SECTION 1: Key Information by Painter P-R

Pittura

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.

 

CONTENTS: SURNAMES  BEGINNING WITH LETTERS:

P Q R

– PAALEN, Wolfgang, c1906-59, Mexico etc:

Background: He was born in Vienna Grove 23 p697
Training: Mainly self-taught Grove 23 p697
Influences: Archaic art Grove23 p697
Career: From 1920 he painted in France, Italy, Germany, Switzerland & Czechoslovakia .   He worked with the Suri dependants in Paris, 1932-5, joined Abstraction-Creation in 1934, but was then primarily associated with the Surrealism.   In 1939 he settled permanently in Mexico, & founded & edited an international art magazine, 1942-4.   He committed suicide  Grove23 p697, L&L
Oeuvre: Paintings & sculptures from objects troupes Grove23 p697
Characteristics/Phases: His Surrealist works often represent semi-human, semi-animal figures, so-called Saturnine Princes,  clawed & close packed in a jungle setting.   After 1945 he painted abstract works of peculiarly violent type .  His works of the 50s are close to Tachism but with a Surrealist emphasis on visionary qualities & mental states L&L, Grove23 p697.  Paalen’s paintings are extraordinarily various Webimages
Beliefs: Art is  a process of spiritual transformation Grove23 p697
Innovations: He is generally credited with inventing fumage, i.e., drawing the smoke patterns from candles Grove23 p697
Friends: Diego Rivera, Miguel Covarrubias, Max Ernst, Joan Miro & Alberto Giacometti Grove23 p697
Verdict: His contribution to painting is limited by his idiosyncratic methods & imagery Grove23 p698

PACHECO, FRANCESCO 

IL PADOVANINO/VAROTARI, Alessandro, (see Il)

.. PADUA, Paul, 1903-81, Germany: National Socialist

Background: He was born Salzburg.   His upbringing was in poverty with grandparents in lower Bavaria Wikip
Influences: Leibel Wikip
Career: He moved to Munich & became an official war painter but appears to have soon returned to Germany after injury.   In 1943 he moved to Austria but in 1951 returned  to Germany.   He opened his own art gallery but continued to paint Wikip
Characteristics: His women were painted in coolly, classical, photographic style Grove 22  p711
Status: Padua painted some of the most famous Nazi propaganda pictures Wikip

.. PAGE, William, 1811-85, USA:

Background: He was born at Albany, New York Norman1977
Training: He was largely self-taught but was  briefly at the National Academy of Design under Morse, 1843 Norman1977
Influences: Descriptions or Titian’s work inspired his colourism Norman1977
Career: He settled in Boston in 1843 & spent 1850-60 in Italy.   During 1871-3 he was president of the National Academy.   He became a Swedenborgian in later life Norman1977
Oeuvre: portraits & history paintings Norman1977
Characteristics: He was a colourist with a free & distinctive treatment of paint.   There are mystical elements in his subject paintings Norman1977

–PALADINO, Mimmo/Domenico 1948-, Italy:

Background: born Paduli, near Benevento L&L
Career: He spent most of his youth in Naples & has made trips to Brazil OxDicMod
Oeuvre: Paintings & sculpture OxDicMod
Characteristics: He favours vivid reds & yellow-golds, frequently using mask images.   His work a wide range of references including African cave paintings, Gothic sculpture, 14^th century florentines freescoes & the Roman mysteries in Pompeian wall paintings OxDicMod.   His works have a marked theatrical & mythical character L&L. They are full of suggested imaginary rituals drawing on Catholicism & animism seen in Brazil OxDicMod
Repute: His work tends to be most admired by those who celebrate the painting revival of the 1980s OxDicMod 

Pala Sforzesca.   See Master of the…

 –PALERMO, Blinky/SCHWARZE, Peter, 1943-77, Germany:

Background: Born Leipsig OxDicMod
Training: At the Dusseldorf Academy under Beuys, 1963-4 OxDicMod, L&L
Career: He died suddenly from alcohol & substance abuse OxDicMod
Oeuvre: Paintings & works fabricated from materials like sticks & T squares, etc OxDicMod
Characteristics: His work went through many phases but was mainly abstract & colourful L&L
Circle: Richter, Polke & Knoebel OxDicMod

-Filippo PALIZZI, 1818-99, Giuseppe’s brother, Italy:

Background: Born Vasto/Chieti, the son of a lawyer Norman1977, Wikip

Training: Briefly at the Naples Academy,1837; then at the free school led by Guiseppe Bonolis where plein air painting was taught Norman1977, Grove23 p851

Influences: The School of Posillipo’s devotion to plein air painting & the principle of the literary critic & historian Francesco de Sanctis that artistic form should depend on content.  He was well informed about French artistic developments through Guiseppe, etc  Norman1977, Grove23 pp 851-2

Career: He went Moldavia, Constantinople. Greece & Malta, 1842; was already exhibiting Realist landscapes by 1845; visited Holland, Belgium & France, met the Barbizon painters,1855; opened a school for young painters in his studio, 1761; helped found the Societal Promo trice di Belle Arti di Napoli, around 1862; was director of the Naples Academy, 1878-80, but retired disliking its bureaucratic ethos.    Grove23 pp  851-2, Norman1977

Oeuvre: He devoted his life to painting from nature, painting landscapes & animals, though he also produced some current history paintings of events in 1848, together with portraits of Boyars in Moldavia  Norman1977, Grove23 p851

Characteristics/Phases: He painted directly in colour without the Classical accent on outline & he deliberately restricted his choice of subjects.  His finish was meticulous & his brushstrokes minute.  Subjects were carefully observed with attention to the subtlest light effects & his work reflects his emotional commitment.   Even in his sketches he distributed patches of light & shade in a harmonious & striking manner.  After 1854 his style changed his views became more detailed & brilliantly illuminated as in Landscape, 1854 (Galleria Nazionale d’Arte Moderna, Palazzo delle Belle Arti).  Another notable [as in] work is After the Flood, 1864 (Museo di Capodimonte, Naples).   From 1864 he intensified his study of indoor lighting  investigating reflections & figures seen against the light.  Latterly his approach became less analytical & broader style although there was no great change Norman1977, Grove23 pp 851-2

Verdict: His unfinished studies from nature are often preferred to his finished studio works Norman1977

Influence: He was particularly important in the development of Italian Realism from the mid-19^th century & influenced younger landscapists, notably de Nitis, Michele Comarono, Marco de Gregorio; & the historical painters Morelli & Saverio Altamura Norman1977, Grove23 pp 850, 852.

Grouping/Innovation: He pioneered Italian Realism  but had few direct contacts with the Macchiaoli who unlike Filipo used large areas of colour Norman1977, Grove23 p852.

Collections: The Galleria Nazionale d’Art Moderna, Rome; Instituto di Belle Arti, Naples.

Brothers: Francesco Paolo, 1825-71 specialised in still-life.  Nicola, 1820-77, painted highly romantic landscapes with sunsets or violent storms, or scenes featuring hushed contemplation in an almost impressionistic style Grove23 p854

-Giuseppe PALIZZI, Filippo’s brother, 1812-88, France (Italy):

Background: Born Lanciano, the son of a lawyer.  A melancholic mood was a feature in Italian historic landscape from the mid-1820s Wikip, Grove23 p850

Training: At the Naples Academy from 1836 as an external student under Anton Pitloo & then Gabriele Pitloo Grove23 p850

Influences: Troyon, Dupre, Theodore Rousseau, Courbet & the animal scenes of his brother Fillippo Grove23 p851, Norman1977

Career: Initially he embarked on legal studies but turned to art.   He went to France & settled at Passy at the edge of the Fontainebleau Forest,1844; exhibited frequently & successfully at the Salon.  However he frequently returned to Italy Grove23 p850, Wikip

Characteristics: Landscapes of a Barbizon type which were academic but infused with a Romantic melancholic spirit & notable for directly observed natural light.  He tended to work in an impetuous style Grove23 p850, Norman1977

Phases: He began by painting historical landscapes influenced by the School of Posillito as in Dream of Cain the Fratricide, 1841 (Capodimonte, Naples?).   His early French works as in Gypsy Camp, 1845 (Capodimonte) , have intense green colouring.  From around 1850 his works displayed  a softer luminosity closer to the style of Daubigny & Corot.  They featured swift drawing, light brushstrokes & skimming dappled light as in Return of the Cattle,1853 (Private).   Finally, he gave up Romantic painting & turned to realistic scenes of villagers & animals as in Woodcutter in the Forest of Fontainbleu1886  (Capodimonte, Naples?) Wikip, Grove23 p851, & See Section 8 for the School of Posillito

Circle: Constant Troyon & other Barbizon painters Grove23 p 850

Influence: He was particularly important in the development of Italian Realism from the mid-19^th century Grove23 p850.

-PALMEZZANO, 1459/63-1539, Italy:

Career: Pupil & assistant to Melozzo da Forli; largely executed Melozzo’s vault fresco at Loreto, S. Castlea L & L

-Antonio PALMA/NIGRETTI. c1513-after1575, Palma Giovanne’s father, &  nephew of Palma Vecchio,  Italy=Venice: Italy=Venice:

Background: He was born at Serina, near Bergamo Grove23 p877
Training: Apprenticed to Bonifazi de’ Piatti who was foreman in Palma Vecchio’s workshop & worked with facility in a fully modern, fluent & attractive Titianesque manner Freedberg pp 231, 384, Grove23 p877
Career: He married Bonifazi’s niece & inherited his shop.  His works are in many Venetian churches  Grove23 p384, L&L
Oeuvre: Religious paintings & allegories with works in numerous Venetian churches L&L
Characteristics/Phases: He worked ably in a Bonafazio-like style but then in a more Tintoresque manner Freedberg p384, Webimages

-PALMA GIOVANE/NIGRETI, Jacopo, the Younger, c1548-1628,  Antonio Nigreti’s son & Palma Vecchio’s great-nephew, Italy=Venice:

Background: Born Venice, the son of Antonio Palma Grove23 p878

Training: He appears to have been virtually self-taught apart from a few months under an unknown artist in Rome Grove23 p878

Influences: Primarily Tintoretto but also Titian, Veronese, Taddeo & Federico Zuccaro, Bassano & Mannerism, although the Roman tendency to avoid its most artificial & decorative aspects affected his mature works Freedburg pp 384-5, Grove23 p878

Career: Initially he was supported by Guidobaldo II, Duke of Urbino; spent four years in Rome; returned to Venice probably in the early 1570s; first painted in the Great Council Hall of the Doge’s Palace, around 1578; & decorated oratory of the Croficiferi, 1582-93, producing some of his finest work.  Around 1595 he was commissioned to paint four works in the Sala del Senato of the Ducal Palace Grove23 pp 878-79, L&L p512

Oeuvre: It was prolific & included religious works, current history, allegorical works, & some portraits L&L, Grove23 p878, webimages

Characteristics: His paintings are highly dramatic because of their subject matter, &/or due to their composition with gesturing, twisting, inclined, interacting figures, or heavenly apparitions, employing marked chiaroscuro as in his Doge Pasquale Cogona , c1505 (Sala del Senato, Doge’s Palace, Venice, which contains all these features. webimages, Grove25 p879

Phases: Mannerism before his return to Venice & in his first work in the Doge’s Palace. After his return to Venice  his surfaces became more thickly impacted, he placed more emphasis on light & used looser brushwork following Veronese & Tintoretto & occasionally Jacopo Bassano Grove23 p878, L&L

Anticipations: His [as in] St James in Glory, c1588 (S Giuliano, Venice) foreshadows the Baroque Grove23 p878

Patrons: The Venetian government; Counter-Reformation clergy; & innumerable commissions by princely families throughout Italy & abroad, including the Emperor Rudolf II & King Sigismund III of Poland L&L, Grove23 p879

Status: He was the leading artist in Venice following Tintoretto’s death in 1594 L&L

Repute & Critical Reception: It is conceded that he  eclectically & ingeniously amalgamated borrowed elements to produce works suited to diverse occasions,  that he was a gifted & efficient painter, & that occasionally his work seems inspired as in the former Compagnia della Giustizia scenes of Purgatory.  Nevertheless it is said that the elan of his work seems artificial, & that almost all his work is uninspired & repetitive, Freedberg p385, Steer p169

-PALMA VECCHIO/NIGRETI, Jacopo, the Elder, c1480-1528, Palma Giovana’s great uncle, Italy=Venice:

Background: He was born at Serina near Bergamo Grove23 p875
Training: Possibly by Carpaccio or Previtali L&L, RAVenice p194
Influences: Giorgione & Titian L&L
Career: He was active in Venice from 1510 OxDicArt
Oeuvre/Speciality: Sacra Conversazioni with the Virgin & Saints in pastoral landscapes, genuine portraits & some altarpieces, but his speciality was idealised  portrayals of beautiful, voluptuous blondes, sometimes half-length in religious or mythological guise & sometimes reclining nude L&L, OxDicArt, RAVenice p194
Characteristics: Opulent colour, high finish, pale shadows, sunlit landscapes & monumental, sedate figures RAVenice p194
Comparison with Titian: The latter’s paintings create an elusive, psychological situation whereas Palma’s are factual prose, especially his idealised courtesans, as in Violante, 1507-8 (The Kunsthistorisches).   This is largely because Titian, like Giorgione, saturates his figures with elusive, mysterious & beautiful light whereas Palma’s light is less subtle & all-embracing Steer1970 p 116
Clientele: Mainly among private collectors Brigstocke
Legacy: Movement towards a more physical & sensual High Renaissance conception of the human figure Brigstocke

-Antonie PALAMEDESZ, 1601-73, Palamedes I’ s brother & Palamedes II’s uncle, Netherlands=Delft:

Background:  He was born at Delft, the son of a gem cutter Grove23 p831
Career: He joined the Delft Guild of St Luke in 1621 & served as head man.   His best work dates from 1632-4.  Late on he moved to Amsterdam  Grove23 pp 831-2, Haak p327
Oeuvre: Genre, still-life & portraits Grove23 p832
Speciality: Guard room scenes & merry company pictures L&L
Characteristics: His portraits were of good quality, increasingly smoothly painted & always with light-grey backgrounds .   His paintings of soldiers in guard rooms & stables are more loosely painted, & less refined than those of Duyster Jacob Duck.   The merry company paintings of 1632-4 contain elegantly attired figures, against a light coloured wall  Haak p327, Grove23 p832, SuttonP  pp292-3
Nephew: Palamedes II Palamedesz, 1633-1705, was also a painter L&L

-Palamedes I PALAMEDESZ, 1607-38, Antonie’s brother & Palamedes II’s uncle, Netherlands:

Background: Born in London L&L
Training: His brother L&L
Speciality: Pictures of cavalry battles showing lively action  L&L, Haak p327

 *PALMER, Samuel, 1805-81, Linnell’s son-in-law, England:

Background: His father was a bookseller, who approved of his artistic career DIA p260

Training: William Wate who was a minor & forgotten landscapist DIA p260

Influences: Blake’s illustrations to Virgil’s Eclogues; Durer & other German printmakers of around 1500 OxDicArt

Career: He was a prodigy & exhibited landscape drawings at the RA when 14.   In 1822 he met Linnell, & in 1824 Blake.   Between 1826 & 1835 he lived at Shoreham OxDicArt.   Although he was frequently visited by Linnell etc, this was mostly a period of isolation.   In 1837 he married Linnell’s daughter & they spent two years in Italy.   Thereafter he was unhappy, struggled to make money, lived in suburban homes & had an imperious father-in-law DIA p260.   In 1874 he became a full member of the Royal Watercolour Society & exhibited there until his death, but he also supported himself by teaching WoodC1999 p

Oeuvre: Landscapes mainly in watercolour WoodC1999 p77

Phases: Pantheistic & supernaturally beautiful landscapes at Shoreham but around 1832 his vision started to fade as it was affected by the political unrest.   Thereafter his work has been seen as consisting of more conventional topographical & pastoral scenes OxDicArt, L&L.   However his late watercolours for Velpy, who was Ruskin’s solicitor, display his old intensity, eg Lonely Tower Treuherz1993 p61.    According to Christopher Wood, his later landscapes, though different, are as just as remarkable: highly wrought & intensely colourful with liberal use of body colour & gum Arabic WoodC1999 p78   

Characteristics: His Shoreham works have a visionary exaltation together with a close study of nature DIA p260.

Though indebted to Blake, Palmer is often carelessly regarded as his disciple.   His intense perception of natural phenomena is profoundly different.   The earlier work of Palmer stands comparison with that of the older German Romantic masters & his new interpretations of divinity in landscape parallel those of Friedrich & Runge, eg in genre scenes of communal piety (Palmer’s Coming from Evening Church & Friedrich’s monastic burials).   Here traditional subject matter has been replaced by spectator Christianity (sic).    Moreover Palmer & Friedrich both suggest religious ritual without depicting specific Christian rites, eg by depicting figures staring into the distance with their backs turned (Palmer’s Moonlit Landscape).   Often the heavenly orb at which they are looking has a light so intense that it is difficult to tell whether it is the moon or the sun, sometimes the orb has an overwhelming luminosity & size, & the moon a halo usurping that in medieval art.   Where heavenly references are absent paintings may celebrate the miracle of fertility, as in Palmer’s Pastoral with Horse chestnut & the sunflower in Runge’s Hulsenbeck Children.   Like Runge & other Romantics, Palmer may depict a polarity between near & far: the finite & the infinite  Rosenblum1975 pp 53, 56-7, 59-62

Beliefs: “The Past for Poets, the Present for Pigs”.   He was a High Church Anglican, a passionate opponent of relief for Catholics & Dissenters & deplored the1832 Reform Bill Yorke pp 110, 113

Personal: By1824 he seems to have experienced visions DIA p260

Repute: In the early 1920s there was a revived interest with books (Binyon’s The Followers of William Blake) & an exhibition (V&A drawings, etchings, woodcuts by Palmer & other Blake disciples) Yorke p109

 –PALOMINO, Antonio, 1655-1726, Spain; Baroque

Background: He was born at Bujalance in Cordoba into an hidalgo family.  When he was about seven the family moved to Cordova BrownJ p250

Training: With Coello in Madrid BrownJ p250

Influences: He was encouraged by Valdes Leal & by a local painter who had worked in Velazquez’s shop in the 1650s Gove23 p895, BrownJ p250.   Luca Giordano, who arrived in Madrid in 1962, was a decisive influence enabling him to perfect his fresco technique by adding Neapolitan stylistic devices Gove23 p895

Career: Palomino was educated at a Dominican college at Cordoba & then took holy orders but discovered a talent for painting.   He moved to Madrid in 1678.   Palomino became honorary royal painter in 1688 but in 1699 he left for Valencia.  He painted frescoes for Valencian churches, in Salamanca, Cordoba, &, during the 1790s, Madrid BrownJ p250.   The third volume of his treatise on painting appeared in 1724.   Modelled on Vasari, it is a biographical dictionary of artists & the most valuable source on Spanish painting in the 16^th & 17^th centuries L&L, Grove29 p358.   Palomino described Spanish artists born in the second half of the 16^th century as the creators of an ongoing national style which was unornamental & naturalistic.   He saw Francisco Herrera the Elder as the major innovator of this style in Andalusia, but disapproved of Murillo for abandoning it & replacing drawing with seductive colour that won popular favour.   Velazquez was his hero Moffitt pp127, 129, 133, 164, 175

Oeuvre: Frescos, altarpieces & easel paintings BrownJ p250

Friends: Carreno in Madrid BrownJ p250

Status:  He was the leading Spanish exponent of what might be called the international style of late Baroque painting BrownJ p250

Verdict: As a painter he was more successful than brilliant BrownJ p250

Panicale See Masolino di

*PANINI/PANNINI, Giovanni/Gian, c1691-1765, Italy:

Background: Born Piacenza Grove24 p9
Training: Under the quadrature painter Giuseppe Natali in Piacenza; under the stage designer Francisco Galli-Babiana, who taught him how to paint illusionistic architecture; under Andrea Locatelli, a landscape & fresco painter; & the celebrated Benedetto Luti in Rome OxDic Art Brigstocke, Wittkower p498

Influences: Giovanni Ghisolfa, Salvator Rosa’s animation of town views with figures, & Van Wittel precise draughtsmanship Grove24 pp9-10
Career: He settled in Rome, 1711; joined the Accademia di S Luca, 1719, established his reputation with his frescos at the now destroyed Villa Patrizi, 1719-25.  His most complete surviving fresco cycle is at the Villa Montalto Grazioli at Frascati.  He belonged to the French Academy in Rome from 1732, teaching optics & perspective Brigstocke, L&L, Grove24 pp 9-10, Wittkower p498
Oeuvre: Paintings, frescos, & portraits from about 1745.   He was prolific Grove24 p9,  OxDicArt

Specialities/Phases/Characteristics: Paintings of public festivities & important events as in Preparations in Plazza Navona to Celebrate the Birth of the Dauphin of France, 1729 (Louvre), together with scenes of contemporary Rome including crowd scenes, church interiors, & picture galleries.  However, from 1716 -17 he mainly devoted himself to works/vedute showing ancient Roman monuments & ruins; & it is these for which he is best known.  They include both vedute reale derived from & inspired by reality or verdute ideale using imaginary settings & sometimes peopled by soldiers or biblical figures as in Alexander Cutting the Gordian Knot (Walters Art Gallery, Baltimore, Maryland, 1718-9) Grove 24 pp 10 -11, Brigstocke, webimages

Characteristics:  His work featured bold, atmospheric views & sure composition, precise draftsman ship; often employing clear, vibrant  colours & enlivened with numerous figures as in The Lottery in Montecito, 1733-34 (NG).  He was however was an enormously versatile artist who made stimulating & pleasing use of diverse colouring, graduated shadowing  chiaroscuro & diverse light effects; all of which are present in his Gordian Knot painting Wittkower1973 p498, Grove24 p9, webimages

Innovations: vedute ideate, though here he was  anticipated by Ghisolfa  L&L
Patrons: Cardinal Polignac, Pope Innocent XIII for frescos at the Palazzo Quirinale; & the 4^th Earl of Carlisle who ordered six capriccios, 1738-9 Wittkower p498,  Brigstocke
Reception: His work was extremely popular among Grand Tourists West1996
Legacy: He helped maintain Rome’s eminence in the field of topographical  & imaginary vedute; & he  influenced Piranesi, & Hubert Robert who worked in the Panini workshop, & also Piranesi & Canaletto Wittkower p498, L&L, West1996
Collections: Castle Howard, NG

-PANTOJA DE LA CRUZ. 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

Paolo.   See di Paolo

Paolo Veneziano.   See Veneziano

-PAREJA,  Juan de , c1610-70, Spain:

**PARET Y ALCAZAR, Luis, 1746-99, Spain:

Background: Born Madrid L&L
Training: At the Royal Academy L&L
Career: He made a study trip to Rome, 1763-1765/6.   Around 1775 he was exiled to Puerto Rico for allegedly procuring young women for the King’s brother, & Paret’s patron, Don Luis de Bourbon.   In 1779 he was permitted to return but had to live away form the court.   He went to Bilbao where he executed flower pieces & a series of views of Cantabrian ports L&L:
Speciality: Elegant genre scenes of court life L&L
Status: He was the most important of Goya’s contemporaries L&L
Grouping: Rococo.   He was known as the Spanish Watteau L&L

..PARISANI, Napoleone, 1854-1932, Italy:

Background: His father was a count, his mother a princess & his grandmother the daughter of Lucien Bonaparte Wikip
Training: After studying agriculture & economics he went to the Accademia di Belle Arti di Roma studying under Filippo Prosperi.   From 1900 he spent time in the studio of Ernest Hebert in Paris & exhibited at Société National des Beaux-Arts,   He helped found the group XXV della campagna Romana Wikip
Career: After meeting Giovanni Costa at Antico Caffe Grecco he decided to become a landscapist Wikip
Oeuvre: Landscapes & from 1895 religious’ paintings Wikip
Characteristics/School: Although Parisian belonged to the Etruscan School many of his landscapes appear to be painted in warmish colours & are not tonal works Webimages
Friends: George Howard, Earl of Carlisle Wikip
School: The Etruscan School TurnerRtoI p96

**PARMIGIANINO/MAZZOLI, Girolamo, 1503-40, Italy; Mannerism Movement

Background: He was born in Parma ShearerW1996

Influences: Corregio, Michelangelo, Raphael & his pupils; also Rosso, whom he must have known in Rome Andrews1966 pp 3, 5, Friedlaender1925 p37.   Unlike Pontormo & Rosso, Parmigianino was not in reaction against the Florentine High Renaissance or Michelangelo, because he grew up under the influence of Corregio Friedlaender1925 p34

Career: In 1522 he painted simultaneously with Corregio at S. Giovanni Evangelista, Palma.   He went to Rome in 1524, & to Bologna in 1527 after the sack of Rome in which he nearly died Andrews1966 p2.   In 1531 he went to Parma for a commission for S. Maria della Steccata.   Parmigianino had painting & religious problems; he dabbled in alchemy & went to prison for breach of his contract for S. Maria.  He fled to Casalmaggiore Andrews1966 pp 2-3

Phases: His early paintings were Correguesque Friedlaender1925 p34.   During 1523-7 he turned to Mannerism in Rome & by 1535 was fully Mannerist Friedlaender1925 pp 35-8.   His last work has a new gravity & spirituality Andrews1966 pp 6,8

Characteristics: His paintings display curves that intersect & then part; vase like limbs & bodies; circular & high breasts; elongated fingers; clinging clothes; bloodless flesh; & an otherworldly atmosphere; & with physical grace reflecting inner spirituality Shearman p65, Andrews1966 p4.   His art seemingly embodies the concept of grace & sprezzatura & he finds beauty in elongated gracile forms.   Parmigianino used his judgement & eye to break rules Hall1999 p83, See Aesthetics & Beauty for grace & sprezzatura.

Colour: Cool yellows, olive greens, watery blues with a greenish general tone Andrews1966 p4, Friedlaender1925 p39

Innovations: He etherealised the Virgin & made her elegant Hall1999 p118. 

Verdict:  He more than any other early Mannerist artist was instinctively inclined to grace & submerged expression of the subject in grace & delicacy Shearman pp 64-5

Influenced: Schiavone RAVenice p206

.. PARRA, Felix,  1845-1919, Mexico, National Romanticism:

Background: He was born in Morelia, Michoacan Grove24 p206

Training: At Colegio de San Nicolas, Morelia from 1861, & Academia de San Carlos, Mexico City from 1864 Grove24 p206

Career: After living in France & Italy for our years he returned to Mexico City in 1882 & taught at the Escuela Nacional des Artes.  During 1909-15 he painted watercolours for the Museo Nacionalde Arqueologai Grove24 p206

Oeuvre: History paintings, landscape, still-life & the nude in oils & watercolour Grove24 p206, AskArt site

Characteristics: His history paintings are painted in an academic style but his landscapes appear to be Impressionist webimages

Feature: In the Cholula Massacre, 1877, he painted an incident of genocide by the Spanish invaders Grove24 p206

Influence: His paintings inspired Diego Rivera & Jose Orozzo AskArt site.

Grouping: His work exemplified the way in which episodes from Pre-Columbian history & the Spanish conquest became popular from about 1870 Grove21 p385

– PARROCEL, Joseph, 1646-1704, France

Background: Born in Paris he belonged to one of the longest dynasties in French painting, active from the 16^th to 18^th centuries Grove 24 p210, Allen p206. 

Training: With his father Barthelemy & his elder brother Louis (1634-94) & then around 1667 to Rome under the battle painter Jacques Courtois, & in Venice Grove24 p210, L&L

Influences: Salvator Rosa, & in Venice Tintoretto, Veronese, Fetti, Strozzi, Jan Liss T&C p119, L&L

Career: He returned to Paris from Italy in 1675 & became a full member of the Academy in 1676.   During 1685-8 painted 11 battle scenes for Versailles Grove24 p210
Oeuvre: Battle, hunting scenes & religious works L&L, Grove24 p211
Characteristics: His work was picturesque, romantic & full of shimmering colours T&C p119
Innovation: His Preaching of St John the Baptist, 1694, has unusually dramatic lighting & rich colour & his Fair at Bezons anticipated Watteau’s fetes galantes Brigstocke, Grove24 p211
Verdict: He was an artist of lyrical powers & one of the most brilliant technicians of his era, whose colour & handling with its thick impasto almost foreshadow Delacroix  T&C p119, L&L, Grove24 p211
Grouping: He does not readily fit into the French tradition T&C p119
Pupils: His son Charles (1688-1752), & his nephews Ignace-Jacques (1667-1722)  & Pierre (1670-1739) Grove24 p211

-PASCIN, Jules, 1885-1930, France (Bulgaria)

Background: Born Vidin, His parents were from Spain & Italy L&L
Training: Berlin, Munich, Vienna OxDicMod
Career: He initially worked as an illustrator; moved to Paris, 1905; went to America, 1914-20; & then back to Paris.  He was notoriously dissolute , emotionally unstable & committed suicide L&L, OxDicMod
Oeuvre: Cafe scenes, biblical subjects, flower pieces, portraits & above all erotic teenage girls, nude or very flimsily dressed L&L, OxDicMod
Characteristics: Great delicacy of colour & handling, & a poignant sense of lost innocence in his best work, though it can be somewhat repetitive L&L
Circle: Modigliani. Chagall & Soutine OxDicMod

..PASINELLI, Lorenzo, 1629-1700, (confusable with Passarotti) Italy=Bologna:

Background: He was born in Bologna NGArt1986 p501
Training: Simone Cantarini, Reni’s most gifted pupil Grove24 p276
Influences: Veronese NGArt1986 p501
Career: From around 1675 commissions for religious works became ever more frequent NGArt1986 p501
Oeuvre: Religious works NGArt1986 p501
Characteristics/Phases: His works were carefully balanced the product of much time & effort & continuous rethinking.  He shifted from the exceptionally dark chiaroscuro of Flamino Torre, briefly his teacher, to a lyrical high-keyed luminous colouring & clarity.  His Martyrdom of Saint Ursula, c1685, is exceptionally violent NGArt1986 pp 501-5
Feature: His Miracle of St Anthony, 1689, took 14 years to complete NGArt1986 p501
Status: During the 1670s he emerged as a major artist along with Cingrani & Canuti.  They made a fundamental contribution to the renewal of Bolognese painting in the second half of the 17^th century NGArt1986 p501.
Patrons: The Emperor Leopold, Prince Liechtenstein & Count Lippi NGArt1986 p501
Grouping: He, like Canuti & Burrini, was a Bolognese practitioner of what in Rome, or later Naples, was high baroque illusionistic decoration NGArt1986p338
Pupils: Dal Sole, Creti, Gambarini NGArt1986 p501

*PASMORE, Victor, 1908-98 (confusable with Penrose & Passmore):

Background: Born Chesham, Surrey, the son of a distinguished doctor OxDicMod
Training: Evening classes at the Central School of Arts & Crafts OxDicMod
Influences: Sickert for nudes in interiors Shone1988 p90
Career: After going to Harrow School, he worked for the LCC, 1927-37; exhibited with the London Group from 1930, becoming a member, 1934; exhibited with the Objective Abstractionists, 1934; flirted with abstraction; joined the Artists International Association; co-founded the Euston Road School, 1937; moved to Chiswick Mall on the Thames; & was dramatically converted to pure abstraction, 1948 OxDicMod
Oeuvre: Paintings, prints abstract reliefs
Phases: Initially his paintings were reminiscent of Matisse & the Fauves with free handling in still-lifes & views through open windows; & later Degas & Manet in works like his impressionistic Parisian Cafe, 1936-7 (City Art Gallery Manchester).  During the War he produced lyrical, pearly, Whistlerian Thames views of mist & moonlight as in Quiet River: The Thames at Chiswick, 1943-4 (Tate Gallery), & also some splendid female nudes.  His earlier reliefs had a hand-made quality but later using Perspex they are of a machine-made type, though in the 1960s his geometry softened in his paintings & during the 1970s were sometimes lyrical Grove24 p 228, Spalding1986 pp 178-9, Yorke p180, OxDicMod, webimages, See Passmore at Marlborough on web
Grouping: His paintings during the War were Neo-Romanticism but later he was regarded as a leading Constructivist Yorke pp 23-24, OxDicMod
Patrons: He was able to leave the LCC due to financial support from Kenneth Clark Grove24 p228

-PASSAROTTI/PASSEROTTI, Bartolommeo, 1529-92, father of Tiburzio, Italy= Bologna; High Renaissance:

Background: Born Bologna which had an active cultural life in which he participated.  Cardinal Paleotti who was a key figure in the Counter-Reformation was a canon in the cathedral & in 1567 became the Bishop  Grove24 pp 232-33, Wikip

Training: In Rome with Vignola & Taddeo Zuccaro in Rome L&L

Influences: Correggio, Paleotti, Parmigianino, Pelligrino Tibaldi; & for genre Aertsen, Beucklear & Campi Grove24 p232, L&L, NGArt1986 p177

Career: He travelled to Rome with Giacomo da Vignola, returned briefly to Bologna, retuned to Rome, staying with Taddeo Zuccaro.  By 1560 he had settled in Bologna & become a prestigious painter of Popes & Cardinals Grove24 p232.  He played a leading part in the separation of painters from the medieval guilds of saddlers, sheath makers, sword makers NG Art1986 p177

Oeuvre: Religious paintings, genre works, portraits & engravings Grove24 pp 232-34

Specialities: He painted highly naturalistic low-life genre from around 1575 such as his [as in] Butcher’s Shop  & Fishmonger’s Shop 1580s (both Galleria Nazionale d’ Arte Antica, Rome) L&L

Characteristics: His portraits feature lively oratorical gestures & dogs in works of spirited naturalism as in the Monaldini Brothers, c1579 (Hopetoun House, Lothian) Grove24 p233.  Both they & his genre works feature the play of light especially in the depiction of clothing & the modelling of faces.  They are painted with a broad, bold touch & the figures are caricatured or as in his Merry Company, c1577 (Private) lampooned for the amusement of his aristocratic or rich bourgeois patrons  webimages, Brigstocke, NGArt1986 pp 179-81.  It has been opinioned that his religious paintings were fairly conventional & undistinguished OxDicArt.  However, this ignores his [as in] Saint Domenic & the Albigensian, c1580, which is a striking Counter-Reformation work (Pinacoteca Nationale, Bologna) in which the books of the heretics are being burned but the Gospel emerges from the flames.  Other notable [as in] works are his Madonna & Child enthroned with Saints (Basilica di San Giacomo Maggiore, Bologna) with its dramatic gesturing figure & the Presentation of the Virgin, 1583 (Pinacoteca).  Both have glowing rich colouring, particularly the vibrant yellows & assorted reds, as do other works NGA1986 pp183-84, webimages

Phases: From 1583 his work had greater Realism & an execution that can be likened to Carracci reform paintings, though his portraits were more convincingly naturalistic with softer & more differentiated colour somewhat earlier NGArt1986p177       

Studio: It was large OxDicArt

Status: Between 1575 & the early 1580s he was the leading painter in Bologna Grove23 p233

Pupil: Probably Agostino Carracci OxDicArt, Grove5 p856

Progeny: His sons Tiburzio, Aurelio, Ventura & Passarotto inherited his workshop, as did his grandsons, Gaspare & Arcangelo.  Tiburzio imitated his style Grove24 p234, OxDicMod

..PASSAROTTI/PASSEROTTI, Tiburzio,  1553-1612, Bartolommeo’s son, Gaspare & Archangelo’s father, Italy:

Background: He was born in Bologna Wikip
Career: During 1580-92 he was in Venice.   He replaced his father on the governing board of Compagnia dei Pittori of which he was Steward from 1593 to 1603 Wikip.
Oeuvre: Altarpieces, other paintings & portraits Wikip
Grouping: Early on he moved from a naturalistic style into Mannerism Wikip
Progeny: His sons Gasparo & Arcangelo became artists Wikip

..PASSIGNANO/CRESTI, Domenico,  1559-1638, Italy=Florence:

Background: He was born in Passignano Grove24 p239

Training: With Girolamo Muschietti & Giovan Naldini Grove24 p239

Influences: The works of Titian, Tintoretto, Veronese & Palma Giovani as seen in Venice Grove24 p239

Career: He assisted Federico Zuccaro on completing the decoration of the dome of the cathedral, 1575-79; went to Rome with him to work at the Capella Paolina in the Vatican; lived in Venice, 1582-8; returned to Florence & was commissioned to fresco the vestibule of the Salviati family chapel of S Antonio in S Marko church; had a highly successful career in Rome from 1602, being commissioned by Cardinal Maffeo Barberini, the future Urban VIII,   to decorate his family Chapel in S Andrea della Valle with scenes from the Life of the Virgin; & then by Paul V to paint yet more.  He also decorated the villas of influential cardinals in Rome & Frascati; then returned to Florence, 1616;  worked for some time in Rome during the mid-1620s; &  spent his last decade in Florence  Grove24 p239, Brown p80, Stephen Ongpin Fine Art on web

Oeuvre: Religious paintings in fresco & oils, together with mythological works & subject paintings Grove24 p239

Characteristics/Phases: Many of his works from the early 1600s have a new monumentality & boldness under the influence of Annibale Carracci & Caravaggio.   His religious works have the clear composition  & unpretentious simplicity of Counter-Reformation art combined with warm colour & soft Venetian handling as in Michaelangelo shows Pope Pius IV the Model of Saint Peter’s, 1618-9  (Casa Buonarroti, Florence) Grove24 p239

Grouping: Late Mannerism & the Florentine Reform movement Pevsner1968, Bailey p35

Influence & Legacy: His work had a marked impact on his contemporaries & the next generation of Florentine artists including Ottavio Vannini Grove24 p239

-PATCH, Thomas, 1725-82, England:

Background: Baptised in Exeter & the son of a doctor Grove 24 p252
Career: In 1747 he went to Rome where he met Reynolds & worked in Vernet’s studio producing pastiches & his own views of Tivoli.   Patch was banished from the papal states in 1755 for a homosexual act & settled in Florence.   Here his friend Sir Horace Mann, the British envoy, provided introductions to English tourists who commissioned copies of Old Masters & Florentine views.   He engaged in art dealing & it appears that he latterly painted little  Grove24 p252
Oeuvre: Paintings including  seascapes picturesque; engravings.   Sunrise & Sunset (Royal Albert Museum, Exeter) are Romantic & Vernet-like  L&L, Brigstocke
Speciality: Caricature groups of Grand Tourist, dealers & painters of Anglo-Florentine society during the 1760s Grove 24 p252
Collections: Royal Albert Museum, Exeter

– PATEL, Pierre, the Elder, c1605-76; France

Background: He was born in Picardy Brigstocke
Influences: Claude L&L
Career: He settled in Paris, was admitted to the Academie S. Luc, 1635, & painted panels for the Hotel Lambert, Paris, 1659-44  Brigstocke
Oeuvre/Characteristics: Decorative landscapes & subject paintings often with ruins classical ruins but are said to be rather colder & more pedantic than Claud’s.   They anticipate the picturesque, as in The Flight into Egypt (Art Gallery, Sheffield)  L&L
Son: Pierre-Antoine, the Younger, 1648-1708, painted landscapes & topographical works in his father’s manner.   They anticipate the Rococo Brigstocke, L&L

-PATER, Jean-Baptiste, 1695-1736, France:

Background: He was born at Valenciennes, the son of a sculptor Grove24 p255

Training: At Valenciennes by his father & Jean-Baptiste Guide.  He was then Watteau’s only pupil but was dismissed due to Watteau’s difficult character.  After some hard years in Paris, he returned to Valenciennes around 1715; went back to Paris, 1718; was re-called by Watteau who gave him brief but valuable instruction; was received into the Academy, 1728, as a painter of fetes galantes  Grove24 p255.  He died from over-work Wakefield p36

Oeuvre: Fetes galantes, groups of bathers & scenes of military life as in Soldiers Celebrating, 1728 (Louvre) Grove24 p250, OxDicArt

Speciality: Women bathing in a pool usually outside with mountains behind Wakefield p36

Characteristics: His colour was attractive white,  lilac, mauve & pink against silvery blue ground lightly scumbled creating a delicate & gauzy effect Wakefield p36

Verdict: His fete galantes echo Watteau, but he displayed greater originality elsewhere.   His  draftsman ship was feeble marred by smudgy & formless figures with disproportionately large bodies, & his figures seem stuck onto the canvas.  However, his paintings of women bathing have an undeniable charm & he was clearly at home in large scenes of village festivities as in the Fair at Bezons, 1733(The Met) Wakefield p36

Reception: He was highly successful & Frederick the Great ended up owning 40 of his works Grove24 p256

Repute: It slumped soon after his death Grove24 p256

Collections: Charlottenburg Palace, Berlin; Wallace Collection.

..PATERSON, James, 1854-1923, Scotland; Rural Naturalism

Background: Born at Blantyre near Glasgow.  His father was a partner in a Glasgow firm of muslin manufacturers & a good watercolourist Billcliffe p18, Wikip

Training: At the Glasgow School of Art under Robert Greenlees; watercolour classes under A. D. Robertson; in the studio of the minor French painter de la Cheverus who had once worked under Ingres, 1878-9; & under Jean-Paul Laurens, 1880-2.  He received an  allowance from his father Billcliffe pp 17-18

Influences: Corot, Daubigny &, as he recalled in an article, the stress which his French teachers had placed on tonal values Macmillan1990 p270,  Norman1977,  Hardie pp 73-4

Career:  Initially he was a clerk; was rejected by the Glasgow Art Club, 1877; spent his summers painting with his school friend W. Y. Macgregor on the Scottish east coast from around 1877; settled at Moniaive, 1884; painted in the Nithsdale & Ayrshire hills, the Solway Firth & the local river & burns; joined the Royal Scottish Society of Painters in Watercolour, 1885; moved to Edinburgh in 1906; & was elected to full membership of the Royal Scottish Academy, 1910 Bullcliffe p 17, Wikip

Oeuvre: Landscape paintings in oils & watercolour Norman1977

Characteristics: His paintings were of a bold nature derived from Parisian study & at Moniaive he captured elusive colours & painted in silvery tones as in Autumn Glencairn, 1887 (NG Scotland, Edinburgh [an outstanding & highly evocative, lyrical work].   Here & in The Last Turning, Winter Moniave, 1885 (Kelvingrove Art Gallery & Museum, Glasgow) he enhanced the colour contrasts & heightened the interest by painting a series of alternating bands, & with a receding diagonal formed by the river & its bank  Billcliffe pp 18, 166, Macmillan1990 p220, Wikip, webimages

Grouping: The Glasgow Boys, although he & Macgregor were increasingly distant from the others & later on Hornel & Henry were hostile.  Paterson never joined the Boys’ decorative phase Billcliffe pp 163, 252-3, etc

**PATINIR/PATINIER/PATENIER, Joachim, c1477-1524, de Bles’ uncle, Belgium=Antwerp; Renaissance, Early Italian

Background: He came from the Walloon country L&D p32

Influences: Bosch & to a lesser extent Gerard David Grove24 p261

Career: In 1515 he became master of the Antwerp painters guild.   After his death, Metsys became the guardian of his three daughters L&L, OxDicArt.   Patinir enjoyed considerable fame during his lifetime & his works were acquired by the greatest collectors of his time, including four by Philip II Grove24 pp 261-2

Oeuvre: Less than 20 works can be ascribed with certainty Grove24 p260

Technique: His rocks were painted from stones brought into the workshop in the manner of Cennini L&L

Characteristics: Landscapes which either (a) recede unimpeded to the distant horizon as if seen from a high viewpoint , or (b) are divided in along a diagonal with the landscape receding above to a high horizon but which below it is blocked by a rock formation.   The latter is usually enlivened by receding winding paths.   Features or figures, sometimes by Metsys, are always present & inserted without regard to the height of the viewpoint thus creating a dual perspective.     Foreground figures may be either large or small.   Aerial perspective is simulated by means of  reddish-brown foregrounds, green middle & blue backgrounds L&L.   Patinir had a decided preference for darker colours & these, when combined with significant areas of white, threatening clouds & capricious & sharply pointed rocks, produce a sense of impending doom Grove24 p260

.First known landscape specialist in European art who established, though he did not invent, panoramic landscapes in Flanders L&L.   He was the first painter to make the landscape more important than the figures Clark1949 pp 55-6.  Patinir was the first to impose a classical structure on far-flung landscape vistas & endow them with a lyrical feeling L&D p31

Grouping: Patinir is included by Clark in his landscape of fact, although he confusingly also refers to him in his as a precursor of poetic mannerist & fantasy landscape Clark1949 pp 55-6, 78

Friends: Durer L&D p32

Grouping: Antwerp Mannerism Grove22 p201

Gossip: He lived an irregular life, drinking heavily & spending whole days in the tavern according to Van Mander) L&D p32

Followers & Successors: de Bles, Jan de Cock, Hieronymus & Matthys Cock L&D p34, L&L

Collections: Prado

..PATON, Sir Joseph Noel, 1821-1901, Scotland; Pre-Raphaelite:

Background: Born Dunfermline, the son of a keen antiquarian Norman1977, Grove24 p266
Training: 1843 at the RA Schools Norman1977
Influences: The collection of objects partly inherited from his father together with the Pre-Raphaelites & Nazarenes & Grove24 p266, Norman1977
Career: Initially he was head designer at a large factory which produced muslin clothing in Paisley.  He went to London, 1842, attended the RA Schools, won prizes in the Westminster Hall competitions, 1845 & 47, returned to Scotland & became a member of the Royal Scottish Academy, 1850.  In 1865 he was appointed Her Majesty’s Limner, ie painter, for Scotland Grove24 p 266, Norman 1977
Oeuvre: Mythological & historical scenes; fairy paintings, contemporary events including the Indian Mutiny [as in] In Memoriam, 1858, in which sepoy rebels are about to confront women children, & then religious works.  He was also a sculptor & illustrator OxDicArt, Grove 24 p266
Characteristics/Verdict: His work displays his power of observation & passion for truthful representation as in The Bluide Tryst, 1855 (Glasgow Art Galley & Museum) in which the sharp & sensitive are worthy of Millais.  However, his religious works are some the worst paintings of the late 19^th century Grove24 p266, Macmillan1990 p213
Friend: Millais, lifelong OxDicArt
Brother: Waller, 1828-95, was greatly influenced by Ruskin, remained loyal to Pre-Raphaelite finish & was often at his best when painting informal watercolours Macmillan1990 p230

..PATRICK, James Mcintosh, 1907-98, Scotland:

Background: Born Dundee, the son of an architect E&L p114

Training: At the Glasgow School of Art under Maurice Greiffenhagen, 1924-8 E&L p114

Career: He began etching when aged 14 & exhibited at the RA from 1928.   During the Great Depression, the demand for etchings collapsed & Patrick turned almost exclusively to landscape painting.   He taught part-time at Dundee College of Art from 1930 & worked as an illustrator, producing posters for London Transport & the railways.   Patrick exhibited at the Fine Arts Society from 1934 & became a Director of the Society.   During the War he worked at the Camouflage Unit.   In 1957 he was elected to the Royal Scottish Academy.   His works were successful with buyers & were snapped up by public galleries. Patrick lived in Dundee & mainly painted in its environs E&L pp 114-5

Phases: Initially he produced meticulously detailed landscape etchings E&L p114 

Characteristics: Painstakingly detailed Scottish landscapes which in the 1930s were produced from drawings with re-arrangement for compositional reasons.  His later works were painted outdoors & are topographically correct.  They are tranquil paintings often enhanced by the play of light as in A City Garden, Dundee, 1940 (Dundee Art Galleries & Museums)  E&L pp 114-5, webimages

Verdict: [He painted with love] webimages

..PAXTON, William, 1869-1941, USA; Tonalism:

Background: He was born in Baltimore & his father set up a catering business after moving to Massachusetts Gerdts1980 p94, Wikip.  Paxton’s works reflect & depict the leisured affluent upper-class world which the sociologist Thorstein Veblen analysed & critiqued in his studies of conspicuous leisure & consumption See the Portable Veblen.    

