneum pp 38-9, 89.
Characteristics/Phases: A restrained & harmonious style derived from past & modern art. In the 1930s he concentrated on murals both religious & secular displaying an idealizing realism with mythic elements. In the 1960s he returned to the decoration of public spaces Ateneum p89
Status: Classified with Neue Sacklichkeit Hayward1979 p10

-FURINI, Francesco, 1603-46, Italy=Florence:

Career: In 1633 he temporarily became a priest due to a crisis of conscience & only painted religious works L&L
Speciality: Cabinet pictures of morbidly brooding nudes in half-length & against a dark background, executed in delicate but extreme sfumato L&L
Oeuvre: He also painted frescos L&L

**FUSELI, Henry (Johann Heinrich) 1741-1825, England (Switzerland):

Background: He was born in Zurich & belonged to a family which had produced artists from the 15^th century. His father Johan Caspar, 1706-82, was a portrait & landscape painter who insisted that his son train for the priesthood Grove11 p637, DIA p121, Solkin p2015 p168

Training: He had no formal training & was self-taught Grove11 p860

Influences: Jacob Bodmer & Johan Breitinger, who emphasised the role of emotionalisn & anti-rationalism in art & were greatly interested in Shakespeare & Milton, etc. They taught at the Collegium Carolinum, Zurich, where Fuseli trained as a Zwinglian minister Myrone p12, DIA p121, Vaughan1978 p48. Another influence was Rousseau on whom he published an anonymous pamphlet in 1767. Le Nouvelle Heloise was one of his favourite books throughout his life. He greatly admired Sterne not only for Tristram Shandy but also for his emotional sermons one of which he translated. In Rome he was overwhelmed with the heroic drama of Michelangelo’s Sistine Chapel frescoes Antal 1956 pp 15, 146.

Career: He was ordained into the Zwinglian ministry, 1761. In 1763 he went to Berlin & helped to illustrate Bodmer’s Noachide & then to London where he translated Winckelmann; acted as a travelling tutor to Earl Waldegrave’s son; & encouraged by Reynolds began oil painting. During 1770-78 he visited Venice & Naples but was mostly in Rome studying painting, making drawings & sending paintings, etc, back to London to which he returned in 1779. In 1880 he began exhibiting regularly at the RA, gaining fame with the [as in] Nightmare, 1782 (Detroit Institute of Arts). Boydell commissioned nine works for the Shakespeare Gallery & he became an RA in 1790; & opened the Milton Gallery helped by his friend William Roscoe of Liverpool. However, it failed & in 1799 Fuseli became Professor of Painting at the RA, Keeper, 1804, & Professor again 1810. Meanwhile though married to a rather prosaic woman he had an affair, one of several, with Mary Wollstonecraft, 1790, Grove11 p 858, 860; DIA p121, Webb p151, Woolstoncraft pxxi

Oeuvre: Oils & drawings in chalk, pen & ink, pencil & wash, & mezzotint Antal1956 Illustrations

Concerns: He was greatly worried by the increasing competition between artist, & he abhorred vague speculation & the development of Romanticism Craske pp 35-6, Vaughan1979 p48. Fuseli was temperamentally & intellectually pessimistic. Through egocentricity & jealousy he liked to feel himself more isolated than he was. His love for Anna Landolt was rejected during his 1779 Swiss visit. Fuseli associated with but feared clever women. He was haunted from his youth by his conception of haughty & lascivious women Antal1956 pp 29. 76,136; Myrone p70