Training: During the late 1880s at the Cowles School with Denis Bunker & subsequently Joseph Decamp but his study was interrupted by tuition in Paris under Gerome Gerdts1980 p94, Wikip

Influences: Bastien-Lepage, Dagnan-Bouveret  & Vermeer Gerdts1980  p94.

Career: He grew up outside Boston Gerdts1980 p94.   In 1899 he married Elizabeth Okie who was his student.  She managed his career & modelled for him.   Between 1906 & 1913 he taught at the Museum of Fine Arts School, Boston.   In 1914 he was a co-founder of the Guild of Boston Artists together with Frank Western Benson & Edmund Tarbell.  He became a full member of the National Academy of design in 1928 Gerdts1980 p94, Wikip.

Oeuvre: Mainly figure paintings, primarily of women in domestic interiors, sometimes nude, together with the occasional landscape Gerdts1980 p96.

Characteristics: His speciality was women in the domestic interior including close ups of those intent on allurement & poetic scenes of lovely women of leisure at their ease set in a wealthy, elegant environment as in The New Necklace, 1910 (Museum of Fine Arts, Boston).  Alternatively, they are servants as in the Figurine where a maid is dusting a precious object, 1921 (Smithsonian American Art Museum) Gerdts1984 p178 , webimage.  The range of colour & light was great ranging from marked chiaroscuro as in The Yellow Jacket,1907, to the softly lit as in The Front Parlour, 1913 (Saint Louis Art Museum) Gerdts 1980 p95, & 1984 p179.  Above all his women are doing little or nothing.  They are not New Women or engaged in child care webimages

Feature: In his female portraits or  interiors, he does not seem to have painted the old or the ugly.  Moreover, there is a striking joint depiction of female beauty & precious, valuable objects. as in The New Necklace or The String of Pearls, 1908 (Private).  Idle upper-class women were identified by Thorstein Veblen as the ceremonial consumer of goods paid for out of the incomes of affluent men & thereby affording them vicarious satisfaction Lerner  pp 124-25.  [if so, these women are themselves dehumanised & treated as objects.]

Phases: His early work is said to have been painted in a rather free impressionist manner using vibrant colour.  However his later work [was certainly not impressionist] & in The Yellow Jacket he employed a hard edged linear style William Paxton at Boston Athenaeum on web

Grouping: Although he is included with the American Impressionists his work even in the 1890s cannot be counted as such.  He was a tonalist  Gerdts1984 p169.

Verdict: [Paxton’s paintings are to a quite exceptional extent the product of the class & social system in which they were painted]

Reception: Writers in the early 20^th century admired his technique & that of Edmund Tarbell, etc, but deplored the emphasis on elegant accessories, the lack of laughter & tears, & the absence of individuality Gerdts1980 p96

Repute: Around 1989 Paxton became the Boston School who received the greatest amount of attention & revaluation.  He is not itemised in the Grove Dictionary & was not mentioned in the  catalogue for the  exhibition Americans in Paris 1860-1900 held at the NG, Met & in Boston, 2006-7 Gerdts1990 p94

Wife: Elizabeth Okie Paxton, 1878-1972.  Her work ranged from crisply painted still-life to an interior of an untidy bedroom with a breakfast tray & an unmade bed Wikip

..PAYNE, Henry, 1868-1940; England

Background: Born Birmingham WoodDic
Training: At the Birmingham School of Art under Edward R. Taylor WoodDic

Career: Under Taylor’s supervision he painted a mural, now lost, for the Birmingham Town Hall; was a founder member of the Birmingham Group of Artist-Craftsmen which formed around ; taught at the Birmingham School of Art from 1899; worked on the wall paintings of the chapel at Madresfield Court, near Malvern, 1902-3; moved to Amberly, Gloucestershire, 1909,  & in 1909 was commissioned to paint a wall painting for Palace of Westminster for which he produced White Roses in the Old Temple Gardens Wikip, Farr pp 330 -1, WoodDic

Oeuvre: Decorative paintings & murals, landscapes in watercolour, book illustrations, & the design, & from around 1904 manufacture, of stained glass WoodDic, Wikip

Characteristics/Verdict: His work combines Pre-Raphaelite precision & a fairy-tale mood.  The Madres field paintings were a seminal achievement of the Arts & Craft movement; & the marouflage fresco for the Palace of Westminster was a sound piece of academic work in cheerful colours Treuherz 1993 p154, Farr p331

Grouping: He was a founder member of the Birmingham Group of Artist-Craftsmen which formed around Joseph Southall & the Birmingham School of Art in the late 19^th century Wikip

..PAZZINI, Norberto, 1856-1937, Italy:

..PEAKE, Robert, 1551-1619, the Elder; England:

Background: Along with De Critz, Marcus Geeraerts the Younger & Isaac Oliver he belonged to a group of artists with closely connected workshops & who between 1590 & about 1625 specialised in brilliantly coloured, full length costume pieces Wikip

Training: Under Laurence Woodham Wikip

Influences: Nicholas Hilliard’s warn, brightly coloured & richly patterned miniatures Grove24 p301

Career: By 1598 he was in good employment as a portraitist & in 1607 he became Serjeant Painter to James I along with John de Critz Waterhouse1953 p43, Grove24 p301, Wikip

Oeuvre: Portraits & decorative work Wikip

Phases: His later work is lifeless & stereotyped Grove24 p301

Innovations/Characteristics: He was among the earliest English artists to depict active figures in a landscape with animals, thus anticipating the sporting painting as in Henry Frederick, Prince of Wales & Sir John Harington (The Met).  Moreover, his colourful, [ambitious] portrait of Henry Prince of Wales (National Portrait Gallery, London), though his figure is somewhat stiff, contains a wealth of background detailing, [that foreshadows British interior & genre painting] Wikip, Hayes1991 pp 34-5

Patrons: The Prince of Wales Wikip

Son: Robert the Younger, c1605-67, who was a painter & print seller Wikip

..PEARCE, Charles  Sprague, 1851-1914, France/USA:  Rural Naturalism Movement

Background: Born Boston NGArtinParis p251

Training: Under Leon Bonnat’s Paris initially at his atelier, 1873 NGArtinParis p251

Influences: Bastien-Lepage & Jules Breton NGArtinParis p251

Career: After working  in his father’s mercantile office, he began painting in 1872; due to ill health began making made trips to North Africa & the Near East, 1873;  settled at his farm in Auvers-sur-Oise, 1884; exhibited at the Salon, 1876-1900

Oeuvre: Rural & oriental genre, religious subjects & portraits, together with murals at the Library of Congress, Washington NGArtinParis p251

Characteristics: His subject paintings contain carefully delineated figures against Impressionist backgrounds & his murals are very similar to those of Puvis de Chavannes with their posed, frozen figures NGArtinParis p130, webimages, wikip, Shaw p66, etc

Reception/Status: His Sainte-Genevieve, c1887, was highly regarded by the public & critics.  By the end of the 1880s he was one of the most successful American painters in France Weisberg pp 154, 157

Grouping: Rustic Naturalism, & Orientalism as in The Arab Jeweller, 1882 (The Met) Weisberg1992 pp153-7,  NGArtinParis p251 pp128-9

*Charles PEALE, 1741-1827, father of Raphaelle & Rembrandt, USA:

..Raphaelle PEALE, 1774-1825, Charles’ son & Rembrandt’s brother, USA:

..Rembrandt PEALE, 1778-1860, Charles’ son & Raphaelle’s brother, USA; American Neo-Classicism:

Background: Born Bucks County, Pennsylvania Grove24 p303
Training: His father & West in London Norman1977
Influences: Lawrence & Stuart who led him to adopt looser brushwork Norman1977
Career: He visited Paris to paint portraits of French statesmen for his father’s gallery & was president of the American Academy of Fine Arts in New York & a founder member of the National Academy of Design, 1826.  Constantly aspiring to greatness he constantly moved on the Atlantic coast searching for commissions & went to Europe for inspiration Norman1977, Grove24 pp 303-4
Oeuvre: Portraits, miniatures & the occasional subject picture & landscape Norman1977
Characteristics: He was a brilliant colourist & impeccable craftsman, though his later work was uneven Grove24 p304
Speciality: His 80 copies of his heroic Porthole Portrait of Washington, c1824,  Norman1977, Grove 24 p303
Innovation: he pioneered lithography in America Norman1977
Feature: His moralising The Court of Death, 1820, toured the country when itinerant exhibitions were in fashion Norman1977

-PEARLSTEIN, Philip, 1924-, USA:

*PECHSTEIN, Max, 1881-1955, Germany; Expressionism

Background: He was born at Eckersbach, near Zwickau Dube p211
Training: After interior decoration in Zwickau, he studied at the Kunstgewerbeschule  Dresden, 1900-2, & the Dresden Academy, 1902-6 L&L
Influences: Matisse Dube p86
Career: He joined der Brucke in 1906, & during 1907-8 visted Italy & Paris studying Fauvism.  He then moved to Berlin, spending the summers at Kurische Nehrung.   During 1910 he was co-founder & chairman of the Neue Sezession in Berlin after the rejection of paintings by the old one.   He went to Italy in 1913 & the South Pacific Palau Islands during 1914-5.   After military service he helped found the November gruppe in Berlin, 1918,  & during 1923-33 taught at the Berlin Academy.   In 1940 he moved to Pomerania, returned to Berlin in 1945 & joined the staff of the Hochschule fur Bildende Kunste L&L, Dube p33
Oeuvre:  Interiors, lakeside scenes with nudes, genre scenes, landscapes L&L, Dube pp86-8
Characteristics: Bold colours & large planes Dube p86
Personal: He had unquenchable vitality, & displayed no interest in artistic theories  Dube pp 85-6

..PEELE , John, 1822-97: Anglo-American

Background: He was born at Peterborough WoodDic
Training: At the National Academy of Design’ antique class in New York Wikip
Career: The family went to America in about 1834 & settled in Buffalo, New York.  After moving to New York City in 1840 he worked on portraiture at Albany.  During 1841-4 he was in London unsuccessfully trying to become a society portraitist.   He returned to New York by 1845 & joined the National Academy of Design.   About 1851 he settled in London apart from lengthy stays in Liverpool, the Isle of Man & Bexley Heath, where he had a second home from 1865.   He exhibited at the RA during 1852-91,  a work was bought by Prince Albert, & his career flourished during his final decades Wikip, WoodDic
Oeuvre/Phases: Portraits, landscapes, & genre often featuring children which he took up by 1845 when he returned to New York.  A notable genre work was his painting of an exhausted seamstress Song of the Shirt, 1849 (Albany Institute of History & Art) WoodDic, Wikip
Characteristics/Verdict: His child genre works have been termed sentimental but [tender or charming might be appropriate] & his Shirt painting is piece of precise realism Wikip, web images

PELL, Ella Ferris, 1846-1922, USA:

Background: She was born at St Louis. Missouri into an illustrious & affluent East Coast Family Wikip,

Training: At Cooper Union School of Design for Women under William Rimmer, graduating 1870; & during the late 1880s at Academy of Beaux-Arts & Academie Julian, Paris, under John-Paul Laurens, Jacques-Fernand Humbert, & Gaston Saint-Pierre who specialised in Orientalist single-figure compositions Wikip, Bedford Fine Art Gallery site, Dijkstra p390

Career: During the period 1872-78, she with her sister & brother-in-law visited France, Austria, Egypt, Algeria, Syria, etc.  She was an intrepid traveller  & sketched continuously. By the 1880s was living in New York & exhibiting at the National Academy of Design.  During 1889 & 90 she exhibited at the Salon, she summered in the Catskills, served as vice-president of the Ladies’ Art Association & as president of the Liberal Art League in New York.  In 1905 left New York to the Hudson Valley, moving into ever more modest dwellings, & settling eventually in Beacon, eking out a passable existence as a portrait & landscape painter, was largely ignored as an artist, was disowned by her relatives & buried in a pauper’s grave website of Elliott Fine Art at London Art Week, Wikip, Dijkstra pp392-3

Oeuvre: Paintings in oils & watercolour, illustrations & sculpture Wikip

Characteristics/Feature: Her works are pleasing, highly accomplished & varied.  They range from the gentle plein air [as in] watercolour sketch Pyramids from the Tour book of Africa, 1874-75 (Frances Lehman Loeb Art Centre, Vassar College) to the strong colouring & carefully composed & detail of the [as in] Interior of the “Sibyl”, 1875-79 (Museum of Fort Ticonderoga), which is a notable example of American Orientalism.  Her masterpiece & key work is [the as in] Salome, 1890, (Timken Museum of Art, San Diego, California).  It is brilliantly executed & tonally exquisite with the figure highlighted by a single frontal light source.  What however makes the painting so distinctive is that she is not a conventional biblical femme fatale temptress as painted by male artists, & also the few women, such as Joanna Romani, who tackled the subject.  Salome does not glare at us with a look of crazed sexual hunger or have the wan vampire features of the serpentine dancer.  Nor is she a tubercular adolescent.  Instead she is a woman of flesh & blood, healthy & strong, obviously a painter’s model posing as a forceful peasant woman.  Here Salome, confident & assertive  with a touch of arrogance, constitutes a feminist challenge to the concept of the dominant male website of Elliott Fine Art at London Art Week, EdwardsH pp 140-41, 144,  Dijkstra pp 190-192 .

Circle: It was the feminist one of Helen Campbell Dijkstra p393

Status: The intrepid way in which she coped with foreign travel indicates that she was herself a New  Woman Elliott Fine Art

Reception: During much of her lifetime, she was respected as an artist & displayed painting in galleries in New York & the salons of Europe. However from the late 1890s she was force to turn to portraiture to make a living Wikip, Elliott Fine Art

Repute: After her death she was soon forgotten.  She is not itemised in the Oxford Companion, WestS1996 or the Grove Dictionary as published.  However she has been now been recognised as an exponent of American Orientalism, etc Elliott Fine Art, EdwardsH p140

Collections, At the Museum of Fort Ticonderoga which contains 58 of her paintings Wikip

-Bonaventura PETERS, the Elder, 1614-52, brother of Catharina’s, Gillis & Jan, Belgium; Baroque

Background: He was born in Antwerp Grove24 p323
Influences: Andries Van Ertvelt’s stormy seas  Grove24 p323
Career: He became a master in the Antwerp guild of St Luke, 1634, appears to have been in The Netherlands at an early stage & spent his last years in Hoboken  Grove24 p323
Oeuvre: Paintings & etchings  Grove24 p323
Speciality: Highly dramatic & fantastic storms & shipwrecks as in Dismasted Ship in a Heavy Sea, 1635 (National Maritime Museum, Greenwich)
Characteristics: His river scenes & views of coastal cities were atmospheric, fresh & naturalistic painted in a grey-blue monotone in contrast to his apocalyptic visions of the elements in turmoil Grove24 p323, Vlieghe p199
Status: He was the most renowned specialist in Belgian marine painting of his period & the leading member of his family Vlieghe p199, Grove24 p323
Sister: Catherina, 1615-76 painted still-lifes & seascapes L&L
Brothers: Gillis, 1612-53 painted small intimate landscapes in the Dutch manner, & Jan, 1624-80, who was mainly a marine painter as was Gillis’ son Bonaventura Peters the Younger, 1648-1702 L&L

-Clara PEETERS, 1594-active 1657, Belgium=Antwerp;

Background: She was born in Antwerp Grove24 p324

Career: She was in Holland in 1612 & 1617 L&L

Oeuvre: Still-life L&L

Characteristics: Her works are with or without vases of flowers & are meals with cheese, fish, oysters & pastries in combination with costly tableware such as gold or silver goblets.   She uses bright, glowing colour usually contrasting with dark backgrounds in works that are enlivened with bright highlights & gleams of light Grove24 p324, Vlieghe pp 217-8

Feature: She painted a silver-gilt cup in which she is reflected holding her palette (Staatliche Kunsthalle, Karlsruhe) Grove24 p324  

Innovation: She was. along with Osias Beert, a pioneer of  the spread table still-life, & was among the first specialist painters of still-life & flowers.   Also, she was almost the first to include dead game birds, & her paintings of fish & game appear well before other artist used similar subject matter L&L, Wikip

Status: She was the best-known female artist of her era in Belgium & was one of the few women artists working professionally in 17^th century Europe Wikip

Collections: the Prado

Perina del Varga.  See Del Varga, Perino

Pieters, Pieter.   See Aertsen Pieter Pietersz                    

Pietro da Cortona.   See da Cortona

 Pietro di Sano.   See Di Sano

Pijnacker.   See Pynacker

..PELEZ, Fernand, 1843-1913, France; Rural Naturalism Movement

Background: He was born in Paris & his father Fernand Perez de Condova, 1820-99 was an artist websites

Training: His father & Alexander Cabanal Websites

Influences: Murillo, Bonvin Weisberg1992 p88

Career: His early work was of a conventional Salon type but during the 1880s he shifted to realistic works depicting the impoverished Websites.   After his painting L’Humanite was more or less ignored at the 1896 Salon he gave up trying to sell but continued to paint social outcasts Weisberg1992 p89

Oeuvre: Genre paintings of washerwomen, & street performers, fairs & homeless children Weisberg1992 p88

Characteristics: His work which is powerful & melancholic,  is more modern than Bonvin’s due to its sharp focus & simple setting, though his drawing & composition are of an Academic type Weisberg1992 p88

Innovation: His work conveys a genuine & unprecedented pathos Websites

Grouping: According to Zola he was a Naturalist Weisberg1992 p88

Repute: He is not itemised in the Grove Dictionary but his importance was recognised by Robert Rosenblum in 1981 & there was a major exhibition of his work at the Petit Palais in 2009 Websites

Collection: Musee de Petit Palais, Paris

–PELHAM, Peter, c1695-1751, England:

Background: He was born in London Grove24 p335
Training: Apprenticed to mezzotint engraver john Simon Grove24 p335.
Career: He produced at least 25 mezzotint portraits of prominent Londoners, 1720-26; left for Boston, 1726-7; painted the popular clergyman Cotton Mather & then engraved a mezzotint, the first in the American colonies.   As the market for prints was small he opened a dancing school, 1738 Grove24 p335
Oeuvre: Painter & engraver L&L
Characteristics: His American work consists largely of heads of American divines from unskilful originals which did not afford him much scope. Smibert’s portrait of The Reverend Benjamin Colman was exceptional Isham p20, webimages, Bjeljac p105
Circle: Smibert L&L
Pupils: He taught the young Copley, his wife’s previous son, the rudiments of painting & engraving L&L

*PELLEGRINI, Giovanni, 1675-1741, Rosalba’s brother-in-law, Italy=Venice:

Training: Milan L&L
Influences: Sebastiano Ricci & Luca Giordano L&L
Career:  He moved to England in 1708, left for Dusseldorf in 1713, returned to England during 1718-9, went to Paris in 1720 , & during 1736-7 was in Mannheim L&L
Characteristics: He used delicious soft pastel colours, & employed soft, lively& fresh brushwork.   Nothing is very solemn & solid Steer p179, Levey1966 pp 39-42
First: He was the first Venetian artist to visit England OxDicArt
Verdict: Most of his work was routine OxDicArt
Grouping: Rococo Levey1966 p39
Legacy: He spread of large-scale Venetian  decorative painting to North Europe OxDicArt
Collections: His finest works are at Kimbolton Castle & there are decorations at Kimbolton Castle & Castle Howard OxDicArt, L&L

*PELLIZZA DA VOLPEDO, 1868-1907, Italy:

Background: He was born in Volpedo, Alessandria Norman1977
Training: With the Realist Tallone in Bergamo & at the Florence Academy, 1893-5 Norman1977
Influences: Segatini Norman1977
Career: He depicted the dignity of labour in his famous Fourth Estate, & committed suicide when his wife died Norman1977
Characteristics: His work combines idealist & realist tendencies & he adopted Pointillism around 1892 using it to heighten the poetry of his landscapes.    Norman1977
Friend: Morbelli Norman1977

-PENCK, A. R. (born Ralf Winckler) 1939-2017, Germany:

Background: He was born at Dresden Grove24 p354
Training: He served a one-year apprenticeship in draughtsmanship in 1956 Grove14 p354.
Career: He decided to become a painter in 1955; was rejected by the Academies in Dresden & East Berlin; rejected by the Artists’ Union he worked almost entirely as an unofficial artist; developed his stick figures from 1961; survived due to contact with a dealer in West Germany; was unable to exhibit in the West, etc; requested the right to leave; was stripped of his nationality & told to leave immediately, 1980; settled in Cologne, made visits to Israel, lived in London & then moved to Dublin, etc OxDicMod, L&L, Grove24 pp 354-5
Oeuvre: Paintings & sculpture OxDicMod
Characteristics: His work has great energy & intensity.  It is of a clearly drawn semi-abstract all-over type consisting of linear shapes in black against a white background featuring crudely drawn figures or animals, together with works where the drawing is in white against a black background, or the variously coloured shapes of outlines occupy virtually all of the space, etc, etc.  His stick-figure paintings are taken to be parables about contemporary issues & the powerful expressiveness of his work is  attributed to the dynamic contrast between  spontaneity & discipline.  It is claimed that in East & West, 1980 (Tate Gallery), which were painted soon after his arrival in West Germany, are contrasting symbolic representations of a non-functioning & a functioning political & economies machine Grove24 pp 354-5, webimages, L&L
Politics: Despite his experience he long remined remained a supporter of the Socialist system OxDicMod
Friend: Baselitz OxDicMod
Grouping: His work became associated with Neo-Expressionism OxDicMod

..PENNELL, Joseph, 1857-1926, USA:

Background: He was born in Philadelphia into a Quaker family Grove24 p363
Training: Evening classes at the Pennsylvania School of Industrial Art & then the Academy of fine Arts but he clashed with teachers & never graduated Grove24 p363
Career: In 1880 he opened a studio & his drawings of American & then Tuscan cities began appearing in journals & books.  He settled in England in 1883, moving back to New York
Oeuvre: Illustrations, prints & later watercolours Grove24 pp 363-4.
Characteristics: He was a master of the descriptive line & his best work was dramatically composed with views from striking angles some of which feature  majestic clouds, powerful buildings, night scenes, industry & the great modern city Grove24 p364
Innovations: He had a pioneer interest in industrial subjects but, as it was dramatic, & derived from Whistler & Piranesi, he did not plumb the nature of industrial forms but clothed them with romance BrownM p113, webimages
Personal:  He & other students at the Pennsylvania Academy victimised Tanner, who was black, with an intense campaign of racial harassment involving him being tied in crucifixion manner to his easel.  Pennell observed that there had never been a great Negro or Jew artist Bjelajac pp 264-5
Circle: Robert Louis Stevenson, Shaw & Whistler.  The latter was flattered by their attention & Joseph & his wife in The Art of Whistler, 1928, celebrated his achievement Grove24 p364

-PENNI, Giovanni, 1488/96-1528, Italy:

Background: He was born in Florence into a family of weavers Grove24 p365, Wikip
Career: With Raphael in Rome possibly as early as 1510 where he skilfully worked up his ideas & entrusted the drawings to other assistants.  After Raphael’s death he collaborated with Goilio Romano, moved with him to Mantua, & went alone to Naples Grove24 p365
Oeuvre: The Loggie scenes of God Separating the Land from the Waters, Abraham & the Angels & Joseph Explaining Pharaoh’s Dreams are almost certainly by Penni Grove24 p365
Characteristics: His own work is Raphael-like as in Virgin with Blue Diadem, 1512 (Louvre) but later became crude & dull Wikip, Grove24 p365
Pupils: Leonardo da Pistoia Wikip
Brothers: Bartolomeo & Luca were artists Wikip

*PENCZ/BENCZ, Georg/Jorg, c1500-50, Germany=Nuremberg:

Background: He was probably born in Wertheim Wikip

Training: From 1923 he was in Durer’s workshop in Nuremberg, painting murals in the town hall from Durer’s designs Grove24 p355, L&L

Influences: He visited northern Italy & was profoundly influenced by

Venetian art & was then influenced by Bronzino & Mannerism after his second Italian visit Wikip, L&L

Career: In 1525 he had been imprisoned with Barthel & Sebald Beham for disseminating the radical views of Thomas Munzer & asserting disbelief in baptism & Christ, was banished but ultimately pardoned.  After visiting Italy, he  returned to Nuremberg but around 1539 he briefly returned to Italy & visited Rome & Florence.  He became court painter to the Duke of Bavaria at Landshut, 1540, & in 1550 to Duke Albert of Prussia at Konigsberg/Kaliningrad Wikip, Grove24 pp 355-56, L&L, OxDicComp

Oeuvre: Religious & mythological/paintings & engravings, & also portraits Grove24 p355

Characteristics: The sharp outlines & glossy textures of his portraits reflect the influence of Bronzino as in Portrait of a Seated Youth, 1544 (Uffizi, Florence).    His religious & mythological work features rich colouring with vibrant greens & reds, together with marked chiaroscuro & landscape backgrounds  as in his erotic Venus & Amor, 1528 (Gemäldegalerie, Berlin) OxDicComp, webimages

Innovation/Patronage : He was the first in Germany to conceive of ceiling painting as an entire project & he painted a number of trompe-l’oeil works for patrician families Grove24 p350

..PENNY, Edward, 1714-91; England: British Golden Age 

Background: He was born at Knutsford, Cheshire, the son of a surgeon Grove24 p366.
Training: Thomas Hudson &, during the early 1740s, in the studio of Marco Benefield who was a Neo-Classical decorative artist in Rome Grove24 p366, Waterhouse1953 p283
Career: In 1743 he returned to England, painted portraits in Cheshire & by 1748 was established in London.  In 1765 he exhibited John Manner, Marquess of Granby, Giving Alms to a Sick Soldier & his Family the first of his paintings illustrating virtuous actions.   This & other such works were engraved by William Pether etc & became extremely popular.    He was a founder member of the RA & its first Painting Professor.   In the early 1780s he ceased exhibiting at the RA & in poor health resigned his post Grove24 p366-7, Waterhouse 1953 p283
Oeuvre: Portraits, Shakespeerean subjects, current history & his speciality: scenes of charity Grove24 p366-7, Burke p300.
Characteristics: His narrative works have a nice sense of tone, gentle & silvery, & his portraits are charming & elegant Waterhouse 1953 pp 283-4, Grove24 p366.
Innovation: He was among the first to reflect the growing interest in sentiment & feeling Grove24 p366-7.
Pupil: William Redmore Bigg Grove24 p367

..PENROSE, Sir Roland, 1900-84, (confusable with Passmore), GB:

Background: His father was a painter & he came of a Quaker family OxDicMod
Training: Queen’s College, Cambridge although in architecture; 1922 in Paris OxDicMod
Career: In Paris he came to know Picasso, who became his lifelong friend, Ernst, Miro, Man Ray etc OxDicMod.   In 1936 he organised the International Surrealist Exhibition with the poet David Gascoyne Spalding1986 p116.   During the War he was a camouflage instructor OxDicMod   In 1947 he was the co-founder & chairman of the Institute of Contemporary Arts.   Penrose was the author of Picasso, His Life & Works, 1981 OxDicMod
Oeuvre: Paintings, collages & objects OxDicArt
Collaborators: Breton, Eduard,  Moore, Nash, Agar Spalding1986 p116
Verdict: Penrose promoted Surrealism with a missionary zeal OxDicArt

*PEPLOE, Samuel, 1871-1935, Scotland:

Background: He was born in Edinburgh, the son of a banker Flemings p106
Training: Evening classes at the Edinburgh College of Art; & in 1894 at the Julian & Colarossi Academies in Paris L&L
Influences: Velasquez, Manet’s muted colours in the 1860s, & the free handling & direct brushwork of Hals after his visit to Amsterdam in the mid-1880s Flemings pp 106, 116.
Career: During the late1890s he produced a series of richly painted figure subjects & still-lfes.   He began his regular summer visits to the Western Isles.   Here for almost a decade after the Great War he painted with Cadell Flemings p106.   He spent 1910-12 in Paris L&L.
Oeuvre: Initially his work was of a tonal nature but his palette lightened after he spent several holidays with Fergusson in France Flemings pp 110, 116.   He produced brightly coloured Fauvist  painting during his stay in Paris, & following the Post-Impressionist exhibitions he employed sharp outlines & sometimes Cubist angularities L&L
Friends: Cadell, Ferguson & Hunter L&L, Flemings p116.

– PEREZ, Bartolome, 1634-93 or 98, Spain:

Background: Born Madrid Grove24 p400
Training: Juan de Arellano, who was his father-in-law L&L p523, Brown p242
Career: He became an honorary court painter, 1698, because of his work as a theatre designer at the Buen Retiro Palace, Madrid Grove24 p401
Oeuvre: Flower paintings & religious works L&L, Wikip
Characteristics: His work is subtle with designs that are understated & at their best almost languidly elegant.  In some works, the bouquets are arranged in bronze urns with relief decorations inspired by the Antique as in a work of 1666 in the Fitzwilliam Museum, Cambridge in which the blossoms are painted in an extraordinary velvety chiaroscuro & appear to be in motion.  Moreover in [the as in] Garden of Flowers (The Prado) there is a curious image of a small Saint surrounded by large blossoms Brown p242
Repute: He is only starting to emerge from the shadows Brown p242

..PERI, Peter/Lazlo, 1899-1967, Hungary/Great Britain:

Background: Born Weisz, Laszlo at Budapest into a large, proletarian Jewish family Grove24 p417

Training, etc: After working as a bricklayer, he entered a theatre school , 1917; went to Prague; became a student in the workshops for proletarian fine arts, 1919; studied architecture in Budapest & Berlin, 1919-20; lived briefly in Paris, 1920, but had to leave due to his left-wing political activities;  moved to Vienna & then back to Berlin Wikip, Grove24 p417

Career: In Berlin he created his first abstract geometric reliefs, 1921; had joint exhibitions with Moholy-Nagy at Der Sturm Gallery, 1922; in 1923 a portfolio  containing linocuts was published & he joined the German Communist Party/KPD, & subsequently new & militant Communist art organisation; worked for the Berlin municipal architectural office, 1924-28; returned to representational painting & sculpture Wikip  He immigrated to England in 1933 after the arrest of his wife,  Charles Booth’s granddaughter, for possessing Communist propaganda; made contact with John Heartfield, lived in Ladbroke Grove & then Hampstead; & from 1938 Camden Town.   He was a founding member of  the future Artists’ International Association, a popular front body, & contributed works; became a British Citizen renamed Peter Peri, 1939; & ultimately joined the Quakers  Wikip, Grove 24
Oeuvre: Linocuts, collage, sculpture in concrete Wikip
Characteristics: His forte appears to be boldly composed figurative works, which are however painted in calm modulated colour & which depict everyday events with an emphasis on movement as in Rush Hour, Building Job, 1927 and Tyranny 1959 (all Tate)
Grandson: Peter Peri, born 1971 Wiki

*PEROV, Vasili, 1833-82, Russia:

Background: He was born at Tobolski & was the illegitimate son of the public prosecutor, an enlightened free-thinking man who entertained exiled Decembrists Lebedev Pl, 50Rus p106

Training: 1858-60 at the Moscow School of Painting where Pryanishnikov & Shiskin were close friends 50Rus p106

Influences: Courbet & Meissonier Norman1977

Career: In 1861 he received a gold medal & achieved fame with Sermon in the Village.  A Village Easter Procession, 1861, aroused controversy because it was anti-clerical & critical of system.   It was banned but Tretyakov bought it.   In 1862 he went to Germany & Paris at the Academy’s expense but returned early saying his ignorance of the French people had prevented him painting properly.  He was a founder member of the Wanderers 50Rus pp 107, 122.   During 1871-81 he taught at Moscow School of Painting Lebedev Pl58.

Oeuvre: Genre & portraits which were mainly peasants but also of writers etc 50Rus pp 108-9

Phases: He painted critical genre until the 1870s.   It was partly replaced by gently humorous paintings of provincial life, & finally by paintings of the Pugachov rebellion, etc 50Rus pp 108, 110

Characteristics: Clear composition & muted colours 50Rus p107

Innovations: Genre scenes, being  one of the first Russian artists to integrate them with landscape Golomstock  p161, WPS p11

Pupil: Arkhipov Lebedev Pl 1

 *PERREAL, Jean, c1455-1530, France:

Influences: Italian idealization  L&L
Career: By 1483 he was in the service of the city of Lyon.   Soon afterward he entered that of the Duke of Bourbon & by 1494 was at the royal court becoming chief court artist.   He visited Italy with Charles VIII in 1494 & with Louis XII in 1502 & 1509
Oeuvre: Paintings, illuminations & the design of funerary monuments etc L&L.
Characteristics: His naturalism but little work can confidently be attributed to him L&L
Repute: This was very considerable in his day OxDicArt

-PERRIER, Francois, 1590-1650, France; Baroque and Baroque Classical

Background: He was born at Pontarlier, Burgundy Grove24 p476

Training: In Lyons & with Giovanni Lanfranco in Rome  Grove24 p476,  Allen p95

Influences: The Carracci’s, Pietro da Cortona & latterly Poussin  OxDicArt, Grove24 p476

Career: He went to Rome arriving before 1625; worked with Vouet, 1631-5; was in Rome again making engravings, 1635-45; was commissioned in 1645 to paint the gallery of the Hotel de la Villier, which was his most important work, though its walls were later redecorated; & he became a foundation member of the Academy, 1648 Grove 24p 476,  Allen pp 95-6, Blunt1954 p170

Oeuvre: Religious, historical & mythological works in oils & fresco, together with prints Grove24 p476-77

Characteristics: He had a vigorous, dramatic style using rich colour & marked chiaroscuro as in Aurora & the Harpies, after 1645 (Louvre)

Phases: Initially he had a remarkably loose style but it is claimed that it became much more Classical & disciplined during his second Rome trip featuring calmer gestures & greater elegance of form as in his Plague of Athens, 1640-43 (Musee des Beaux-Arts, Dijon)  Allen pp 95-6, Grove24 p476 

Innovations: His decorations helped introduce grand Baroque painting to France OxDicArt, Blunt1954 p171

Reception & Repute: From 1645  his work was much in demand.  Although famous & appreciated in his day, subsequently few of his paintings were known until there was a renewed interest in his career from 1965 Grove24 p476

Pupils: Lebrun, briefly but deeply OxDicArt, Grove24 p476

-PERRONNEAU, Jean-Baptiste, c1715-83, France; Rococo

Background: Born Paris Grove24 p480

Training: With Laurent Cars, Natoire & Hubert Drouais Wakefield p69, Grove24 p480

Career: He began exhibiting at the Salon in 1746; was received into the Academie Royale, 1753; but from around then he was obliged to travel extensively in France & also to work in Italy, 1759, St Petersburg, 1781, & repeatedly in Holland Grove24 p480, L&L

Oeuvre: Portraits in pastel & oils including early engravings Grove24 p480

Characteristics: Most of his pastels are bust-length often within a feigned stone oval   He employed clear & translucent colours & had strong & vigorous brushwork in contrast to de la Tour’s frequent over-working.  His portraits are direct & straightforward without great psychological penetration usually giving his sitters intelligent & sensitive but somewhat remote expressions.  His [as in] lively & informal three-quarter length portrait of Mme de Sorquainville, 1749, is one of his best works Grove24 p480, Wakefield pp 69-70

Phases: From 1750 he favoured pastels & few of his later works match those of around 1750.  His delight in experiment waned though his sensitivity & subtle colouring continued Wakefield p70, Grove24 pp 480-81

Verdict: His work has great subtlety & refinement; & it has been unjustly neglected Wakefield p69

Status: Together with de la Tour he was the most important pastel artist & portrait painter in 18^th century France Grove24 p480

Patronage: The provincial nobility in France & the upper middle-classes in Holland, Spain & Poland which was necessary because La Tour had a virtual monopoly of in court & fashionable Parisian circles Wakefield p69, Grove 24  p480

Reception & Repute: Diderot & his contemporaries consistently favoured La Tour & downplayed Perroneau whose work was less & less well received in France by the public & critics.  It was largely forgotten for most of the 19^th century Wakefield p69, Grove24 pp 480-81

**PERUGINO, Pietro c1450-1523, Italy=Umbria; Renaissance:

Teachers/influences: Francesca Murrays1963 p250; Vasari says he was taught by Verrocchio OxDicArt
Career: From 1481 he painted frescos in the Sistine Chapel including Christ delivering the Keys to St Peter, which formed his reputation.  In around 1505 he  left Florence, where his work was deemed old-fashioned and settled in Perugia  OxDicArt
Oeuvre: Some of his works were fine portraits OxDicArt
Speciality: Altarpieces
Phases: His best period was between 1495-1500 Murrays1963 p247; His later work was known as often routine & repetitive OxDicArt
Characteristics: Works were calm with repose Wolfflin1899 p75; There is an absence of physical agony BuckH p11 He was cautious using facial shadowing Wolfflin1899 p262; Lucidity & simplification Murrays1963 p250; There was sometimes a certain emptiness with vacuously pious faces, especially in his Madonna’s Murrays1952 p252; Based on a substantial number of paintings in the NG Umbria, the soulful vacancy of Saints & other figures with either upcast or downcast eyes.  The Virgin seems uniformly sad with downcast looking.
Techniques: From 1503-4 he would often put an oil coat over tempera “in order to exploit the transparencies of both methods” NG Umbria
Drawings: With calm sweeping lines Wolfflin1899 p254
Firsts: Figures effectively related to architecture Wolfflin1899 pp 75-6
Innovations: Early use of Grotesque L&L
Beliefs: He was not a religious man (Vasari) OxDicArt
Status: He was a harbinger of the High Renaissance OxDicArt
Verdict: At his best, he had the authority of a great master OxDicArt
Repute: Even during his lifetime, he was criticised for excessive sweetness and glorified by the Pre-Raphaelites OxDicArt

*PERUZZI, Baldasse, 1481-1536, Italy=Rome:

Background: He was born in Siena L&L
Influences: Raphael L&L
Career: He was mainly active in Rome from about 1503 until 1527, during 1530-1 & from 155
Oeuvre: Paintings, frescoes, stage design & architecture Brigstocke
Characteristics: His frescoes have crisp contours, vibrant figures & display startling illusionistic effects.   His work is graceful & witty Brigstocke, L&L.
Status/Verdict: Michelangelo & Raphael apart he was the most important creative artist of the Roman High Renaissance Brigstocke

-PESELLINO/DI STEFANO, Francesco, c1422-57, Italy=Florence:

Background: His grandfather (Pesello) was a painter Murrays1959
Training: Probably by Pesello Murrays1959
Characteristics: His figures in scenes that are psychologically convincing are graceful & well-designed clad in heavy, folded fabrics Brigstocke
Influences: Fra Filippo Lippi Murrays1959, L&L
Workshop: It was successful L&L

-PESNE, Antoine, 1683-1757, France & Germany:

Background: He was born in Paris Grove24 p541
Training: His father Thomas who was a portraitist L&L
Influences: Watteau Wakefield p41
Career: Between 1705 & 1710 he was in Italy but in the latter year went to Berlin.   He was Court Painter to Frederick I of Prussia & Frederick II/Great.  In 1723-4 Pesne worked in London Wakefield p41, L&L.   He was then in Berlin until his death Hempel p273
Oeuvre: This included court portraits, Lancret-like genre, & allegorical wall & ceiling decorations in Palaces (Rheinsberg, Charlottenburg, Sanssouci) L&L
Characteristics: His work was Watteau-like Wakefield p41
Verdict: He was an excellent portraitist, although not equal to Watteau Hempel p273
Pupils: Mercier Wakefield p41

..PETERS, Rev Matthew, 1742-1814, England:

Background: He was born at Freshwater, Isle of Wight but brought up in Dublin where his father was a customs officer Grove24 p547

Training: Hudson in the later 1750s, but he soon adopted a modern continental style Waterhouse1953 p291

Influences: Corregio’ swimmy facial expressions Waterhouse1953 p291

Career: Between 1762 & 1766 he was in Italy & during 1772-6 spent formative years in Venice, Rome, Paris etc.   Peters exhibited regularly at the RA & became a member in 1778.   He was one of the more prolific contributors to Boydell’s Shakespeare Gallery.   During 1783-4 he was in Paris where he associated with Vestier & Boilly.   In 1788 Peters retired from professional painting, having been ordained in 1782 Waterhouse1953 p291, Grove24 p548.

Phases: Around 1776-8 he painted a series of smiling, inviting, under-dressed ladies which are Greuze-like but devoid of moral overtones.   They caused a mild scandal & he then painted genre scenes & a few portraits.   Towards the end of his career as a painter he produced some lugubrious sacred pictures Waterhouse1953 pp 291-2, Grove24 p548

Characteristics: His best period was after 1776 when he painted in a high key with lush juicy colour, creamy impasto & harmonies of pink, cream & smoke with a feeling for the texture of paint.   He produced swimmy facial expressions like those of Corregio Waterhouse1953 p291

Patronage: In 1769 he became a Freemason & this found him patrons & later preferment Waterhouse1953 pp 391, 393

…PETERZANO, Simone, 1540-96, Italy=Milan (Bergamo) :

Background: He was probably born in Bergamo Grove24 p550
Training: He claimed to have been taught by Titian Grove24 p550
Career: He was established in Milan by 1575 & during 1578-82 painted frescos & altarpieces for the charterhouse of Garegnano near Milan Grove24 p550.
Characteristics: His work has been described as uneven & of a school masterly Mannerist type Friedlaender1955 pp 36-7.   However, he is also said to have united elements of Antonio’s naturalism with Mannerist formulas & to have achieved a lively narrative style, which he later developed with greater monumentalism.   His late works have the clarity & directness that was called for by Carlo & Federigo Borromeo Grove24 pp 550-1
Pupil: Caravaggio 1584-88 Friedlaender1955 p35

√√√…Abraham PETHER, 1756-1812, Henry & Sebastian’s father, & William’s cousin, England:

Background: He was born in Chichester Wikip

Training: George Smith Wikip

Career: He exhibited at Free Society of Artists, the Incorporated Society of Artists, 1773-91, & the RA, 1784-1811, but he died in great poverty due to a lingering disease.  As well as being an artist.   Abraham was also a talented musician. inventor & mathematician  Wikip

Oeuvre: Moonlight subjects, including moonlight & firelight together in industrial scenes, eruptions & fires.  He also painted river & mountain scenery with classical buildings Wikip, Bromfield p12

Characteristics/Verdict : His moonlit scenes feature skies of widely differing hues including green & shades of grey.   Sometimes they also include ruins & other buildings Wikip

Innovation: His moonlit scenes were certainly innovatory as indicated by his nickname but they were not the first ever as moonlight dates back to Elsheimer Klessmann p177

Verdict: [He was clearly an inventive & creative painter.]

Reception: His work was popular & praised Wikip

Descendants: Sebastian, 1793-1844, & Henry, 1828-65, were Abraham’s sons.  Their work was very similar to Abraham’s in style & content.  They both specialised in moonlight scenes.   However, Sebastian also painted scenes of disaster, & Henry produced Venetian pictures.  Sebastian’s colours are generally harder & more metallic than Henry’s, which are warmer & more brownish.   Sebastian’s paintings are sometimes confused with Henry’s Christie’s, WoodDic, Wikip, Webimages

…William PETHER, C1738-1821, England:

Background: He was born in Carlisle Grove24 p551
Training: Thomas Frye Grove24 p551
Career: He became Frye’s partner in 1761 & for the next 15 years produced engraving, etc.   In 1776 he moved from London to Richmond, Surrey, & in 1780 to Nottingham, & finally to Bristol where he worked as a drawing master & picture restorer.   During 1781-94 he exhibited miniatures at the RAGrove24 p551
Oeuvre: Engravings, paintings & crayon portraits.   He engraved after Old Masters, particularly Rembrandt, & contemporaries, especially Joseph Wright’s chiaroscuro effects which he captured admirably Grove24 p551

..PETROV-VODKIN, Korma, 1878-1939, Russia:

Background: Born in the Volga port of Khvalynsk, into a poor family, the son of  shoemaker.  Those who belonged to the 4 Arts group were mostly of a politically innocent type & they paid particular attention to the formal language of art Wikip, OxDicMod, RARev p273, Bown1991 p43

Training: At Samara, 1893-5; Baron Stiglitz’s Central Collection of Technical Drawing, St Petersburg, 1895-7; the Moscow College of Painting, Sculpture & Architecture, 1897-1905; Munich, 1901; & Paris, 1905-8 Grove24, Bown1991 p246

Influences: Icon painting, Fra Angelico, Giotto, Raphael; Puvis de Chavannes & the Nabis Bown1991 p46, RARev p274

Career: He made early visits to Constantinople, Greece, Italy & Algiers, 1905-06; after Paris he settled in St Petersburg; supported the new republic & democracy; apparently endorsed the Bolshevik/Communist take-over by subsequently  producing propaganda hoardings; taught at the Higher Artistic-Technical Institute etc, 1911-24; belonged to the World of Art, was a founding member of The 4 Arts group, 1924 ; became the first Chair of the Leningrad Section of the Union of Artists, 1932; & was criticised in the 1930s for Formalism Grove24 p566, OxDicMod, RARev p273, Bown1991 p 46

Oeuvre: It was diverse & included still-life; war pictures; mothers & babies, etc.  He was also engaged in stage design OxDicMod, RARev pp 273-4 Fig105, Pls 199, 200

Speciality: Large-scale figure groups OxDicMod

Phases: Religious imagery both before the Revolution & after as in Madonna & Child, 1923 (Private); paintings of the Civil War as in Death of a Commissar, 1927 (Tretyakov, Moscow) RARev pp 273, 290-91.   There was an interlude during which he made a visit to Central Asia, & painted  masterpieces depicting Uzbek life & scenes as in his lyrical, mellow Shakh-I-Zinda/Samarkand, 1921 (Russian Museum) OxDicMod, RARev pp 273-77, webimages

Characteristics: His work was a distinctive blend of Symbolism, Russia Medieval work & Italian Renaissance painting. It features powerful design using strong, even harsh, colouring with some pictures having a glowing effect together with an original, puzzling, & thereby stimulating, spatial configuration which he called spherical perspective [as in Cherry Blossoms in a Glass in which the objects appear to rest on a table which instead of being horizontal is propped up in such a way that the objects would slide off into the lap of somebody who happened to be sitting there, while in Still-Life with a Violin 1918 (both Russian Museum St Petersburg) the table is sloping to the left.  However, in these works & particularly in [the as in] A Samovar, 1926 (Tretyakov, Moscow) the detailing is exquisite.  Moreover his still-lifes have an aura, magical or divine, as if the objects have been placed & included by means of a higher will where only this particular configuration is possible.  His landscapes, interiors, war paintings & portraits are far more conventional although their paintwork has an interesting & variegated surface texture OxDicMod, RARev p274-91

Innovation: [Painting of a surreal type.]

Status/Verdict: He was one of the most original & independent painters of his day & his work demonstrates that figurative easel painting was alive & well in the post-Revolution period.  His principal concern was the craft of representation rather than subject matter or political commitment OxDicMod, RARev p273

Legacy: He greatly influenced a whole generation of Soviet students including Chupiatov, Evgenia Evenbakh, Alexei Pakhomov, & Alexander Samokhvalov RARev p277

Repute: He is ignored in some standard works of reference including the Yale Dictionary of Art & the Oxford Companion, with the Russian avant-garde, etc, occupying the limelight L&L, Brigstocke, RARev p273

 ..PETTENKOFEN, August von, 1822-1889, Austria:

Training: 1834-40 at the Vienna Academy Norman1977
Influences: Schindler & in Paris the Barbizon painters, especially Troyon & Decamps.   He was also serialized by Alfred Stevens & Meissonier Norman1977
Career: In 1851 he visited Hungary & from 1852 Paris, where in the 1970s he made contact with the Impressionists.   There were also frequent visits to Italy.   In 1872 he became a member of the Vienna Academy & in 1872 that in Munich Norman1977
Oeuvre: Landscape & genre Norman1977
Speciality: Scenes of the colourful life of Hungarian peasants & gipsies Norman1977
Phases: During around 1848-1851 he produced scenes from army life Norman1977
Characteristics: Early in his career he adopted a light palette & produced atmospheric moods that are soft, gentle & slightly melancholic in the manner of the later Barbizon painters.   As Pettenkofen became increasingly impressionistic, he tended more & more towards monochrome Novotny pp 306-7
Friends: Hang Norman1977
Status: He was one of the most distinguished of the country’s Barbizon-orientated Realist painters Norman1977

..PETTER, Franz, 1791-1866, Austria:

Background: He was born in Vienna Norman1977
Training: The Vienna Academy Norman1977
Career: From 1814 he taught flower painting at the Academy where he became a professor in 1832, & director of the industrial drawing section in 1835 Norman1977
Oeuvre: Flower paintings etc Norman1977
Status: He was the chief exponent of flower painting during the Biedermier period Norman1977

..PETTIE, John, 1839-93, Scotland/England; Academic Painting from 1845; Troubadour

Background: Born in Edinburgh wikip
Training: At sixteen he entered the Trustees Academy, Edinburgh under Lauder (like Orchardson/McTaggart/Chalmers) Macmillan1990 p231.
Career: Early days he produced a certain amount of book illustrations Wikip He was elected as Associate of the Royal Academy in 1874 and obtained full academical honours in succession to Sir Edwin Landseer with Jacobites wikip
Influences: Pre-Raphaelites especially Millais Macmillan1990 p232 Sir Walter Scott’s novels wikip
Milestones: In 1862 he settled in London and had early success at RA with Academy Drumhead Court Martial Treuhetz1993 p166
Oeuvre: Colourist of high order, depicting real and imagined historical events Treuherz1993 p166
Forte: Evocation of romantic/conspiratorial atmosphere of Civil War/Jacobite Rebellion Treuherz1993 p166
Characteristics: Thin, transparent and loose brushwork, muted colour though richer than Orchardson which captured the use of empty space.  Lively figurative drawings Treuherz1993 pp 166-7 Over-simplified serialized with much circumstantial detail Macmillan1990 p234 He produced portraits, some of his best works were informal pictures of friends wikip
Verdict: Gave the spirit and atmosphere of history M&M p68. By no means negligible with Disgrace of Cardinal Wolsey 1475-1530 was a brilliant example of theatre painting Macmillan1990 p234
Status: Though Lauder’s pupils paint very differently, all have sense of colour and unified composition through light and atmosphere Macmillan1990 p232
Taught: Guthrie Grove13 p868

-PETTORUTI, Emilio, 1892-1971, Argentina:

Background: He was born at La Plata Grove24 p570

Training: With Giovanni Giacometti in Florence c1911 Grove24 p570

Influences: Synthetic Cubism Grove24 p570

Career: In 1913 he settled in 1913 & in 1923 exhibited 35 works at the Sturm-Galerie,   Berlin, & returned to Buenos Aires in 1924.  Between 1930 & 1947 he directed the Museo Municipal de Belles Artes, La Plata. In two short terms.   Latterly he had little sympathy for young artists  Grove24 p570, L&L, OxDicMod.

Oeuvre: Paintings Grove24 p570

Characteristics/Phases: Early on his works were in a late Cubist style but his concern with classical rules of form led him away from strict Cubist fragmentation whether in his more conventional landscapes or in the extraordinarily polished abstracts he painted from the late 1930s.  His works were firmly designed  Grove24 p570, L&L

Characteristics: His later works were brilliantly crafted Grove24 p570

Circle: Carlo Carra, Marinetti, Alberto Sartoris with whom he discussed Futurism but with little influence on his work Grove24 p570, OxDicMod.

Influences: His advocacy of European modernism  had a great influence on younger generation painters OxDicMod

Repute: Recognition was slow in Argentina –his works were spat on at his first exhibition- but he became an establishment figure Grove24 p570

 ..PFORR, Franz, 1788-1812, Germany; Nazarene Movement

Background: He was born in Frankfurt Norman1977.   His father (Johann) was an equestrian & battle painter MET1981 p271

Training: 1801 at the Kassel Academy under Johann Tischbein the Younger (his maternal uncle); 1805-9 at Vienna Academy under Fuger MET1981 p271, Vaughan1980 p170

Influences: Perugino, Raphael, &  the early Germany masters he saw at the Belvedere in Vienna MET1981 p271

Career: At the Academy he had a personal crisis & developed a longing for peace & security.   In 1809, a few days before the Brotherhood of St Luke was founded, he was at Wagram where Napoleon defeated the Austrians & he turned his back on the present to celebrate the heroism of the Middle Ages Vaughan1980 p170.   In 1810 he went to Rome with Overbeck (his close friend since1808), Vogel & Hottinger, where they worked together in the abandoned monastery of S. Isidoro MET1981 p271.   The imaginativeness & individualism of the Brotherhood seem to have been largely due to Pforr.   Only after his death did the movement turn to more conventional patriotism & pietyVaughan1980 p170

Characteristics/Oeuvre: He painted subjects from medieval history & German legends in a deliberately primitive style MET1981 p271.   Pforr created a true fairy-tale atmosphere by depicting figures & objects with the minimum of modelling, isolated like silhouettes & crowded into settings which are shallow or divided into simple zones Novotny p116

Personal: He had sickly health & displayed an almost pathological emotionalism Vaughan1980 p170

-PHILIPSON, Sir Robin, 1916-92, Scotland:

Background: Born Lancashire L&L
Training: At the Dumfries Academy & the Edinburgh College of Art, 1936-40 L&L, Wikip
Career: From 14 he lived in Scotland, joined the King’s Own Scottish Borderers & fought in Burma L&L, Wikip
Influences: Initially William Gillies but later Kokoschka L&L
Career: He taught at the Edinburgh College of Art, 1947-82, & during 1973-83 was president of the Royal Scottish Academy.  In 1952 he began his expressive Cock Fight series L&L, Macmillan1964 p98
Oeuvre: Subject paintings, Landscapes, still-life, interiors in oils & watercolour Wikip, Macmillan1964 pp 98-9, 179
Characteristics: His earlier paintings were rich in colour & expression but from about 1950 his work was even more expressive with energetic brushwork & strong colours as in Cockfight Prelude (Private) L&L
Belief: “the realisation [due to Kokoschka] that paint could be made the true subject of painting” Macmillan1964 p98
Verdict: Some of his grandest works, painted at the height of his powers, seem strangely empty because instead of paint expressing the motif the motif is an expression of the paint Macmillan1964 p99
Group: The Edinburgh School Wikip

.. PHILLIPS John (Spanish Philip), 1817-67, Scotland:

Background: Born Aberdeen, a shoemaker’s son  Norman1977, Grove24 p636
Training: After teaching by a local portrait painter, he attended the RA Schools Grove24 p636, Norman1977
Influences: Velazquez whom he studied in 1860, & painted a copy of  Les Meninas, 1862 Grove24 p636, webimages
Career: He was apprenticed to a house painter; returned to Aberdeen; went back to London; exhibited Scottish genre works at the RA from 1847; married Dadd’s sister, also mentally unstable; visited Spain in 1851, 1856 & 1860; & became an RA in 1859 Grove24 p636, Norman1977
Oeuvre: History paintings, genre works, royal paintings & portraits Grove 24 p636
Characteristics, Phases: His Scottish genre scenes were Wilkie-like.  After his second Spanish visit his work had greater feeling for Mediterranean in works with a romantic, picturesque & colourful appeal as in Spanish Peasants at the Well, 1859 (Private, but Wikimedia Commons).  From the early 1960s, now known as Spanish Philip, his brushwork had a new liquid & bravura quality as in his charming portrait of Kate Nickleby, 1867 (Aberdeen Art Gallery).  Here & elsewhere, he makes splendid use of chiaroscuro, the play of light & striking colour combinations  Norman1977, Grove24 p636, Treuherz1993 p121,  webimages
Status & Innovation: Phillip was the Victorian painter who did most to bring Spain, still a relatively  unknown & unexplored country, to public & critical attention in Britain.  His admiration for Velazquez was innovatory because he anticipated Manet who has been cited as an early member of those who belonged to his cult followers WoodC1999 p364, Grove32 p135
Circle: He joined The Clique to which Frith & Richard Dadd belonged Grove24 p636
Patronage: The Queen bought several works & he later painted royal works Grove24 p 636
Repute: His stature would appear to have been insufficiently recognised.  He is not itemised in either the Yale Dictionary or Oxford Companion.

Tom, *PHILLIPS, 1937-2022, England:

Background: He was born in London OxDicMod
Training: After English at Oxford together with  drawing at the Ruskin School, he went to  Camberwell School of Art, 1961-3 under Auerbach & Uglow OxDicMod, RA Site
Influences: Coloured picture postcards which he collected obsessively OxDicMod
Career: He taught at Bath Academy of Art, Ipswich & Wolverhampton Art College, 1965-72, & became an RA in 1889 RA Site
Oeuvre: Paintings, prints, portraits, decorative  work in restaurant, an opera, poetry, etc L&L
Characteristics: Abstracts of an all-over, decorative variety often with inset photo-like panels, together with portraits of a conventional type ArtUK images

..PHILLIPSEN, Theodor, 1840-1920, Denmark:

Background: He was born in Copenhagen Grove24 p633
Training: Kongelidge Akademi for de Skonne Kunstrer, Copenhagen,1862-3; & under Leon Bonnat. 1875-6, in Paris Grove24 p633
Influences: The Barbizon School & later the French Impressionists Grove24 p633
Career: He made trips abroad to Italy, Spain & Tunisia.  By 1890 he had moved to the village of Kastrup near Copenhagen.  He was afflicted by eye disease in 1906 & ultimately ceased painting Grove24 p633
Oeuvre: Landscape paintings especially of cattle grazing in summer on the small, flat, treeless ,uninhabited island of Saltholm as in Dutchmen’s Well: Afternoon Sunlight, 1886 (Ordrupgardsamlingen) Kent p226, Grove24 p633
Characteristics/Phases: His paintings in the south are full of atmosphere, life & movement as in A Street Scene in Tunis, 1882 (Statens Museum for Kunst).
Friend: Gauguin Grove24 p633
Status/Grouping: He was the only truly Danish Impressionist & the link between Danish Golden Age  tradition & new French painting Grove24 p633
Collections: Hirschsprung’s Samling, Copenhagen

..PHILPOT, Glyn, 1884-1937, England:

Background: He was born in Clapham, London, but the family soon moved to Herne, Kent Wikip
Training: At the London School of Art under Philip Connard, 1900, & the Academie Julian, Paris Wikip
Influences: He was a homosexual who converted to Catholicism in 1905 Wikip, OxDicMod
Career: He first exhibited at the RA in 1904 & by 1911 had become a successful society portrait painter.   In 1915 he enlisted in the Royal Fusiliers but was invalided out in 1917.   His comfortable income from portraiture travel extensively & paint subject works Wikip, Ultra wolves Archive
Feature: Guardian of the Flame & The Great Pan, 1930, were withdrawn from the RA because of their homosexual imagery Wikip .
Oeuvre: Allegorical & religious subjects, the male nude, & portraits which ranged from society figures to black Africans & in particular his West Indian servant Henry Thomas, also sculpture OxDicMod, Wikip, web images, OxDicMod
Characteristic/Phases: His early society portraits were of a polished, academic type as in The Dog Rose, 1910-11 (Fitzwilliam Museum, Cambridge) By the end of the 1920s his work was less conventional: flatter & more stylised, as in Ascending Angel, 1929 (Ingram Collection of Modern British & Contemporary Art)  OxDicMod, ArtUK
Grouping: Art Deco OxDicMod
Repute: After being out of fashion for many years his reputation began reviving in the 1970s OxDicMod
Homosexual Partner: Vivian Forbes, 1891-1937, whom he had met when he enlisted, & who encouraged by Philpot became an artist Ultra wolves Archive

..PIAZZA, Calisto, 1500-61, Italy=Lodi

Background: He was born in Lodi the son of the painter Martino, c1477-1530, & the brother of Cesare & Scipione Grove24 p 699
Influences: Moretto da Brescia & Gerolamo Romani no, & from about 1530 he had a growing interest in the work of Pordenone & in Cremonese art Grove24 p699
Career: He probably moved to Brescia in 1523, returned to Lodi, 1529, & worked alone or with his brother brothers & his son Fulvio,1536-after1579.  Latterly Calisto frequently worked in Milanese churches Grove24 p699
Oeuvre: Frescoes & panel works, religious & genre Grove24 p699
Characteristics: His works have freshness & vigour.  He favoured inclined heads & sometimes bodies.  The grounds are often elaborate Grove24 p699, webimages

**PIAZZETTA, Giovanni, 1683-1754, Italy=Venice; Baroque

Background: His father Giacomo, 1640-1705, was a sculptor & he grew up in the world of painters & sculptors.  He had a melancholic temperament, noted by contemporaries & friends Knox p1, Steer p184.

Training: In Venice with the mediocre painter Silvestro Maniago & in the studio of the tenebrism Antonio Molinari.  When he was 20, he went to  Bologna under Giuseppe Maria Crespi where he stayed for some time, though it is not clear how long.  By 1705 he was back in Venice & in 1711 was registered as belonging to the painters’ organisation  Grove 24 p703, Levey 1959 p35, Knox pp 27, 29

Influences: His father as a feeling for sculptural form is always present in his paintings.   In Bologna he was impressed by the early works of Guercino with their rich colours & dramatic storytelling.  He was probably influenced by Carl Loth & almost certainly by Johann Liss.  He painted at a time of intensified religious strictness led by the Dominican friar Daniele Concina. 1678-1756, who he knew, & Apostolo Zeno & Benedetto Marcello, reformers of musical theatre Brigstocke, Levey1959 p14, Waterhouse1962 p125, Grove24 p704

Career: When 20 he went to Bologna in order to study with Crespi but was back in Venice by 1705, where he remained.  In 1711 he joined the Venetian painter’s guild Spike p119.  In 1750 he became director of the Venetian Academy& henceforth spent most of his time teaching.  He died a poor man & his widow had to appeal for assistance Grove 24 pp 703,706, Levey1959 p38

Oeuvre: Religious, history paintings & genre.  He also produced drawings & book illustrations to earn money for his large family, & nudes in charcoal with chalk touches OxCompArt

Characteristics/Phases: He was a slow worker & often re-painted subjects with subtle modifications.  His works are introverted & his [as in] paintings of Saints have a spiritual intensity & visionary nature as in his Ecstasy of St Francis, c1732 (Museo Civico, Vicenza) & Saints Vincent Ferrer, Hyacinth, & Louis Bertran, 1737-8 (S Maria del Rosario, Venice).   They combine a strong play of light & marked chiaroscuro, the Venetian feeling for paint, a marvellous freedom & fluidity of brushwork, & tactile realism partly learned from Bernardo Strozzi & in the tradition of Caravaggio Grove24 p704, Brigstocke, Steer p184, H&P p339.  It is said that his palette gradually became lighter due to his contact with Tiepolo Web Gallery of Art See Piazzetta Rebecca at the Well.  However, his [as in] late Judith & Holofernes, 1751-3 (Sala del Archivo, Scula dei Carmini, Venice, has what may be described as his customary colouring.  This featured dramatic chiaroscuro with mostly vivid, off-white highlights, & rich brown, oranges, russets, greys &, as in this work blue, colouring webimage, Knox between p140 & p141, H&P p339.   He did meanwhile paint some works of a less intense & visionary nature such as his [as in] Rebecca at the Well, c1740 (Brera, Milan) & his genre works as in Pastoral Scene, 1740  (Art Institute Chicago).   In these & other so-called pastoral scenes, together with the Rebecca, grand Figueres are monumentally grouped against cloudy skies in shades of grey &/or dark brown 1740 (Art Institute, Chicago) Levey1959 following p38, Knox pp 185, 188, webimages.

Technique:  He scumbled cool bluish tones over a warm ground with white highlights in fluid areas of white Steer pp184, 186.

Phases: During the 1720s his pictures became more dramatic & intense under the influence of Liss, Strozzi & Fetti.   From about 1740 under Tiepolo’ s influences his works for a period became softer & lighter.  His best work was produced during 1740-50 OxCompArt, Brigstocke, OxDicArt.

Innovation: He initiated an important category of  18^th century Venetian art which contrasts with that associated with the Guardi brothers.  In his [as in] Virgin & Child with Saints, 1744 (Parish Church of Meduno) the figures are thrust forward thereby involving the spectator in the work & by associating the Virgin with dramatic clouds & mist he gives her an elemental power rare in 18^th century art Steer pp 180-85.

Patronage: He received commissions from the art dealer Count Fosco Algarotti, the English impresario Owen MacSwinny, the Venetian aristocracy, such as the Giovanelli & Pisani, & above all Johann Matthias von Schulenburg Brigstocke, L&L, Haskell p262, Levey1959 p11

Influenced: Tiepolo was his spiritual heir & he influenced his early works & a school of imitative painters who lacked his talent Steer p186, Levey1986 p7 & 1959 p32, 36

Status/Verdict: He was one of the most distinguished artists in 18^th century Venice, & is best understood as a transitional figure.  In paintings like the Ecstasy of St Francis with its tall format & zig-zag composition his works are characteristic of 18^th century design but his muted & dark colouring, together with his forceful contrasts of light & shade are rooted in the 17^th century Grove24 p703, H&P p339.   [However, should he perhaps in some of his works be viewed as anticipating the Sublime?]

Reception: By the late 1720s his work was well known beyond Venice & 1727 he was elected to the Accademia in Bologna.  From 1745 he enjoyed international fame receiving many commissions & his work was purchased by the Swedish Count Tessin Grove24 pp 704, 706, Haskell pp 292-93

Collections: The Accademia Venice together with numerous Venetian churches

*PICABIA, Francis, 1879-1953, France:

Background: Born in Paris, the family had a private income, his father from Spain and mother from France OxDicMod
Training: From 1895-7 he studied at Ecole des Arts Decoratives OxDicMod
Influences: Duchamp from 1911 OxDicMod
Career: From 1913 and between 1915-1917 he visited New York. During a trip he got involved in his first Dada with Duchamp and Ray.  From 1916-7 he was in Barcelona working for a publishing magazine then 1918-9 in Zurich.  He helped launch Dada in Paris in 1919 but by 1921, denounced it.  Involved with Breton in early Sufism but attacked it.  From 1925-45 he mostly lived in Cotes D’Azur and Paris from 1945 OxDicMod
Phases: During 1898-1907 Impressionism; between 1908-9 Neo-Impressionism and then Fauvism & Cubism with images of anthropomorphized or sexualized machines, later on using layers of superimposed images; similar to kitsch-like works & sometimes soft porn.  Finally returning to abstract art OxDicMod
Beliefs: Desired the need for happy childlike art to preserve freedom, radical without sympathy, extreme individualism, which was derived from 19^th century philosopher; Max Stirner OxDicMod
Gossip: He loved fast cars and women OxDicMod
Legacy: His rejection of good taste OxDicMod

****PICASSO, Pablo, 1881-1973,  Spain & France:

Background: He was born at Malaga.  His father was an art teacher & minor painter Brigstocke

Training: From 1892 at the Coruna & Barcelona art schools; & briefly at the Royal Academy, Madrid, 1897 L&L

Influences: The belief in an artist-hero which was his persona & dated back to the 1890s & his contact with the Barcelona Anarchists; El  Greco from 1899; & the suicide of his friend in Barcelona, Carlos Cassagnes’s, 1901,  affected him deeply; Toulouse-Lautrec; ancient Iberian sculpture which led to the painting of larger figures, 1906  Grove24 p737, L&L, Brigstocke; Cezanne; & African masks & figure sculpture while painting Demoiselles de Avignon, 1907 Brigstocke, Read 1959 pp 67-8. L&L.  A visit to Rome in 1917 with his friend Jean Cocteau to design scenery & costumes for his ballet Parade inspired the monumental classicist works of the 1920s OxDicArt.  From 1925 he was impressed by the Surrealist paintings of Arp, Miro, Tanguy, etc; & also by Breton’s writings.  Surrealism released the violence & psychic fears that had previously been largely contained or sublimated.  His paintings of women with devouring jaws coincided with the breakdown of his marriage to Olga & later erotic figures are associated with his new liaison with Marie-Therese Walter Read1959 p149, Grove24 p720

Career: Picasso was a child prodigy &, according to John Berger, this influenced his attitude to art throughout his entire life & his fascination with his own creativity Berger p28.   In 1896 he exhibited his first large work, moved among Bohemia artists at the Els Quatre Gats Cafe in Barcelona; visited Paris, 1900, & then alternated between Barcelona & Paris until 1904 when he settled in Paris, moving into the Bateau-Lavoir in Montmartre where artists squatted & painted.  His friendship with Braque, another resident, deepened in 1908, when the latter turned to Cubism.   In 1909 Picasso moved into a new studio & apartment with a maid with Fernande Olivier, 1909   Brigstocke, Wikip, L&L, Grove24 p716.  In 1912 he moved into a smart flat with Eva Gouel & signed a three year contract with the gallery owner Kahnweiler.  He lived in high society with Olga Grove24 p717, Wikip, L&L

Picasso’s Partners & Lovers: Fernande Olivier, 1904-11; Eva Gouel, 1911; Olga Koklova whom he married, 1918; then Marrie-Therese Walter, though he did not leave Olga until Walter was pregnant in the 1930s; Dora Maar, leading to strife when she & Walter found out; in 1943 he met Francis Gilot & lived with her at Antibes; & in 1954 he started living with Jacqueline Rocque whom he subsequently married.  L&L.  He manipulated his lovers.  Of the four main women in his life two committed suicide & two were plagued by mental illness RA Magazine Spring 2018 p41

Oeuvre: Paintings including landscapes, religious works, still-life & portraits; book illustrations, posters, together with collage & papier Colle from 1912, theatre design for Serge Diaghilev’s Ballets Russes, etc, 1916-22, wood carving, sculpture, ceramics, & constructions of paper, string, sugar spoons. etc  Grove24 p717-26

Characteristics/the Nude: It has authoritatively been said that he was preoccupied by technique &, unlike Chagall, did not paint with love Read1931 pp 157-8.   This is not entirely true as indicated by his beautiful [as in] Portrait of Olga in an Armchair, 1918 (Musee Picasso, Paris).   Kenneth Clark is on much safer ground when, referring to the female nude, he says that Picasso’s paintings were a scarcely resolved struggle between love & hatred Clark1956 p361.   What, however, this disregards are those works of an ambiguous nature in which in which the woman is obese & unattractive as in Two Nudes, 1906 (MoMA) together with the paintings he produced in the early 1920s where the woman’s body is more comely but nevertheless swollen & disconcerting as in the Large Bather, 1921 (Musee Picasso, Paris) C&M pp 212-28.  However in the early1930s he went on to paint grotesquely distorted & deformed female nudes as in Seated Woman in a Red Armchair, 1932 (Musee Picasso), C&M pp 220-21.  [These works are manifestly of the type Clark would have classified  as works that display hatred.  They represent the dehumanisation of the human body].                                                               

Periods for the production of paintings & drawings:

(a) Academic: Pre-1900 as in First Communion, 1896 (Picasso Museum, Barcelona) Brigstocke

(b) Blue: 1900-4, when he produced melancholic works featuring maternity, the impoverished, & circus themes, mostly in a cool, blue hue as in La Vie, 1903 (Cleveland Museum of Art) Bristocke

(c) Rose: 1904-1906, when he painted harlequins, acrobats & dancers etc, with the mood becoming less austere, in pinks & greys, as in Boy Leading a Horse, 1905-6 (MoMA) OxDicMod, Wikip, Read1959 p148

(d) The Negro or African Period, 1906-9, when he simplified his forms as in Les Demoiselles Avignon, 1906-7, which with its angular forms has been seen as the first Cubist painting OxDicArt; Wikip; L&L

(e) Cubism: 1907-16 in various phases for which see Cubism in Section 9; & later in a curvilinear variety 1923-25; & large Cubist still-life compositions, 1924-28 OxDicMod, Read1959 p149

(f) Classical Realism, 1914-21, mostly pencil drawings in the style of Ingres Read1959 p149

(g) Manneristic distortions & elongations of the body, 1918-25,  as in Three Musicians, 1925 (Tate Gallery).  This is a style he periodically resumed  Read1959 p149

(h) A Neo-Classic post Great War style as in The Source, 1921 (Moderna Museet, Stockholm) 1920-24 Read1959 p149,   

(i) The Surrealist epoch from 1925 which began with  the Three Dancers (Tate Gallery) with their radically distorted bodies & frightful grinning or dislocated faces.  His Seated Bather, 1930 (MoMA) was even more misogynistic.   Here the woman’s face resembles a female mantis waiting to kill her mate.  Because her mouth is vertical it has become a virginal dentata in which the virginal has teeth.  Female nudes with distorted bodies & faces continued at least until 1942  Hughes1991 pp 253-3, Barr pp 225, 230. 

(j) Guernica & related studies & drawings, 1937 Read p150, Grove24 p722

(k) Large vigourous, paintings, 1938-40, as in Night Fishing at Antibes, 1939 (MoMA),

(l) Return to flat two-dimensional compositions, etc, 1940-44 Read1959 p150

(m) Post-liberation exuberance, 1945 Read1959  p150

(n) An idyllic interlude during 1946-8 associated with Antibes where went in & lived in the Chateau de Grimaldi.  Here painted his happy & fanciful [as in] La Joie de Vivre, 1946 (Musee Picasso, Antibes) & numerous other paintings Read1959 p150, wikip

(o) An outpouring of works reinterpreting paintings by the great masters.  His versions are weird & feature stylised, geometric & pastiche elements in varying colour, 1949-73 Wikip, webimage

Feature: [It is abundantly clear that Picasso, if only because of his role in the invention of Cubism was immensely creative & innovatory.]   One important feature which should however be singled out is the way in which, together with Braque, he employed the facet.  This was a technical innovation which he made in the Demoiselles Avignon & was later the basic element in Cubism.   The facet was a relatively small area bordered by straight or curved lines these areas being at a slight angle & overlapping with each other.  Although they cast shadows these are inconsistent with blurred edges.  Instead of the traditional depiction of solid form & surrounding space with a precise location established through perspective Cubism now presented an unstable structure of indeterminate spatial positions.  Instead of the painting being an illusion of reality the painting was itself the reality in which nature had been transformed into art.  Hence Picasso’s statement, “when I paint my object is to show what I have found”.  For Picasso painting was an act of heroic creation  Nash pp 19-20, Rosenblum 1976 p13, Barr p270

Characteristics/Nudes: It has been said that he was preoccupied by technique &, unlike Chagall, did not paint with love Read1931 pp 157-8.   This is not entirely true as shown by his beautiful [as in] Portrait of Olga in an Armchair, 1918 (Musee Picasso, Paris).  According to Kenneth Clark his paintings of the [female] nude were a scarcely resolved struggle between love & hatred Clark1956 p361.  This struggle began with women who were merely obese, lumpish & unattractive as in his early Two Nudes, 1906 (MoMA), continued with his relatively mild dismemberment of the body during his Cubist period, & was suspended during the early 1920s in his classical phase of gigantic, ponderous, swollen & almost oppressively prominent women as in Large Bather, 1921 (Musée de l’Orangerie?).  From the mid-1920s his nudes that are variously grotesque, distorted & convulsive as in his as in his Three Dancers, 1925 (Tate Gallery) & Woman in an Armchair, 1929 (Picasso Museum, Paris) with her devouring jaws.  Here the woman is manifestly sub-human & painted with hatred. Clark1956 pp 301, 365 Jacobs1979 p77, C&M pp 214. 216-18, Grove24 p721. 

Verdict: [In his works in the period after 1925 he dehumanised the human body & this was not his only negative contribution.  By painting the female nude as such a loathsome object, only worthy of hatred, he re-enforced the now prevelant belief, that the celebration of beauty was a serious or legitimate objective for painters to pursue.  That beauty was of no importance was a moral which could be drawn form his own Cubist works which were certainly not beautiful or emotionally & aesthetically appealing.  It will be said that this is unfair to Picasso because he went on in lithographs & drawings to produce works of beauty  Clark1956 p365.  Furthermore, by inventing collage Picasso cast doubt on whether there was any point in artists using paint.  If artists can legitimately incorporate oilcloth & pieces of newspaper into their work what is wrong with going further & dispensing with the messy, time consuming & difficult business of using the substance effectively.  Indeed, this is what has largely happened because for instance only a small minority of the works that are awarded for the Turner Prize are paintings the web]

Demoiselles Avignon, 1907:  This represents the hate alternative in Picasso’s struggle between viewing the female nude as an object to love or hate Clark1956 p361

Politics: During his early years Picasso frequented a Barcelona cafe Els Quatre Gats where anarchist intellectuals met & in 1900 he signed a petition demanding the release of imprisoned anarchists WestS1993 p38.   He joined the Communist Party, 1944; attended the [Communist dominated] First World Cultural Congress for Peace at Wroclaw in Poland & made a passionate speech, 1948; & in 1950 was awarded a Lenin Peace Prize, 1950 L&R p81, L&L

The Guernica Puzzle:  In January 1937 the Spanish republican government asked Picasso to paint a mural for the Spanish pavilion of the Exposition Universal to be held in Paris in June.   He had not yet started work when on April 26 Guernica, the Basque capital, was bombed by the German air force, although he had produced a separate work mocking Franco.   Picasso now quickly began a set of preparatory drawing & painted the work Grove24 p722, Blunt1969 p7, Hilton pp 227-30, 233. What is the picture saying?  Picasso remarked that his picture was symbolic with the horse representing the people & the bull brutality & darkness.   While painting the picture he also said that it clearly expressed his abhorrence of the military caste which had sunk Spain in such an ocean of pain & death Blunt1969 pp 9, 14, Hilton p241.   There would not be any iconographic problem if, as Roland Penrose has claimed, the work is a simple painting which can be readily understood because its symbolism is clear & its drawing has a child-like simplicity Penrose p307.   [This is nonsense: the clarity of the drawing is irrelevant: the central part of the picture is difficult to understand &, more important, it is possible to convey a confusing message despite clear delineation.]   According to Timothy Hilton, Guernica is a vague painting & nobody knows what is going on.   It has even been argued by Juan Larrea that the horse, & not the bull, represents the Franco forces Hilton p246, Penrose p303. In an attempt to understand the picture’s meaning art historians have examined Picasso’s preliminary studies Hilton p240.   [This, however, is a pointless activity: first because a painter’s work must surely be evaluated by the work he presents as his final version rather than by his interim ideas, & second because] his preliminary studies are themselves highly ambiguous.   At no stage does the bull -the supposed symbol of militaristic evil- seem frankly vicious & there is no overt sign that it is responsible for the suffering of the horse.   Indeed in some of the drawings it is depicted as serene & beatific Hilton p240. How then is Guernica to be interpreted?   One possible answer is that the picture is a lament in response to the Spanish civil that there is so much evil & violence in the world.   This is what Anthony Blunt appears to be saying when he declared in 1966 that Picasso’s s purpose was, “to give expression in visible form to his abhorrence of the evil which he saw in the world around him, & thereby, perhaps, to influence man, however slightly, towards better ways” Blunt1969 p56, See also Hilton p244.   If so, it is open to the criticism, which Blunt had himself made when the picture was painted that it was little more than an expression of Picasso’s private sensation of horror OxDicMod.   However Blunt later abandoned his previous position, albeit without mentioning that this was the case, by going on to quote Picasso’s statement in December 1937 that artists could not remain indifferent to a conflict in which the highest values of humanity were at stake.  Blunt therefore appears to have ended by viewing Guernica as a political & moral protest against Franco & Fascism.  Nevertheless it is impossible to be sure because he painted out a clenched fist salute, the anti-Fascist gesture, before the painting was exhibited Hilton p241 [Even if he is right this does not make the picture a great work of art because its impact depends on the viewer’s prior knowledge of the horror perpetrated by Nazi aircraft], & the customary association of bulls with violence Grove24 p722.  [Unfortunately, the paining’s iconic status means that it has become virtually impossible for art historians, or the public, to look at the work in an objective manner].

Friends: Apart from Jaime Sabartres he did not form close lasting friendships with other painters, & his continuing friendships involved poets with whom he seemed at much greater ease.  He was particularly close to Guillaume Apollinaire whose death affected him deeply.  Picasso was generally regarded as charming & had an audience & company.  Although friendships with painters was at various stages vital for his work they did not continue or were not resumed until he needed their help.  Matisse was an exception but here the friendship was approaching the end of his life Grove24 p727    .

Circle: The avant-garde grouping at the Batteau-Lavoir of which he became the centre.  A high value was placed on playfulness & wit as shown by the attention devoted to Alfred Jarry who created Ubi Roi, the leading character in a burlesque play in which he is laughed at for being infantile, greedy & ugly OxDicArt, Nash pp 25-6, Wikip

Patrons: Leo & his sister Gertrude Stein from 1906 whose weekly salons he attended; & also Vollard & Sergey Shchukin  Grove24 pp 714, 716

Repute/Status: He was the most famous & influential painter of the 20^th century.  As measured by the number of column inches in leading art historical sources (The Oxford Companion to Western Art (Brigstocke) & the Yale Dictionary of Art & Artists) (L&L) he was a greater artist than Titian, Rembrandt, Turner, Monet, Van Gogh & Mondrian.   [Despite the almost foolsome adulation he has received in, for instance, the Oxford Companion), there have been some dissenting voices.  Paul Klee criticised a destructive tendency in Cubism & according to Timothy Hilton his last important painting was The Charnel House, 1944-5.   Moreover, Massacre in Korea, 1951, is embarrassingly bad [& a piece of agitprop] Duchting  p36, HiltonT1975 pp 260-3. 

Legacy: Picasso’s impact on modern art was enormous if only because together with Braque he created Cubism & played an important part in promoting Surrealism.  In addition however he greatly influenced a number of important painters including Achille Gorky & Jackson Pollock Ashton1962 pp 25

Collections: Museo Picasso, Barcelona; Museo Picasso, Malaga; Museo Picasso, Paris, Museo Picasso, Antibes.  MoMA has a big collection of his work.

-PICKENOY/ELIASZ, Nicolaes, c1590-1555, Netherlands:

Background: He was the son of an Antwerp emigrant L&L
Oeuvre: Portraits & many group works: civic-guard, regent & guild L&L
Status: He was with Thomas de Keyser Amsterdam’s leading portraitist prior to Rembrandt L&L
Collections: Rijksmuseum, Louvre

..PICOT, Francois, 1786-1868, France; Neoclassicism:

Background: He was born in Paris Norman1977
Training: Francois-Andre Vincent & David Grove24 p736, Norman1977
Career: He won the second Rome prize in 1812 and continued his studies in Rome.  He first exhibited at the Salon in 1819.   Then became a member of the Academie des Beaux-Arts in 1836.   He ran an influential teaching atelier in which he emphasised the importance of the sketch Grove24 p736, Norman1977
Oeuvre: History, classical mythological & legend paintings together with extensive fresco commissions for Parisian churches & the Louvre, together with genre, landscapes fancy pictures & portraits Norman1977, Grove24 p736, web images
Characteristics/Verdict: Much of his work is of a set piece nature with stiffly posed figures as in Love & Psyche, 1817 (Louvre).  However, he was capable of producing figure studies which are far more fluent & accomplished & in which he appears to have been painting for pleasure webimages
Innovations: He took up lithography when it was still in its infancy Grove24 p736
Status: Neoclassicism & he was one of its last powerful defenders against Romanticism Norman1977
Pupils: Pils, Neuville & Moreau Norman1977

..Jan PINEMAN, Jan, 1779-1853, father of Nicolaas. Netherlands:

Background: Born Abcoude Norman1977
Training: He was largely self-taught Norman1977
Career: Initially he worked as a salesman & took courses, & then became drawing master at the School of Artillery & Engineering at Amersfoort, 1805-16.  He was the first director of the Royal Academy of Fine Arts in Amsterdam, 1820; & he visited London staying with the Duke of Wellington when preparing for his Battle of Waterloo, 1824  Norman1977, Wikip
Oeuvre: History paintings, allegorical works portraits & some landscapes Norman1977
Characteristics: From the few reproductions that are readily available he appears to have been a highly competent painter who produced works that were well composed, colourful  & animated webimages
Reception: His work was highly regarded in court circles Norman1977
Pupils: Israels, etc, etc Norman1977, Wikip
Son: Nicolass, 1809-60 painted court portraits, history & genre pieces Norman1977

..Nicolas PIENEMAN, 1809-60, Jan’s son, Netherlands:

Background: Born in Abcoude Norman1977
Training: He was largely self-taught Norman1977
Career: From 1805-16 he was a drawing master at the School of Artillery & Engineering at Amersfoort.  From 1820 he came first director of the Royal Academy of Fine Arts in Amsterdam; his work was highly regarded in court circles.  While visiting London he stayed with the Duke of Wellington when preparing for his Waterloo Norman1977
Oeuvre: Historic portraits & some landscapes Norman1977
Pupils: Israels Norman1977
Son: Nicolass lived 1809-60 who was a painter and specialised in court portraits, history & genre pieces Norman1977

Pier Francesco Fiorentino.   See Fiorentino

Piero della Francesca See Francesca

*PIERO DI COSIMO, 1462-1521, Italy=Florence:

Background:  His father was a maker of small tools Grove24 p768.   There was a contemporary interest in man’s origin arising from Classical literature (Lucretius & Vitruvius), & serialized reports Clark1949 p77.

Teacher: Cosimo Rosselli L&L

Influences: Leonardo’s sfumato L&L; Signorelli Murrays1959; Flanders (trees, hills) Clark1949 p77.   The Death of Procris was probably inspired by Niccolo da Correggio’s Fabula di Caephalo, 1480s, rather than directly by Ovid.   However, Correggio drew upon Ovid Grove24 p770, HallDic p62.

Career: During 1481-2 he assisted Rosselli in the Sistine chapel.   He became increasingly reclusive & eccentric L&L

Oeuvre: Imaginative representations of primitive life, religious works & portraits Clark1947 p77, OxDicArt

Technique: He worked primarily in tempera on panel & he appears to have frequently used egg & oil media in the same picture Grove24 p771.   Piero developed an enormously flexible technique, sometimes as delicately luminous as that of his Flemish & Venetian contemporaries & sometimes as broad, succulent & somewhat rough as that of Baroque painters Panofsky p33

Phases: In about 1512 he finally became a follower of Fra Bartolommeo but it was without conviction & at heavy cost to his own personality Freedberg p59

Characteristics: He had a fantastical imagination & his works have a fairly-tale charm L&L.   Piero was a serialize animal painter OxDicArt.   He had a delicate sense of luminary & atmospheric values & his work was painterly rather than linear Panofsky p33

Grouping: The landscape of fantasy Clark1949 p77

First to paint Italian landscape in which man is unimportant Clark1949 p77

Innovation: Mythologies with fauns, centaurs & primitive men OxDicArt

Pupils: Andrea del Sarto L&L

Repute: For almost 300 years his work was neglected by critics partly due to Vasari’s colourful stories.   Piero was first championed by the Romantics & his supposed Bohemianism was depicted in Gorge Eliot’s Romola, 1863.   The Surrealists saw him as a precursor.   However his important role in Florentine painting was not finally established until 1966 Grove24 p771

Pietersz, Pieter.   See Aertsen Pieter Pietersz

Pietro da Cortona.   See da Cortona

-PIETRO, Sano di, 1406-81, Italy=Siena:

Pijnacker.   See Pynacker

-PILLEMENT, Jacques-Baptiste, 1728-1808, France:

Background: Born Lyon Grove24 p810
Training: A good grounding in Rococo genre by Daniel Sarrabat in Lyon Grove24 p810
Influences: The landscapes of Nicolaes Berchem & Claud-Joseph Vernet Grove24 p810

Career: He moved to Paris where he was employed by Jean-Baptiste Ouvry as an apprentice designer, 1743; went to Madrid, 1745; moved to Lisbon, 1750; left for London, 1754; went to Vienna, 1763, being employed at the courts of Maria Theresa & Francis I; left for Warsaw, & was employed on royal commissions,1766; & then visited St Petersburg, & leading Italian locations; settled at Versailles & produced decorations for Marie-Antoinette, 1768-80; went  to Basel, Cadis, Languedoc; & finally settled in Lyon Wikip, Grove24 pp 810.  [NB Almost none of these dates are above suspicion with different authorities giving different years].

Oeuvre: He was extremely versatile & his work includes paintings including landscapes; rustic works featuring shepherds & rocks etc, as in Rustic Bridge (Musee des Beaux-Arts, Lyon), garden views, shipping scenes as in Harbour Scene, 1782? (Ringling  Museum of Art, Sarasota, Florida), & design work Wakefield pp 161-2, Wikip, Grove28

Characteristics: His landscapes with their freshness of observation were exquisite & delicate as in Landscape with Cattle (Louvre).   Some of his views are notably sensitive in conveying atmospheric effects  & he is in some ways more sheerly romantic than any earlier French painter.  The tall trees, rushing cascades [& rocks] that dominate his compositions reduce man’s importance & hint at the natural scenery which will culminate in Corot Brigstocke, Wikip, Levey&K pp 134-5

Influence: He helped spread Rococo & the taste for chinoiserie Wikip
Circle: David Garrick & his wife Wikip
Collections: Stratfield Saye, Hants

-Carl Gustaf PILO, c1711-93, Olof’s son & Jons brother Sweden/Denmark; Rococo:

Background: He was born at Gokstater, near Nykoping in Sweden, the son of Olof, 1668-1753, who was a painter Grove24 p811

Career: He painted portraits for the southern Swedish aristocracy from 1737; settled in Copenhagen around 1740; was appointed  court painter, 1745; drawing master to the future Christian VII, 1759; & became a professor at the Royal Academy of Art, 1748; returned to Sweden, 1772 for political reasons, 1777; & became Director of the Swedish Academy of Fine Arts, 1777.  From 1783 he worked on his commission, the shimmering & silvery Coronation of Gustave III (National Museum, Stockholm Grove24 pp 811-2.