Aim: To be the greatest artist of the age Myrone p11

Characteristics: Although he had little sense of colour or feeling for brushwork or the quality of paint, his paintings convey emotion in oils which are of a highly dramatic nature containing contorted &/or gesturing humans together with diabolic animals of dream & legend as in The Nightmare, & The Mandrake, 1785 (Yale Centre for British Art), & Thor Battering the Midgard Serpent, 1790 (RA). In his works he employed extreme chiaroscuro & many works are hopelessly darkened by bitumen. They also have unexpected foreshortening, together with leaps of scale & contrasting forms as in Titania & Bottom, 1789 (Tate Gallery). His work features original subjects & inventive interpretations, especially in his drawings, & he was obsessed by female dominance as in The Fireplace, 1798 (Private) which he indicated by commanding height, but also submission as in Wolfram Looking at his Wife whom he has imprisoned with the Corpse of her Lover (Private). He produced striking erotic drawings of prostitutes & heterosexual activity, as in Courtesan with Feathers, a Bow & a Veil in her Hair, c1805 (Kunsthaus, Zurich); & Man with Three Women, c1810 (BM), Boase p6, DIA p121, Solkin 2015 p184, Lucie-S1991 pp 112-3.

Innovation: Along with Johan Sergel his work displays the most striking combination of Neoclassicism & eroticism which as in Sturm und Drang anticipated Romanticism & exemplifies the idea of the original artist able to convert his experiences & emotions into art through the power if his imagination Lucie-S pp 110-111.

Circle: Johann Lavater was a friend from the Collegium who wrote on emotional expression & phrenology was a friend from the Collegium.

With his talent for self-promotion Fuseli became the central figure in Rome of a group of artists who saw themselves as revitalising tired European art through their own dynamism & turned to hitherto largely neglected horrific Biblical episodes together with dramatic literary sources ranging from Homer to Shakespeare & Milton. His followers & friends in Rome, & then in Britain, included Johann Sergel, Nicolai Abilgard, John & Alexander Runciman, Thamas Banks, George Romney, James Barry & James Northcote DIA p121, Solkin2015 pp 168-69, Grove11 p858

Grouping: Along with Mortimer, Runciman & Romney, he was one of the artists associated with Romantic Neo-Classicism Grove27 p154

Verdict: He was undoubtedly the most remarkable artist of his era Vaughan1978 p48. His depiction of women reflects the general concern about their increasing power Myrone p70. The erotic drawings are among Fuseli’s finest productions Webb p158

Patrons: Joseph Johnson, Thomas Coutts, William Roscoe & William Locke Grove11 p 858

Follower: Theodor von Holst Antal1956 p149

Repute: He was remembered as the 19^th century progressed for hob goblinry. Fuseli was then nearly forgotten until a renewed interest in his work by Sacheverell Sitwell in 1937 & a more general focus on it associated with Surrealism Sitwell p56, Myrone p6

-FYT, Jan/Joannes, 1611-61, Belgium=Antwerp; Baroque:

Background: Born Antwerp, the son of a wealthy merchant Grove11 p871, Wikip
Training: He was apprenticed to Hans van den Berghe who had trained with Rubens, & then entered the studio of Frans Snyders Grove 11 p871, Wikip, Brigstocke
Influences: Dutch painting L&L
Career: In 1629-30 he became a master in the Antwerp Guild of St Luke; went to Paris 1633; worked for the Segredo & Contarini families in Venice, 1634; resided in Rome, 1635; joined the Benvueghels; probably visited Florence, Genoa & Naples; & was back in Antwerp by 1641. In 1650 he joined the Guild of Romanists consisting of notables & artists who had been in Rome Wikip, Grove 11 p871
Oeuvre: Paintings of hunting scenes, trophies of the hunt, still-life, & works featuring dogs, birds & other live animals; together with etchings  webimages, Wikip
Characteristics: His works often feature a dirty brown or grey background or have sections of these colours.   His pictures are usually enlivened with highlights of white yellow or green, or contain red areas.   The works are of a decorative, well-composed, all-over type crowded with close up detailing & a meticulous depiction of surfaces using nervous brushstrokes webimages, Grove11 pp 871-2, L&L
Innovation: He was the first artist to depict game not on the indoor table top but outdoors where it had been hunted Wikip
Grouping: Baroque Wikip
Pupils: Jeronimus Pinkaert, Pieter Boel & Jacques/Jacob van de Kerckhoven  Grove11 p871, Wikip