Oeuvre: Portraits of the royal family, aristocracy & occasionally middle-class Grove24 p812

Phases: Under the influence of Rembrandt etc his later work featured chiaroscuro, darker tonality & a calmer mood Grove24 p812

Characteristics: In most of his portraits the pomp of the settings is alleviated by a soft & luminous palette rich in greens, pinks & yellows.  His portraits of middle-class sitters reveal a capacity for psychological penetration Grove24 p812

Status: During 1748-68 he was Denmark’s foremost portrait painter Grove24 p812

Grouping: Rococo Grove24 p812

Brother: Jons, 1707- after 1750, was First Portrait Painter at the Royal Court L&L

..PILOTY, Karl von, 1826-86, Germany=Munich:

Background: Born Munich. His father Ferdinand, 1786-1844,  was a lithographer Norman1977, Grove24 p815
Training: the Munich Academy from 1840 studying with Schnorr von Carolsfeld Norman1977
Influences: The Belgian Colourists, Delaroche, Horace Vernet, Rubens & the Venetians Norman1977, Grove24 p815
Career: In 1852 he visited Antwerp & Paris; in 1847 & 1858 Italy.   In 1856 he became a Professor at the Munich Academy & director from 1874.   He was an influential teacher & founded the Munich school of history painters or Pilotyschule & helped bring Munich easel painting back to a high standard Norman1977
Oeuvre/Phases: Early portraits & genre pieces but from 1855 he turned almost exclusively to history paintings, especially tragic subjects Norman1977
Characteristics: His works were carefully researched & of a realist nature.  The history paintings are typically huge, display painterly virtuosity & are based on the use of colour rather than on drawing   Norman1977, Grove24 p815
Pupils: Hans Makart, Frans von Defregger, & Franz von Lenbach Grove24 p815

PILS, Isidore-Alexandre-Augustin, c1814-1875, France; Victorian Modern Life Movement

Background: Born Douarnenez, Finistere.   His father was a painter TurnerMtoC p325
Training: Lethieree & Picot Norman1977
Career: In 1838 he won the Prize de Rome but returned to France in 1844.   His first great success was at the Salon of 1847 with Rouget d’Isle Singing the Merseillaise.   His Battle of Alma was a triumph at the 1861 Salon TurnerMtoC pp 326-7.     In 1863 he became a professor at the Ecole des Beaux-Arts & in 1868 a member of the Institute Norman1977
Oeuvre:  Military paintings but also religious, historical & mythological themes Norman1977
Speciality: The military subjects, which he started painting in 1852, especially his Crimean War subjects TurnerMtoC p327.
Characteristics: [He had an eclectic style] with realistic depictions of ordinary people & military subjects, together with classical themes TurnerMtoC pp 326-7
Status: With Gerome & Cabanal he was a staunch enemy of the avant-garde Norman1977
Patronage: He received commissions from Prince Napoleon & the state for Crimean War paintings.   Pils was also commissioned to help decorate the Paris opera, 1865 TurnerMtoC p327
Personal: He had poor health & tuberculosis. Unable to travel to the Crimea he used sketches made by the soldiers etc TurnerMtoC pp 326-7

..PIMENOV, Yuri, 1903-77, Russia:

Background: He was born in Moscow Bown1991 p246
Training: At the Higher State Artistic & Technical Workshops, Moscow, 1924-30 RARev p324
Influences: The simple forms & bright colours of Matisse & other modern western artists RARev p205
Career: Initially he illustrating popular journals.  He was a founder member of the Society of Easel Painters/OSt, 1925-8, belonged to the Moscow Regional Union of Soviet Artists from 1932 taught at the Institute of Cinematography/VGIK,1945-72, was awarded Stalin Prizes in 1947 & 1950, became an Academician in 1962, & People’s Artist of the USSR, 1970.   He had been branded a formalist in the 1930s but, like others, he found that theatrical work allowed a longer leash RARev pp 295, 323, Bown1991 pp 124,246
Oeuvre: Paintings, graphic work & stage design RARev p324
Characteristics: He shared Dieneka’s graphic verve & enthusiasm for socialist construction & painted bright impressionistic scenes of the new society hopefully being built under Socialism, mostly including figures Bown1991 p43

..PINELLI, Bartolomeo, 1781-1835, Italy=Rome:

Background: He was born in Rome, the son of an artisan who modelled religious statues.  There was from the latter part of the 18^th century a nationalist celebration of brigands who were seen as challenging absolute rulers Wikip, Craske pp 111-4
Training: In Bologna & at the Accademia di San Luca, Rome Wikip
Influences: Franz Kaiserman Wikip
Career: He lived in the poor Trastevere district of Rome & his collections of engravings of Roman costumes, customs, history & Emperors etc were published Wikip.
Oeuvre:  He was prolific watercolourist, draftsman and printmaker Norman1977
Speciality: Everyday life of the peasants & brigands of the Campagna Norman1977
Characteristics/Verdict/Patrons: He was not an exceptionally skilful artist but his works were clearly delineated, lively & colourful, & his work was purchased by English tourists on a Grand Tour.  His figures were endowed with the dignity of Ancient Romans Wikip, webimages, Italian Art Society site, Norman1977
Politics: He had republican sympathies Craske p112
Grouping:  Neoclassicism Norman1977
Son: Achille was a famous watercolour painter Wikip

** PINTORICCHIO, the nickname for Bernardino di Betto, confusable with Pinturicchio, the pen-name of the critic Louis Vauxcelles, c1454-1513:

Background: He was born at Perugia Grove24 p 829
Career: He accompanied his master Perugino by whom he was heavily influenced to Rome, 1481; collaborated with him in the Sistine Chapel, 1481-2; quickly established his reputation;  decorated the Borgia Apartments in the Vatican, for Alexander VI, 1492-4; & painted the large fresco cycle of the Life of Life of Aeneas Silvius Picolomini in Siena cathedral, 1505-8.  He died in poverty OxDicArt, Brigstocke, Grove24 p829, L&L
Oeuvre: Frescoes & devotional Virgin & Child paintings as in the NG, NG of Art, etc L&L
Characteristics/Features/Phases: A lavish use of gold & expensive pigments.   Small scale detail & ornament impair the monumentality of his large frescos.  Latterly his decorative powers declined L&L, Brigstocke
Verdict: It is difficult to evaluate his work as some pictures are judged to be characteristically poetic while other Roman commissions, such as the Borgia apartments, with their overpowering decorative richness, crowding & superabundance,  are inferior & heavy, a fault ascribed to the intervention of assistants & collaborators.  However, he was clearly capable of first-rate work as in the Annunciation, the Adoration of the Shepherds, & Christ among the Doctors on the walls of the Baglioni Chapel, S. Maria Maggiore, Spello, marked a return to his early limpid narrative style with the Adoration & its lyrical, mysterious, & picturesque landscape being one of the highest achievements of 15^th century Umbrian painting Grove24 p830.

..PIOLA, Domenico, 1627-1703, De Ferrari’s son-in-law, Italy=Genoa: Baroque

Training: His brother Pellegro, his son-in-law Stefano Camogli, & Domenico Cappellino Wikip
Influences: He seems to have been inspired by Gregorio de Ferrari, 1647-1726, who became his assistant around 1673 Waterhouse1962 pp 219-220
Career: In 1684-5 he visited Milan, Piacenza, Bologna & Asti on what appears to have been a painting trip.  He also collaborated with his brother-in-law Stefano Camogli Wikip
Oeuvre: Endless altarpieces & frescoes for churches in Liguria -the Italian Riviera region centred on Genoa- together with mythological works, prints & drawings Waterhouse1962 p219, Wikip
Characteristics: His paintings are highly dramatic with diagonal movement, foreshortened figures, strikingly bold colour, & emphatic chiaroscuro featuring very dark backgrounds figures Wikip, webimage
Status: He was the leading artist in Genoa during the second half of the 17^th century Wikip
Sons: Paolo Gerolamo, Anto Maria & Giovanni Battista were also artists Wikip
Feature: There was a large family studio, the Casa Piola, & family members were artists until the 20^th century Wikip

Piombo.   See del Piombo

Piombo.   See del Piombo

-PIPER, John, 1903-92, England:

Background: His father was a solicitor with his own firm, & although passionate about the arts, he resisted John’s wish to become artist Yorke p70;   Osbert Sitwell lived in Renishaw during the Second World War to ward off the threat of its requisition Harris p279 

Training: In 1926 he studied at Richmond School of Art, where Moore was a student-teacher and the Royal College of Art Yorke p70

Influences: Turner whom he loved from age 10 & Blake both of whom at the time, were then out of favour Yorke p71-2; Roualt, with full-strength colours, serialised by black outlines. He did not like Matisse (bourgeois hedonism); Picasso & Braque Yorke pp 75-6

Career: He was a reluctant clerk in the firm until his father’s death, in 1926. OxDicMod,  He married a fellow student Eileen Holding and became an art critic for The Listener & The Nation, & recognised Coldstream, Hitchens, Passmore & Richards,   In 1933 he joined the London Group OxDicMod; In 1934 he was elected into 7+5 and becomes a Nicholson henchman.  Visiting Paris to catch up with avant-garde ideas, as all his previous work was figurative Spalding 2009 p58; Starts to contribute in non-figure works; he was heavily indebted to Helion and its 1935 exhibition Yorke pp 76-7;   In 1935 he became the art editor of Axis, in 1936 wrote an article with Gregson condemning Abstract/Sur but praising Constable, Blake &Turner and called for humanised art Spalding1986 p127.   He subsequently claimed he never intended to remain an Absit, adopting it to discipline himself Yorke p81; In 1937 he married Myfanwy Evans Axis DicArt; In 1938 travels England with J.M. Richards, sketching and photographing many churches and their heritage.  Alongside Betjeman they write the Shell Guide to Oxfordshire & Shropshire, published in 1951.  He confirms as an Anglican following Betjeman Spalding1986 p129, Yorke pp 83-4; starts painting stately homes.  From 1939 after visiting Stowe, he started painting stately homes, which transformed his attitude to landscape and buildings.  The new awareness creates tension between ideal order & the impact through time of weathering or decay Spalding2009 pp 141-2; He gained 12 acquaintances in Brighton from Victorian/Edwardian lodging houses.  He was appointed official Artist by Clark, who chaired the War Artists Advisory Committee, where he painted bombed churches and cathedrals in London, Bath, Coventry and Bristol. Yorke pp 83-7; He was invited by Osbert Sitwell to work at the family mansion; Renishaw, where Saints lived during Second World War, so it would not be requisitioned.  His friendship with Sitwell’s and regular visits enabled the house to be seen, in many moods Harris p279.   In 1942  British Romantic Artists was published Yorke p88; In 1945 he became entranced with Snowdonia, which he repeatedly visited until c1956 Spalding2009 pp 266-9; From 1945 he worked in extensive stage design, when this declined in mid-50s, he turned to stained glass design becoming England’s foremost designer Spalding2009  pp 273, 350          

Feature: Paintings of bomb-damaged buildings as in Bombed Buildings, Newgate Street 1941 (City of London Gallery)

Phases: From 1932-c1938 he explored collage Yorke p75; In 1930s created abstract, tilting planes, like flats on stage set, in late 30s reverted to naturalism including landscape & buildings, in serialized & emotional style in English  Romanticism tradition.  During the War stormily atmospheric paintings of country houses & bomb-damaged buildings OxDicArt, L&L, OxDicMod.   From 1945 he painted works in Snowdonia, which were dramatic, dark and intense; Turneresque & original Spalding2009 pp 270-1.   A feature of his work during the war & early post-war period was the atmosphere of sadness & doom generated by the overcast skies & sinister colouring Piper2009 Pl 17-27, 31-36,  CL p236.   However, in 1949 he began painting panels of Brighton, Cheltenham & Bath which were in a high key high-key & have been described as fantastic stage settings & architectural make-believe Spalding1949 p302.   Despite preoccupation with stage & glass design bursts of painting in northern industrial towns (1960-1) & on foreign trips (Venice, Rome, Brittany & Provence in late 1950s & early 1960s), where work in oils (Venice, North towns) & ink.  His pictures now abstract inspired by his stained-glass designs/AbX/Picasso’s free-floating colour lithographs Spalding2009 pp 394-5    

Media: Oil, watercolour, stained glass, stage design, tapestries & book illustrations L&L

Technique: From 1940s, bravura with scratching revealing sombre black background suggesting wind and light in weathered stone; spontaneous yet theatrical effect Spalding1986 p129; A slight impersonal finish of Abstracts but by 1942, when painted Seaton Delevan, his work had become looser with colour mixes overflowing boundaries & black lines and details flicked in to pull underlying colour areas together. Sometimes random-seeming colours/textures/odd detailed areas to create drama; in watercolours with gelatinated surfaces using wax-resist, pastels, chalk, inks.  After restraints of Abstract, his works had gusts of enthusiasm blowing through Yorke pp 84-5; He often worked from sketches/photos/notes but had a phenomenal visual memory Spalding2009 p236 

Beliefs: Romanticism art is the ”result of a vision that can see in things something significant beyond ordinary significance” British Romantic Artists Spalding1986 p132; He wrote about Seaton Delevan as if a mansion was human Harris pp 281-2; He said “each rock lying on the grass had a positive personality” Spalding2009 p270; Happy being called nostalgic because word means love for something Yorke pp 83-4; In 1935 his work included in AIA exhibition Artists Against Fascism & War, with a rug design for AIA M&R pp 29, 33 His opposition to excessive Realism but admiration for glistening variously coloured Middlesbrough slag heaps and Iron ore Spalding2009 p246-7  

Verdict: From 1934-6 his work determined his apprenticeship to continental art and deterioration into search for ways to make modern technique serve fashionable interest in the picturesque; “nostalgic reinstatement of just that Victorian bourgeois manner which the Surrealists had so often parodied” Harrison pp 21-2; his self-development period shows need to reconcile love for England landscape and architecture with determination to avoid academic representation and intellectual agility, in absorbing advanced School of Paris thinking; he had love for the involvement with what he painted; when the restraints & impersonal finish of Abstract ceased, created works through which gusts of enthusiasm blow (after abandoning Abstract “what a relief one feels”; Paris had a straight-forward sensuous enthusiasm; absence of any spiritual dimension, contrasting with Nash’s anthropomorphism.

Sutherland’s sense of sinister lurking things; Paris’s work dubbed stagey/theatrical (H. J. Paris) & certainly employed emphatic skies and curious spotlight effects on significant details Yorke pp 75, 84-6, 102-3

Comment: Painting Paris’s house portraits merely represent sensuous enthusiasm, if only because of his anthropomorphic attitude to Seaton Deleval

Gossip: Waugh’s serial Charles Ryder in Brideshead Revisited is serial on Piper, whom he had met at Renaissance Harris pp 277, 282; Betjeman complained to indefatigable Paris that he could not do more than 10 churches in a day Yorke p83; once did 13 in 1941 (with Horder) Spalding2009 p236

Friends: Leger, Helion, Calder Yorke p75

Pippi.   See Romano

**PIRANESI, Giovanni, 1720-78, Italy=Venice:

 **PISANELLO/PISANO, Antonio, c1395-1455, Italy; International Gothic and Fantasy Movement

Background: He was born in Verona L&L
Training: Probably under Stefano da Varona L&L
Influences: Altichiero’s naturalistic of plants, animals & portraiture contributed the new style of Pisanello OxDicArt
Career: To begin with he was mostly in Verona OxDicArt.   He spent most of his time as a peripatetic working at the princely courts of the of the Visconti in Pavia & Milan, the Gonzaga in Mantua, the Este in Ferrara, the Malatesta in Rimini, Alfonso of Aragon in Naples & the Doges in Venice L&L
Oeuvre: Frescos that are mostly lost, panel paintings, portraits, drawings & medals L&L
Characteristics: His drawings of animals are notable for their keenly observed detail & ability to convey their personality OxDicArt
Status: With Gentile da Fabriano he was the leading International Gothic artist L&L

–PISANO, Giunta, recorded 1120-54, Italy=Pisa:

Career: Two out of his four known works were painted for Franciscan churches, one work was at the request of Brother Elias, Francis’ intimate companion Eimerl p59
First: to give a pronounced sway to Christ’s body on the cross thus emphasising his human agony rather than his divinity L&L
Influenced: Cimabue; subsequent depictions of the Christ on the Cross L&L, Eimerl p59

 ***Camille PISSARRO, 1830-1903, father of Lucian, France; True Impressionism Movement

Background: He was born in the Virgin Islands, the son of a Jewish businessman from Bordeaux & a Creole mother L&L, OxDicArt

Training: Although he moved from one established artist to another, he appears to have been largely self-taught.   From 1859 he worked intermittently at the Academie Suisse where he met Monet & Cezanne L&L.

Influences: Initially Corot & Courbet L&L.   In England during 1870-1 he was influenced by Turner & Constable etcOxDicArt  

Career: After schooling in the Parisian suburbs, he returned to his family in 1847 to join the business.   In 1855 he finally opted for art & returned to Paris. Although he exhibited at the 1859 Salon etc he had financial difficulties, despite a small allowance from his mother.   One problem was a liaison, not serialize until 1871, that produced seven children; another was his left-wing views.  Even during his relatively serialized years from the late 1880s he obtained low prices L&L.  He was the prime mover behind Impressionist exhibitions of 1874-86 to all of which he contributed.   During 1866-9 & from 1872 he lived at Pontoise & became a close friend of Cezanne,   From 1884 he lived at Eragny & came to know Seurat & Signac.   About 1895 he gave up plein air painting due to deteriorating eyesight & many of his later works are townscapes painted from Parisian windows.   He died blind OxDicArt

Technique: Even as an Impressionist he made preliminary drawings & combine plein air with studio work L&L

Phases: During the 1880s figures became more between & brushstrokes smaller, denser & more ordered.   He wanted greater objectivity & less romanticism hoping to bring the artist closer to ordinary workers.  Pissarro flirted with pointillism.  His paintings of 1890s seem, despite their naturalism,  more detached from  reality which they illustrate OxDicArt

Characteristics:  In general his works faithfully reflect natural effects & convey plasticity.    Scenes of rural life emphasise work &, unlike Monet, his views frequently include between industrial buildings.   OxDicArt

Politics: he contributed illustrations to anarchist newspapers Zeldin Vol 2 p778

Personal: He gave advice & companionship to younger painters when they needed it, notably to Gauguin & Cezanne, who described him as “humble & colossal” L&L.   He was deeply introspective, profoundly insecure, always weighing up contemporary work, & a prolific letter writer with a passion for ideologies & a desire to relate his art & political serialized Denvir p16

Collections: The Met

 –Lucian PISSARRO, 1863-1944, Camille’s son & Orovida’s father, England (France); British Impressionism Movement

Background; He was born in Paris OxDicMod
Training: His father, Manet & Cezanne OxDicArt
Influences: His friend Seurat Baron p92
Career: He exhibited at the last Impressionist Exhibition.   In 1890 he  settled in  England.   Together with his wife he ran the Eragny Press from 1894 to 1914.   Until 1900 he concentrated on wood-engraving, book illustration & printing Baron p92.   In 1905 he joined NEAC, & became a member of Sickert’s circle.   In 1911 he joined the Camden Town Group, & in 1913 the London Group L&L, OxDicArt, OxDicMod   He resigned before its first exhibition Baron p92
Oeuvre: Mainly landscape OxDicMod
Technique: Although he did not rigidly pre-determine the colour of each touch of paint he, like his father, adopted the disciplined pointilliste method of paint handling, using separately coloured touches of light-toned pure colour Baron p18
Personal: He was modest & unassuming OxDicMod
Politics: Lucian contributed illustrations to anarchist newspapers Zeldin Vol 2 p778
Influence: He was the chief inspiration for the use of the broken touch handling of paint by the Fitzroy Group & Camden Town painters, especially Gore Baron pp 18-19

..PITCHFORTH, R.oland Vivian, 1895-1982, England:

Background: Wakefield Chamot p119
Training: Wakefield &&Leeds Schools of Art & post-war Royal College of Art Chamot p119
Influences: Constable Chamot p119
Career: Exhibited Redfern Gallery & from 1941 & the RA.   Taught at Clapham, Camberwell & St Martins Schools of Art pre-war; & post-war at Chelsea Polytechnic & St John Cass College of Art to 1974.  In 1948 he had returned to England after recovering from lung infection in South Africa.   He became an RA in 1953Chamot p119, Wikip
Oeuvre: Paintings in oil & watercolour, etchings & wood engravings Chamot p119, Wikip
Speciality: As an official war artist from 1940 he painted bomb damage & war vessels Wikip
Characteristics: His works were broadly painted with a typically English feeling for the country in all weathers Chamot p99

Pitloo.   See van Pitloo

Pitoccheto.   See Ceruti

–PITTONI, Giovanni/Giambattista, 1687-1767, Italy=Venice; Rococo

Background: Born Vicenza Grove25 p1
Training: By his mediocre uncle, Francesco, but then by observing the best contemporary artists Levey, 1959 p39, Grove25 p1
Career: He succeeded Tiepolo as head of the Academy in Venice L&L
Oeuvre: Altarpieces, devotional works, scenes from classical history, & mythology including a few known frescoes & portraits Grove25 pp 1-3
Characteristics/Verdict: Light & vibrant colour in works painted in an eclectic rococo style employing a light, broken brushwork.  His work is described variously as sophisticated & sugary, repetitive &  with his bigger works inclined to sentimentality.  He equipped himself with the means of saying something but had nothing to say, although in his Crassus sacking the Temple (Academia, Venice), & his Apotheosis of St Jerome with St Peter of Alcantara, c1750 (NG Scotland), he created more serious, dramatic & emotional works than usual, the former having a well delineated architectural background, a feature of his paintings.  The preparatory sketches for his large paintings are more successful than the works themselves Brigstocke, L&L, Levey1959 p40, Grove25 pp 2-3, webimages
Phases: During the 1720s he produced a large & attractive group of erotic mythological works, together with a series of allegorical tombs commemorating heroes from recent British history Grove25 p2
Patronage: There was a German demand for altarpieces; & commissions from Algarotti L&L
Pupil: Anton Kern who was then an assistant Grove25 p3
Repute: Although successful during his lifetime, he soon fell into total oblivion & was not rediscovered until the early 20^th century Grove25 p4

 –PLACE, Francis, 1647-1728, England:

Career/Oeuvre: He was an amateur draftsman the printmaker L&L
Speciality: Architectural & topographical drawings, especially around York L&L
Characteristics: His later work was wash-reliant L&L
Friends: The York virtuosi Hollar to whom he was stylistically close L&L
Forerunner of the English 18^th century watercolour style OxDicArt
Pioneer of the mezzotint technique OxDicArt
Collections: City Art Gallery York L&L

..PLASTOV, Arkady, 1893-1972, Russia; Soviet Socialist Realism:

Background: He was born at the village of Prislonikha into a peasant family Grove25 p28

Training; At the Simbirsk Theological College under Arkhangelsky, 1908-12; as an occasional student at the Stroganov School, Moscow, 1912-14, & at the Moscow School of Painting & Architecture.  Here & in studios he studied under Leonid Pasternack, Alexei  Korin & Apolinary Vasnetsov, 1914-17 OxDicMod, Petrova p273

Influences: The late Impressionist paintings of Abram Arkhipov & Konstantin Korovin, etc, & the lyrical, rich colourism of Sergey GerasimovGrove25 p28

Career: He was a farmer until 1931 when he became a full-time artist & he preferred country life  to Moscow.   By 1950 his work was not sufficiently conformist in an increasingly restrictive system OxDicMod, Bown1991 p 16

Oeuvre: Paintings of agricultural life but also portraits, posters which were mainly early, & book illustrations.  All his work has a rural theme  OxDicMod, Petrova p240

Characteristics: Inventiveness; a sure technique, & works with a flamboyant & baroque quality as in A Collective Farm Festival, 1937 (Russian Museum, St Petersburg).  He also painted works that stressed the peasant’s closeness to nature as in Tractor Drivers, with its female nudes 1943 (Private).  His paintings reveal the play & subtlety of natural light as in his Haymaking, 1945 (Tretyakov) OxDicMod, Bown1991 pp 110

Feature: He attempted to steer a course between the requirements of Socialist Realism & his private concerns.   Hence in his Collective Farm painting an avuncular Stalin beams down on the festivities & the banner bears his slogan “Living has better, living has got jollier”.  Women are emerging from the house bringing further provisions & those of different ages & occupations are united in happy celebration.  Even the samovar is the middle of the figurative space is significant.  It had been scorned by the poet & playwright Mayakovsky for encouraging philistine intimacy prior to his suicide in 1929.  However, it had now been declared ideologically correct  Bown1991 p110,Wikip, Skira p199   

Status/Grouping: He was an outstanding Socialist Realist OxDicMod

Reception: In 1946 he received the Stalin Prize for Haymaking & Harvest (Tretyakov).  However, by the early 1950s Social Realism had become so restrictive that his work was unacceptable Bown1991 pp 16, 246

Repute: His work has been jeered at in the West OxDicMod

Collections: Tretyakov, Russian Museum OxDicMod

-Hans PLEYDENWURFF, active 1457-1472, Willhelm’s father, Germany:

Background: Fritz Pleydenwurff was a painter in Bamberg in 1435 Grove25 p39
Influences: Rogier Van Der Weyden & Dirck Bouts L&L
Career: In 1457, having almost certainly lived in Bamburg, & already a master, he became a Nuremberg citizen Grove 25 p39
Oeuvre: Religious paintings in oils & tempera, portraits & stained-glass design Grove 25 p40.
Characteristics/Innovation: Realism & dramatic expression as in his Descent from the Cross, 1462 (Germaniishches Museum, Nuremberg) in which he moved from Van der Weyden’s horizontal format to a vertical to a vertical configuration: thus, empathising the lowering process, with the lively, rhymical  drapery folds & large planes of red & blue, further enhancing the tension.  His portrait of Georg Graf von Lowenstein (ditto) is a masterpiece at the very outset of portraiture in German art L&L, Grove25 p40
Status: He was an important painter in 15^th century Nuremberg & gave new vigour to its painting which had become effete Grove25 pp 39-40
Progeny: His son Wilhelm, c1460-94) was a painter & engraver who joined his father’s workshop, married his widow, & became the leading artist in Nuremberg L&L

*POCCETTI, Bernardino, 1548-1612, Italy=Florence; Mannerism Movement

Background: Born San Marino di Valdesela, near Florence Grove25 p58
Training: By Michele Tosini, Ghirlandaio’s pupil, Florence Grove25 p58
Influences: Andrea  del Sarto, Santi di Tito, Alessandro Allori, Cranach the Elder, Goltzius & Durer Grove25 pp 58-9
Career: At 22 he joined the Compagnia di S. Luca, & later the Accademia del Disegno Grove25 p58
Oeuvre: Frescoes, a few works on canvas & drawings which were mainly religious but included current history Grove25 pp 58-9
Characteristics: Drama, legibility, naturalism, & in his frescoes warm vivid pastel colours & the play of light whereas in panel pictures he employs chiaroscuro Grove25 pp 58-9
Phases: Initially he was a decorative Mannerist painter of grotesques & facades.   However, from about 1580 he produced naturalist Counter-Reformation works, though his secular work remained more Mannerist L&L
Status: He was the leading narrative fresco artist in Florence L&L
Patrons: The Medici & Strozzi, & the Carthusians Grove25 pp 58-9
Grouping: He was a Late Mannerism but became a Florentine Reformer Pevsner1968 p15, Bailey p35

-POCK/POCKH/BOCK, Tobias, 1608-83, Germany; Baroque:

Background: Born Constance into a Swabian family of artists Grove25 p61
Career: After a trip to Italy, he settled in Vienna  in Vienna where he was a leading painter L&L, Grove25 p61
Oeuvre: Altarpieces, other religious works, history paintings, still life & portraits  L&L, Wikip
Characteristics: His style is that of contemporary Augsburg & Munich but with influence from northern Italy & Flanders Grove25 p61
Brother: He was a sculptor L&L

..PODKOWINSKI, Wladyslaw, 1866-1895, Poland; Impressionism & Symbolism:

Background: Born Warsaw Grove p25 p63
Training: At Wojciech Gerson’s Drawing School, Warsaw, & to the Academy of Fine Arts, St Petersburg, 1885-6 Grove p25 p63
Influences: Aleksander Gierymski Grove p25 p63
Career: After returning from St Petersburg disappointed at the conservative teaching, & short of money, he worked as an illustrator; went to Paris,  1889, again accompanied by fellow artist Jozef Pankiewicz; discovered Monet, etc; & from 1890 painting became his main interest Grove p25 p63
Oeuvre: Landscapes, views from windows, & illustrations Grove p25 p63
Phases: After a brief Impressionist phase he turned to Symbolism around 1891 but returned to landscape in his last unfinished painting Grove p25 p63
Characteristics: Symbolist, eroticism as in Ecstasy , 1894 (Museum Narodowe, Caracow) in which his former luminist palette was replaced by dark colours Grove p25 p63
Innovation: Impressionism was new in Poland & the works he exhibited in Warsaw in 1890 caused much heated discussion Grove p25 p63, GibsonM p239

Poelenburg.   See Van Poelenburg

..POERSON, Charles, 1609-67, France; Baroque and Baroque Classical (later)

Background:  Born Vic-sur-Seillw Grove 25 p70
Training: Vouet, probably being in his studio from around 1632 to 1638 Allen p116
Influences: 17^th century Bolognese painting & Sabastien Bourdon Grove 25 p70
Career: In 1651 he entered the Academie Royale  & became Rector in 1658 Grove 25 p70
Oeuvre: Religious paintings & tapestry design Grove 25 p70
Phases: Vouet-like, then more Classical Allen p116
Characteristics: His early work featured Vouet-like contraposto figures, a sense of movement, play of hands & draperies, & crowded compositions.   However, his work became more classical but continued to have Baroque animation & drama as in The Annunciation, 1652 (Musee des Beaux-Arts, Arras).  His colouring is rich & lush & his paintings are enlivened with white grey, blue or yellow highlights or patches of colour  Grove 25 p70, webimages
Grouping: He painted in a broad Baroque manner Wright p242
Son: Charles-Francois, 1652-1725, was also a painter Wikip

..POLENOV, Vasily, 1841-1927, Russia; Tzarist Impressionism Movement

Background: Born in St Petersburg into a noble family Lebedev Pl62
Training: Initially under Kramskoi, Chistiakov; 1863-81 sat the Academy of Arts, St Petersburg.   He also took classes at the Law Faculty Lebedev Pl 62
Career: In 1872 he received a scholarship & went to Pris with Repin where he encountered the Barbizon School & Impressionism, & began painting en plain air.  with Repin, Savitsky, Beggrov, Kharlamov & Bogoliubov at Veules-les-roses in Normandy .  He designed the church for Sava Mamonotov’s Abramtsevo estate .   From 1878 he exhibited with the Wanderers;  & during 1882-95 he  taught landscape at the Moscow School of Painting Lebedev Pl 62, WPS pp 15, 236.   His  liberal influence & forceful personality encouraged Levitan, Korovin etc Gray p16
Oeuvre: History, religious  & genre paintings, landscapes & stage settings ebedev Pl  62
Innovations: Plein air painting Lebedev Pl62.   He must be considered the founder of Russian Impressionism WPS p11.
Characteristics: His brushwork was free & dynamic &  he used bright, rich hues to create joyful works WPS p41.
Friends: Repin, Tolstoy, Turgenev, & Levitan whom he taught &then  became a lieflong friend Gray p16, King  p30
Students (other), Arkhipov, Sergei Vinogradov, Stanislav Zhukovsky, Aleksandr Golovin, Stanislav Zhukovsky & Leonard Pasternak WPS p236

-POLIAKOFF, Serge, 1906-69, France (Russia):

Background: He was born in Moscow into a musical family OxDicMod
Training: Under Friesz; at the Chelsea School of Art; & at the Slade, 1935-7 L&L, OxDicMod Friesz, Chelsea/Slade Aschs L&L
Career: He left Russia with his aunt, a singer, 1919; travelled Constantinople, Sofia, Belgrade, Vienna & Berlin; settled in Paris, 1923; earned money as a guitarist; began to study painting, 1930; returned to Paris, 1937; became a full-time artist,1952,  OxDicMod
Oeuvre: Paintings, prints & design OxDicMod
Phases: His early work was figurative but under the influence of Kandinsky & the Delauneys he turned to abstraction, 1938, & during the 1950s & 60s produced dense paintings with colourful, roughly textured shapes tightly jig-sawed together OxDicMod, L&L
Beliefs: “You’ve got to have the feeling of God in the picture” OxDicMod
Status: He was a leading abstractionist in the Ecole de Paris OxDicMod

**POLIDORO, da Caravaggio, c1500-43, Italy:

.. POLKE, Sigmar, 1941-2010, Germany

Background: Born Oels, now Olesnika, Lower Saxony, now Poland OxDicMod
Training: After completing an apprenticeship in stained glass painting, he studied at the Dusseldorf Academy,1961-7, under Joseph Beuys, etc, Grove25 p153, OxDicMod, Wikip
Influences: Francis Picabia’s overlay of images Grove33 p153, Hughes1991 p400
Career: His family moved to West Germany in 195In the 1970s he moved to photography, returning to painting in the early 1980s.   In 1975 he became a professor at Hochschule fur Bilden Kunst, Hamburg &, after recovering from a serious illness, travelled widely in Pakistan, Afghanistan & later Mexico & Australia OxDicMod, Grove25p154.
Oeuvre: Art embracing diverse subjects, styles & media including films Wikip
Phases/Characteristics: In 1963 he launched Capitalist Realism which was influenced by popular culture but did not lead to repetitive Pop imagery but to images of everyday items such as biscuits.  By isolating them, & apparently depriving them of their tactility, he converted them into aesthetic signs.  He also produced  series of sketched faces & stylised mannequin-like figures.  Such Popish work was continued from 1973 in his Fabric Pictures & Grid-Pictures. In the latter familiar things are often made strange because scattered dots impair legibility as in Crowd, 1969 (Stadtisches Kunst museum, Bonn).  Another series from 1973 was Original & Forgery.  After returning to painting, he continued to use second hand imagery but now extended his sources to the past & in particular the age of Enlightenment & Romanticism which figure in his allegorical works Children’s Games, 1986, & Paganini, 1981-3 Grove25 p153, OxDicMod
Aim: His work is in part an attack on the tastelessness of everyday life, on conventional ideas about individuality, creativity & authorship.   Hence his use of ben-day dots which are used in commercial printing & were first employed in art by Roy Lichtenstein.   Polke then manipulated the dots to obscure the images they were supposed to convey.  The dots were merely the first of the numerous ways in which he strove to create confusion  Grove25 pp153-4, Heartney p29.
Verdict: Opinions differ widely.  Polke’ s work has been criticised as revived eclecticism & the production of work that is cluttered & nervy in work that revives one of the worst cliches of lumpen-modernism, the overlay of images as in Paganini Hughes1991 p400.   On the other hand, his work after his returning to painting has been celebrated as technically inventive, cool & humorous unlike Baselitz’s frenzy OxDicMod
Influence: It has been enormous on younger painters OxDicMod

** Antonio del POLLAIUOLO, c1432-98, Piero’s brother, Italy=Florence:

Influences: Donateelo; Andrea del Castletagno Murrays1959
Career: He had a  separate workshop from his brother but they worked together on most major commissions from 1466 L&L
Oeuvre: He was primarily a goldsmith, sculptor & designer L&L
Innovations: He was interest in landscape eg Martyrdom of S. Sebastien OxDicArt
Verdict: He was more able than Piero L&L.   The brothers were the leading scientific painters immediately pre Leonardo because of their knowledge of anatomy & how to depict violent action  Murrays1959

** Piero del POLLAIUOLO, c1441-96, Antonio’s brother, Italy=Florence:

Influences: Donateelo & Andrea del Castletagno who was possibly his teacher Murrays1959
Career: separate workshop from brother but worked together on most major commissions from 1466 L&L
Oeuvre: He was primarily a  painter L&L
Verdict: He is customarily viewed  as inferior to his brother.   Some  of his  independent work is poor, but his independent Battle of the Nude Gods is an excellent work.   The brothers were the leading scientific painters prior to  Leonardo Murrays1959

..POLLARD, James, 1792-1867, England:

Background: born in London.  His father Robert ,1755-1838, was an engraver & publisher Norman1977, WoodDic
Training: His father WoodDic
Influences: Thomas Berwick from whom he obtained much help & advice WoodDic
Career: He occasionally exhibited at the RA but largely worked for dealers & collectors Norman1977.   In 1840 his wife & daughter died.   He never fully recover & his later work shows evidence of decline WoodDic
Oeuvre: Sporting art who was best known for his coaching scenes Norman1977
Characteristics: Although never technically accomplished his work is historically accurate & evokes the spirit of the coaching age WoodDic

Pollizza.   See da Volpedo

****POLLOCK, Jackson,1912-56, USA:

POMARANCIO/CIRCIGNANI, Nicolo, 1516-96, Italy=Rome; Mannerism/Counter-Reformation

Background:  He was born at Pomarance, Volterra.  Pomarancio was a nickname Grove25 p185,  L&L
Influences: The post-Tridentine didactic style Grove28 p185
Career: In 1651 he was in Rome, then in Perugia working in partnership with Hendrick van den Broeck, & from 1579 was back in Rome where he worked in the Vatican with Matthijs Bril.   During 1581-2 he executed huge, sanguinary & dramatic fresco cycles Grove25 p185
Oeuvre: Religious frescos Grove25 p185
Phases: His style evolved from late Roman Mannerism towards a more unified, monumental & didactic post-Tridentine manner Grove25 p185
Speciality: Horrific martyrdoms as in Santo Stefano Rotondo church, Rome L&L
Patrons: The Jesuits L&L
Pupils: Roncalli L&L

..POOLE, Paul Falconer, 1807 -79, England; Romantic Melodramatic: 

Background: Born Bristol, the son of a poor grocer WoodDic, Grove25 p228

Training: He was virtually self-taught WoodDic

Career: He moved to London in 1828; exhibited at the RA during 1830-79; & spent some years in Southampton.  In 1843 a history painting attracted much attention; in 1847 he won a prize for his cartoon in the Houses of Parliament Competition for Edward III’s Generosity to the People of Calais; & in 1861 he was elected an RA WoodDic, Grove25 p228

Oeuvre: Historical & literary subjects, genre, landscape & portraits, in oils & watercolour WoodDic, WoodC1999 p42, Grove25 p228, Artnet

Characteristics/Phases: His early work is idyllic & gentle.  From the early 1840s it has been argued that he painted numerous simpering rustic women, gypsies & gleaners, by a stream or on a stile, often in contorted postures.   On the other hand, he produced dramatic figure subjects with stormy backgrounds & glowing skies Grove25 p228.

Personal: Early on he temporarily retired from society after a sexual scandal involving Francis Danby’s wife whom he later married Grove25 p228, WoodC1999 p20, WoodDic

Verdict/Grouping: Due to lack of training his figure painting & foreshortening were faulty.  [Although he certainly painted some dubious genre works it may be questioned whether they have on balance been judged too harshly.]   His subject paintings had an expressive grandeur & romanticism that continued poetic landscape & high art into the Victorian age.    Grove25 p228, Artnet

Reception: Ruskin admired his work but by the time of his death the taste for work of his type had waned WoodDic, Grove25 p228

-POONS, Larry, 1937-, USA; Lyrical Abstraction:

Background: Born Japan OxDicMod
Training: Music in Boston & then briefly at the Boston Museum School L&L
Career: In 1958 he turned to painting OxDicMod
Oeuvre: Abstract paintings OxDicMod
Characteristics & Phases: From about 1965 he became known for his subtle paintings of pure bright colour with seemingly random ovoid spots in a strongly contrasting colour which often seem to flicker.  By the end of the 1960s his work was more painterly, colour more austere, & with streaks instead of spots.  In the 1970s he employed thick paint surfaces with cracked & disturbed surfaces L&L, OxDicMod
Grouping: His early works were Minimalist & Op art L&L

-PONTIUS, Paul, 1603-58:

Career: engraver who worked under Rubens reproducing his pictures L&L

***PONTORMO/CARUCCI, Jacopo, 1494-1557, Italy=Florence; Mannerism Movement

**POPOVA, Liubov,1889-1924, Russia:

Background: She came from a wealthy bourgeois OxDicMod
Training: During 1907-8 she studied painting in Moscow OxDicMod
Career: She worked in Paris during 1912-3 frequenting the studios of the Cubists Le Fauconier & Metzinger; returned from Italy to Moscow, 1914; worked with Tatlin & contributed to major avant-garde exhibitions; produced her Painterly Architectonics series, 1916-20; taught at the Moscow Higher State Art & Technical Studios (Vkhutemas) which promoted functional design, 1916-20; belonged to the related Left Front of the Arts; & in 1923 began working with Stepanova at the First Moscow Textile Mill OxDicMod, Elliott pp 20, 82
Oeuvre: Paintings, design of stage sets & costumes, & everyday women’s clothing with subtle geometric patterns against plain grounds OxDicMod
Phases/Characteristics: Cubism & then complete Abstraction featuring angular forms in strong blues, greens & reds are painted on rough surfaces producing an impression of rapid movement, conflicting forces & driving energy Gray p204OxDicMod
Status: Tatlin & Malevich apart she was the outstanding painter of post-1914 Russian abstract art Gray p204
Influence: She helped introduce Cubist & Futurist ideas into Russia MOMAH p84

-PORCELLIS, Jan, before 1584-1632, Julius’s father, Netherlands:

Background: He was born at Ghent, the son of a refugee from Belgium L&L Grove25 p246

Influences: The tonal style that Pieter de Moklijn, Solomon Van Ruysdael & Jan Van Goyen were exploring in landscape Grove25 p246

Career: Following bankruptcy he moved from Rotterdam to Antwerp, 1615; became a master in the Guild of St Luke, 1617; settled in Haarlem, 1622, where his fortune changed; went to Amsterdam, 1624; then lived in Voorburg near The Hague; & from around 1628 in Zouterwoude near Leiden.  His daughter was born in London Grove25 p246, L&L

Oeuvre: Paintings & etchings of the sea & inland waterways Grove25 p246, Haak pp 267-8

Characteristics: In Haarlem he pioneered a tonal style of marine painting in which vivid colours of Vroom etc gave way to a virtual monochrome of light grey & brown enliven by brilliant white highlights for wave crests & sunlight filtering through clouds which cast their shadows on the water below a very low horizon.  There may be an allegorical element in his paintings because the ships symbolise the voyage through life as in Stormy Sea, 1629 (Alte Pinakothek, Munich).  However, this is conjectural & his work has been described as a new kind of nature painting purely inspired by observation Grove25 pp 246-7, L&L, Fucks pp107-9, Haak p268

Innovation: The animated interplay of light & shade, & the integration of the sky into the composition changed the course of Dutch marine & landscape Grove25 p246, Haak p268)

Status: He was considered the greatest marine painter of his time L&L

Influence: He inspired the leading Dutch marring painters of the mid-17^th century, especially Simon de Vliegler & Jan Van de Capelle Grove25 p248

Progeny: His son Julius, c1609-45, adopted his father’s style & subject matter but are weaker L&L, Grove 25 p248

**PORDENONE (DE SACCHIS), Giovanni, c1484-1539, Italy=Venice:

Background: Born Pordenone, north east of Venice, the son of a master mason L&L, Grove25 p249

Influences: Montagna, the Venetians especially Carpaccio, Giovanni Bellini, Giorgione & Titian, & Signorelli, Raphael & Michelangelo, but also the more violent aspects of German art Murrays1959, Grove25 p249

Career: According to Vasari he aimed to challenge Titian.   He painted fresco cycles in Cremona Cathedral, 1520-2, & at Piacenza, 1530-32, & worked many places but from about 1530 mainly in Venice RAVenice p198, Steer p106, L&L

Oeuvre: Altarpieces & other religious works; allegorical & mythological subjects.  He worked in fresco as much as in oil Steer p106, Grove25 pp 249-51

Characteristics/Phases: His work, as represented by Crucifixion, c1520 (Cremona Cathedral) was violently expressive stylish, sometimes intentionally populist using illusionism to involve spectators in the drama.  He shares the theatrically expressive Realism of Lombard Sacra Monte decoration.  Manneristic elements become more marked from 1534 L&L. Grove25 p250

Verdict: He strove too hard often obtaining inflated effects Steer p107

Status: He was one of the most innovative & influential north Italian artists in early to mid-16^th century Grove25 p249

Grouping: He is sometimes classified as a Mannerist, & he foreshadowed the Baroque L&L

Porta.   See Fra Bartolommeo della Porta

..PORTAELS, Jan, 1818-95, Navez’s son-in-law, Belgium:

Background: Born in Vilvoord Norman1977
Training: Navez at the Brussels Academy & Delaroche in Paris Norman1977
Career: 1844-7 in Italy.  Portaels also visited the Middle East.   In the 1850s he was involved in the state’s attempt to launch a Belgian fresco school. During 1863-5 he was professor at the Brussels Academy & subsequently opened a well attended private studio where he provided a strong technical grounding.  From 1878 Portaels was director of the Brussels Academy Norman1977
Oeuvre: Historical & religious subjects, Oriental scenes, portraits. He also painted several murals Norman1977
Characteristics: His many Oriental scenes were close in style to those of H. Vernet Norman1977

Portana.   See Lopez y Portana

..Fairfield PORTER, 1907-75, USA:

Background: Born Winnetka, Illinois, the son of an architect & his mother was a poet from a literary family Grove25 p263, Wikip
Training: Fine Arts at Harvard, 1924-8, & at the Arts Students’ League, New York, under Thomas Hart Benton for two years Grove25 p623
Influences: Bonnard & Vuillard Hughes p556
Career: During 1927-32 He travelled in Europe etc & became a Socialist.   From 1935 he wrote art criticism Grove25 p263
Oeuvre: Landscapes, domestic interiors, still-life, & portraits of fellow artists, many paintings being set in or around the family summer house on Great Spruce Head Island, Maine, & the family home at Southampton, New York Wikip, webimages
Characteristics: He had a loose, broadly painted & energetic style & he used subtle colours & tones but his figures are slightly awkward.  His domestic scenes were painted with beguiling informality & concealed  sophistication.  His work was not melancholic like Hopper.  The best painting are his landscapes, houses & interiors Prendeville pp 153-4, Hughes1997 pp 556-7, Artnet & Art Story sites, webimages
Phases: During the 1960s & 70s he relied increasingly on the impact of broad patches of vivid colour as in Screen Porch, 1972 (Whitney, New York)
Beliefs: “the extraordinary is everywhere”; “Subject matter must be normal in the sense that it does not appear to be sought after, so much as simply happening to one” Hughes p556, Artnet
Reception: Both criticised & revered for representationalism at a time of Abstract Expressionism Wikip

PORTER, Frederick, 1883-1944, England (New Zealand); British Impressionism:

Background: Born Auckland, New Zealand Chamot p120
Training: In New Zealand under C. F. Goldie & at Julian’s atelier, Paris, under Laurens Cheffin’s site,  Chamot p120
Career: He taught at the Central London School of Arts & Crafts from around 1924, was vice-president of the London Group, 1925-35 & belonged to the London Artists Association Cheffins site, Chamot p120
Oeuvre: Landscapes particularly of Sussex & Essex, figure subjects, nudes & still-life Cheffins site
Characteristics: His landscapes were delicate & painterly in an impressionist style Cheffins site, webimages
Verdict: He has been classed as a modest & sometimes engaging artist Shone1977 p10
Circle: He was one of Roger Fry’s favourites Chamot p 49

-POSADA, Jose, 1851-1913, Mexico:

Background: He was born at Aguascalientes Grove25 p321
Training: Briefly at the Academia Aguascalientes under Antonio Varela & lithography in the workshop of Jose Trinidad Pedroza Grove25 p321
Career: His critical illustrations for Pedroza’s periodical El Jicote aroused hostility & they both moved to Leon, Guanajuato, where he began wood-carving, & taught lithography, etc.   In 1889 he moved to Mexico City & continued his social criticism helping to turn out flyers, which spread among the illiterate populace, & contributing satirical illustrations to many journals.   His targets included brawls, festivities & traditional customs, the clergy & revolutionaries Grove 25 p321.
Oeuvre: Prolific graphic art L&L
Speciality: The parody of the rich & powerful etc especially in skilfully executed black & white engravings employing animal skeletons & other folk images Grove25 p321, L&L
Influence: On the socio-political art of Mexico in the 1920s & 30s, including Orozco & Rivera L&L, OxDicArt 

-POST, Frans, 1612-89, Netherlands=Haarlem:

Background: Born Haarlem, the son of a glass painter Brigstocke, Wikip
Career: During 1637-44 he was in Dutch Brazil & was, like Albert Eckhout, in the retinue of the newly appointed governor Prince John Maurice of Nassau-Siegen.  After returning he settled in Haarlem, joined the Guild St Luke, 1646, & serving as an officer, 1656-8  Brigstocke, Grove25 p325
Oeuvre: Paintings & drawings exclusively of Brazilian subjects Grove25 p325
Characteristics: His work in Brazil, though somewhat naive, is effective & vivid as in Island of Ita maraca, 1637 (Rijksmuseum or Mauritshuis).  After his return his work progressively became more stereotyped, & Claude-like Grove25 pp325-6, Brigstocke
First European to paint landscape in the New World Brigstocke
Repute: He was virtually forgotten or regarded as a curiosity until the 20^th century OxDicArt

.. (Helen)Beatrix POTTER, 1886-1943, England:

Background: Born London into a wealthy family who lived at Bolton Gardens, South Kensington  Grove24 p372, BCG p868
Training: She was mainly self-taught but had some instruction in drawing & painting by governess’s web
Influences: When young she kept mice, a rabbit, & a hedgehog she secretly raised in her nursery BCG p868
Career: She was educated at home by a governess, was a lonely child & systematically studied natural history & archaeology, privately publishing her self-illustrated Tale of Peter Rabbit, 1901.  This was followed from 1903 by numerous picture books published by Frederick Warne with whom she had a long & profitable association.   She was briefly engaged to Warne when nearing 40 against the opposition of her parents.  Following Warne’s death, she bought Hilltop house in the Lake District near Sawry, 1905.  After marrying a country solicitor, William Hellis in 1913 she  mostly devoted herself to sheep farming, became a prize-winning breeder of Herdwick sheep, & was actively engaged in conservation, leaving 4000 acres to the National Trust Wikip, Grove24 p372, BCG p 868, Ousby p740, Wikip
Oeuvre: Watercolours & books for children Grove24 p372
Characteristics: Her illustrations are elegantly composed & carefully drawn with acutely observed detail using broad washes & in warm, appealing, sophisticated colour.  Animals wear clothes & engage in human activities but are not sentimentalised & behave in ways that are appropriate to the type of animal which is being portrayed Grove24 p372, BCG p868, Ousby p740, webimages & her books
Collections: National Art Library at V&A & Beatrice Potter Gallery, Hawkshead

..Mary POTTER/ATTENBOROUGH, 1900-1983: British Impressionism:

Background: Born in Beckenham, Kent, the daughter of a solicitor Wikip
Training: At the Beckenham School of Art & at the Slade from 1918 under Tonks Wikip
Career: Initially she shared studio in London’s Bohemian Fitzrovia area; joined 7+5 briefly; exhibited with NEAC & The London Group; married the writer & radio producer Stephen Potter; had two children; moved to Aldborough, 1951; divorced, 1955; became very friendly with Benjamin Britten Wikip
Oeuvre: Landscapes, coastal scenes, still-life & portraits in oil & watercolour Wikip
Characteristics/Phases: Her colours were pale & subtle & using beeswax she obtained a chalky, luminous effect in work that was increasingly abstract & gently visionary Spalding1986 p230

–Paulus POTTER, 1625-54, Pieter’s son, Netherlands:

Career: He was active in Delft, The Hague & Amsterdam OxDicArt
Oeuvre: Paintings & etchings of animals in landscapes OxDicArt
Speciality: Cattle & sheep in sunlit meadows OxDicArt
Characteristics: His work has a surreal sense of atmosphere & meticulously rendered light where his scenes of animals are often set in clearly identifiable times of the day & weather conditions  L&L
Influence: In animal painting it lasted until well into the 19^th century L&L

 –Pieter POTTER, c1597-52, Paulus’ father, Netherlands:

Career: He owned a factory for embossing & gilding leather L&L
Speciality: He is best known for his vanitas still-lifes L&L

..POTTHAST, Edward, 1857-1927, USA; American Impressionism:

Background: He was born in Cincinnati Gerdts1980 p 79

Training: At the McMicken School, Cincinnati, from 1870; under Thomas Noble who had studied with Thomas Couture, 1879-81; at the Royal Academy,  Munich under Marr & Ludwig Loefftz; with Noble again; & under Fernand Cormon in Paris from 1886 Gerdts1980 p79, Wikip

Career: Initially he earned his living as a lithographer.  In 1888 he worked at Barbizon & near Grez where he came to know some of the American Impressionists including Robert Vonnoh; returned to Cincinnati; & in 1896 settled in New York, although in 1910 he went out West & painted the Grand Canyon Wikip, Gerdts1980 pp 79, 81

Oeuvre: Beach scenes featuring care free bathers & active, happy children, other outdoor scenes, & landscapes in oil & watercolour Gerdts1980 p81

Phases: His early work has the subdued colours & strong contrasts of the Munich School Wikip, Gerdts1980 p81

Characteristics: He used heavy impasto in his  Impressionist beech scenes.  The figures are interacting & participating in a range of pleasurable activities in which Potthast makes skilful & varied use of colour, shadows, light effects & the way in which figures are positioned & posed.  They are above all else happy paintings of content & happy white affluent people who appear to live in a happy, problem free land.  These paintings are a world away from those of the Ashcan School.

Grouping: American Impressionism Gerdts1984 p284

-Frans POURBUS the Elder, 1545-81, Pieter’s son, Belgium=Antwerp:

Background: He was born at Bruges Grove25 p382

Training: His father & from around 1562 Frans Floris from Wikip, L&L, OxDicArt

Influences: That of Frans Floris was particularly important because he was an Italian-influenced Romanist Grove25 p382, Wikip

Career: He became a master in the Antwerp Guild of St Luke 1569.  In 1571-2 he received important commissions for paintings in St Bravo’s Cathedral, Ghent, & in 1574 another from St Martin’s Abbey, Tournai.  It appears he was a Calvinist L&L, Grove 25 p382, Wikip

Oeuvre: Mainly religious subjects & portraits in which he increasingly specialised, but also history paintings, landscapes & a few genres work depicting a Merry Company Grove25 p382, Wikip

Characteristics: His style was more flexible & more painterly than his father’s he sometimes.  The portraits feature acute observation & psychological insight.  His Portrait of an unknown man is individualised with subtle modelling of the face while the slightly frowned brow & direct gaze gives him a contemplative aspect L&L, Wikip

Influence: He helped spread the Romanism of Frans Floris Grove25 p382

Innovation: Merry Company paintings See Wikip

Patrons: They were mainly from the rising mercantile class but he also painted the higher clergy, local aristocrats, etc Wikip, Grove25 p382

Pupils: Rochtus Gabrelius da Breson, Peeter Cobbe  Gortzius Geldorp Wikip

Grouping: Because of similarities of style he belongs with Antonis Mor, Adrianne Thomas & Frans Floris Wikip   

*Frans POURBUS the Younger, 1569-1622, Belgium:

Background: He was born in Antwerp Grove25 p382

Influences: Adriaen Key Grove25 p382

Career: Pourbus joined the Antwerp guild in 1591 He worked at the courts in Brussels, where he painted official portraits of the Archdukes Ernest & Albert & Infant Isabella, at Mantua from 1600 for Vincenzo Gonzaga I but also for other elite patrons,   from 1609 in Paris under Marie de Médicis & from 1616 Louis XIII L&L, Grove25 pp 382-3, Brigstocke

Oeuvre: Portraits, portrait groups, occasional religious subjects, & decorative work Grove25 pp 362-3

Characteristics: He was more concerned with the meticulous depiction of rich costumes & jewellery than with character but he adapted the more formal style of Antonis Mor introducing a more natural & energetic manner with elements of Baroque dynamism OxDicArt, Grove 25 p383.

Status: He was one of Europe’s principal court portraitists & his Mantuan works are some of the most striking examples of the Mannerist portrait of status OxDicArt, L&L

Circle: Rubens was a colleague in Mantua L&L

Legacy: His later style of sober naturalism married to the  formalism of official portraiture became dominant under Henry IV & the regency of Mare de Medici, & it influenced de Champaigne.   The sober Venetian Grand Manner of his Last Supper had a lasting impact on Poussin L&L 

-Pieter POURBUS, Frans the Elder’s father, c1510-84, Belgium=Bruges:

Background: He was probably born in Gouda, possibly in 1523-4 (sic) OxDicArt, Grove25 p381

Training: Lancelot Blondel under whom he worked & whose daughter he married L&L, Grove25 p381

Career: He settled in Bruges & during 1543 year became a foreign master in its Guild of St Luke.   Besides painting he was a civil engineer, surveyor & cartographer.   He took part in public life & was involved with the rhetoricians & repeatedly holding office in the guild Grove25 p381, OxDicArt

Oeuvre: Portraits, religious & allegorical scenes OxDicArt

Phases: He did not embark on portraiture for which he is best known until 1551.   At the end of the decade his work became more pictorial, during the 1560s his style gradually tightened, & during the 1570s he lost his artistic impetus L&L, Grove25 p382.

Characteristics: Although he used Renaissance figure types, painting technique & novel subject-matter, he remained faithful to the bright colour’s precision of the Bruges School Grove25 pp 381-2

Innovation: He pioneered the group portrait Grove25 p382

Grouping: He is often cited as the last of the Flemish primitives Grove25 p382.   Mannerism ShearerW1996

Poussin, Gaspar.   See Dughet

****POUSSIN, Nicolas, 1594-1665, France, Dughet’s brother-in-law; Baroque Classical 

Background: Poussin came from or just outside Les Andelys in Normandy  where he was born into a peasant family though, according to Bellori, with a noble background Z&S p7, L&L, Bellori p309

Training: Ferdinand Elle who was a Flemish portraitist in Paris, & Domenichino’s studio in Rome L&L, Allen p57

Influences: During his early years in Paris Poussin lived in the house of the Italian poet Giambattista Marino.    In 1614 he had argued that ordinary was innate in nature, & compared the world to an orchestra in which, based on rhythm & proportion, a beautiful music of harmony should prevail.   Conflict was caused by evil forces & intellect was superior to emotion.   He regarded Raphael as the perfect painter Z&S p10.   From the turn of 17^th the century there was an upsurge in French free-thinking led by Pierre Charron, the poet Theophile de Viau & the scholatr Gabriel Naude.   They regarded God as the first cause but he was then the captive of his own providence.  The world was governed by natural law & they dremt of a Golden Age.   Naude rejected the Catholic doctrine of original sin & considered that man was perfect & finished & similar to his Creator.   Poussin had friendly relations with the diests, & Naude was later said to have been one of his best friends NCMH4 pp 198-9, Z&S pp 11-3.   Poussin studied the ferescos of Raphael & Annibale Carracci in Rome but it was Titian who had the greatest influnce during the later 1620s Allen pp 56-7.         

Career: Poussin fled from home & parental opposition to painting for Paris in 1612  after encouragement from Quentin Varin who was a late Mannerist Bellori pp 309-10, Z&S p7, L&L.   He studied Renaissance pictures & engravings, particularly by Raphael & his school, together with Roman statuary & reliefs in the Royal Collection.  However poor health forced him back to Normandy for a year.   Around 1621 he painted six large, but lost, temperas paintings for the Jesuits.   He worked in the Luxembourg Palace with Philippe de Champaign OxDicArt, L&L&S p8.   In 1623 he went Venice & in 1624 to Rome where studied the frescos by Raphael & Annibale Carracci Allen pp 56-7.   Around 1627 dal Pozzo, the great patron & classical enthusiast, started employing him to make drawings of Roman remains & larger pictures of birds Haskell pp 98, 104.   During 1629-30 he was seriously ill & was nursed by the family of Jacques Dughet a French chef whose daughter he married.  By the end of the 1630s he had a great reputation & in 1640 he reluctantly returned to Paris after being threatened with assassination if he refused.   He superintended  the decoration of the grand gallery at the Louvre, etc.   His visit was ruined by jealousy & intrigues & in 1642 he returned to Rome OxDicArt, Z&S p23.    By 1650 he had a European fame but he became a recluse OxDicArt

Oeuvre: It was large, unlike that of some Classical artists.    Poussin was not troubled by the difficulty of invention because of his withdrall from the construction of big decorative paintings Allen pp 54-5

Technique: Poussin made numerous preparatory drawings, & used wax models with which to study composition & lighting OxDicArt

Phases: His first Roman works Joshua’s Victory Over the Amalekites & Over the Amorites were exuberant, filled with writhing forms & have been termed Mannerist Z&S pp 44-5, 47, 50-1, L&L.   He then painted simple & poetic works which during the later 1620s were inspired by Titian, although they  were more elegiac than sensual as in The Death of Adonis, 1626-7 OxDicArt, Allen pp 57-8.    His early works glow with colour with a particular emphasis on a range of related harmonisu hues extending from orange-white, through glowing orange & red-brown to deep brown Kitson1966 p73, Z&S pp 44-5, 50-1.   However, his colours gradually became more conventional with a much greater emphasis on a rich & stately red & blue Z&S pp 134-5, 163, 174, Olson pp 112, 154, 157.  

Around 1630 he stopped competing for public commissions & began painting smallish pictures for dal Posso & his circle.    During the 1630s he turned to Old Testament & historical subjects which afforded scope for more elaborate pageantry OxDicArt.   There was also by the mid-1630s a change in the message that is being conveyed.   Poussin was now increasingly interested in the moral significance of human acts & those carried out for the common good.   In The Magnanimity of Scipio of the late1630s he shows the fiance of a defeated Carthaginian being mercifully returned to him by the Roman conqueror.   Human compassion was to be a continuing feature of his work as shown by The Holy Family in Egypt, 1655-7.   Here an Egyptian boy hands figs to Mary & a young woman gives water to Joseph Z&S pp 19, 21, 28, 104-5.

 As early as the 1630s Poussin was a brilliant landscape painter Z&S p21.   Although they were intellectual composition he had an immense appetite for nature.   His works are logical & balanced structures in which horizontals & verticals often meet at right angles due to the introduction of structures.   The emphasis on the right angle accounts for the frontality of his landscapes.   However in order to provide depth he used subsidiary diagonals.   These were often in the form of a path which finally turns back on itself Clarke1949 pp 129-30.  Light in his works does not come from a well defined source & in Landscape with Polyphemus he painted an eclectic scene bathed in a gentle luminescence T&C p54, Z&S pp144-5.

Beliefs: “My nature leads me to seek out & cherish things that are well ordered, shunning confusion which is contrary & menacing to me as as dark shadows are to the light of day“, 1642 Kitson1966 p58.  “Colours in painting are a snare to persuade the eyes, like the charm of verse in poetry” Grove9 p8.   “I am frightened by the cruelty of our age” Z&S p33 

Innovations: Poussin was the virtual founder French Classicism & elevated life sized narrative easel paintings to the status of History painting.   Together with Claude & Dughet he initiated Ideal Landscape.   He was in some ways the first modern artist, imposing his ambitions on patrons by choosing own themes & bullying them  into viewing & even framing his paintings in the way he wished.   Above all, he gained acceptance as at least their intellectual equal  L&L, OxDicArt .   [His role in the humanisation of painting was crucial] See The Humanisation of Painting in Section 7.

Patronage: Castlesiano dal Pozzo who owned around 50 pictures, athough not his later& most profound works as he only painted one for Castlesiano after his Paris interlude Haskell pp 105-6, 115.   This led to contact with the Parisian  bourgeoisie of small bankers, merchants, minor civil servants, especially Chantelou, who were his best patrons for the rest of life OxDicArt, L&L.   After his return he received commissions from Cardinal Massimi, who with Pozzo was his other considerable Italian patron Haskell pp 114-5.

Friends: Bellori (close) Waterhouse1962 p77

Followers: Dufresnoy L&L

Repute: Poussin’s influence declined in the Romanticism era but was revived by Cezanne OxDicArt

Influence: This extended to Cezanne, Seurat & other painters who have have tried to give landscape an air of order & permanence Clark1949 p129

..POYNTER, Sir Edward, 1836-1919, PRA, England, Academic Painting from 1845; Academic Movement

Background: He was born in Paris into an artistic family: his great –grandfather was the sculptor & his father, Ambrose, was an architect & watercolour painter Grove25 p406.

Training: This began in 1862 under Thomas Shotter Boys, a watercolour painter, who had taught his father.   It continued with Leigh’s Academy, the studio of William Dobson, & briefly the RA Schools.   During 1856-9 he attended Gleyre’s studio where Whister & Du Maurier were students Wooddic, Grove25 p406.

Influences: Michelangelo OxDicArt.

Career: In1853 he was in Italy where he met Leighton), & during 1856-9 in Paris.   He made his reputation in 1867 with Israel in Egypt at the RA.   Poynter devoted much of his time to administration.   He was Director for Art at the south Kensington Museum, 1871-5; Principal of the National Art Training School 1875-81; Director of the National Gallery, 1894-1904; & PRA 1896-1918 OxDicArt.   When from 1871 he was the first Slade Professor at University College he introduced many of the principles of French art teaching & at the National Gallery displayed an unusual catholicity of taste Grove 25 pp 406-7.

Oeuvre: Paintings in both oil & watercolour, drawings for magazines etc, & design work Grove25 p406.

Phases: He began painting with small pictures of Egyptian & Classical subjects, then he launched into large ancient history painting.   During the 1860s he pursued decorative work.   From 1872 to 1890 he produced large history paintings but increasingly he painted small Classical genre works & society portraits Grove25 p406.

Characteristics: [He was par excellence an Academic artist but within this field he was enormously versatile in both subject matter & feeling.]

Beliefs: The highest art reflects artists’ imagination, not impressions gained directly from Nature Trippi p31.

Status: He was one of the most popular painters of his day L&L.

Inspiration: Griffith’s film Intolerance S&M p57

..POZZO, Andrea/Fratel/Padre, 1642-1709, Italy; Baroque

Background: He was born at Trento Grove25 p413.  

Influences: Vitelli’s feigned architecture as seen around 1670 when visiting Bologna Pevsner1968 p72.   As a Jesuit he thought his art should promote religious fervour Grove25 p415.

Career: In 1665 he became a Jesuit lay brother in Milan.  He wanted to abandon painting but was made to continue Murrays1959.   During 1681-1702 he was in Rome where he produced his Allegory of the Missionary Work of the Jesuits, 1688-94, perhaps the greatest quadrature ever.   It combines illusionistic architecture with the virtuoso grouping of figures in deep space & flickering patterns of light & shade as developed by Pietro da Cortona & Giovanni Gaulli     He settled in Vienna in 1702 OxDicArt, Grove23 p414.   Here he painted ceilings in the Jesuit church & the Liechtenstein Palace Hempel p114

Oeuvre: Altarpieces; ceiling decorations; church architecture & his book Perspective Pictorum et Architectorum OxDicArt, L&L

Characteristics/Verdict: His brilliant quadradturista  which at its best unites painting, architecture & sculpture to produce overwhelming illusion.   Oil paintings that have intense colour & dramatic chiaroscuro Grove25 p413

Grouping: Baroque OxDicArt

Legacy: His Viennese works helped develop Austrian Rococo Murrays1959.   He influenced Fischer von Erlach & Christoph Tausch was a pupil  Hempel pp 88-9, 143.

-PRAMPOLINI, Enrico, 1894-1956, Italy:

Background: Born Modena OxDicMod
Training: At the Academy of Fine Arts, Rome Wikip
Career: He joined the Futurist movement, 1912; began making mixed composition, 1912; associated with the Zurich Dada, 1916, & with the Berlin Novembergruppe in the early 1920s; lived in Paris, 1925-7; returned to Futurism, 1929; assisted in the Exhibition of the Fascist Revolution; & belonged to Cercle et Carre & Abstraction Creation; OxDicMod, L&L, Wikip
Oeuvre: Paintings, sculpture & theatrical design OxDicMod
Characteristics: Abstracts & semi-abstracts of a geometric type with clearly defined rectangular & rounded areas of mainly unmodulated colour
Status/Innovations: With Magnelli he pioneered abstraction in Italy OxDicMod

Prantl.   See Brandl

-PRATT, Matthew, 1734-1805, USA:

Background: Born Philadelphia the son of a goldsmith Grove25 p452
Training/Career: Initially he was apprenticed to his uncle James Claypole who was a limner & painter, 1745-55.  After sign & portrait painting, he went to London,1764; studied under & became the assistant of Benjamin West; became his assistant; worked in Bristol; & returned to Philadelphia, 1768.   Here in partnership with two other painters he engaged in portraiture & artisan activities, etc Wikip, Grove 35 p452.
Oeuvre/Characteristics: Mostly accomplished head & shoulders portraits but also a notable group portrait the American School, 1765 (The Met) & Jupiter & Europa, 1770-1 (Colonial Williamsburg Foundation)

Preda.   See de Predis

Predis.   See de Predis

..- Cristoforo DE PREDIS/PREDA, before c1440-before 1486, brother of Ambrogio & Evangelista, Italy=Milan:

Influences: The French artist Jean Colombe, & Phillippe de Mazerolle’s, 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 noble Milanese families & from 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 a lay of fantasy Grove25 p465

– Giovanni Ambrogio DE PREDIS/PREDA, c1455-after 1508, half-brother of Cristoforo, 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 Ludovico to paint 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 & effects of light & shade Grove23 p466, Webimages
Brother: Evangelista

..PREISLER, Jan, 1872-1918, Czech:

-PRENDERGAST, Maurice, 1858-1924, USA (Canada); Impressionism USA

Background: He was born in St John’s, Newfoundland Grove25 p552.
Training: During the early 1890s he studied at Atelier Colarossi under Gustave Courtois & at the Academie Julian under Benjamin Constant, Joseph Blanc & Jean-Paul Laurens Grove25 p552.
Influences: Vuillard, Bonnard & Whistler NGArtinP p253, Grove25 p552.   Signac, Ker-Xavier Roussel after his 1909-10 Paris trip Gerdts1984 p12

Career: The family moved to Boston in1868 & by 1886 he was working as a commercial artist.   When in France  he sketched in Parisian cafes & along the boulevards, went to Dieppe & St Malo & made monotypes, watercolours & small oils of elegant women & small children.   He returned to Boston in 1894, & made a trip to Italy in 1898-9 Grove25 p552, NGArtinP p253.   During 1908 he exhibited with The Eight at the Macbeth Gallery in New York.   He travelled in France during 1909-10 & in Italy in 1911-2, exhibited seven works at the Armory Show in 1913, & moved to New York in 1914 Gerdts1980 p121. Grove25 p553,

Oeuvre: Paintings, prints, illustrations & design including  about 200 monotypes Grove25 p552, OxDicMod

Phases: After his return from training, he began painting scenes from urban middle class life with women rarely shown idle & never in domestic settings.   In Italy he produced a significant group of works, among the  most colourful & brilliant of his career, dealing with Venetian Street life.   After his return to Paris, he began using more intense colours & patterned forms in which figures, trees etc were simplified.  His works were basically two dimensional & resemble tapestries.   Major works were now in oils, larger than previously & painted in the studio.   During his last decade he repeatedly painted Arcadian scenes with figures, usually women, posed along the shore or in a park   Grove25 pp 552-3, Gerdts1984 p116, NGArtinP p252.

Friends: James Wilson Morrice with whom he sketched in Paris Gerdts1984 p116.
Innovation: He was one of the first American artists to be  influenced by advanced French painting with its flat patterns OxDicMod, Gerdts1984 p121
Grouping: American Impressionism Gerdts1984 p284

Collectors: Albert Barnes, Lillie Bliss, John Quinn & Mrs Montgomery Sears OxDicMod, Gerdts1984 p116

*PRETI, Mattia/II Cavalier Calabrese, 1613-99, Italy=Rome etc; Late Baroque

Background: He was born at Taverna, Calabria, & had ecclesiastic origins Grove25 pp 562-63

Training: Probably mainly by his painter brother, Gregorio Grove25 p562

Influences: Caravaggio & his close followers, Ribera, Lanfranco’s work in Naples; Veronese, Guercino & Domenichino OxDicArt, Grove25 p562, Waterhouse1962 p188

Career: He left Calabria to join Gregorio in Rome, probably before 1630; made a trip to paint frescos in Modena, probably 1651 or 52; left Rome for Naples, 1653; returned to Rome 1660; & settled in Malta, 1661 until his death Grove25 pp 562-64, L&L, OxDicArt; Waterhouse1962 p188

Oeuvre: It was huge & aided by his workshop.  He worked in oils & fresco L&L

Characteristics/Phases: In Rome he painted Caravaggesque pictures of musicians & card sharpers, etc, as in Draughts players, c1635 (Ashmolean, Oxford) developing a dramatic style in which details emerge from shadows & there are contra-jour figures as in the Feast of Absalom, c1559 (NG Canada, Ottawa).  His mature Neapolitan style is intensely dramatic combining Caravaggesque realism, expressive chiaroscuro, & the grandeur & theatricality of the Venetian High Renaissance in which details emerge from shadows & there are contra-jour figures as in Almsgiving NaplesL&L, Grove25 p562

Speciality: Paintings of martyrdoms & Crucifixions in rich colouring, brutality of an appalling nature webimages

Patrons: The Theatines who played an important part in the Counter-Reformation, & in Naples Ferdinand Van Den Einden who ordered The Crucifixion of St Peter, the Beheading of St Paul & the Martyrdom of St Bartholomew & may be The Feast of Herod web, Haskell p208, Grove25 p563

Grouping: High Baroque Waterhouse1962 p188

Legacy: He greatly inspired later painters, notably Francesco Solimena Grove25 p562

Repute: His reputation declined in the late 18^th century, became almost negligible during the 19^th, but since 1945 his greatness has been recognised Grove25 p565

..PREVIATI, Gaetano, 1852-1920, Italy; Symbolism:

Background: Born Ferrara into a moderately prosperous family Norman1977, Grove25 p567
Training: At the Ferrara School of Fine Arts; & then, after military service, under Amos Cacassioli in Florence; & at the Brera Academy under Giuseppi Bertini GibsonM  p239, Norman1977, Grove25 p567
Influences:  Morelli, Faruffini & the Scapigliatura movement Norman1977
Career: He travelled to Paris with his friend Giuseppe Mentessi for the Exposition Universelle, 1878; settled in Milan & associated with the Gli Scaglietti Group.  Due to deteriorating health he ceased painting by 1917 Grove25 p567-68
Oeuvre: Historic, religious & symbolic works with Pre-Raphaelite echoes, together with illustrations for literary works & theoretical writings Norman1977, Grove25 p568
Phases: He reached a fully mature style after being introduced to Divisionism by Vittore Grubicy in 1889 Norman1977
Characteristics: He empathised the complexity of layout through contrasting light effects especially for nudes, & by half shadows from which figures emerge.  He used a rich but restrained & modulated palette dominated by gold, silver, blue & green; & tried to convey emotional relationships through colour.  His [as in] Motherhood, 1890-91 (Novara Palazzo Bellini), was painted using a Divisionism style & brushwork.  It, & subsequent work, featured swirling painting & bold lighting effects, thus transforming a natural episode into a spiritual idea.  It was subsequently exhibited at the Rose Croix in Paris, 1892  Grove25 pp 567-68, Norman1977, Gibson pp 200-201
Reception & Patronage: Despite frequent critical comment & public interest he sold few works but had an allowance from his hydraulic engineer brother; then in 1898 he gained a ten-year contract with Grubbicy’s brother, 1898 Grove25 p568
Pupils: Giacomo Balla GibsonM p203

PREVITALI, Andrea, c1480-1528, Italy

Background: He was born at Berbenno, near Bergamo Grove25 p569

Influences: Giovanni Bellini.  His earlier work displays a lively response to artists active in Venice  including Lorenzo Lotto, Marco Basanti, Albrecht Durer, Boccaccio & Titian Grove25 p569

Career: In 1511 he left Venice for Bergamo

Oeuvre: Religious, mythical, genre works & also portraits Grove25 pp 570-71

Phases: After about 1518 his work became more uneven with summary execution & workshop participation.  Nevertheless, he produced some fine paintings  as in his quasi-nocturnal Crucifixion, 1523 (S Alessandro della Croce) & the splendid St Benedict Enthroned, 1524 Bergamo Cathedral  Grove25 p570

Characteristics: His first known painting is remarkably forward-looking foreshadowing Palma Vecchio & Titian with its ample forms, & it’s free & painterly landscape Grove25 p569

Innovations: [He probably produced the first Ideal Landscapes] as in his Scenes illustrating an Eclogue by Tebaldeo, c1510, in the NG.  Moreover, he anticipated by a century the Landscape with Flight into Egypt, 1600-04 (Galleria Doria Pamphili) which it has been asserted established a tradition of ideal or classical landscape & for the first time aspired to the intellectual weight & seriousness of history painting.  The latter remark is ill-informed  Grove18 pp708-09

Reception: His work was much admired by Titian Grove25 p569

Repute: When Kenneth Clark purchased the Eclogues scenes

 **PRIMATICCIO, Francesco, 1504-70, Italy=France (Italy); Mannerism Movement

Training: In 1526 he left Bologna to work under Giulio Romano in Mantua L&L
Career: In 1532 he joined Rosso at the chateau of Fontainebleau, & in 1540-41 he went to Rome for Francis I to obtain moulds of the most famous ancient statues.   He then freed himself Giulio’s influence &, under that of Parmigianino & Cellini, created in stucco sculpture & painting the elongated & slender figures that became characteristic of French painting for the rest of the century & in Northern Mannerism for even longer.  In 1546 he made another trip to Rome L&L.   In his later years he turned more to architecture L&L
Oeuvre: Paintings, design, sculpture & architecture L&L
Innovations: Together with Rosso he was the originator of the French School of Fontainebleau, & chiefly responsible for its coldly elegant, erotic form of Mannerism L&L

PRINCEP, Valentine (Val), 1838-1904, England: Troubadour and Academic Movements

..Andrea PROCACCINI, 1671-1734, Rome: Mannerism Movement

Background:  He was born in Rome Grove25 p644
Training: Carlo Maratti Grove25 p644
Career: Appointed by Clement XI,  he supervised the tapestry factory at St. Michel a Ripa, 1710-7.   In 1720 he was hired by Philip V of Spain to paint portraits but also acquired paintings & sculptures for his new palace at San Ildefonso, where he acted as architect Grove25 p644
Oeuvre: Portraits, religious & mythological works, & frescoes Grove25 pp 644-5
Characteristics: His portrait of Cardinal Borja, c1725, which is his most remarkable work, is in the style of Maratti, & shows his psychological insight, originality & technical ability Grove25 p645

..Carl/Carlantonio PROCACCINI, 1571 – c1630, Ercole I’s son, Camillo & Giulio’s brother, Italy

Background: He was born at Bologna Grove25 p642
Career: Almost nothing is known of his life & only two small landscapes are known.
Oeuvre: Religious paintings landscapes & still-life Grove25 p642
Characteristics/Grouping: His landscapes, which are said to be sketchily drawn, are supposed to be midway between Mannerism & Baroque like those of Paul Bril & Adam Elmsheimer by whom he seems to have been influenced Grove25 p644
Reception: His still-life paintings appear to have been popular at the Spanish Court Grove25 p642
Progeny: His son Ercole II, 1605-1675 or 1680, was also a painter but he seemed uninterested in new stylistic developments & his work has a vulgar, retardative character Grove25 p644

-Camillo PROCACCINI, c1558-1629, Ercole I’s son, Carlo & Giulio’s brother, Italy=Milan (Bologna):

Background: He was born in Bologna Grove25 p640  He came from a family of artists L&L

Training: His father Grove25 p640

Influences: Taddeo Zuccaro, Pellegrino Tibaldi & Correggio  Grove25 p640, Brigstocke

Career: He went to Rome around 1580 with Conte Piero Visconte, an important Milanese collector.   In 1585 he received a major commission to fresco the apse in St Prospero, Regio Emilia.   He settled in Milan in 1587 at the instigation of Piero who wanted his villa decorated, & who secured commissions at the Cathedral Grove25 p640, L&L,Brigstocke

Oeuvre: Religious & mythological paintings, frescoes & etchings Grove25 pp 640-1

Characteristics: He developed a clear & direct narrative style sometime embroidered with touches of linear elegance, & well suited to Counter-Reformation requirements.  His later work became repetitive Brigstocke, Grove25 p641

Verdict: He was less gifted than Cesare L&L

Status: Between around 1587 & 1600 he was Milan’s leading painter L&L

..Ercole PROCACCINI, 1515-95, father of Carlo, Camillo & Giulio, Italy=Bologna:

Background: He was born in Bologna Grove25 p640

Training: Prospero Fontana Grove25 p640

Influences: Central Italian Mannerism as represented in Bologna by Lorenzo Sabbatini & Orazio Samacchini Grove25 p640

Career: In 1551 he worked with Fontana in Rome & was active in Parma before 1500 & during part of that decade.  In 1569 he was back in Bologna where he was active in the newly formed painters’ guild, & taught at the Carracci Academy.   The Procaccini family moved to Milan in the mid-1580s & established an academy which trained distinguished artists of the Milan School Grove25 p640, NGArt1986 p240, Wikip

Oeuvre: Grove25 p640

Phases: An altarpiece of 1570 is simple & symmetrical but later in the 1580s his work became more sophisticated  Grove25 p640

Characteristics: His best-known altarpiece the Conversion of St Paul, 1573, is heavy, yet elegant Grove25 p640

Verdict: He was a mediocre painter Grove25 p640

-Giulio PROCACCINI, c1561-1629, Ercole’s son, Camillo & Carlo’s brother, Italy=Milan (Bologna):

Background: Born Bologna Grove25 p642

Training: Sculpture L&L

Influences: Titian, & probably Rubens & in his late works the rather reactionary tastes of Frederico Borromeo Grove 25 p644

Career: Around 1587 he settled in Milan with the rest of the family.  From 1591 to 1599 he worked in the Cathedral workshop.  About 1600 he turned from sculpture to painting.   In 1610 he painted six large scenes from the Life of St Carlo Boromeo which form part of the post-canonisation series L&L,Grove25 p642-3,

Oeuvre: Paintings & frescoes Grove25 pp 642-3

Characteristics: His work was highly eclectic & his work displays no sense of direction.  The altarpiece Martyrdom of SS Nazaro & Celco, 1606, shows his predilection for morbid & violent scenes;  his work displayed a continuing interest in a sculptural treatment of the body; OxDicArt, Grove25 pp 643-4.

Phases: His works of 1612, the Holy Family & Annunciation & Visitation feature graceful figures inspired by Parmigianino & stress two-dimensionality by a seeming compulsion to fill all the space.   He next painted more spacious works in his Circumcision, 1616, & creased spatial clarity in his the Ecco Homo, after 1615, where diagonals are used to indicate depth.  There was a near Baroque depth of feeling & emphasis on Christ’s suffering, also apparent in his Mocking of Christ, c1617.   Another development was the replacement of his previous golden tones by a more brilliant palette  Grove25 p643.  This phase was followed by a regression to a chilly Mannerism evident in Emperor Constantine Receiving the Instruments of the Passion, 1620.   His work was now more Mannerist than ever before  Grove25 pp 643-4, C-B pp 181, 197.

Innovation: Some works, such as his Miracle of Carlino Nava, one of his Borromeo series Counter-Reformation lucidity in favour of Mannerist spatial ambiguity, & another, the Miracle of Giovan Battista with its emphasis on movement & theatre anticipates the Baroque Grove25 p643

Status: After 1610 he was Milan’s leading painter with Cerano & Morazzone L&L

Verdict/Legacy: He had considerable ability but the regressive Mannerism of his late period did not promote the regeneration of the Milanese school Grove25 p644.

Collections: Castelo Sforza

..Dod PROCTER, 1892-1972, England:

Background: She was  born Doris Shaw in London OxDicMod.   Her father `was a ship’s doctor & her mother who had been educated at the Slade conveyed her love of art to her children Fox1985 p86
Training: 1907-10 at the Stanhope Forbes school at Newlyn & then at the Academie Colarossi, Paris OxDicMod
Influences: The Impressionists & Post-Impressionists especially Seurat & Cezanne for their use of light & Renoir for the female figure.   She was also influenced by the Cubists & Picasso Fox1985 p87
Career:  In 1912 she married Earnest, a former fellow student.  Her painting  Morning was bought for the Tate by the Daily Mail & in 1927 it was voted Picture of the Year at the RA OxDicMod.   Two works were bought by the Chantry Bequest during the 1930s & in 1942 she became an RA.   She travelled extensively beginning in 1920 with an invitation to her & Ernest to decorate a place in Rangoon Fox1985 pp 86-88
Oeuvre: Portraits, landscapes, figure subjects & flowers OxDicMod
Phases: During the 1920s she began to concentrate on portraits  largely of women.   They have a sculptural quality with clear outlines & directional light falling across the figures.   In the 1930s her style changed completely becoming softer & more painterly Martins p 84, OxDicMod, Fox1985 pp 88-9, OxDicMod
Characteristics:  Her paintings display an interest in light & a delight in meticulous finish Fox1985 p88
Status: She was the last link with Newlyn’s great period OxDicMod
Grouping: British Classicism 1920-50 MartinS p84
Friends: Laura Knight & Alethea Garston Fox1985 pp 86, 88

Proesch.   See Gilbert & George

..Ernest PROCTER, 1886-1935, England; British Impressionism Movement

Background: Born in Tynemouth into a Quaker family.   His father was a science professor at Leeds University E&L p119
Training: From 1907 he was at the Forbes School of Painting at Newlyn & in 1910 went to Atelier Colarossi in Paris Fox1985 p79
Influences: Early Italian, classical & Oriental Chamot p84

Career: He began exhibiting at the RA in 1909 & married Dod, who had joined him at the Atelier Colarossi, in 1912.  During the war he joined the Friends Ambulance Unit & made numerous watercolours & drawings of camp life Fox1985 p79.   After returning to Newlyn, he & Dod went to Burma in 1920 & decorated the Kokine Palace in Rangoon.   Also, in 1920 Ernest & Harold Harvey established the Harvey-Procter art School.   In 1934 he was appointed director of studies in design & craft at the Glasgow School of Art The Zodiac, 1935, was bought by the Chantry Bequest Fox1985 p79, Wikip.

Oeuvre: Landscapes, genre scenes, allegorical & religious works, nudes & during the later 1920s some notable portraits; also painted glass decorations Fox1985 pp 22, 79-80, Chamot p84.

Characteristics: Clarity & simplification in bright colour with a tendency to spread the design two-dimensionally over the surface to accentuate the linear rhythm of his forms with an emphasis on surface qualities rather than volumes Fox1985 pp30-1,79-80, Chamot p84

Personal: He was warm, affectionate, exuberant & courageous Fox1985 p80

Verdict: His paintings are a blend of archaism, academic taste & modernity producing works of a very individual character Chamot p84

Verdict: His work was seen as having a peculiar joyousness Fox1985 p81

Collections: Imperial War Museum; St Hilary’s Church, St Hilary, near Penzance, Cornwall, Penlee House Gallery & Museum, Penzance

-PROUT, Samuel, 1783-1852, GB:

Background: Born Plymouth Grove25 p661
Training: He was largely self-taught L&L
Career: Impressed with his work the antiquarian John Britton invited him to London to draw antiquarian subjects  & copy works by Turner, etc.   From 1803 he exhibited at the RA & joined the Society of Painters in Watercolour1820.   After returning to Plymouth during 1805-8 due to his ill-health he became a drawing master at Dr Glennie’s school in Dulwich.  He visited France in 1819 in search of unexploited picturesque subject matter & thereafter made further tours throughout Europe until 1846.   In 1836 he withdrew from London due to illness & when he moved back became a neighbour of Ruskin at Denmark Hill Grove25 pp 661-2, L&L
Oeuvre: Watercolour landscapes & townscapes L&L
Phases/Characteristics/Verdict: He adopted a simpler style suitable for teaching, his work became less antiquarian & he concentrated on picturesque cottage & coastal scenery.  He stressed outline, his  strength being draughtsmanship & not as a painter or colourist Grove25 p661
Status: He was the most esteemed seeker-out of crumbling medieval ruins & quaint old towns Reynolds1971 p113
Son: Samuel Gilesbie, 1833-1911 had a style similar to his father’s Grove25 p662

 – PROVOOST/PREVOST/PROVOST, Jan, c1465-1529, Belgium; Northern Renaissance:

Background: Born Bergen-Mons in the Hainaut [border area with France] Brigatocke

Influences: Rogier Van Der Weden via Memling, the precision & soft colouring of northern French painting, & Quinten Metasys whom he regularly met in Antwerp Grove25 pp 668-9, Brigstocke

Career: He was a pupil in a northern French miniaturist’s workshop; moved to Antwerp, 1493; entered the Guild of St Luke; & then opened another workshop in Bruges & where he became a citizen, joined the guild & receiving decorative commissions from the town  council.  He met Durer in Antwerp & Bruges, 1520 & 21 Grove25 p668,Wikip, Brigstocke,

Oeuvre: Religious paintings & allegories, portraits & decorative commissions Grove25 p668, web images

Phases: Early on he painted the Virgin many times, & throughout depicted hands with long fingers bent at the second joint, together with tender faces with high forehead, wide cheeks & protruding lower lips Grove25 p668

Characteristics: His work features assurance, precise drawing with very clear line, restrained expression, airy landscape; & bright, soft, delicate colouring.   Grove25 pp 668-9

Aim: To innovate, as shown by the way he never repeated himself: all versions of his Last Judgement being ingenious & unconventional, as in the earliest, c1520 (Kunsthalle, Hamburg) & the last & finest , 1525 (Groening Museum, Bruges Grove25 p668

Grouping: His work like that of Metasys  combines  the detailed technique of the Flemish Primitives with a new Renaissance impulse in which subjects are more lifelike & less profoundly religious Grove25 p669

Son: Adriaen, 1508- was an artist Grove25 p668

*PRUD-HON/PRUD’HON, Pierre-Paul, 1758-1823, confusable with the Anarchist Pierre-Joseph, 1909-65, France:

Background: He born into a large family of poor stonemasons at Cluny where he was protected & patronised by members of the famous monastery  Norman1977, L&L, Friedlander1930  p52

Training: At the Ecole de Beaux-arts, Dijon, then a leading provincial art school, where he gained a local prize enabling him to go to Rome  L&L,Grove25 p670, Norman1977

Influences, social & political: During 1777-80 he worked for Baron de Joursanvault who was a local patron, benefactor of young artists, high-ranking Freemason & admirer of Rousseau.  The latter had a profound effect on Purdon’s art & ideas Grove25 p670

Influences, artistic: Raphael, Leonardo, Mengs, Correggio’s subtle chiaroscuro, Leonardo; Poussin & Caravaggio’s tenebrism Grove25 p670

Career: During 1785-8 he was in Italy.  After his return to France, he made a poor living from engravings & portraits, became an enthusiastic supporter of Robespierre & after his execution was in exile at Rigney in Franche-Comte until 1796.   However, he later received the patronage of Napoleon, including romantic court  portraits & classical allegory, & became the official painter to the Empresses Josephine & Marie-Louise.  He is said to have had a neurotic personality.  However, his wife turned out to be mentally unstable & in 1803 he obtained a separation from his wife who was confined to an asylum leaving him to bring up five children.  Soon afterwards he met Constance Mayer-Lamartine who became his pupil, friend & mistress.  However, she ultimately committed suicide because of a dispute about their marriage pupil & mistress.  This led to his own death. Grove 25 pp 670-71, Norman1977, Lucie-S1971 p186, OxDicArt, Friendlaender1930 p53

Oeuvre: Historical & religious paintings, allegories, portraits & book illustrations OxDicArt, Grove25 pp 670-71

Technique: He used bitumen & many of his paintings are in a poor condition OxDicArt

Characteristics/Grouping/Phases: He painted in a Neo-classicist manner but of a lyrical & softish type but sometimes with a dark, disquieting Romanticism.  While in exile he painted some of his most beautiful portraits including [the as in] Mme Anthony & her Children, 1796 (Musee des Beaux-Arts, Lyon) who belonged to the family with whom he sheltered when exceled.  These portraits have a Davidian naturalism but their own appealing charm, wistful expression & loose brushwork.  During 1796-1805 under the Directorate & Consulate he concentrated on large decorative projects; & under the Empire he painted works of current history, & sensual mythological paintings in rich & appealing colour featuring languid women, reminiscent of Correggio, painted with great care & delicacy, as in Venus & Adonis, 1810-12 (Wallace Collection).   However, his [as in] Vengeance & Justice, 1808 (Louvre) showed he could be more than merely graceful & charming & his tragic [as in] Crucifixion, 1822 (Louvre) with its sinister light effects is profoundly moving Norman1977, Grove25 pp 670-72, L&L, Friedlaender1930 pp 56-57

Friends: Canova who was close; & Talleyrand who enabled him to remain in favour after Napoleon’s fall Norman1977

Beliefs: He warmly supported the Revolution L&L

Status: Under the Empire he challenged David’s supremacy Lucie-S1971 p186

Patrons: The rich Milanese art collector Conte Giovanni Sommariva Grove25 p671

Legacy: The style of his pictures was a stimulus to others: Gericault copied his Vengeance & Justice & his work was much admired throughout the 19^th century by Romantic painters Friedlaender1930 p59, Grove25 p672

Collections: Musee d’Orsay L&L

..PRUSZKOWSKi, Witold, 1846-96, Poland:

-PRYDE, James 1866-1941, William Nicholson’s brother-in-law, Scotland:

Background: Born Edinburgh Grove25 p674
Training: At the Royal Scottish Academy, Edinburgh, 1866-7, & briefly at Academie Julian, Paris Grove25 p674
Career: During 1893-9 he collaborated with Nicholson on poster design under the name J. & W. Beggar staff sometimes taking small stage parts.  He produced little after 1923 Grove25 p674, OxDicMod
Oeuvre: Paintings, poster & stage designer Grove25 p674
Characteristics: His broadly brushed paintings known as the Human Comedy feature dramatic,  sinister architectural views painted in sombre colours with small figures dwarfed by gloomy surroundings OxDicMod

..PUCELLE, Jean, active 1319-34, France; International Gothic and Fantasy

Pujol.   See de Pujol

-PULZONE/IL GAETANO, Scipione, c1550-98, Italy; Anti-Mannerist & Counter-Reformation:

Background: He was born at Gaeta a coastal town about half way between Rome & Naples Grove25 p729
Training: Probably Jacopino del conte in Rome Grove25 p729
Influences: Italian court portraiture, particularly Raphael, Flemish stylism, Venetian painting including Sebastian del Piombo & Roman paintings including Girolamo Sicolante & Marcello Venuti Grove25 p729
Career: He worked at Gaeta, Rome, Naples & Florence & around 1588 began collaborating with Giuseppe Valeriano who was a Jesuit L&L
Oeuvre/Speciality: Portraits of princes of the state & church, including portraits of Pius V & Gregory XIII together with altarpieces L&L, Grove25 pp 729-30, Wikip
Characteristics: Scrupulously accurate depiction in work that  in accord with the Council of Trent, which advocated the return to traditional religious imagery & condemned Mannerist distortion. His works are said to lack emotional expressivity but his [as in] Lamentation, 1593 (the Met) & other religious works, do not bear this out.  His works evoke religious feeling L&L, Grove25 pp 729-30
Phases: Initially portraits & then religious works painted with simplicity, clarity, serenity & calm devotion as in his Holy Family, c1590 (Galleria, Borghese, Rome).  His late portraits are lively & expressive Grove25 pp 729-30
Patronage: The Colonna family Grove25 p729
Status/Grouping: He was one of the most esteemed artists active in Rome in the second half of the 16^th century & one of the most original interpreters of the age of the Counter-Reformation Wikip
Repute: He is not itemised in the Oxford Companion

Puvis de Chavannes.   See De Chavannes, Pierre

 * PUVIS  DE CHAVANNES,  Pierre, 1824-98, France;  Symbolism:

Background: He was born at Lyons into a wealthy bourgeois family.  His father was a well-known engineer Grove25 p749, Norman1977, L&L               

Training: With Henri Scheffer for several months, 1847; & very briefly Delacroix & Couture.  However, he largely engaged in independent study with a live mode, alone & then with Alexandre Bida, Gustave Ricard & Victor Pollet Norman1977, Grove25 p749

Influences/Personal: Initially he was influences by Pompeian art; 15^th &16^th Italian frescoes particularly those of Piero della Francesco at Arezzo; & by Delacroix with his Dead Christ, 1850 (Gazira Museum, Cairo) being almost a pastiche.  His work also shows the influence of Titian, Poussin & Chassariau’s melancholy dream world, Grove25 p749, Lucie-S 1972 pp 81-82, Norman1977.  He had a horror of machines & had nightmares after a visit to the Exhibition of 1889 Zeldin2 p40.

Career: He abandoned engineering studies at a late stage after an illness & a long stay in Italy which stimulated his interest in art, 1846, making another  journey in 1848 with the painter Louis Bauderon de Vermeron; & visiting Rome, Naples, Arezzo & Venice L&L, Grove25 p749.    In 1850 he exhibited at the Salon but was then refused until 1859.   His first success was in 1861 with his large painting Bellum (Musee de Picardie) Norman 1977.  Meanwhile he had begun decorative murals in the dining room of his brother’s country house, 1854-55.  These like virtually all his murals which were painted canvas & then stuck to the wall.  This was followed by an early cycle of allegories in the Musee de Picardie Amiens Grove25 p749, L&L p568.   He painted further mural cycles etc at the Pantheon in Paris, 1874-9; the Musee des Beaux-Arts, Lyons, 1884-86; the Sorbonne mural, 1889; the Hotel de Ville, Paris, 1891-92,  & at the Boston Public Library; 1895-96 web, Shaw pp 90-91, 100-101,144-47, Grove25 p750.    Puvis disapproved of the Salon jury’ s intolerance &, after twice resigning, he co-founded the Societe Nationale des Beaux-Arts in 1890, becoming its President in 1896 Grove25 p751

Oeuvre: Oils on canvas, & from the 1880s pastels,  with diverse subject matter including decorative schemes, historical & religious paintings, caricatures, together with superb portraits Grove25 pp 750-51 

Characteristics: He employed unnatural chalky colouring which makes flesh, clothes & earth look as if they are made of the same substance.   Figures are positioned in a manner that is deliberately awkward Lucie-S1972 pp 85-6.   He used simplified, stylised forms, emphasised the flatness of the picture surface & non-naturalistic colour to evoke an [atmospheric] mood OxDicArt.   Indeed, his colour, though sometimes muted, was often washed-out Gibson pp 54-7. Masini p79, etc.   His paintings are designed with care as shown by the way in which figures, structures  & any flying figures are placed throughout the available space & mirror each other.  There is relatively little inter-personal interaction, with many of the statuesque figures staring disconcertingly into space & appearing mindless, bored or self-absorbed  as in The Sacred Grove Dear to the Arts & Muses, 1884 (Musee des Beaux-Arts, Lyons)  &  The Poor Fisherman, 1881 (Louvre), & other works, webimages, Shaw p 66, Grove25 p750,  The [as in] The Beheading  of St John the Baptist, 1869, (Barber Institute of Fine Arts, Birmingham) was one of the most vigorous & personal of his works, though attacked at the time for false drawing & naivety; & nevertheless & of late criticised for frozen poses & pale, devitalised colour Lucie-S, 1972 pp82-83, Verdi p97

Feature:  Despite his academic dream paintings his [as in] painting Hope with its cemeteries & ruined houses is politically charged expressing the hope of a French renaissance after the 1870-71 debacle, though severely criticised for not being sufficiently muscular & vengeful Gibson p56, See Shaw p51

Beliefs/Aim: “I have wanted to be more & more sober, more & simpler.   I have condensed, summarized, compressed.   I have tried to say as much as possible in a few words”.   Essentially, he wanted to follow modern ideas without losing touch with established orthodoxy Hamilton1967 p46.   He admitted to preferring mournful landscape & poor weather Hamilton1967 p46, Lucie-S1972 pp 81, 84.  “I know nothing about philosophy, history or science.  I busy myself only with my own profession Zeldin 2 pp 480-81

Status: He was the greatest French decorative painter Gibson p240

Innovations/Status: He gave a new life to mural painting in the latter 19^th century & was the principal French muralist of his period Norman1977, Grove22 p330

Influence: It was enormous & included Edgar Degas. Gauguin & the Nabis, Seurat, Cezanne, Edouard Vuillard, Hodler, Paul Signac, Odilon Redon, Toulouse-Lautrec, Maurice Denis, Vilhelm Hammershoi, Picasso, Maurice Prendergast, Matisse, & de Chirico, etc  Grove25 pp 751-72, Norman1977, L&L, OxDicArt, Gibson p56   Puvis was together with Bastien-Lepage the favourite topic of evening conversation among British art students in Paris during the early 1880s Pryke p38, Wikip

Grouping: Symbolism, although in contrast to Moreau & Redon he wanted to revivify the academic tradition Lucie-S1972 p81.   Novotny classes him as a French intellectual painter of the latter part of the 19^th century Novotny p326

Reception: This was extremely mixed with the critics being divided into fiercely opposed camps: Jules-Antone Castagna, Charle Timbal, Edmond About & Charles Blanc criticised his work as lacking subject matter & realism, & for poor colouring; meanwhile Etienne-Jean Deleuze, Theodoreses Banville, Theophile Gautier & Paul de Saint-Victor prised his decorative approach & idealised depictions.   Huysmans writing about The Prodigal Son, 1879, said that, although he admired his efforts, he rebelled at the constant pale colouring & fresco effect, always hard & angular with its pretentions to naivety & affected simplicity Grove25 p749, Lucie-S1972 p82.  He was greatly admired by Impressionist painters Grove25 p749, Zeldin2 p473.

Repute: There is no painting in the authoritative 1001 Paintings You Must See Before You Die 

Collections: Musee d’Orsay, The Boston Public Library

Puvis de Chavannes.   See  Chavannes

.. PUY, Jean, 1876-1960, France:

Background: He was born in Roanne OxDicMod
Training: Architecture at the Ecole des Beaux-Arts, Lyon. 1895-8.  Then painting in Paris at the Academie Julian, 1898, & the Academie Carriere. 1899 Wikip, OxDicMod
Oeuvre: Paintings including landscapes, interiors, nudes & flowers; also, etchings, lithographs & woodcuts as book illustrations OxDicMod
Career/Phases: Initially Impressionism, which he exhibited from 1901 at the Salon des Independents, then Fauvism of a moderate type, exhaling with them at the Salon d’Automne, 1905.  From 1908 his work became more straightforwardly naturalistic Wikip, OxDicArt
Characteristics: His style was bright, clear & spontaneous OxDicMod
Beliefs: “Colours! Engaging, captivating, bewitching, coaxing, entrancing, ravishing colours!  It seems we’ll never stop feasting our eyes on them” Wikip.
Friends: Matisse OxDicMod

-Adam PYNACKER/PIJNACKER, 1621-73, Netherlands=Amsterdam; Baroque Classical

Influences: Asselijn L&L
Career: Before 1649 he spent three years in Italy.   He then worked in Delft & Schiedam.   Around 1660 he settled in Amsterdam producing huge decorative works for patrician families L&L, OxDicArt, Haak p469
Phases/Characteristics: His landscapes of the 1650s are calm & atmospheric but around 1660 they become restless.   Trees take on a life of their own: branches & foliage twist & twine in vivid light.   His work has a distinctive & attractive silvery tonality & his colouring, with its blue greens & blue greys, was original.   Pynacker was able to compose boldly on a large scale Haak p 469, OxDicArt
Grouping/Verdict: He was an outstanding Dutch Italianate landscape painter OxDicArt

-Jan PYNAS, c1583-1631, Jacob’s brother, Netherlands= Amsterdam:

Background: He was probably born in Haarlem L&L
Influences: Elsheimer L&L
Career: He went to Italy in about 1605.  After a trip to Rome in 1615 he settled in Amsterdam L&L
Oeuvre: Landscapes with small-scale biblical or mythological scenes which it is difficult to separate from those of Jacob L&L, OxDicArt
Grouping: Pre-Rembrandist L&L

-Jacob PYNAS, c1585-after 1648, Jan’s brother, Netherlands=Delft:

Background: Probably born in Haarlem L&L
Influences: Elsheimer L&L
Career: He went to Italy in about 1605.   He worked in Amsterdam but settled in Delft L&L
Oeuvre: Landscapes with small-scale biblical or mythological scenes which it is difficult to distinguish from those of Jan L&L, OxDicArt.   Like Elsheimer he painted cauliflower-shaped trees & erializ piles of rocks.   His light is fairly hard Haak p193
Pupil: Rembrandt may have briefly studied with him OxDicArt

Q

..Domenico QUAGLIO II, 1787-1837, Germany:

-QUAGLIO, Giulio, the Elder, 1668-1751, Italy; Baroque:

Background: He was born & died at Laino, a mountain village at Como & belonged to the extensive Italian family of artists who were active in Germany, etc.   Their activity stretched over eight generations from Giulio I, 1601-after 1658,  to Angelo III, 1877-1917 Wikip, Grove25 p787
Training: Franceschini L&L
Career: He was a successful fresco painter & his most celebrated  work is the ceiling decoration at Ljubljana Cathedral  L&L, Wikip
Oeuvre: Religious paintings in fresco & oils Wikip
Characteristics: His works are of a flamboyant type featuring dramatic gesturing figures,  & oil paintings in strident colours & striking chiaroscuros in the martyrdom of St Barbara, c1722 (Cathedral, Ljubljana) webimages

-QUARTON/CHARONTON, Enguerrand, recorded 1444-66, France:

Background: He was from Laon L&L.   He worked at a time of economic recovery in Provence when Avignon had regained its artistic leadership Grove25 p 793
Influences: The art of northern France & Flanders including Jan Van Eyck, the Master of Flemalle, Rogier Van der Weyden Grove25 p 793
Career: It is thought that he visited the Netherlands around 1435-40.   By 1447 he had moved to Avignon Grove25 p793
Oeuvre: Altarpieces & illuminations, though there are only two documented works L&L, Grove25 pp 793-5.
Characteristics: Dramatic power with an unrivalled ability at portraying pathos as in his Pieta of Villeneuve-les-Avignon (Louvre, c1455) & a rich bright palette.  He succeeded in blending a various influence into a distinctive personal style as in Coronation of the Virgin by the Holy Trinity, 1533-4 (Musee Municipal, Villeneuve-les-Avignon)  Brigstocke, Grove25 pp 794-5.
Status: He was one of the most important painters in Avignon in the mid-15^th century Grove25 p 793
Influence on Provencal Painting: It appears to have been considerable Grove25 p796, Wikip
Repute: He was almost entirely forgotten until the Coronation was exhibited in Paris in 1900 but since then his importance has been increasingly recognised Wikip

-QUAST, Pieter, c1605-47, Netherlands:

Influences: Jacques Callot Grove25 p797
Career: During the 1630s he lived for some years in The Hague where he became a master in the Guild of St Luke, 1634 Haak p332, Grove25 p797
Oeuvre: Oils, finished drawings & engravings Grove25 p797
Characteristics: He mostly painted genre scenes which ranged from low-life scenes with peasants & beggars to [as in] Merry Company (Kunst Halle Hamburg) with more elegant figures.  However, his work is often ambiguous & satirical as in Card-players with a Woman Smoking a Pipe, 1630s (Rijksmuseum).   Here the figures are smartly dressed but respectable women did not smoke.  In [the as in] Male & Female Beggar he depicts innocent poverty while in Liquor Merchant & his Wife it is self-inflicted (both Herzog Anton Ulrich Museum, Brunswick).  His scenes are usually painted on small panels & are heavily & powerfully painted in warm shades of brown Haak p332, Grove25 p797.
Innovation: He painted scenes from theatrical drama & his finished drawings in graphite or chalk were signed & dated.   They were probably intended for sale Haak p96, Grove25 p797

-Erasmus QUELLINUS, the Younger, 1607-78,  Jan Erasmus’ father; Belgium=Antwerp; Baroque:

Background: His father was the sculptor Erasmus Quellinus the Elder & he belonged to the important Quellinus/Quellin dynasty of artists.   Caravaggism was an important influence in Antwerp from around 1620 L&L, Vlieghe p85
Training: He almost certainly had a degree in philosophy Grove25 p809
Influence: Van Dyke & his sculptor brother Artus, who returned from a long stay in Rome stay in 1640 where he was influenced by Francois Duquesnoy’s classicism, L&L, Grove25 p810, Vlieghe p85,
Career: He became a master in the Antwerp Guild of St Luke, 1633-4; frequently assisted Rubens during the 1630s working on mythological compositions designed by Rubens for Philip IV, etc Grove25 pp 809-10, Vlieghe p85
Oeuvre: Numerous altarpieces for churches & monasteries throughout Belgium depicting Counter-Reformation themes; scenes from ancient history &  mythology; & allegorical compositions.  Also tapestry designs  Grove25 pp 809, 811
Phases: During the 1630s he developed an individual style despite his connection with Rubens.  His forms were strongly modelled by means of light as in the Adoration of the Shepherds, 1632 (Alte  Pinakothek, Munich).   From about 1640 the modelling intensifies & his figures become rather sculptural in the Roman classicist variant of Baroque.   His architectural backgrounds also become remarkably classicist.  From about 1650 his work became inflexible  & grandiose with a limited number of idealised figure types  Grove25 pp 810-11, Vlieghe p85
Grouping: High Baroque classicism Vlieghe p85
Son: Jan Erasmus, 1634-1715, who after visiting Venice & Rome became the court painter to the Arch Dukes Leopold & Joseph at Malines.  He painted large decorative landscapes of a classicising late Baroque type L&L

-Jan Erasmus QUELLINUS, 1634-1715, son of Erasmus the Younger,  Belgium; 

Influence: Veronese L&L
Career:  He was in Rome by 1660 & became the court painter to the Arch Dukes Leopold & Joseph at Malines L&L
Oeuvre: Large decorative landscapes L&L
Grouping: classicizing late Baroque L&L

..QUIDOR, John, 1801-81, USA: 

Background: Tappau, New York Norman1977
Influences: His rural boyhood & the folk tales he would have heard Bjelajac p174
Training: Briefly with John Wesley Jarvis Norman1977, Grove25 p818
Career: Moved when young with his family to New York.  He earned his keep by painting decorative panels for fire engines & commercial signs.   After a fire destroyed his New York studio in 1835, he moved to Illinois where he farmed but returned in 1850 to his marginally successful painting career.  He apparently stopped painting  around 1868 Grove25 p818, Bjelajac p174, Norman1977
Personal: He was an eccentric with a  romantic temperament Norman1977
Oeuvre: Historical & literary subjects Wikip
Phases/Characteristics After producing tentative work he had established his mature style by 1828 [as in] Ichabod Crane Pursued by the Headless Horseman, 1828 (Yale University Art Gallery)  He combined caricature & humour with wild, eerie drama themes from James Fenimor Cooper, etc, with colour & |light playing an important role from around 1830 as in Money Diggers, 1832 (Brooklyn Museum, New York).   Then from 1855 colour almost disappeared in fantasy paintings Grove25 p818, Norman1977
Innovation & Verdict: Quidor has been seen as was one of America’s first genre painters but his work is  simultaneously described as fantasy with baroque, inventiveness [which means it is not genre] Norman1977, Grove25 p618
Repute: He was virtually forgotten until rediscovered in 1942 Grove25 p818
Collections: Brooklyn Museum

R

-RACKHAM, Arthur, 1867-1934, England:

Background: He was born in London into a comfortable middle-class family OxDicMod
Training: From 1884 at the Lambeth School of Art WoodDic
Influences: Charles Ricketts who was a fellow student WoodDic
Career: He worked as a clerk in an insurance office while studying, 1885-92.   From 1884 he contributed illustrations to the cheaper illustrated papers & in 1892  joined the The Westminster Budget drawing well-known figures.   From 1893 he increasingly engaged in book illustration becoming famous with Grimm’s Fairy Tales, 1900 WoodDic
Oeuvre: Illustrations featuring goblins, fairies & bizarre creatures in fantastic tales & children’s books.   He also exhibited watercolour landscapes at the RA etc WoodDic, OxDicMod
Characteristics: His book illustrations are fanciful & imaginative & display a rare quality of line & tone with subtle muted colour WoodDic, OxDicMod
Status: Prior to the Great War Edmund Dulac was his only serious rival OxDicMod

 ..RADERSCHEIDT, Anton, 1892-1970, Germany:

Background: Born Cologne, the son of a schoolmaster & local poet Hayward1979 p128
Influences: De Chirico & Carra Hayward1979 p129
Career: After military service he taught drawing in Cologne, 1919-21.   He was in Lunari group, where he met Ernst, Hoerle & Frundlich, & was a fellow founder of the Progressive Artists Group.   In 1934 he emigrated to Paris where he was interned in 1940 but escaped to Switzerland.   In 1949 he returned to Cologne Hayward1979 p129
Characteristics: In the early 1920s he depicted isolated & alienated city dwellers in a Magic Realist style but in the 1930s this became softer & more concerned with tone.   After the war he turned to abstraction Hayward1979 p129

RADIMOV, Pavel, 1887-1967, Russia:

Background: He was born in Khodyainova, Ryazan Region Bown1991 p246
Training: At Kazan University until 1911 Bown1991 p246
Career: He taught at Kazan Art School & joined the Wanderers in 1914.   Radimov was a founder member & first chairman of the Association of Artists of Revolutionary Russia Bown1991 p246
Oeuvre: [Subject paintings, interiors & landscapes] Web images
Characteristics: [His work seems attractive in an impressionistic style Web images
Aim: The manifesto of the Association declared, “We will depict the present day: the life of the Red army, the workers, the peasants, the revolutionaries, & the heroes of labour “ Bown1991 p33

 *RADZIWILL, Franz, 1895-1983, Germany:

Background: Born Strohausen, the son of a master potter Hayward1979 p128
Training: Architecture, 1911-3; & the School of Arts & Crafts in Bremen, 1913-4 Hayward1979 p128
Career: He was an apprentice bricklayer until 1911.   After military service, 1915-8, he began to paint.   In 1920 he went to Berlin where he joined the Secession & became friendly with Grosz & Schmidt-Rottluf.   During 1927-8 he was in Dix’s studio in Dresden.   Between 1933 & 1935 he taught at the Academy in Dusseldorf & after his dismissal made journeys to Africa & South America.   He was forbidden to exhibit in Germany.   Between 1939 & 1945 he was a soldier & subsequently became well known Hayward1979 p128, L&L
Phases: His post-war paintings combine naturalism & the unexpected, eg areas of decay in substantial buildings & threatening aeroplanes & comets over peaceful landscapes L&L

*RAEBURN, Sir Henry, 1756-1823, Scotland; British Golden Age Movement

Training: He was largely self-taught OxDicArt

Career: He was apprenticed to a goldsmith & then employed as a miniaturist; 1776 first certain portrait.   Between 1784 & 1787 he visited London & Italy.   In 1815 he became an RA L&L

Speciality: Portraits of rugged Highland chiefs, bluff legal worthies, women OxDicArt

Characteristics/Technique: He did not make preliminary drawings but worked directly onto the canvas in bold brushstrokes, his ”square touch”.    He achieved vivid & original light effects but sometimes only empty virtuosity OxDicArt.

Innovations: Early on he decided only to paint what he saw, which was unusual among 18^th century portraitists who used a pre-established tone for flesh, a traditional arrangement of highlights etc Walker p224.

First Scottish painter of international quality who worked there Waterhouse1953 p330

Verdict: According to Fry, he had talent but a commonplace vision & vulgar dramatic emphasis Fry1934 pp 79-80.   His work was uneven because his direct technique often meant that the pigment was thick due to reworking, the shadows too black or the colours dull Walker p224

..RAFFAELLI, Jean-Francois, 1850-1924, France; Rural Naturalism and Victorian Modern Life Movement

..RAFFET, Auguste, 1804-60, France; National Romanticism

Background: Born Paris Grove25 p849

Training: At the Ecole Ecole des Beaux-Arts in Charlet’s atelier from 1824 & then from 1829 he was a pupil of Gros Grove25 p849, Norman1977

Influences: Initially Charlet, Horace Vernet & Hippolyte Bellange Norman1977, Grove25 p849

Career: Initially he was a cabinetmaker & porcelain decorator.  Between 1824 & 1830 he produced albums containing lithographs on the Republic & celebrating Napoleon  & Marshal Ney.  In 1837 he visited Eastern Europe & produced a masterly series of watercolours Norman1977, Guedalla p26, webimages, Grove25 p849.

Oeuvre: Initially he painted classical subjects but having failed the Prix de Rome he turned to contemporary history & concentrated on lithography & illustration Grove25 p849.

Characteristics: His prints & paintings form a glorifying & often humorous historical chronicle of French history from the Revolution to Napoleon & onwards.   In lithography his forte was suggestion; vast armies being implied by galloping waves of shading Grove25 p849, Norman1977

Innovation: His Napoleonic war paintings avoided the stately banalities of official art Guedalla p23

Grouping: The Romantic movement Norman1977

 ..RAHL, Carl, 1812-65, Austria:

Background: He was born in Vienna Norman1977
Training: Vienna Academy, Munich & Stuttgart Norman1977
Influences: The Old Masters Norman1977
Career: He lived in Rome during 1836-50 but finaly settled in Vienna.  He painted frescos for many new Vienese buildings & ran a highly successful private school.   He taught briefly at the Vienna Academy Norman1977
Oeuvre: History painter & portraitist Norman1977
Characteristics: Dramatic & romantic compositions Norman1977
Aim: “Roman form & Venetian colour” Norman1977
Pupils: Canon, Romako, Munkacsy & Genelli Norman1977

-RAIMONDI, Marcantonio, c1580-1534, Italy:

-RAINER, Arnulf, 1929-, Austria:

Background: He was born in Baden near Vienna OxDicMod
Training: He was virtually self-taught OxDicMod
Influences: Surrealism & then Abstract Expressionism & Art Informal OxDicMod
Career: He taught at the academies of Stuttgart & Vienna where he lived.   In 1964 he started experimenting with hallucinogenic drugs L&L, OxDicMod
Oeuvre: Paintings & prints OxDicMod
Phases: During the 1950s he began partly obliterated a painting, drawing or photo with monochrome paint.   The photos were self-portraits & the scribbling indicated disgust.   In the mid-1960s he made a series of cruciform paintings OxDicMod, L&L  

..RAMBERG, Arthur von, 1819-75, Germany:

Background: Born in Vienna Norman1977
Training: Studied with his great uncle J. H. Ramberg, and with J. Hübner in Dresden Norman1977
Influences: Early in his career, Ramberg painted some romantic legends under the influence of Schwind and Richter Norman1977
Career: He taught at Weimar before becoming a professor at the Munich Academy Norman1977
Oeuvre: A genre painter Norman1977
Influenced: Ramberg is especially noted as the teacher of Leibl and many of the Munich Realists Norman1977

-RAMOS, Mel, 1935, USA:

Background: He was born in Sacramento, California OxDicMod
Training: At the state colleges of San Jose & Sacramento under Wayne Thiebaud OxDicMod
Phases/Characteristics: Initially his paint surfaces were often thick & creamy, later his handling was impersonal & close to Superrealism.   He then drew on comic strip imagery, after which he specialised in jokey paintings of nude women of a calendar, pin-up type, sometimes posed with over-sized products or alluding to paintings of past masters OxDicMod
Grouping:  He is usually classed as a Pop artist OxDicMod

RAMBOUX, Johann, 1790-1886, Germany; Nazarene

Background: Born in Trier Norman1977
Training: In Paris from 1807-12, Ramboux was a pupil of David Norman1977
Career: Entered the Munich Academy, and from 1816-27 was in Rome with the Nazarenes Norman1977
Circle: An associate of the Nazarenes Norman1977
Oeuvre: Best known for his delicate watercolour copies of the Italian masters of the 14^th to 18^th centuries Norman1977
Characteristics: His few original oil paintings and landscape watercolours are of great delicacy, with a Nazarene accent on line Norman1977

*RAMSAY, Allan, 1713-84, Scotland; British Golden Age

Background: Born Edinburgh the son of a Scottish poet with the same name who was a friend of the painter William Aikman & much encouraged his son Grove25 p881

Training: The new Academy of St Luke, Edinburgh, from 1729; in London, under the Swedish portraitist Hans Hysing, 1732; in Rome under the fashionable portrait painter Francesco Imperial, 1736; & in the Neapolitan studio of Francesco Solimano from whom he learnt the elements of Baroque painting, 1738 Grove25 pp 881-2, Brigstocke

Influences: Pompeo Batoni & his polished manner as seen in Rome, & the continental pastelists Maurice-Quentin La Tour & Rosalba Carriera, together with Hogarth’s portraits; & probably those of Nattier Grove25 p882, Vaughan1999 p84

Career: In 1738 he settled in London which remained his base.  He soon became the principal portraitist in London; returned to Italy to study, 1854, mainly living in Rome & drawing at the Academie de France but travelling widely.  After returning to London in 1757 he was commissioned to paint the Prince of Wales & when as George III he came to the throne in 1760 Ramsay was commanded to paint all official portraits of the King & Queen which henceforth, together with writing, occupied much of his time.   In 1773 he sustained a crippling accident to his right arm & ceased painting devoting himself to literary pursuits & pamphleteering, though his workshop continued to produced quantities of replicas of his Coronation Portraits, mostly executed by Philip Reinagle.  During a third Italian visit, 1775-7, he made chalk studies  Grove25 pp 882-3, Wikip, Smart pp103,140

Patronage: The great Scottish families including the Buccleuch’s, Dalrymple’s, Haddington’s & Argylls; & in England  Philip Yorke, Baron Hardwicke, Earl Stanhope, Dr Richard Meade.   With these he had warm relationships or friendship Grove25 p882

Repute: Though remembered in Scotland, he was soon forgotten in England where his work was not re-assessed until the 1950s Grove25 p884  

Oeuvre: Oils, watercolours & drawings Smart

Characteristics/Technique/Phases: His work had Italian smoothness & daintiness in contrast to Reynolds’ robustness  & Gainsbourg’s bravura.  An outstanding feature of his works is their intimate nature as in Lady in a Pink Dress, c1762 (Yale Center for British Art) , a work chosen almost at random because unlike so many of his works it appears to have been a casual commission.   His works do not have the public face manner of Reynolds & he does not show off or declaim, nor are his works sentimental, over-sweet or merely pretty; although they do have charm, as in his painting of a young girl Agnes Murray Knnymond, 1739 (NT Scotland, Newhalem).  From 1738 to 1762-5 he modelled heads in vermillion which kept the final flesh-tints fresh, mainly applying his paint thinly with much use of glazes.  He then generally abandoned red underpainting & introduced the silvery tones into his shadows that are among the distinctive charms of his final manner.   His work featured a new concern with light & chiaroscuro, & he increasingly used cool greys as in his portrait of Jean-Jacques Rousseau, 1766 (NG Scotland), which is a haunting character study featuring advancing shadows Smart pp 106, 192-3, Kitson1966 p61, Grove25 pp 882-3

Feature: Although he used Van Aken for drapery he was not, [unlike some artists], dependent on him.  No portrait painter in the 18^th century took more trouble working out a design Waterhouse1953 p167, Smart pp 41-2

Innovations: Together with Hogarth he introduced what has been termed the “speaking likeness” into English painting.  We should be rather surprised if a portrait by Kneller began to talk to us but much less so in a work by Ramsay as in Archibold Campbell, 3^rd Duke of Argyll, 1749 (Kelvingrove Art Gallery & Museum, Glasgow) who has been interrupted while at work Smart p55, Vaughan1999 p76.   Expressive hand gestures were another feature of his work.  His Italian Grand Manner portraits anticipate Reynolds’ by several years L&L, Murrays1959

Verdict: He excelled in female portraiture where he was imitated by Reynolds & was one of the finest British 18^th century draughtsmen OxDicArt, L&L

Circle: Hume, Adam Smith, Johnson, etc Smart pp 72, 148

Status: He was the leading British portraitist from 1738 to around to 1760 Grove25 p881

Collections: NG Scotland, Scottish National Portrait Gallery

..RANKLEY, Alfred, 1819-72,  England; Victorian Modern Life Movement

Training: At the RA Schools WoodDic
Career: He exhibited at the RA in from 1847 to 1867 WoodDic
Oeuvre: Historical genre often inspired by literacy sources together with current genre including domestic & family scenes, & village dame schools, etc.  Music hath Charms (Manchester Art Gallery) is a family painting of a pleasingly coloured & also well composed because of the pathway of light which gives the work depth.  Here as in his [as in] most celebrated work Old Schoolfellows, 1834 (Private), which depicts an act of charity, meaning & emotion are quietly conveyed, & [the sentimentality for which Victorian paintings are so often criticised is thereby avoided] WoodDic, Wood1988 p163, Treuherz1993 pp 109-10

.. RANNEY, William, 1813-57, USA; National Romanticism:

Background: Born Middletown, Connecticut, the son of a sea captain.  He spent six formative years in the hill country of North Carolina Grove25 p892, Wikip
Training: For oil painting he was self-taught Wikip
Career: He was working & studying drawing in New York by 1834; went to Texas & joined the war for independence; bombinated between New York & North Carolina, 1839-42; opened a studio in New York, 1843; & settled in the growing artist community of West Hoboken, New Jersey, 1853 Grove25 p892, Wikip.
Oeuvre: From 1846, encouraged by the American Art Union, he began painting Western subjects: the dangerous life of trappers & hunters on the prairies,  pioneer families crossing the plains, & the dangers they faced as in The Prairie Burial, 1848 (Buffalo Bill Centre of the West, Cody, Wyoming) & The Scouting Party, 1851 (Thyssen-Bornemisza Museo Nacional, Madrid).   He also painted historical scenes of the American Revolution, etc Grove25 p892, Wikip
Characteristics: His works of substantial size combine detailed figures & animals with freely brushed panoramic backgrounds Grove25 p892
Reception: His work was praised as completely American Grove25 p892
Repute: He is regarded as one of the most important pre-Civil War American painters Wikip

..RANZONI, Daniele, 1843-89, Italy:

Background: He was born at Intra (Novara) Norman1977
Training: Academia Albertina, Turin, & under Bertini at the Brera, Milan Norman1977
Influences: Leonardo, Tiepolo, etc Norman1977
Career: In 1887 he entered an asylum Norman1977
Characteristics: He was particularly successful with female portraits.   In these & his subject pictures quick dabs of bright colour dissolve into romantically suggestive compositions Norman1977
Friends: Cremona Norman1977
Innovations: He is considered to be the first Italian Pointillist Norman1977
Status: the Milanese Scapigliatura Norman1977

****RAPHAEL/SANTI, Raffaello, 1483-1520, Italy, High Renaissance:

..Joseph RAPHAEL, USA, 1869=1950:

Background: He was born at Jackson, California Wikip
Training: At the Mark Hopkins Institute of Art & in Paris at the Ecole des Beaux-Arts from 1902 & the Academie Julian under Jean-Paul Laurens Gerdts1980 p106, Wikip
Influences: Initially the Dutch masters from whom he derived a dark style Wikip
Career: By 1912 he was living at Uccle in Belgium.   From 1913 he had annual exhibitions at the Helgesen Galleries, San Francisco.   By the early 1930s he was living in a suburb of Leiden & in 1939 he returned to San Francisco Wikip
Oeuvre: Paintings including landscapes & figurative works, etchings & colour woodcuts Wikip
Characteristics: He used a wide range of colour in a very free, really expressionist manner Gerdts1980 p106
Patron: His friend Albert Bender In San Francisco bought & encouraged his friends to buy Wikip
Status:  American Impressionism Gerdts1984 p284

-RATGEB, Jorg, c1480-1526, Germany:

Background: He was born in Swabia L&L
Influences: Grunewald L&L
Career: He is recorded as being at Heilbronn, Frankfurt & Herrenberg.   He was executed for taking part in the Peasant’s Revolt L&L
Characteristics: His few surviving works are innovative due to constant variation & invention of forms through his dramatic figure types & fantastic architectural spaces, costumes & ornament Grove26 p11

–RAUCH, Neo, 1960-, Germany:

Background: He was born in Leipsig, & was trained when the East German artistic system had become more relaxed OxDicMod
Training: Heisig OxDicMod
Career: lives/works Leipsig; enormous market success OxDicMod
Characteristics: large-scale; startlingly illusionistic figures/objects but due to meticulous drawing rather than finish; incoherent space; thin paintwork with colour reminiscent of cheap/old colour printing; Socialist Realism images comfortingly emasculated OxDicMod

*RAUSCHENBERG, Robert, 1925-2008, USA:

Background: He was born in Port Arthur, Texas OxDicMod
Training: Kansas City Art Institute, 1946-8 , & the Academie Julian, Paris, 1948.   Then 1948-9 at Black Mountain College, where Albers influenced him by sending students out to find interesting objects; & 1949-52 at the Art Students’ League L&L, OxDicArt, Hughes p516, OxDicMod.
Influences: His friend Duchamp; & Schwitters’ Surrealist collage Hughes p517.   He rejected the Abstract Expressionist’s spiritual ardour & his introduction of Coke bottles & other objects appearing to be a riposte to their guff Ashton1972 p212
Career: In 1958 he was given a one man show by Leo Castelli & his career took off.   He was awarded the Grand Prize at the Venice Biennale in 1964.   In 1966 he & the scientist Bill Kluver helped form EAT (Experiments in Art & Technology) to help artists & engineers work together; & in 1985 he launched Rauschenberg Cultural Exchange, a touring exhibition dedicated to world peace OxDicMod.
Phases/Characteristics: Initially he painted minimal works in black, white & red.   From 1953 to the early 1960s he painted & collaged surfaces with other materials & objects affixed, the paint being applied with Abstract Expressionist vigour.   These so called Combine Paintings provided disturbing & macabre images.   During the 1960s he was again working on a flat surface, especially the placing of enlarged photos & silk screen onto canvas Hughes pp 517-8, L&L, OxDicTerms, OxDicMod
Innovation: The term & major use of Combine Art OxDicTerms, Hughes1997 p516.
Circle at Black Mountain: The composer John Cage & the dancer Merce Cunningham OxDicMod.
Friend: Johns, although beyond loving popular culture they had little in common & had an acrimonious split in 1964  Hughes1997 p515, OxDicMod.
Grouping: He described his work as Neo-Dada Lucie-S2003.   His use of extraneous objects in his Combines led him to be regarded as pioneer of Pop Art OxDicMod.   Rauschenberg’s screenprintings have been regarded as Postmodernist because of their rejection of the fiction of the creating subject (sic), & their frank use & repetition of other imagesOxDicMod.
Legacy: The belief that art could exist for any length of time, in any material, anywhere & for any purpose Hughes1997p515

-RAVILIOUS, Eric, 1903-42, England:

Background: He was born in London at Acton Grove26 p39
Training: Eastbourne School of Art; The Royal College of Art, 1922-5, under Paul Nash who influenced his style & vision Grove26 p39, L&L
Influences: The Sussex landscape L&L
Career: During 1929-35 he rented Brick House, Great Bardfield Essex, with Edward Badwen who was his lifelong friend from Royal Collection Art.    With his wife, Tirzah Garwood who was a painter & illustrator,  he moved to nearby Castle Hedingham.   In 1934 he stayed at the cottage of  Peggy Angus in the South Downs where he worked   in 1940,  he became an official War Artist.   He disappeared in plane off Iceland Spalding1986 p71, L&L, Russell p159 OxDicMod.
Oeuvre: watercolours, prints, design for serialize & glass/textiles/Wedgewood’s, book illustrations/jackets, wood engraving OxDicMod
Characteristics: A nimble sense of humour &, like Bawden, a keen eye for oddity of shape & detail Spalding1986 p71.   His wood engravings have bold tonal contrasts & complex patterning OxDicMod.   The experience of wood-engraving directed his watercolour handling, often the brush is driven  across white paper creating striated patterns.   Angular recession often enhances their tautness.   He strained convention & his landscapes have an understated melancholy & are    usually painted in chill winter light which even if sunny is without warmth Spalding1986 p71.   His war paintings are exceptionally fine simplified but exact drawing/tones; magical, even Surrealist t views of Sussex Downs, coastal defences etc L&L
Personal: He had a love affair with Helen Binyon from about 1934 to 1938 Russell p159.
Verdict: His Sussex Down & coastal defence scenes have a magical almost Surrealist quality & he produced a large number of exceptionally fine watercolours with simplified but exact drawing & tones L&L
Status: He was the outstanding wood engraver of the period OxDicMod
Collections: Towner Gallery, Eastbourne; Imperial War Museum L&L

Man RAY/RADINSKI, 1890-1977, USA:

Background: He was born in Philadelphia, the son of a Jewish immigrant tailor OxDicMod
Training: Evening classes in art OxDicMod
Career: In 1897 his family moved to New York, where he worked as a designer.  He became a mainstay of New York Dada along with Duchamp & Picabia; & helped form the Societe Anonte in 1920.   In 1921 he settled in Paris where he continued with Dada & then became a Surrealist, earning his living as a fashion & portrait photographer.   From the mid 1930s he again painted regularly.   In 1940 he moved to America & settled in Hollywood, returning to Paris in 1951.   From the 1940s photography was a secondary activity  but his paintings are less highly regarded OxDicMod
Oeuvre: Painter, draftsman, sculptor, photographer, film maker, & assembler of objects OxDicMod, L&L
Phases: After seeing the Armoury Show he began painting in a Cubist style OxDicMod
Characteristics: Humour & sedition, though some of his later paintings are relatively academic L&L
Friends: Duchamp from 1915 OxDicMod
Circle: That of the collector Walter Arensberg, 1915 L&L
Anticipations: He was a forerunner of the demi-abstract art of Stuart Davis & of the dramatic colour areas of Clifford Still, etc L&L

..RAYSKI, Louis Ferdinand von, 1806-90, Germany:

Background: Born Pegau, Saxony Norman1977
Training: 1823-5 Dresden Academy, 1823-5; & 1834-5 in Paris Norman1977
Oeuvre: Portraits & occasional history, genre & landscape paintings Norman1977
Phases: His most important work was during 1840-60 Norman1977
Characteristics: His work was a combination of Biedermeier realism & flowing brushwork reflecting Gericault’s influence Norman1977

..REBELL, Joseph,  1787-1828,  Austria:

Background: Born in Vienna Norman1977
Training: Studied at the Vienna Academy Norman1977
Career: Rebell began his career with architectural drawings, taking up landscape under the influence of Michael Wutky.   He spent most of his working life in Italy, and was later ‘discovered’ by Kaiser Franz I, and  became director of the Imperial Gallery in 1824 Norman1977
Oeuvre: A painter of classical landscapes, and some more intimate views that look forward to Realism Norman77
Status: Rebell was highly regarded in Italy and Austria Norman1977

..REDGRAVE, Richard, 1804-88, England; Victorian Modern Life Movement

Training The RA Schools in 1826 Grove26 p68
Influences: The Pre-Raphaelites for his landscapes Norman1977
Career: He trained initially as a clerk & draftsman in his father’s counting house but around 1830 he left to become a drawing master Grove26 p68.   1843 saw first modern-life & dress picture (Poor Teacher) WoodC1976 p10.   Much of his later career was devoted to artistic administration OxDicArt.   He became headmaster of the Schools of Design in 1847; & Inspector-General for Art & Surveyor of the Queen’s Pictures in 1857 Grove26  p69.  A Century of Painters, 1866, which he wrote with his brother, was the first popular account of British painting Redgrave p v
Phases: To begin with he painted the usual historical & literary subjects; during the 1840s he turned to scenes of contemporary social concern; & in the 1850s & 1860s he mainly painted landscapes during his spare time WoodC1976 p10, OxDicArt
Speciality: Unhappy women Treuherz1993 p38
Innovations: He has been seen as the true pioneer of modern life pictures, particularly of social themes WoodC1976 p10
Aim: “Many of my best efforts in art have aimed to call attention to the struggles of the poor & the oppressed” OxDicArt

..REDFIELD, Edward, USA, 1869-1965, USA:

*REDON, Odilon, 1862-1909, France:

-REDOUTE, Pierre, 1759-1840, France (Luxembourg/Belgium):

Background: Born Sain-Hubert, Luxembourg, now Belgium.  He came from an artist family stretching back to his great-grandfather Grove26 p72
Training: His father, painting study in Liege, & after the Revolution the handling of watercolour under the botanical artist Gerard Van Spaendonck Grove26 p72, Wikip
Influences: The flower pieces by Jan Van Husum & Rachel Ruysch, etc Grove26 p72
Career: He began as an itinerant portrait painter & interior decorator in the Low Counties; moved to Paris to help his brother by then a successful stage designer; became an official court artist of Marie Antoinette; visited Kew Gardens, 1787-8; continued painting through the Revolution; received patronage from both Empresses & the wife of Louis Philippe; & became     Professor at the Jardin des Plants in Paris, 1822 Grove26 p72, L&L, Wikip
Oeuvre/Characteristics: He painted flowers for the bourbons & for Empress Josephine.  He also wrote & illustrated important botanical books but later on produced paintings purely for their aesthetic value.  His work was elegant, graceful & accurate Grove26 pp 72-3, L&L, Wikip
Brother: Henri-Joseph, 1766-1852, was a skilled zoological draughtsman who accompanied Napoleon to Egypt in 1792 & recorded landscapes & Nile fishes Grove26 p73

..REDPATH, Anne, 1895-1969, Scotland:

..REGNAULT, Henri, 1843-1871, France:

Background: Born Paris.  His father was director of the Sevres porcelain factory Norman1977
Training: 1860 at the Ecole des Beaux-Arts under Cabanal Norman1977
Influences: Goya & Velazquez Norman1977
Career: He won the first Rome prize but after two years there moved to Madrid.   His Gericault-like portrait of General Prim was much praised in 1869.   He moved to Morocco but returned to die in the Franco-Prussian war Norman1977
Characteristics: Bravura colour especially in Morocco Norman1977
Status: He was  considered by his contemporaries to be the heir to Delacroix Norman1977

..REGNALT, Baron Jean-Baptiste, 1754-1829, France: Neoclassicism:

Background: Born Paris Norman1977
Training: 1773 under Vien in Paris Norman1977
Career: When he was fourteen, he visited Rome & met the Neoclassical painters around Mengs Norman1977  In 1776, he won the Prix de Rome.  He became an Academician in 1783 & a member of the Institute in 1795 Norman1977
Oeuvre: Mythological, allegory & historical paintings; portraits Norman1977
Speciality: Vast Napoleonic allegories Norman1977
Characteristics: His work combines the influence of the 17^th century Bolognese school with a conventional imitation of antique sculpture Norman1977
Influences: Initially he was the David’s chief rival  as a teacher Norman1977
Grouping: Neoclassical Norman1977

Regnier.   See Renieri

.. REGO, Paula, 1935-2022, Portugal-England:

..REID, Robert, 1862-1929, USA; USA Impressionism:

Background: He was born in Stockbridge, Massachusetts Wikip
Training: At the School  of the Museum of Fine Arts, Boston under Otto Grundmann; 1884 at the Arts Student League; & 1885 at the Academie Julian under Boulanger & Lefebre Wikip
Career: He returned to New York in 1889, from his participation in the Columbian Exposition of 1893, & was primarily engaged on large-scale mural work until around 1908.   He was among the Ten American Painters who seceded from the Society American Artists, 1897 Gerdts1980 p85, Wikip
Oeuvre: Largely mural & other decorative work together with easel paintings Gerdts1980 p85, webimages
Specialities: Young women set among flowers, murals & stained-glass windows (1906) Wikip
Characteristics: His easel paintings appear to be almost exclusively of young women apart from some landscapes.  The women are mostly painted close-up, are elegantly dressed, usually in posed postures, & doing little or nothing often in gardens.  They obviously belong to the leisure classes.   His colours tent towards the pale & perfumed, usually with one dominant tone.  He painted undemanding comfort works as in The Parasol, c1900 (National Museum of American Art, Smithsonian Institution, Washington webimages, Gerdts1980 pp 85, 87
Grouping: American Impressionism Gerdts1984 p284

*Ad REINHARDT, 1913-67, USA:

..Johann REINHARDT/REINHART, 1761-1847, Germany:

Background: Born in Hof, Saale Norman1977
Training: Studied with Oeser in Leipzig and Klengel in Dresden Norman77
Oeuvre: Classical landscapes Norman1977
Phases: From 1789 Reinhardt/Reinhart was in Rome, where he was profoundly influenced by Koch and Carstens, adapting his landscape style to carefully structured heroic or idyllic views Norman1977
Characteristics: The landscapes of his German period are freshly and realistically painted Norman1977
Repute: Among the German-Roman group of classical landscapists, Reinhardt/Reinhart was second in importance only to Koch Norman1977

REMBRANDT van Rijn1606-69, Netherlands; Baroque

-REMINGTON, Frederic, 1861-1909, USA; National Romanticism:

Background: He was born at Canton, New York Grove26 p180
Training: At the newly formed School of Fine Arts, Yale University. Between 1878-80 he studied under John Henry Niemeyer, although he was mostly self-taught Groseclose p166
Career: Educated at Yale & then briefly was an unsuccessful rancher in Kansas.   He settled down in New York with frequent trips to the West looking for material.   His career took off in the mid-1880s due to his friendship with Theodore Roosevelt, but his life was tormented by the thought that he was merely seen as an illustrator.   In 1900, he said he would never re-visit the West which was now all brick buildings which spoilt  his “earlier illusions” Hughes1997 p203
Oeuvre: It was enormous with around 2,700 painting & countless sketches, together with sculpture & writing  Hughes1997 p203, Grove26 p180
Speciality: Last Stand depictions of cowboys defending themselves against Indians as in Fight for the Waterhole, 1903 (Museum of Fine Arts, Houston) Hughes1997 p203
Characteristics: Narrative punch, vivid composition, cropping & severe editing & the cult of manliness Hughes 1997 p203, Burns p12.
Verdict: His work that was flamboyantly racist Burns p12.
Beliefs:  He described  “Jews, Injuns, Chinamen, Italians & Huns” as the “rubbish of the earth” & said he had a Winchester  rifle so he could participate in their coming massacre Hughes1997 p205
Legacy: His image of the Wild West was adopted & glamorised by Hollywood L&L, Groseclose p166, Hughes1997 p205

Rene of Anjou, Master of.   See  Master of Rene of Anjou.

*RENE OF ANJOU, C1460-5, France?:

**RENI, Guido, 1575-1642, Italy=Bologna; Baroque

-RENIERI/RANIERI/REGNIER, Niccolo/Nicholas, 1591-1667, Italy (Belgium):

Background: Born Maubeuge, Flanders Grove26 p94

Training: With Abraham Janssen in Antwerp, around 1615; & in Rome he frequented the workshop of Bartolomeo Manfredi Grove26 p94 L&L p582

Influences: Reni, Alessandro Tarini & his friend Johann Liss Grove26 p94, L&L

Career: He went to Rome around 1615, & by 1626 he was in Venice where he settled.  He dealt in antiques & had an important collection of paintings  Grove26 p94

Oeuvre: Religious, historical  mythological & genre works, & portraits.  He sometimes combined religious works & portraits as in his Madonna in Glory with Three Advocates of the Republic of Venice (Avogaria of the Doge’s Palace) Grove26 p94, L&L

Characteristics: He had a taste for formidable size, statuesque contours & employed a rich & fluent technique.  His work featured the Caravaggesque Tenebrism manner learnt from Manfredi Grove26 p94

Phases: He produced some of his finest work in Rome painting in an original & sometimes dazzling style as in Cardplayers with a Fortune-Teller, c1621 (Musee d‘Art et d‘Histoire).  His later work features silken tones but he progressively adopted a more insipid & superficial style which was bright , colourful, glossy & self-consciously elegant   Grove26 pp 94-95

Circle: The French painters, mostly strongly influenced by Caravaggio, who worked in Rome during the first quarter of the 17^th century including Valentin de Boulogne, Nicolas Tournier, Clause Vignon, Charles Mellin, Claude Mellan &Simon Vouet Grove26 p94

Patrons: The Marchese Vincenzo Giustiniani whose household Regnier joined Grove26 p94

***RENOIR, Pierre-August, 1841-1919, France:

Background: Born in Limoges, the son of a tailor.   The family soon moved to Paris L&L

Training: Gleyre’s studio & the Ecole des Beaux-Arts, 1862 L&L

Influences: Initially Courbet, Barbizon & Delacroix & then Renaissance painting during his 1882 Italian visit.    Later Fragonard, Watteau & Rubens had a marked influence as he sought ways of enabling young women L&L.

Career: He worked from the age of 13 painting porcelain, fans & blinds L&L, Murrays1959.  In 1868 he first exhibited at the Salon & in 1869 worked with Monet at La Grenouilliere, a bathing place, painting distinct Impressionistic brushstrokes.   In 1874 they painted together at Argenteuil L&L.   To begin with he endured hardship but he began to achieve success in late 1870s OxDicArt.  Durand-Ruel began accepting pictures in 1881-2 & he was able to make trips to Italy & North Africa.   His future wife accompanied him to Italy though they did not marry until 1895, five years after the birth of a son L&L, Murrays1959.   During the 1990s Renoir began suffering from rheumatism & from 1903 he lived in the south of France, settling at Cagnes in 1906.   By 1912 he was confined to a wheelchair but continued to paint OxDicArt, Murrays1959.   His brushes had to be tied to his wrists L&L

Speciality:  Young women in the nude single or in bathing groups.   Around 1875 he began his sensuous depictions of nudes under broken sunlight which though seemingly serialized are idealistic in their full body with a small head & absence of character L&L.   Later he preferred women that were more mature & ample OxDicArt.   Up to about 1883 he painted many genre scenes but they then faded from his output L&L

Periods: Until about 1868 he used heavy impasto & rather dark colour but then, due to painting plein air with Monet, his colour became lighter & freer with patches of light & shadow Murrays1959.   He said that by 1883 he had found Impressionism to be a blind alley.   Working from nature & searching for nothing but momentary effects led to a failure to compose & monotony TaylorB p 14.   After his Italian visit, his work became less Impressionistic & more solid, as shown by his transitional work The Umbrellas.   However, after experimenting with a harder manner, he adopted a softer & more supple handling in the mid 1880s OxDicArt.   His work became intense of whatever he revered with forms that were seriali with splendid force & solidity TaylorB p14

Friends: Bazille, Monet & Sisley, his fellow students at Gleyre’s studio L&L.   In his last years he saw a good deal of Matisse who lived nearby Murrays1959

Beliefs: “Why shouldn’t art be pretty?”.   “I never think I have finished a nude until I think I could pinch it” OxDicArt

Politics: He was a strong anti-Socialist & in 1882 objected to exhibiting with Pissarro, Gauguin & Guillaumin on political grounds Adler p50.

Feature: Throughout his life he assiduously studied art in museums Murrays1959

Repute: He is perhaps the best loved Impressionist OxDicArt

*REPIN, Ilya, 1844-1930, Russia; Tzarist Impressionism 

*Jean RESTOUT,  the Younger/II, 1692-1768, Jean-Bernard’s father, Jouvenet’s nephew, France; Baroque

Background: He was born at Rouen & was the son of Jean Restout the Elder, 1666-1702, a history painter whose style closely resembled that of his brother in-law Jean Jouvenet.   The Elder was taught by his father Megurin Restout, a painter from Caen, & the first member of the extensive Restout dynasty Grove26 pp 246-7,Wikip
Training: Jean Jouvenet Grove26 p247
Career: He was received into the Academy, 1720; thereafter was established with a studio, assistants & pupils; & was a professor at the Academy from 1730 Grove26 p247
Oeuvre: Religious & mythological paintings; portraits Wakefield pp 98-9, Grove26 p247
Characteristics: Breadth of handling & strong imagination sometimes having figures with elongated bodies performing contorted devotions.  His religious & mythological works display verve & intense emotion, as in the Ecstasy of St Benedict & the Death of St Scholastica, both1730.  However, he was versatile & some are light-hearted with delicate drawing & pale refined colours like those of Boucher & Natoire as in Purification of the Virgin, 1758  Wakefield pp 98-9, Grove26 p247, Webimages
Speciality: Austere & deeply felt religious works  L&L
Status: The leading religious painter of his generation Wakefield p98
Influence/Repute: His style was unfashionable among painters from 1750 & did not appeal to 19^th century tastes but was re-evaluated during the 20^th century Grove26 p248
Grouping: Some of his works are Baroque Wakefield pp 98-9

-Jean-Bernard RESTOUT, 1732-1797, Jean the Younger’s son, France; Baroque

Background: He was born in Paris Grove26 p248
Training: His father & then in Rome Grove26 p248
Career: He won the Prix de Rome; was received into the Academy, 1769; exhibited at the Salon, 1767-91; resigned from the Academy after the Revolution objecting to privileged access; became president of the Commune des Arts dedicated to restricting Academy power; was imprisoned but released after Robespierre’s fall
Oeuvre: History paintings, portraits & engravings Grove26 p248
Characteristics: Animated, focused paintings with lively & sometimes dramatic colouring.  In his portraits sitters gently smile Grove26 p248, webimages
Grouping: [His works are painted in a Baroque style] webimages

  -RETHEL, Alfred, 1816-59, Germany:

Background: He was born at Diepenbend, near Aachen Grove26 p255
Training: Under Johann Bastine in Aachen; 1829-36 at the Dusseldorf Academy under Shadow, where he was a friend of Achenbach; &during 1836-7 with Veit in Frankfurt Norman1977 pp 178-9
Influences: The Nazarene painters & Lessing Grove26 p255
Career: In 1844-5 & 1852-3 he visited Italy.   From 1847 he painted frescoes dealing with Charlemagne for the town hall at Aachen.   During1849 he produced the woodcuts Another Dance of Death which show Death as an embodiment of Anarchy & were inspired by the 1848 Revolutions.   He ended up in an asylum Norman1977 p179, L&L
Oeuvre: History paintings & woodcuts L&L, Grove26 p255
Speciality: His Durer-like woodcuts L&L
Characteristics: His work has a rare tragic intensity & displays a macabre vision dominated by an obsession with death L&L,  Norman1977 p179.   His woodcuts feature clear lines & an emphasis on essentials Grove26 p256
Verdict: His frescoes are among the supreme achievements of monumental art in 19^th century painting Grove26 p256
Status: German Romanticism Norman1977 p179

..RETZCH, (Friedrich August) Moritz, 1779-1857, Germany=Dresden; Melodramatic:

Background: Born Dresden Grove26 p258
Training: The Kunst Akademie under Cajetan Toscani from 1797 & was taught by Jozef Grassi from 1803 Grove26 p258
Influences: Flanders man via Riepenhausens? Vaughan1980 p195
Career: In 1824 he became professor at the Kunstakedemie Grove26 p258
Oeuvre: Paintings in oil & watercolour, & illustrations for the plays & poems of Solomon Gessner, Goethe, Schiller, Shakespeare etc Grove26 p258, webimages
Characteristics: His paintings were dramatic as in Faust & Mephistopheles playing Chess, 1799 (Louvre)
Influenced: Byron, Shelley & Rossetti.  His influence on outline drawing in England was greater than Flaxman’s Grove26 p258

***REYNOLDS, 1732-92,  Sir Joshua, England; British Golden Age

-Francisco RIBALTA, 1565-1628, Spain; Baroque

-Juan RIBALTA, c2597-1628, Francisco’s son; Baroque

**RIBERA/LO SPAGNOLETTO, Jusepe & Jose, 1591-1652; Spain; Baroque:

Background:  He was born near Valencia L&L
Influences: Include Caravaggio and also Raphael.  The Carracci, Reni and then later Van Dyke L&L
Career:  Around 1610 he travelled throughout northern Italy & around 1612 he settled in Rome L&L.  In around 1616 he settled in the North becoming the court painter to the Viceroy.  From 1638-43 he painted a series of large prophets in S. Martino Waterhouse1962 pp 174, 176
Oeuvre: Biblical subjects and episodes from Greek mythology.  Numerous views of martyrdom, which at times are brutal scenes depicting bound saints and satyrs as they are flayed or crucified in agony Wikip
Periods: Between 1620 & 35 his paintings had dark backgrounds with violent chiaroscuro.  During 1635-9 there became lighter backgrounds, which were less chiaroscuro and with more transparent shadows.  Between 1640-52 he adopted a loose and more liquid modelling using airy/silver tones L&L In the last decade hist figures become more noble and tranquil with a smoother texture Waterhouse1962 p179
Characteristics/Technique: Alla prima painting L&L The use of common models for religious expression Waterhouse1962 p175 His figures were  intrinsically dignified, unlike Michelangelo’s transfiguration Waterhouse1962 p177
Pupil: Giordano L&L
Repute: He only became well known after 1848 when the Gallerie Espagnole opened at the Louvre Moffitt p126

.RIBOT, Theodule, 1823-1891, France; Victorian Modern Life Movement

Background: Born St Nicolas d’ Attez Norman1977

Training: With Glaize Norman1977

Influences: Ribera & other Spanish School painters Norman1977

Career: He pursued humble trades, mixed with humble people, & before taking to painting when he was forty.   His first exhibit at the Salon in 1861 & was a founder member of the Societe Nationale des Beaux-Arts, 1889 Norman1977

Oeuvre: Paintings of the humblest class in Paris but also religious subjects, portraits & still-lifes Norman1977

Speciality: Simple kitchen interiors Norman1977

Phases: In the mid-1860s he turned to religious subjects & in later years concentrated on single figure studies of old people Norman1977

Characteristics: His paintings are mostly small, are dark in tone, usually with a single source of light Norman1977

Grouping: Realism Norman1977

Ricci, Francisco & Juan.  See Rizi

..Albert RICHARDS, 1919-45:

Background: He was born in Liverpool the son of a wood machinist Wikip
Training: At the Wallasey School of Arts & Crafts, & briefly the Royal College of Art prior to conscription Wikip
Career: He served as sapper & worked building barracks & defences, etc.  The scenes he painted were from 1941 purchased by the War Artists Advisory Committee.   In 1943 he volunteered for parachute duties & depicted the training in several pictures.  After being commissioned by the Committee he took part in the D Day parachute landing, & made several paintings during the first weeks.   He was killed in March 1945 when his jeep ran over a landmine Wikip
Oeuvre/Characteristics: His war paintings are striking.   They are mostly well composed & the colouring is often distinctive with an emphasis yellow green, pea green & dull green, even in skies Web images
Collections: Imperial War Museum, Walker Art Gallery & the Williamson, Birkenhead.

 *Ceri RICHARDS, 1903-71, Wales

Background: Born at Dunvant near Swansea, the son of a tinplate worker OxDicMod

Training: At the Swansea School of Art, 1921-4, & the Royal College of Art, 1924-7 OxDicMod

Influences: His love of music (Debussy) & poetry (Dylan Thomas) inherited from his father; Picasso, Matisse & ErnstOxDicMod

Career: He was apprenticed to an electrician.   During the was he head of painting at Cardiff School of Art.   Otherwise he lived in London & taught at Chelsea, the Slade & the RCA.  In 1933 he begun a series of semi-abstract relief constructions.    In 1934 he exhibited with the Objective Abstractionists & 1n 1936 at the International Surrealist Exhibition in London OxDicMod

Oeuvre:  Paintings, prints, designs & reliefs OxDicMod

Phases: Initially naturalism  but he then ranged widely & during 1960-3 painted completely abstract works L&L

Characteristics: Humour & warmth L&L

Feature: He did not learn English until he was about five OxDicMod

– Jonathan RICHARDSON, the Elder, Hudson’s father-in-law, 1665-1745, England:

– Jonathan RICHARDSON, the Younger, 1694-1771, England:

Features: painted but better known as author on Italian art, with father L&L

.. George RICHMOND, 1809-96, son of Thomas Senior, brother of Thomas Junior & father of Sir William Blake, England

Background: Born London Grove26 p353.

Training: At the RA Schools from 1824 Grove26 p353, WoodDic

Career: In 1825 he first exhibited at the RA & met William Blake &, like his lifelong friend Samuel Palmer, fell under his spell.  He visited Palmer in the summer of 1827 etc at Shoreham in Kent.  After Blake’s death financial necessity & marriage forced him into extensive portraiture.   During 1837-9 & 1840-1 the Richmond’s were in Italy.  He was elected to the Academy in 1866,   Overwork & the pressures of portrait production led to ill-health & hypochondria, & he gave up regular work in 1881 Grove26 pp 353-4, WoodDic, Wikip

Feature: He eloped in 1831 & his wife had 15 children Grove26 pp 353-4

Oeuvre: & also engravings OxDicArt, WoodDic, Grove26 p353

Feature: He eloped in 1831 & his wife had 15 children Grove26 pp 353-4

Phases: His initial visionary period was intense though less so than Palmer’s.  His imitations of Blake’s mannerisms in his early work have been criticised as heavy-handed & having nothing of his master’s spirit, as in On the Eve of Separation, 1830 (Ashmolean, Oxford), which is nevertheless an impressive & intense work.  After visiting Italy his work had a Venetian richness of colour & greater monumentality OxDicArt, Grove26 p353, webimages.

Oeuvre/Characteristics: He was principally a portrait painter of the eminent, the great & the good.  Initially he used crayon & watercolour but from 1846 used oil.  A skilled & rapid draughtsman he would engage his sitters in conversation & was thereby able to capture fleeting changes of expression of a revelatory nature,  as in his extraordinarily sensitive, spiritual & moving portrait of John Keble, 1876 (Keble College, Oxford) Wikip, etc

Aim For his portraits it was truth lovingly told & he never consciously flattered Wood1999 p277, Wikip

Friends: Lifelong with Palmer from his time at the RA Schools; also, Edward Calvert another student; & John Ruskin.  Another valuable friend whom he met in Italy was Gladstone WoodDic, Grove26 pp 353-4, Wikip

Status/Verdict: He was the best-known member of the family & was a leading portraitist of his day OxDicArt, WoodDic

Grouping: The Ancients at Shoreham WoodDic, OxDicArt

. Sir William Blake RICHMOND, 1842-1921, England, George’s son, England; Aestheticism:

Background: He was born in London Grove26 p354

Training: He had early coaching from Ruskin & from 1857 at the RA Schools under Leighton.  In 1861 he studied anatomy at St Bartholemew’s Hospital WoodDic, Newall1989, Wikip

Influences: Leighton Treuherz1993 p177

Career: He began exhibiting at the RA in 1861 & was from the first a successful portraitist.   In 1864 he went to Italy where he met Leighton & Giovanni Costa, painted & also studied sculpture, architecture & fresco.  In 1870 he settled in England, living at Hammersmith.   In 1878 he became Slade Professor of Art at Oxford.   During the 1880s he visited Italy, Spain & Egypt.   He became an RA in 1995.   In 1908 he founded the Coal Smoke Abatement Society WoodDic, Grove26 p534, Newall1989 p74, Wikip

Oeuvre: Landscapes, mythological & classical historical scenes, religious subjects, history, portraiture; & also the design & execution of mosaic & sculptural work Grove26 p534, Art Renewal Center website

Characteristics/Verdict: His work was extraordinarily wide ranging both in style & subject matter, featuring for instance a gliding young & beautiful woman in flowing drapery, surrounded by bright flowers against a contrasting dark background as in Venus & Anchises, 1889 (The Walker).   Very different are his studies of trees, rocks & clouds, desert scenes & ruins of an Orientalist type as in The Libyan Desert Sunset, 1888 (Tate Gallery).   He was moreover a highly accomplished painter of the leading figures in Victorian public life & high society, endowing them with a forceful & often commanding presence as in Charles Robert Darwin (Department of Zoology, Madison, USA).  His young society women were often beautiful & splendidly clothed in shimmering garments as in Miss Muriel Wilson (Guildhall, Kingston upon Hull).  Like Millais, with whom he had much in common, he had the ability to re-invent himself  [& to covey the spirit & ethos of a vigorous, dynamic society, the antithesis of Britain today] Treuherz1993 p177, Art Renewal Center website

Grouping: The Etruscan School for landscape &, due to a search for beauty & aestheticism what the art historian Christopher Wood describes as being a Lesser Olympian  Newall1989 p74, WoodC1999 pp 222-23, 226

.. Thomas RICHMOND, Junior, 1802-74, George’s son & William Blake’s father:

Training: His father & the RA Schools WoodDic
Career:  Initially he worked in Sheffield but moved to London.   He exhibited at the RA, 1822-53, & in 1841 visited Rome & met Ruskin Wikip, WoodDic
Oeuvre: Portraits & miniatures WoodDic
Characteristics: He painted in the Keepsake Style: fancy pictures often of ladies in elegant costumes, with ringlets & provocative expressions See Section 5.   His style was close to that of his brother but distinguished by dark stippled backgrounds Wikip
Patronage: By the hunting community Wikip
Reception: His paintings were criticised for being idealised & sugary, especially of women Wikip

.. Thomas RICHMOND, Senior, 1771-1837, father of George & Thomas Junior:

Background: He was born in London at Kew.  His mother was related to George Englehart, 1752-1820, who was Miniature Painter to the King, & his father, a former groom, was an inn proprietor Wikip. Grove26 p353
Training: Englehart Wikip
Career: He was employed by the royal family copying miniatures by Englehart, etc, & during 1795 & 1825 46 of his miniatures were exhibited at the RA Wikip
Oeuvre/Characteristics/Verdict: The drawing & expression of his lifelike miniatures is excellent, although the figures are stiffly posed, as usual at that time Wikip

..Gerhard RICHTER, 1932- , Germany:

Background: He was born in Dresden, the son of a village schoolmaster, grew up in the countryside  OxDicMod, Wikip
Training: At the Academies in Dresden, 1952-6, & Dusseldorf, under Karl Gotz who was a leading German representative of Art Informal 1961-3 OxDicMod, Grove26 p355

Influences: Pop Art & the Fluxus movement in the early 1960s Grove26 p353

Career: In 1961 he moved to West Germany just before it was sealed off.  With Sigmar Polke he  coined the term Kapitalistischer Realismus a hostile appellation which covered the consumer-driven art of western capitalism but also alluded to Socialist Realism.  From 1971 he was a professor at Dusseldorf Academy, working there for over 15 years.  In 1983 he moved to Cologne.  In the latter l960s he visited  Corsica, & in 1972 Greenland, becoming enthused with the terrain OxDicMod, Wikip

Oeuvre: Paintings including landscapes, still life paintings of skulls, portraits & abstracts, & from 1989 works produced by dragging wet paint over photos of many types many of which were his own snaps; together with prints from 1965, installation art, etc, etc, etc Wikip

Phases/Characteristics: Early on he worked from photos taken from many sources.  From 1975 they include magazine photos derived from an amateur film of the death of a tourist being eaten by a lion, & a series exhibited in 1989 showed the dead bodies of members of the Red Army Faction.  His works are blurred & hard to decipher. Through the use of gestural swirls of paint & the choice of poor images they deliberately obscure the way in which photographs reveal detail.  Many works relate to Nazism portraying family members who had been members or victims Wikip, OxDicMod

Abstracts: In the late 1960s  he produced his first abstract works in colour or grey monochrome works in which cumulative layers of non-representational painting are built up beginning with big swathes of primary colour & then blurring & scraping to veil & expose prior layers as in St John, 1988, & Abstract Painting (726), 1990  (Tate Gallery). Such works evolve in a series of reactive & spontaneous stages.  They consist [almost] exclusively of the textures that result from different methods of paint application Wikip, Grove26 p355

Belief/Aim: “Art is human only in the absolute refusal to make a statement”.  He has deliberately avoided having an obvious personal style & he reject all ideologies & the limitations of art & ideology to transform society OxDicMod

Repute: He has enormous status in the art world OxDicMod

Grouping: Although he clearly defies classification a significant proportion of his paintings are Abstract Expressionism of a belated type webimages

-Hans RICHTER, 1888-1976, Germany/USA:

Background: He was born in Berlin OxDicMod
Training: The Academies in in Weimar & Berlin OxDicMod
Career: After being wounded & discharged from the army in 1916, he moved to Zurich & joined Dada; returned to Germany & founded the Constructivist magazine G in Berlin, 1923; lived in Switzerland, France & Russia,1932-41; settled in the USA, 1941; joined American Abstract Artists; & headed the Institute of Film Techniques at City College New York, 1942-56 OxDicMod, L&L
Oeuvre: Paintings, sculpture, design, films OxDicMod
Characteristics: Clear cut geometric abstract paintings both modulated & unmodulated with overlapping & superimposed lines in colours ranging from bright to dull webimages

.. (Adrian) Ludwig RICHTER, 1803-84, Germany:

Background: Born Dresden.   His father was a professor at the Dresden Academy Grove26 p358, Norman1987 p162

Influences: Richter began working at a time when Biedermeier painting, which generates a cosy & comfortable feeling, was a highly important Norman1987 p162

Training: With his father, at the Dresden Academy & then in Rome with Joseph Koch, who heavily influenced his style, & Julius Schnorr von Caroldfeld to improve his figure drawing Andrews1964 p136, Grove26 p358, Norman1987 p162

Influence: He was later influenced by the Dutch School & the ultimate model for his woodcuts was Durer Norman1987 p162, Grove26 p36

Career: In 1820-1 he accompanied the Russian Prince Narishkin to France as a veduta draftsman, & between 1823 & 1826 he lived in Italy where he met the Nazarenes.  In 1828 he took up a post as a drawing instructor at the Meissen porcelain factory which provided a steady income, & from 1836 he taught landscape at the Dresden Academy, & in that year made contact with the Leipzig publisher Georg Wigand who commissioned drawings for a projected book of topographical steel engravings, & Richter then made study trips through Franconia, Bohemia & the Riesenberg, 1837 & 38 Grove26 pp 358-59

Oeuvre: Paintings in oils & watercolour, copperplate etchings  woodcut designs Grove26 pp 358-60

Aim: To “record nature with a sincere, pure, simple & childlike sensibility”Vaughan1980 p208

Characteristics: He employed strong chiaroscuro featuring vivid highlights & his paintings display a consummate ability to use paint in a masterly, bravura manner.   His works are of a highly aesthetic nature: at once delightful, stimulating, joyful, comforting & life-enhancing as in The Watzmann, 1824 (Neue Pinakothek, Munich) & the Small Pool in the Riesengebirge, National gelerie, Berlin [Check place when computer available].  This is a spectacular mountain view bathed in sunshine, & friendly not daunting because of the signs of ordinary life, while the latter demonstrates all his strengths & in particular an outstanding use of contrasting colours & the evocation of a sense of mood.  Another evocative work is [the as in] St Genevieve in the Forest, 1841 (Kunsthalle, Hamburg) which is a legend-based scene but there is nothing here of the suffering she is supposed to have endured.   What it shows is the life-enhancing comfort to be derived from nature Norman1987 pp 162-63, 189, Vaughan1980 pp 208, 210-11, 227, Grove26 p359

Phases: He moved through classical, Romantic & revivalist landscape & emerged modestly but firmly meeting his aim.   His Roman landscapes are linear & stylised in the tradition of ideal or historical landscape.  Following a walking holiday through the Elbe Valley & the mountains of northern Bohemia he produced a series of landscapes with figures including [the as in] Crossing the River at Schreckenstein be Aussig, 1837 (Gemaldgalerie Neue Meister, Dresden)   Around 1850 he more or less ceased painting & devoted himself to book illustration & woodcuts Vaughan1980 p208, Grove26 pp 358-9

Innovation: His woodcut designs made a substantial contribution to the revival of the woodcut Grove26 p359

Status: With von Schwind he was the most important late Romantic painter & printmaker in Germany but was more limited in his range of folksy themes than Schwind, preserving his innocence & naivety to a far greater degree Grove26 p358, Vaughan1980 pp 206-07

Grouping: The Salzburg School & late Romantic lyricism of which he the most wholehearted exponent Norman1987 p162, Vaughan 1980 p207

Friend: Ernst Oehme who was Friedrich’s follower, though he had early misgivings about the latter’s melancholic fatalism Vaughan1980 p208

Repute: He is not itemised in the Yale Dictionary or the Oxford Companion or mentioned in the relevant volume of the Pelican History of Art; & he has been largely ignored by art historians, although his merits & importance have been recognised by Geraldine Norman, Keith Vaughan & the anonymous author of the entry in the Grove Dictionary.  However The Cambridge Companion to German Romanticism remarks that he tended to favour sentimental subject matter Saul p235

Reception & Legacy: He was the best known & best loved German book illustrator & these would have helped to promote the late Romantic delight in nature & the fairy story particularly those by Hans Anderson & Ludwig Bechstein Grove26 p360

Verdict/Comment: [He was clearly a great artist & the general failure of so many art historians to recognise demonstrates their informational undernourishment & lack of objectivity, which so many of them display See Art Historians & Art History: A Critique  Section  7]

Collections: Gemäldegalerie Neue Meister, Dresden

..RIEDEL, Johann, 1799-1883, Germany:

*RIGAUD, Hyacinthe, 1659-1743, France; Baroque

Background: Born at Perpignan Wakefield p13

Training: The obscure Montpellier artists Paul Pezet & Antoine Ranc Wakefield p13

Influence: Rembrandt for his unofficial portraits, & Van Dyck/de Champaigne for his court work.   Rigaud owned seven Rembrandts OxDicArt, L&L, Blunt1954 p279

Career: In 1681 he settled in Paris and painted  members of the bourgeoise & fellow artists.  He was admitted to the Academy in 1684 & in 1688 he gained success with his portrait of the king’s brother & became almost exclusively a court painter.   He was appointed Director of the Academy in 1733 OxDicArt, T&C p136, L&L

Characteristics: He was less interested in character than in depicting  rank through noble pose & gesture, though he was capable of interpreting the human face & his unofficial portraits are less formal as in President Gaspard de Gueidan Playing the Bagpipe, 1735 OxDicArt, T&C pp 137-8.   He owed his success to his feeling for opulent & gorgeous effects & his ability to paint surging & rhythmical draperies & stately curtains in a symphony of colours.   Drapery folds were were subtly adapted to the texture of the different materials & he had a pedantic concern for careful finish.   His military portraits feature modern armour & background battle scenes T&C p136,  Blunt1954 p279.

Feature: Rigaud was often required to make several copies of a portrait & he employed a team of assistants, both full-time collaborators & specialists T&C p136.

Grouping: Baroque & the transition from one century to another with the elimination of the style of the Grand Siecle.   He belonged with de Largilliere to the party of colour L&L, Blunt1954 p277

Status: He was the outstanding court painter of the latter Louis XIV period and  that of Louis XV

Firsts: French painter to emulate Rembrandt’s portraits L&L

Friend: Lagillierre who was also his rival, Francois de Troy L&L, Wakefield p45

 Patrons: Unlike Largilliere he did not retain his bourgeois connections Wakefield p13

– David RYCKAERT/RIJCKAERT III, 1612-61, Belgium=Antwerp:

Background: His grandfather, David I; father David II, 1586-1642; son David IV; & uncle Martin/Marten, 1587-1631-2, were all painters L&L, Grove36 p390

Training: His father Grove26 p390

Influences: Initially Brouwer &  increasingly Teniers Vlieghe p163, Grove26 p390.

Career: In 1636 he became a master in the Antwerp Guild of St Luke & in 1652 was its Dean.  He belonged to the Violieren Chamber of Rhetoric  Grove26 p300, Vlieghe p163

Oeuvre: imitated Brouwer’s interior peasant scenes; c1640 began drawing on Jordaen/Tenier’s merry companies L&L

Phases/Characteristic: Early landscapes gave way to genre scenes, often featuring alehouse interiors, quacks or cobblers.  His paintings such as  Peasants at an Inn have a brownish & atmospheric main tone enlivened with a few more colourful touches.   His figures are comic rather than rough & demonic & during the 1640s his figures became more dignified & are often engaged in musical activity.   There was more emphasis on differentiated colour & decorative qualities, & he adopted the Dutch chiaroscuro method.   Finally, as In the Alehouse his painting becomes idyllic through the use of cool colours laid over a silver-grey ground & towards 1650, he turned to religious themes Grove 26 p390, Vlieghe pp 163-4.

Patrons: They included the Archduke Leopold William, governor of the Spanish Netherlands Grove26 p390

Status: He is the best-known member of the family & the only one itemised in the Grove Dictionary, though Marten Rijckaert who painted panoramic Italianate landscapes inspired by Bruegel the Elder, Paul Bril & Joos de Momper deserves a mention  L&L, Grove26 p390, Vlieghe pp184-5

Pupil: Gonzales Coques, his brother-in-law Grove26 p390

*Bridget RILEY, 1931-; England:

-John RILEY, 1646-91:

..RIMMER, William, 1816-79, Amercian:

Background: Born in Liverpool, the son of a Liverpool lumber merchant who emigrated America.   His father believed he was the Dauphin & he was raised in a world of romantic fantasy & intense poverty Norman1977, Grove16 p401
Training: He was essentially self-taught Grove16 p401
Influences: Charles Robert Leslie & William Morris Hunt Grove26 p402
Career: He arrived in America, 1818, worked as a typesetter, soap maker & cobbler; he dissected corpses; studied with a respected physician & practiced medicine from about 1848 to around 1860.    He also earned a living teaching art anatomy to young Boston ladies & was an influential teacher & director at the Cooper Union School for Women in New York, 1866-70, where he taught Ella Ferris Pell.   Finally he taught at the Museum of Fine Arts, Boston Grove26 p401, Wikip
Oeuvre: Painting & sculpture Grove26 p401,
Phases: In 1841 he toured New England painting portraits & had a brief but significant Luminist period Wikip, Grove26 p402
Characteristics: Imaginative painting of a compelling & evocative nature with winged naked figures dropping from the sky, gladiators, knights etc as in Flight & Pursuit, 1872 (Museum of Fine Arts, Boston).   His paintings feature delicate earth colours & subtle atmospheric effects employing thin paint. Grove26 p402
Legacy: He taught John La Farge & Daniel French, etc Grove26 p401
Repute: his paintings were virtually unknown in his lifetime Norman1977

–Hermann Tom RING, 1521-96, Ludger the Elder’s son, Germany=Munster; Rural Naturalism

Background: He was born at Munster Grove26 p408
Training: Apparently as a journeyman in the Netherlands Grove26 p408
Influences: Grove26 p408
Career: By 1544 he was back in Munster where he held office in the painters’ guild 1556, 1559 & then from 1569 as leading master.  He was a humanist scholar Grove26 p408
Oeuvre/Verdict: Religious works, portraits & design work, his Musician (Westfalisches Landes museum fur Kunst und Kulturgeschichte) is a masterpiece of Renaissance portraiture in north-west Germany Grove26 p408
Characteristics/Phases: His religious works were animated & colourful but his portrait style became Mannerist, two-dimensional & static only head, hands & jewellery of continuing importance webimages, Grove26 p408
Aim: To support the Catholic church & Munster Grove26 p408
Status: With his brother he was the  leading Munster painter after his father’s death & painted the Westphalian nobility L&L, Grove26 p408

..Laurits RING, 1854-1933, Denmark:

-Ludger RING the elder, 1496-1547, Hermann & Ludger the Younger’s father, Germany=Munster:

Background: He was born in Munster Grove26 p407
Influences: Jacob Cornelisz in Amsterdam & Jan Mostert in Haarlem Grove26  p407
Career: He became a member of the Munster painters’ guild in 1533 but left in 1534 for the Netherlands to escape the Anabaptists.  He returned after their defeat by the Catholics Grove26 p407
Speciality: Portraits L&L
Characteristics/Verdict: His 15 sibyls & ancient sages, despite being old-fashioned, are painted with superb psychological insight Grove26 p407

-Ludger RING the Younger, 1522-84, Ludger the elder’s son, Germany=Munster:

-RIOPELLE, Jean-Paul, 1923-2002, Canada:

Background: He was born in Montreal OxDicMod.
Career: In 1946 he joined Les Automatistes & settled in Paris in the following year.   During the 1950s Riopelle built up an international reputation.   After 1970 he spent a good deal of time in Montreal OxDicMod.
Oeuvre: Riopelle was prolific & produced paintings, graphic art, huge collage murals & sculpture.   He worked in oil, watercolour, ink, crayon & chalk  OxDicMod
Phases: He painted early landscapes but turned to abstraction.   His paintings in the late 1940s were lyrical but in the 1950s they became tauter, denser & more powerful & were often painted with a palette knife, creating a rich mosaic-like effect.    Later his work became more calligraphic OxDicMod
Circle: Breton, Mathieu & Miro OxDicArt
Grouping/Status: Abstract Expressionism & Art Informel L&L.   He was considered the leading Canadian abstract painter of his generation OxDicMod

..RIPPINGILLE, Edward, c1798-1859, England:

Riposo.   See IL RIPOSO

-RIPPL-RONAI, Josef, 1861-1927, Hungary; Post Impressionism

Background: Born Kaposvar Norman1977
Training: Munich & in Munkacky’s studio in Paris where he copied his paintings Norman1977
Influences: Whistler Grove26 p419

Career: After graduating in pharmacy at the Budapest University of Sciences he worked briefly at this; became tutor to Count Odon Zichy; painted at Pont-Aven, 1889; joined the Nabis circle around 1892; & worked for the Revue Blanche.  He lived in Paris from 1884 to around 1901 & then returned to Hungary where he slowly found a market for his very colourful portraits etc; worked in Budapest & the countryside; became a committee member of the Hungarian Impressionist Naturalist circle, 1907; & a member of the Literary & Artistic council, 1908.  In 1910 he painted what was probably his best work & was briefly in Paris just prior to the War Norman1977, L&L, Grove26 pp 419-20

Oeuvre: Interior & genre scenes, poster design & the decorative arts Grove26 p420, Norman1977

Characteristics/Phases: Initially he employed flat planes & contours, concentrating on tones of black & grey as in Woman in a White Spotted Dress, 1889 (NG, Budapest).   After returning to Hungary, he painted melancholy but vital interiors & genre in Fauvist colours using oils & pastels as in My Father & Uncle Piacsek with Red Wine, 1907, NG, Budapest).  Subsequently he employed  small squares of colour reminiscent of pointillism achieving a richly coloured mosaic effect as in Paris Interior, 1910 (NG Budapest).  After 1916 painted great Hungarian writers etc in pastels as in Zigmond Moricz, 1923 (Private) [but Wikimedia Commons] Grove26 p420,  Norman1977

Friends: Bonard, Denis, Aristide Maillol, Vuillard Norman1977

Grouping: The Nabis Norman1977

Status/Influence: His experience of Symbolism & Post-Impressionism made him a leading figure in backward  Hungary Grove26 p418

..RISSANEN, Juho, 1873-1950, Finland:

Background: He was born At Kupio the son of an unskilled labourer Grove26 p421, Ateneum p107
Training: The School of the Applied Arts Association, Helsinki, 1895-6; the School of Drawing, Turku, 1897; & the Academy of Arts, St Petersburg under Repin, 1897-8 ; & the School of Drawing, Helsinki, 1898-9 Grove26 p421
Influences: Repin’s humorous paintings of peasant life Grove26 p421
Career: Initially he worked as an itinerant painter; made figure paintings in the remote village of Savon Kyla etc in eastern Finland.  He made trips to Italy, 1901 & 1903; joined Septum; & went to France; lived there from 1918; & moved to America due to World War II Grove26 p421, Ateneum p107
Oeuvre: Oils, watercolours, frescoes & stained glass Grove26 p421
Characteristics/Phases: Clearly defined & somewhat stylised figure studies of common folk in groups & alone in muted colour, close to the picture plane & painted with love in watercolour.   Then after 1900 he painted a long series of works depicting workers at work, together with landscapes with the oils in brighter colours Grove26 p421, Ateneum pp 107-1, webimages

 -Antoine RIVALZ, 1667-1735, Jean-Paul the Elder’s son, France:

Influences: Maratta L&L
Career: He returned from Rome in 1700 & from 1726 ran an academy in Toulouse.   This taught a chastened Roman Baroque style L&L
Pupils: Subleyras, & Jean-Paul’s son Jean-Paul Rivalz the Younger, 1718-85  L&L

 -Jean-Pierre RIVALZ, the Elder, 1625-1706, Antoine’s father, France:

Training: Vouet L&L
Career: He spent nine years in Rome & settled in Toulouse, where he practiced as an architect L&L

 *RIVERA, Diego, 1886-1957, Mexico:

Background: He was born at Guanajuato to educated, liberal parents who in 1892 moved to Mexico City OxDicMod.   His father was a school teacher Lucie-S1993 p49
Training: In Mexico City at the official Academia de San Carlos, & in Spain & Munich L&L, Lucie-S1993 p49
Influences: Early Italian Renaissance painting L&L

Career: He visited Paris in 1909 & lived there during 1911-20.   Rivera was a lion of cafe society, was friendly with leading artists & experimented with Cubism.   In 1920-21 he visited Italy to study Renaissance frescoes, then returned to Mexico eager to assist the Revolution, having earlier become interested in politics.   Rivera swiftly became the leading artist in the programme of celebratory murals the Mexican President, Alvaro Obregon, had launched.   His first mural, the allegorical Creation, was painted for the National Training School in 1922.   He began decorating the National Palace in 1929.   In 1927 he visited Russia & in 1930-34 worked in the USA painting Detroit Industry at its Institute of Arts & at the Rockefeller Center, where his work was destroyed because of the inclusion of Lenin OxDicMod.   In 1955 he revisited Russia L&L

Oeuvre: Murals, & easel paintings sometimes using encaustic OxDicMod.

Characteristics: His murals were frankly didactic, intended to inspire a largely illiterate population with nationalism & Socialism.   Their glorification of labour & excoriation of capitalism are sometimes crude, but his best work has immense vigour & he skilfully choreographs the incident & figure-packed compositions, combines traditional & modern subject matter & blends stylised & realistic images OxDicMod

Status: He is the most celebrated figure in the revival of monumental fresco painting OxDicMod

Politics: He regarded himself as a Communist but was frequently on bad terms with the Mexican Party & the Soviet Union.   He resigned in 1925, re-joined in 1926, was expelled from Russia in 1927, was denounced, secured permission for Trotsky (with whom he later quarrelled) to enter Mexico in 1937, & was finally readmitted in 1954 after a recantation LucieS1993 p53

Grouping: Mexican Muralism & Socialist Realism in that for much of his life he was aiming to achieve closely related aims Lucie-S p54 etc

Personal: He was over six feet tall; weighed over 20 stone; was notoriously ugly; had numerous affairs; was married, after a divorce to Frida Kahlo, whom he remarried after their divorce; & was full of brilliant humour, vitality & charm OxDicMod

 -RIVERS/GROSSBERG, Larry/Yitzrock, 1923-2002, USA:

Background: Born in New York OxDicMod

Training: At the Hans Hofmann School, 1947-8, & at New York University under Baziotes, 1948 OxDicMod

Influences: The 19^th century paining he saw in Paris but not as he expected early modernism OxDicArt

Career: In 1940, changing his name, he became a jazz saxophonist.   He served in the Army Air Corps, 1942-3, but was discharged on medical grounds.   He began painting in 1945 after seeing a painting by Braque & in 1950 had a long stay in Paris OxDicMod

Oeuvre: Paintings, graphic art, sculpture OxDicMod

Phases/Characteristics: During the early & mid 1950s his vigorously painted work ranged from naturalistic to an anticipation of Pop art with their quotations from well-known advertising or artistic sources, use of lettering & deadpan humour.  In the late 1950s & 1960s his work became even more Pop-like, sometimes incorporating objects etc, but differing due to his sensuous handling of paint OxDicMod

Status: He was a leading figure in the revival of figurative art in reaction against the dominance of Abstract Expressionism OxDicMod

Personal: He tried to court controversy OxDicMod

..RIVIERE, Briton, 1840-1920; International Gothic

-Francisco RIZI/RICCI, 1608-85, Juan’s brother, Spain:

*Juan RIZI/RICCI, 1600-81, Francisco’s brother, Spain:

.. RIZZOLI/Giovanni, active 1495-40, Italy:

Influences: Leonardo whose influence was strong.  Bernardino Luini was another influence Grove26 pp 440-1, NGLeonardo p224
Career: He may be the giant Petro who listed by Leonardo between 1497 & 1500 Grove26 p440.
Oeuvre: Altarpieces & small religious paintings, & mythological & historical works Grove26 p440
Characteristics: His work is generally refined & precise with flesh tones barely tinged with pink as in Mary Magdalene 1525 (Pinocoteca, Milan).  Draperies have intense luminous colours often contrasting with a dark background depicting rocky landscapes.  His work combines religious asceticism & eroticism Grove26 pp 440-1
Influenced: Giulio Procfaccini & Daniele Crespi Grove26 p441

..Louis ROBERT, 1794-1835, Switzerland/Italy:

 -Hubert ROBERT, 1733-1808, France:

Background: He was born in Paris into a fairly comfortable, established family.   His father was valet de chambreto the future de Choisseul Wakefield p149

Training: Under the sculptor Michel-Ange Slodz 1752-3 Wakefield p149

Influences: Piranesi & Panini with whom he worked in Italy OxComp Art,  Lucie-S1971 p146.   He was an ardent devotee of Rouseau & shared his passion for nature Wakefield p153

Career: He had a good classical education & took Holy Orders Wakefield p140.   In 1754 Choissel became ambassador to the Papal States & took Robert to Rome.    Here he was allowed to enter the Ecole de Rome & became a fervent admirer of classical ruins, which he sketched in the Forum Wakefield p149.    He was mainly in Rome OxDicArt.   In 1760 together with Saint-Non & Fragonard he went to Tivoli, where the two artists helped each other discover their gifts as landscapists.  Son-Non then took them to Naples Wakefield p149.   When Robert returned to Paris in 1765 he had a vast quantity of drawings on which to base pictures Wakefield p150, OxDicArt.   In 1767 he first exhibited at Salon, receiving high praise from Diderot Lucie-S1971 p146.   He became  keeper of Louis XVI’s pictures, & was one of the first curators of the Louvre OxDicArt.   He was imprisoned during the Revolution Wakefield p150

Oeuvre: He painted topographical & imaginary views with ruins, together with both calm & stormy seascapes etc  L&L, OxDicArt, Wakefield p153

Speciality: He executed vivid views of demolition & construction in Paris L&L

Characteristics: Despite their detail & precision his paintings are statements of mood: grandeur tinged with melancholy.   He treated ruins as picturesque accidents from the past & had no compunction in rearranging, or even inventing, architectural subjects to make his works more interesting or dramatic LucieS. p146, Wakefield pp 152-3

First: He was the first to make making ruins his subject rather than a picturesque accessory; & was the French exponent of capriccio OxCompArt, L&L

Grouping: He was a proto-Romantic Lucie-S1971 p146, L&L

Personal: Robert was a genial worldly man, a friend of the rich & famous, & a garden designer Wakefield pp 149-50

Circle: Cochin, Fragonard, Robert, Saint-Non, Watelet; all of whom were interested in the picturesque  Sheriff p229

Feature: He escaped being guillotined because another prisoner with the same name was put to death OxCompArt

 -ROBERTI, Ercole de, c1450-96, Italy=Ferrara:

Influences: The precise line & metallic colours against elaborately fanciful ornamentation from Tura & Cossa OxDicArt
Career: He appears to have assisted Cossa.   In 1486, following Tura, he became court painter to the Este OxDicArt
Characteristics: The subtle & Bellini-like handling of the method he derived from Tura & Cossa.   His work often has an almost mystical intensity OxDicArt
Status: With Cossa & Tura he was the leader of the 15^th century Ferrarese School OxDicArt

..Joseph ROBERT-FLEURY, 1797-1890, Tony’s father, France:

Background: He was born in Cologne Norman1977
Training: Horace Vernet, Girodet & Gros Norman1977
Career: He spent four years travelling around Italy & Holland TurnerDtoI p359.   In 1824 he first exhibited at the Salon.  From 1855 he was a professor at the Ecole des Beaux-Arts & its director in 1863 Norman1977.  In 1864 he became director of the Academies de France in Rome TurnerDtoI p359
Oeuvre & Characteristics: Paintings of carefully researched  historical events with a message for his own time, frequently the issue of religious tolerance Norman1977.   Most of his works depict dramatic subjects such as trials & assassinations, painted in high focus with a wealth of detail TurnerDtoI p359
Status: He was one of the leading French history painters of the mid-century Norman1977
Style: He is alternatively seen as predominantly Romantic & Realist GroveDtoI p359, Norman1977
Son: Tony, 1837-1912, was a history & genre painter & an influential teacher at the Academie Julian Norman1977

.. David ROBERTS, 1796-1864, Scotland; Orientalism  etc:

Background: Born Stockbridge, Edinburgh, the son of a shoemaker Grove26 p463,  Norman1977

Training: He was apprenticed to a house painter Grove26 p463

Career: He was employed in painting theatrical scenery in Edinburgh & Glasgow, & then London, 1816-30, in collaboration with Clarkson Stanfield on dioramas & panoramas. In 1826 his first easel painting was exhibited at the RA & in 1830 he gave up theatrical work; visited Spain in search of exotic scenes, 1832-3; toured the Near East, 1838-39 He achieving a high reputation for topographical landscapes popularised by lithographs by Louis Haghe.   He also made frequent trips to the Continent from1824, visited Scotland almost every year & painted a series of views of the Thames. Roberts became an RA in 1841 Norman1977, Grove26 p463

Oeuvre: Oils & watercolours covering an enormous range of subjects Norman1977, images at ArtUK

Speciality: Oriental subjects including temples; vistas of  towns, deserts & mountains; interiors;  history paintings & genre scenes as in A Street in Cairo, 1846 (Royal Holloway, University of London).  In particular he was inspired by the vast & dramatic ruins as in the Portico of the Great Temple of Baalbek, 1840, where painted at an he employed dramatic diagonal light & empathised its vast size by including some diminutive figures (The Walker) Grove26 p463, ThompsonJ p137, webimages

Characteristics: He achieved his effects by a balance of light & dark, strong vibrant colouring, & an ingenious choice of viewpoints, sometimes disregarding topographical accuracy Grove26 p463

Innovation: He was one of the first professional artists to visit the Orient Grove26 p463

Status: He was the most important & influential English Orientalist landscape painter ThompsonJ p134

Repute/Verdict: He has not received the attention he deserves; not being itemised in the Oxford Companion or the Yale Dictionary.  Moreover, where mentioned the comments are sometimes far from complimentary, his depictions being criticised as sometimes formulaic & contrived, & his Middle East as a sanitized Cook’s tour view, tailored to the outlook of the Victorian middle classes WoodC1999 p366

Legacy: He taught & influenced John Ruskin1899  pxvii

 ..Tony ROBERT-FLEURY,  1837-1912, Joseph’s son, France:

Career: He was an influential teacher at the Academie Julian Norman1977
Oeuvre: History & genre painter Norman1977

..Tom ROBERTS, 1856-1931, Australia (England); Australian Impressionism:

Background: He was born in Dorchester, Dorset Wikip
Training: At the National Gallery of Victoria’s School of Art, Melbourne, 1874-81; & studied at the Royal Academy Schools 1881-4 OxDicMod, Wikip
Influences: Parisian artists on a walking tour in Spain, 1883, who introduced him to Impressionism & plein air painting, & then Bastien-Lepage & Whistler OxDicMod, Riopelle p11, Wikip
Career: He emigrated, 1869; worked as a photographer’s assistant; returned to Melbourne, 1885; became the leader of the Heidelberg School; returned to London, 1923; & suffered depression, not returning permanently to Australia until 1923 where he settled at Kallista, near Melbourne OxDicMod
Oeuvre: Landscapes, rural genre, history paintings including outlaws; & portraits to earn his living OxDicMod, Riopelle pp 44, 48, Wikip
Phases/Milestones: Atmospheric, tonal oil sketches in London, from 1884, inspired by Whistler; & Impressionist landscapes & townscape in Australia from 1885 Riopelle pp11,20-2, 64-5, 71, 77-80, 86, 88, 92
Status: He led the introduction of Impressionist into Australia & initiated the country’s tradition of landscape painting OxDicMod
Grouping: the Heidelberg School Wikip

√√√ *William ROBERTS, 1895-1980, England:

Background: He was born in London, the son of a carpenter Wilcox p103.
Training: 1910-13 at the Slade when the Neo-Primitives were fellow students OxDicMod, Harrison pp 65-6.
Influences: French modernism & Cubism OxDicMod, Wilcox2006 p103.
Career: After travelling in France & Italy he worked briefly at the Omega Workshops, joined the Vorticists, & signed their manifesto in Blast.   He served in the Royal Artillery as an Official War Artist.   From 1925 to 1960 he taught part time at the Central School.    When Wyndham-Lewis denied his importance within Vorticism he responded with numerous pamphlets OxDicMod, L&L, Wilcox2006 p103.
Oeuvre: He chiefly painted figure compositions & portraits OxDicMod.
Characteristics: Initially his figures were stiff, stylized & almost geometrical but after the Great War they became rounder, fuller & tubular.   He painted all manner of subjects but often showed groups of figures in everyday settings OxDicMod, L&L
Grouping: Classicism of a modernist type L&L.  He was among the painters who in the 1930s depicted outdoor leisure pursuits Wilcox2006 pp 30-1, 44-5, 70

..ROBERTSON, George, 1748-88, England:

Background: Born London, the son of a wine merchant Wikip
Training: At Shipley’s School Wikip
Career/Characteristics: He went to Italy & studied in Rome, where he spent time with William Beckford of Sombrely, a cousin of Beckford of Fonthill & like him a very rich slave-owning plantation owner.   Around 1770 Robertson & the portraitist Philip Wickstead accompanied Beckford to Jamaica.  Here  Robertson, captivated by the island’s spectacular beauty, painted several landscapes in a lyrical, early romantic style as in Rio Cobre, c1773 (Institute of Jamaica).  They were exhibited at Incorporated Society of Artists & engravings were published by John Boydell.  Back in England Robertson settled down as a landscape painter & drawing master, producing notable series paintings of industrial Coalbrookdale.  They reveal the beauty of the valley as enhanced by its spectacular iron bridge, industrial horror, & the way in which industrialisation is destroying beauty as in a painting in the Ironbridge Gorge Museum Wikip, Klingender1968 pp 89-90, Figs 14, 26, Christie’s site for Wickstead, Poupye pp 33, 35

..ROBINSON, Theodore, 1852-1896, USA; Impressionism

Background: Born Irasburg, Vermont, the family moving to Illinois & Wisconsin when he was a small boy ArtinParis p254, Gerdts1980 p61
Training: The National Academies of  Design, Chicago 1869-70; & New York, 1874; briefly in Henri Lehmann’ atelier in the Ecole des Beaux-Arts; under Carolus-Duran, 1876; & at the Ecole under Gerome, 1877-8 ArtinParis p254
Influences: American Realism Gerdts 1980 p51
Career: In 1877 his first work was exhibited at the Salon, & he summered at Grez-sur-Loing, 1877 & 1879; & toured Italy in 1878.  He probably first visited Giverny in 1885, met Monet, returned in 1887-8, & lived there for about half the year, 1889-92, becoming friendly with Monet & painting Impressionist works from 1888.   When back in America he worked as an illustrator for Harper’s Young People & had a teaching position.  In 1892 he moved to New York, taught summer classes at numerous places & frequently painted in the countryside ArtinParis p254, Gerdts1880 p52
Oeuvre: Landscapes & during 1894-5 townscapes, genre scenes, together with decorative work in mosaic & stained glass ArtinParis pp 254-5, Gerdts1980 pp 51-3
Phases: At first his work was only semi-Impressionist with a limited chromatic range & a pronounced compositional structure but spontaneous application of paint.  His colour was never as brilliant as Monet’s & closer to that of Pissarro emphasising a range of greens & bluish-purple tones as in Canal Scene, 1893 (Terra Collection, Chicago).  Nevertheless, his Le Debacle, 1892 (Scripps College, Claremont, California) is a vibrant work.  Like Bastien-Lepage he used a high horizon line which tends to flatten the picture Gerdts1984 p3, 1980 p53
Grouping: American Impressionism Gerdts1984 p285
Repute/Status/Verdict: With Watchman he is the most admired American Impressionists & he produced some of the most beautiful works of the movement though like the artist himself they are modest & unassuming Gerdts1980 pp 51,55

Robusti.   See Tintoretto

..ROCHE, Alexander, 1861-1921, Scotland; Rural Naturalism Movement

Background: Born Glasgow Bulcliffe p23
Training:  Initially architecture, then painting at the  Glasgow School of Art & from 1881 at the  Academy Julian under Boulanger & Lefebre, & finally at the Ecole des Beaux-Arts under Gerome Bulcliffe p23
Career: In the early 1880s he worked at Grez-sur-Loing with Lavery, Kennedy, Dow & Stott of Oldham &, after returning to Scotland in 1884, worked with the Glasgow Boys.   He exhibited at the Royal Scottish Academy from 1887, at the Royal Academy from 1890, & at the Grosvenor Gallery.  In 1896 he moved from Glasgow to Edinburgh & drifted away from the Glasgow Boys.  He became a Royal Scottish Academician in 1900 After losing the use of his right hand around 1910 he painted with the left Billcliffe p105, Hardie pp 75, 184, Wikip, WoodDic
Oeuvre: Landscapes, figurative subjects & from 1896 increasingly portraiture WoodDic, Wikip, Hardie p85
Feature: He married an Italian girl, but as a Catholic appears to have never divorced, though he remarried Wikip

-ROCKBURNE, Dorothea, 1921-, Canada:

Background: Born Verdun Grove 26 p483
Training: At the Ecole des Beaux-Arts, Montreal, 1942-6, & at Black Mountain College, 1950-6 Grove 26 p483
Oeuvre: Paintings & installation art Grove 26 p483
Phases: Her early work was minimalist Grove 26 p483
Characteristics: Aestheticized paintings of interrelated shapes, which in practice meant geometric shapes Grove 26 p483, webimages
Aim: During the 1970s she used art materials, often paper drawn upon & folded, to explore the meaning & effects of making & exhibiting L&L

..ROCKWELL, 1894-1978, Norman, USA:

..RODAKOWSKI, Henryk, 1823-1894, Poland:

Background: Born in Lvov. Norman1977
Training: Studied in Vienna from 1843, with Dannerling, Eybl and Amerling. Norman1977
Career: Rodakowski’s reputation was established with his portrait of General Dembinski (1852).   Later he was a successful history painter.    A year before his death he was named director of the Kracow Art School Norman1977
Oeuvre: A portrait and history painter Norman1977
Characteristics: Rodakowski’s portraits aimed at a monumental simplicity and a faithful reflection of the character of the sitter.   He used a dark-toned palette and broad brushwork.   His history paintings are dramatically composed, though individual figures have the same Realism as his portraits Norman1977
Repute: Rodakowski’s reputation was high in both France, where he lived for many years, and in Poland Norman1977

RODCHENKO, 1891-1936, Russia:

Background: Born in St Petersburg OxDicMod
Training: Art the art school in Kazan, 1910-4, & at the Stroganov School, Moscow OxDicMod
Influences: Malevich’s Suprematism OxDicMod
Career: In 1915 he moved to Moscow to join the avant-garde circles around Malevich & Tatlin L&L.  After the Revolution he took a leading part in Narkompros & Inkhuk OxDicMod
Oeuvre: Paintings, sculpture, industrial design & photography where he had a pioneering role OxDicMod
Phases: He moved rapidly from Impressionist pictures in 1913 to pure abstracts in 1916, & in 1917 he began making three dimensional structures, some of which developed into graceful hanging sculptures.   Like other Constructivists he soon rejected pure art & after 1922 devoted himself to industrial design, etc.   In the mid 1930s he returned to easel painting.   Initially he painted circus scenes but in 1943 he began painting abstract drip pictures anticipating Pollock OxDicMod

RODIN. Auguste, 1840-1917, France:

Background: Born in Paris Norman1977
Career: Rodin’s battle for recognition paralleled that of the Impressionists Norman1977
Oeuvre: Sculpture Norman1977
Characteristics: His method of treating a fragment as a finished work (a head, trunk, pair of hands) was revolutionary.   Rodin also, imitating Michelangelo, left parts of the marble block uncarved to increase the expressive power of the image Norman1977
Gossip: Rodin refused to abandon his mistress, Rose Beuret, for his assistant & mistress, Camille Claudel.   This eventually led to her nervous breakdown & her spending her last 30 years in a psychiatric hospital Matthew Dennison Country Life 27/2/19

Roelas.   See de Roelas

..ROELOFS, Willem, 1822-97, Netherlands:

Background: He was born in Amsterdam Grove26 p527
Training: Around 1837-8 he was apprenticed to a Utrecht amateur painter, & in 1840 he became a pupil of the landscape & animal painter Hendrik van de Sande Bakhuyzen Grove26 p527
Career: In 1841 he made a study trip to Germany & in 1846 he moved to The Hague, working in the surrounding area.   From 1847 he was in Brussels, where he soon gained recognition.  In 1887 he settled in The Hague.   Reolofs visited Barbizon with Jozef Israels Grove26 p527
Oeuvre: Waterside views became his preferred theme Grove26 p527
Speciality: Works in a late Romantic style reminiscent of Koekkoek & Schelfhout Grove26 p527
Technique: He painted his landscapes from small plein air oil sketches Grove26 p528
Oeuvre: Waterside views became his preferred theme Grove26 p527
Grouping: The Hague School Grove26 p527

-ROERICH/RERIKH, Nicholas 1874-1947, Russia:

Background: Born St Petersburg,  the son of a well-to-do lawyer who was a Baltic German & a Russian mother Grove26 p530, Wikip

Training: The Academy of Fine Arts, St Petersburg under Kuindzhi until 1897Grove26 p530

Influences: The Old Russian Revival, French Symbolism, Italian primitivism, Byzantine & Oriental painting Grove26 p530

Career: He exhibited at the Academy from 1897; became secretary of the Society for the Encouragement of the Arts, 1901, & director of its school, 1906; from around 1903 was the leading member of the artists’ colony at Talashkino & became the first chairman of the World of Art Society, 1910.  Around 1917 he left Russia & worked in Scandinavia, 1917-9; in England, 1919-20; & in America, 1920-3 Grove26 pp 530-1.   He led an American artistic-scientific expedition to Central Asia, 1924-8; & settled at Nagar in the Himalayas.   During 1934-5 he went on an expedition to Manchuria.   He was throughout his life a dedicated activist in the preservation of art & architecture Grove26 pp 530-1, Wikip.

Oeuvre: Landscapes  & stage & costume design for Diaghilev’s Ballet Russe Grove26 p530, Wikip

Characteristics: He had a distinctive monumental style, atmospheric & stylised rather than detailed with flat areas of colour initially in oil but then in pastel & from 1906 tempera.  His mountain landscapes are sharply delineated usually in striking & sometime rather lurid colour.   Works may feature Symbolist or architectural elements or depict scenes of a legendary or traditional Russian nature as in The Forefathers, 1911 (Ashmolean Museum, Oxford)  Grove26 p530, Wikip

Religion: Theosophy & the Eastern mystical philosophy of Ahni Yoga which he & his wife developed  Grove26 p530, Wikip

Circle: Gorky, Benois, Christopher Humphreys, H.G. Wells, Rabindranath Tagore, etc Wikip

Collection: The Nicholas Roerich Museum, New York

..ROGERS, Claude, 1907-79, England:

Background:  Born London OxDicMod.   In August 1936 Felicia Brown, a fellow student, was killed in action during at the start of the Spanish civil war M&R p31
Training: The Slade, 1925-9 OxDicMod
Influences: Sickert for nudes in interiors Shone1988 p90
Career: In 1937 he founded the Euston Road School with Coldstream & Passmore OxDicMod.   During the War he served in the Royal Engineers but was invalided out in 1943 & then taught at the following Schools of art: Hammersmith, St Martin’s, Camberwell (1945-9), Slade (1949-63); & also at Reading University where he was professor of fine art, 1963-72  OxDicMod.  In 1952 he exhibited at Looking Forward F50s p74
Oeuvre: Portraits, landscapes & genre scenes OxDicMod
Characteristics/Status: He was a leading upholder of the Euston Road figurative tradition, although in his later work an underlying abstract quality became more evident OxDicMod

OK Rogier van der Weyden.   See Van der Weyden

OK Rohan Hours.   See Master of the Rohan Hours

..ROHDEN, Johann Martin von, 1778-1868, Germany:

Background: He was born at Kassel Grove26 p546
Training: at the Kassel Kunstakademie until 1795 Grove26 p546
Career: He lived in Rome from 1795 but was in Kassel during 1802, 1812 & 1827-31.   He converted to Catholicism in 1815 when he married an Italian.   In 1826 he became court painter to the Elector William II of Hess Norman1977, Grove26 p546
Oeuvre: Landscapes Norman1977
Phases: Initially his work was classical but, influenced by his associates Koch & Christian Reinhart, his work then became a strictly realistic, linear & painstaking depiction of nature Grove26 p546.
Characteristics: The wide vistas of the Italian countryside, often including peasants under a hard bright light Norman1977.
Aim: After his conversion he wanted to impress the viewer with the wonder of Creation Grove26 p546.
Personality: He was eccentric with a lively & humorous temperament & a passion for hunting Norman1977, Grove26 p546
Repute: His work was not rediscovered until the Berlin Centennial Exhibition, 1906 Norman1977

-ROHLFS, Christian, 1849-1938, Germany; Expressionism Movement

Background: He was born at Niendorf, Hoklstein OxDicMod
Training: At the Kunstschule in Weimar, 1870, but due to illness he did not resume until 1874 under Ferdinand Schauss & Alexandre Struys.  In 1881 he worked in the studio of Max Thedy Grove26 p546
Career: From 1884 he worked as an independent painter, in 1902 he became professor at Weimar academy.  In 1901, after living in Weimar for 30 years, he went to Hagen, & in 1906 to Soest in Westphalia where he encountered Emil Nolde & with whom he painted Grove26 p546, Dube p200, OxDicMod.   Just before his death he was declared degenerate & forbidden from painting OxDicMod
Oeuvre: Paintings in oil & in old age watercolour prints  OxDicMod, Grove26 p547.
Development: Through Parisian visits in 1870s he encountered the Barbizon School & then back in Weimar painted en plein-air.  By the end of the 1880s he had developed his own Impressionist-like style but during 1901-2, feeling that his work was not progressing, he turned to Neo-Expressionism.  In 1905-6, through his friendship with Emil Nolde, he discovered van Gogh & Die Brucke.  Colour which had previously been important was now applied with greater spontaneity &, after a decorative semi-Jugendstil interlude, he discovered the style which suited him & painted some of his most beautiful landscapes Grove26 pp 346-7, Dube p200.
Characteristics: His earlier work was naturalistic with an emphasis on atmosphere & light.  After 1885 colour became increasingly important for its own sake & was applied in impasto spots & brushstrokes.   In his mature Expressionist paintings, he spread pure colour thinly & substantially over the surface giving them movement with coarse, discontinuous brushwork Grove26 p546, Dube 200

..ROKOTOV, Fyodor, c1735-1808, Russia:

Background: Born near Moscow to a serf on Prince Repnin’s estate 50Rus p38

Training: From 1760 at the Academy 50Rus p38

Career: As a young man he went to Moscow where he came to the attention of Ivan Shuvalov the curator of the university Grove26 p580.   He became known at court & painted state portraits.   In 1775 he went to Moscow & entered its enlightened & progressive environment 50Rus p38-40

Technique: Due to pressure of work he himself often only painted the face 50Rus p38

Oeuvre: Over 150 known paintings, together with about 100 attributed Grove26 p550

Phases: After his state portraits, he painted informal ones.   These were mostly men & show his desire to reveal personality 50Rus p38.   In Moscow the distance from the Court helped in the development of a more intimate & personal style Hamilton p345.   His characterisation in eyes & faces was not so much the expression of mood as the creation of a sense of the elusive transience of human feelings 50Rus p38

Characteristics: His colours have a refined beauty with a distinctive use of chirascuro in which secondary facial details are downplayed.   His portraits are highly individual, even in his state portraits he made interesting variations in composition 50Rus pp 38-40.   He favoured bust length & neutral backgrounds Hamilton p345

Status: He was the most poetic Russian portraitist of the 18^th century 50 Rus p38

Repute: He was forgotten until the early 20^th century 50Rus p38

-ROLFSEN, Alf, 1895-1979, Norway:

Background: He was born in Christiana/Oslo OxDicMod
Training: At the Copenhagen Academy, 1913-6, & in Paris, 1919-20, where he met Diego Riviera OxDicMod
Influences: Cubism & Derain OxDicMod
Career: In 1922 he executed his first fresco at the Telegraph Building, Oslo, & many others followed including work at the Town Hall, 1938-50 OxDicMod, L&L
Oeuvre: Easel paintings, prints, & murals for which he is best known OxDicMod
Characteristics:  From 1924 his work was semi-classical & in a stylized figurative style Grove26 p554

..ROLL, Alfred-Philip, 1846-1919, France; Rural Naturalism Movement

Background: He was born in Paris Norman1977

Training: At the Ecole des Beaux-Arts under Harpings & Charles-Francois Daubigny TurnerMtoC p372

Influences: Millet, Courbet  & Manet, also Naturalist literature, especially Zola & Maupassant  Weisberg1992 p97.

Career: He exhibited at the Salon from 1870 & around 1880 completed a series of portraits of Parisian workers.   During the 1880s he painted increasingly grandiose paintings of collective labour including Workyard at Suresnes-Seine, 1885.  What was different was his late & poignant work Exode (Urban Drift) depicting the poor forced to move in search of work   Roll was co-founder & later president of the Societe Nationale des Beaux-Arts TurnerMtoC p373, Weisberg1992  pp 97-9.

Speciality: Third Republic events & contemporary working life TurnerMtoC p372

Oeuvre: Landscapes, animals, Bonnat-like society portraits, & history paintings under Gerome’s supervision TurnerMtoC p372

Speciality: Third Republic events & contemporary working life TurnerMtoC p372

Characteristics: He painted in a Realist style using a light palette adapted from Impressionism & often working in heavy impasto.   His portraits of Parisian are animated & have powerful presence, apparently painting those from the streets TurnerMtoC p372

Innovation: He was an early painter to depict a striking workers Weisberg1992 pp97-8

Patronage: He obtained numerous commissions for municipal buildings from the late1860s including the Hotel de Ville in Paris in which he painted languid nudes TurnerMtoC p373

Grouping: Naturalism Weisberg1992

..ROMADIN, Nikolai, 1903-88, Russia:

-ROMAKO, Anton, 1832-89, Austria:

Background: He was born at Atzgersdorf Norman1977

Training: During 1847-9 at the Vienna & Munich Academies L&L; then under Carl Rahl in Vienna Grove26 p559

Career: During 1854-6 he was in Italy & Spain, but in 1857 he settled in Rome, though in 1873 he was in London painting portraits.   In 1876 he returned to Vienna but from 1882 to 1884 he alternated between Paris & Geneva.   Although he was successful in Rome, he was later reliant on financial help & occasional commissions.   He died in neglect & poverty Grove26 p559.

Oeuvre: Genre, history, landscape & portraits Norman1977

Technique: His brushwork was Impressionistic Norman1977

Phases: In Rome he painted watercolours & oils of genre scenes of peasant life.   These often had a saccharine charm & were sometimes fantastical.   After the early 1870s his work had no chronological development & is full of contradictions Grove26 p559.

Characteristics: Psychological perception with a personal & expressive use of colour L&L

Circle: In Rome his house was the centre of the German artistic colony Norman1977

Grouping: He anticipated later Viennese Expressionist & decorative work L&L.   He was one of the late 19^th century artists, with Krohg & Munch, to look below surface reality & see the dark & disturbing R&J p379

Reception: Critics called him “the sick man of art” R&J p379.   He was completely outshone by Makart in his own dayNorman1977

Status: Romarko was the foremost Austrian painter of the second half of the 19^th century Novotny p305

Personal: His life was one of solitude & suffering L&L.   His family was struck by mental illness & suicide R&J p379

Collections: The Belvedere

– ROMANELLI, Giovanni, c1610-1662, Italy; Baroque

*ROMANINO, Garomola c1485-1562, Italy=Brescia:

-ROMANO, Antoniazzo, active 1460-1508/12, Italy=Rome:

Influences: Influences: Benozzo/Gozzoli. Ghirlandaio, Perugino, da Forli L&L
Career: In 1461 he was working for Alessandro Sforza & by 1464 for the papal court.  He helped found the Compagnia of St Luke, 1478  Grove2 pp183-4
Oeuvre: Religious paintings & frescoes; one known secular work, & portraits  Grove2 pp 183-4
Phases/Characteristics: Figures in his early work were animated but stiff & artificially arranged but by the 1470s had become three-dimensional, had acquired gentle expressions & wore decorative garments.  The naturalism of the Virgin Enthroned, 1494 (Louvre) is almost High Renaissance.  However archaic features such as gold backgrounds & unrealistic scale survived Grove2 p183
Status: He was the leading native-born painter working in Rome in the late 15^th century, & had the busiest workshop in Rome L&L
Family Painters: His brother Nardo, active 1452-78; nephew Evangelista, active 1480-24; & his sons Marcantonio, active 1505-21, & Bernardo, active 1508-49 Grove2 p184

-ROMBOUTS, Theodore, 1597-1637, Belgium:

Background: Born Antwerp the son of a wealthy tailor Grove26 p746, Wikip
Training: After 1608 he was apprenticed to Abraham Janssen Grove26 p746
Influences: Bartolomeo Manfredi Grove26 p746
Career: During 1616-25 he was in Rome; became a master in the Antwerp Guild of St Luke, 1625, & its deacon, 1628-30 Grove26 p746, Wikip
Oeuvre: Genre paintings including merry companies, card players, Musicians, & some altarpieces Grove26 p746, Wikip
Characteristics: His work is expressive & realistic both in his religious & secular paintings with dramatic chiaroscuro & sensationally emotional faces & gestures, as in Card Players, c1630 (Konicki Museum voor Schone Kunsten).  This The rendering of clothing in his secular paintings is almost tangible.  In his later work space is well suggested through cropping, the use of diagonals &  foreshortening Grove26 pp 746-7, Vlieghe p168
Innovation: He was the first Belgian painter to depict the single musician Wikip
Phases: Carravagism lost momentum after 1630 & Rambouts’ gradually adopted more diffuse lighting & a lighter palette Grove26 p747   
Status/Reception: He was the leading Flemish Caravaggisti Grove26 p746
Pupil: His brother-in-law Jan Van Thielen,  Nicolaes Van Eyck, & Paulus Robyns Wikip

*ROMNEY, George, 1734-1802, England; Neo-Classicism:

Background: Born Dalton-in-Career, Lancashire, the son of a cabinet maker Grove27 p117

Training: He was apprenticed in 1755 to a local itinerant portrait painter Christopher Steele with whom he travelled as far as York & Lancaster.   Steele’s work was of a competent type but not particularly distinguished.   Romney only spent two years with Steele Grove 27 p117, webimages   

Influences: Prints after the Old Masters & casts after the Antique Brigstocke

Career: In 1750 he painted his first portrait; moved from the north to London, 1762; visited Paris, 1764; spent 1773-5 in Italy where he studied & copied the Old Masters & classical sculpture; became infatuated with the future Lady Hamilton around 1781; went to Paris, 1790, & admired David’s latest works; retired to Kendal, 1798; & latterly became senile.  Although he began by exhibiting at the Society of Artis, & then at the Free Society, he rarely exhibited thereafter & never at the RA.  He was introspective & nervous Murrays1959, OxDicArt, Brigstocke

Feature: Paintings by Romney that are not to be missed because they will provide the viewer with a lifetime of gentle amusement are [the as ins] Lady Hamilton at Prayer, 1782, & Emma Hart as the Spinstress,1784-85 (both Kenwood House, Hampstead House).   Romney made 60 paintings of her involving well over 100 sittings, 1782-86, National Portrait Gallery web entry for Emma Hamilton

Oeuvre: He painted portraits by profession & historical works by inclination, together with hundreds of wild pen & wash drawings of subjects from Shakespeare & Milton, etc Brigstocke.

Characteristics: Although often monotonous his best work is refined, sensitive, well designed & in beautiful & varied colour.  Romney often focuses  attention on the dresses & faces of his comely young women by placing them against a dark background as in his Portrait of Anne Verelst, 1771 or 72 (Clifton Park Museum, Rotherham).  His portraits sometimes depicted as classical figures such as Hebe & often allude to classical poses & draperies & the compositions of Raphael & Poussin, etc.  Figures have long flowing contours & simple forms; & in his portraits of married couples he stressed their individuality as in Mr & Mrs William Lindow, 1772  (The Tate) Grove27 p117, Brigstocke, Kidson pp 90, 95, 107, etc

Grouping: Together with Fuseli, Mortimer & Runciman he was one of the artists associated with Romantic Neo-Classicism Grove27 p154, Brigstocke

Status: He is usually regarded as the greatest 18^th century society portraitist after Reynolds & Gainsborough Grove27 p117

Verdict: Much of his work is now thought facile, & probably at his best with his portraits of the young where his delicate colour & graceful line were an advantage as in John Bensley Thornhill, 1784,  (Museum of Fine Arts, Boston). & The Misses Hill (Private).  Fry said his work was feeble OxDicArt, Fry1934 p79

Friends/Circle/Political Position: His friends included Flaxman, & literary figures including Cowper, & William Hayley with whom he went to Paris in 1790.  Initially he welcomed the Revolution,  shared Hayley’s anti-monarchic views & they met David.  Romney also shared political sympathies with Blake & Tom Paine, & Romney’s house was one of the few places where by 1792  the latter was safe.  Nevertheless at the very time he was consorting with Paine he applied to succeed Reynolds as Portrait Painter to the King, & later in the decade he came to believe that monarchy was best OxDicArt, West1996, Kidson pp30-31

Grouping: Together with Fuseli, Mortimer & Runciman he was one of the artists associated with Romantic Neo-Classicism Grove27 p154

Patrons: Granville who was the 2^nd Earl Gower & the Duke of Richmond.  Romney received extensive patronage at the same time, although they were leading figures in opposing political factions.  Unlike Reynolds, Reynolds & other painters he avoided being associated with any political faction  Kidson pp 28, 30-31

-RONALD, William  1926-1998, Canada/American:

Background: Born Stratford, Ontario OxDicMod
Training: At the Ontario College of Art, Toronto, under Jock Macdonald, 1947-51 OxDicMod
Career: He led the formation of the Painters Eleven group of abstractionists, 1953; moved to New York, 1955; became an American citizen, 1963; returned to Canada, 1965; became a radio &TV celebrity; painted on stage accompanied by rock music; & returned to more conventional painting OxDicMod
Characteristics: All-over abstract paintings many of which are loosely patterned in bright colours with a denser central area.  However, others are of a streaky, big blob or linear scribble type.  A feature of his work is that it is more varied & adventurous than that of most other abstract painters.
Status: He was a leading figure in the development of abstraction in Canada L&L
Grouping: Second generation Abstract Expressionism L&L

-Cristoforo RONCALLI/IL POMARARANCIO, 1552-1626, Italy=Rome:

Background: He was born at Pomarance, near Volterra Grove27 p121

Training: Nicholo L&L

Influences: Florentine & Sienese Mannerism, & later Raphael & Michelangelo  Grove27 p122

Career: By 1575 he had moved from Florence to Venice.   He was in Rome by 1582.   Here he established his career with frescos painted with Nicolo Pomarancio & joined the Academy of St Luke.   In 1606 he toured Germany, Flanders, France & England with Vincenzo Giustiniani.   He painted one of the great altarpieces of St Peter’s Grove27 pp121-2,  L&L

Oeuvre: Religious paintings Grove27 p122

Technique: His works were prepared with meticulous care as shown by his drawings Grove27 p122

Phases/Characteristics: His earier Mannerist works gave way by 1596 to a new realism with more dramatic contrasts of light & shade.   His works became more classical & monumental Grove27 p122

Patrons: The Crescenzi family, & Vincenzo Giustiani & the Oratarians Grove27 p122, L&L

Grouping: Late Mannerism & then eclectic L&L, Grove27 p122

-RONDANI, Giovanni, Maria, 1490-1550, Italy=Parma:

Background:  He was born in Parma Grove27 p122
Influences: Northern Mannerist style & Correggio Grove27 p122
Career: In 1525 he collaborated with Correggio & Michelangelo Anselmi, & with the latter in Parma Cathedral, 1527-31, & in the church of St Francesco Grove27 p122
Oeuvre: Altarpieces, frescos, portraits & decorative work Grove27 p122, webimages
Characteristics: Sharply defined, crowded works in hard colours of an unattractive variety but a verdict based on only a few images

..ROOK, Edward, 1870-1960, USA; American Impressionism:

Background: Born New York City Wikip
Training: The Art Students League, New York, under John Twachtman, 1889-91; at the Academie Julian, Paris under Benjamin-Constant & Jean-Paul Laurens; & at the Ecole des Beaux-Arts under Gerome Wikip
Career: He returned to America, 1900; travelled to Canada & California, & spent a year in Mexico; painted with Childe Hassam at Old Lyme, 1903; & settled there in 1905.  Rook had a work at the World’s Columbian Exhibition, Chicago, 1893, &  exhibited regularly at the Pennsylvania Academy of Fine Arts, 1897-1913 & 1917-9.  He received numerous medals became an Academician of the National Academy of Design, 1924 Wikip
Characteristics: His painting were bold & vibrant as in Swirling Waters, 1917 (Florence Griswold Museum, Old Lyme, Connecticut).   They were more expressive than those of more archetypal impressionists such as Hassam & Metcalf Peterson pp 78, 80
Grouping:  American Impressionism Gerdts1984 p206

-Philipp, Peter ROOS, 1657-1706, Johann, son, Germany/Italy; Baroque:

Background: Born St Goar Lower Rhine Grove27 p135
Training: Giacinto Brandi in Rome
Career: He went to Italy, 1677; married Brandi’s daughter, 1691, after converting to Catholicism; bought a house near Tivoli; from 1691 he appears to have mainly lived in Rome, & joined the Schilderdbent Grove27 p135
Oeuvre: Almost exclusively animals with herdsmen in the Capagna painted in impasto Grove27 p135
Characteristics/Phases: Animals dominate his foregrounds with only glimpses of landscape under louring skies with the light bodies of the animals seemingly growing out of the darkness.  In the 1680s  he tended to depict small groups of animals, often headed by a billy goat with twisting & with herders to one side.  There are light blue mountains,   precipitous valleys & high cliff faces lit by yellow-brown light.  They are sombre, bold paintings.   In the 1690s there are numerous animals, cows or oxen are more frequent, sometimes there is a horse, & landscape is confined to a maintain peak, ruin or tree trunk.   From around 1695 landscapes expand & with ruins, etc become with ruins, etc more elemental with dramatic contrasting colour as in Italian Landscape(s) with Ruins Landesmuseum, Hannover Grove27 p135, webimages
Status: One of the finest German animal painters of the late Baroque who painted in a virtuso manner Grove27 p135

-ROPS, Felicien, 1833-98, Belgium/France; Symbolism:

Background: Born Namur, the son of a textile manufacturer Grove27 pp 139-40

Training: At the Namur Academy; & then lithography at the workshop of Saint Luc in Brussels  Grove27 p140,  GibsonM p241

Influences: Daumier, Gavarni, Gillray & Granville Grove27 p140.   There was also his great friend Baudelaire & his fascination with death and belief that women were evil incarnate WoodG p82

Career: He contributed humorous lithographs to student magazines; helped found the satirical magazine Uylenspiegel, 1856, for which he also produced lithographs.  He married & settled in the Ardennes, 1857, but continued to spend much time in Brussels & Paris.  In 1868 he met the French sisters Leontine & Aurelie Duluc who owned a fashion house.   Leontine became his favourite model & bore him a daughter.  He moved to France, 1874, lived near Paris, accompanied the sisters on their business trips to America, but went frequently to the Ardennes.  Rops joined LesXX exhibiting with them four times during 1886-93 Grove27 p140, Wikip

Oeuvre: Lithographs until 1865, & from 1857 etchings, crayon, pastel gouache, watercolour & oils L&L, Grove 27 pp 139-40, GibsonM p98

Characteristics: The presence of evil dominates his work together with a delight in the morbid, the perverse & the erotic as in Death at the Ball, c1870 Rijksmuseum Kroller-Muller, Otterlo Lucie-S1972 p15, OxDicArt, GibsonM pp 98-99.  

Phases: After finally moving to France, he painted Barbizon & Courbet-like landscapes with grey skies; & Leontine, a blond beauty, showing off her body either nude or fashionably dressed as in The Temptation of St Anthony 1878 (Cabinet des Estampes, Bibliothèque Royale, Albert I, Brussels; though he still drew demonic women Grove27 p140, GibsonM p100

Circle: Baudelaire launched him into the Parisian art world & He associated with Symbolist writers & artists in Paris including Puvis de Chavannes,  Gustave Moreau, & Josephin Peledan although Rops was not very interested in the Rose + Croix artists, Brigstocke, L&L GibsonM p241

Reception/Repute/Verdict: His libertine life & scandalous, erotic works made him infamous GibsonM p241.   He was enormously admired by Peledan, & Huysmans who praised him for entering the world of evil & celebrating Lust while the Goncourts praised him in 1868 for depicting the malevolence of the contemporary dominatrix as evident in [the as in] The Lady with the Puppet, c1884 (Musee Felicien Rops).  Print collectors have always regarded his work highly but art historians have been doubtful & he has been criticised for seeming to represent the most tedious aspects of Symbolism, although the reappraisal of 19^th century art has reawakened interest in his oeuvre Lucie-S1972 pp 173-74, Brigstocke, Grove27 pp 141-42

Grouping: He was a Symbolist Lucie-S1972 p173, GibsonM pp 240-41

Influenced: Ensor, Munch, Max Klinger, Alfred Kubin, Paul-Albert Besnard, Aubrey Beardsley, & Auguste Rodin Grove27 p141

Collections: Musee Felician Rops, Namur

..RORBYE, Martinus, 1803-48, Denmark:

Background: He was born at Drammen in Norway Norman1977
Training: At the Copenhagen Academy under Lorentzen; &  private tuition from Eckerberg Norman1977, Kent p56
Career: During 1834-7 he was in Paris, Italy, Greece & Turkey, & between 1839 & 1842 in Italy.  He became a member of the Copenhagen Academy,1838; & taught there from 1844 Norman1977
Oeuvre: Biedermeier genre & landscape Norman 1977
Characteristics: His work was  narrative & anecdotal; & he used strong light & shadows Kent p36
Style: He painted some Luminist works Wilmerding pp 226-7

**ROSA, Salvator, 1615-73, Italy=Naples & Sicily. Florence, Rome: Romanticism

Background: He was born at Arenella, Naples Grove27 p149.

Training: Falcone L&L

Career/Phases: He made little studies of Neapolitan Mountain & coastal scenery with fishermen & bandits.   In 1635 he left Naples for  Rome where he subsisted  mainly by selling decorative pieces through dealers.   During 1642-9 he was in Florence where he now also painting biblical, mythological & philosophical subjects usually within a landscape framework.   In 1642 he went  to Rome where he was in competition with Poussin in painting heroic narrative landscape & won an international reputation.   During the he 1660s turned to etching with great success  L&L, Waterhouse1962 p184, OxDicArt

Oeuvre/Specialities: It included religious works & history paintings,  battle scenes; mountain scenes with hermits & bandits, macabre witchcraft scenes, seaports & self-portraits L&L, Waterhouse1062 pp 184-7

Characteristics: His landscape backgrounds have an independent pictorial life using bold brushstrokes & vivid light.  They feature dark & leaden skies, storm tossed trees,  melancholy crags & cliffs, crumbling buildings & lurking banditti.    Nevertheless,  his landscapes, as in  Landscape with Finding of Moses, c1650,  have a classical  structure.   He painted  distinctive self-portraits without the smooth features of fellow-artists L&L. Waterhouse1962 p185, Wittkower1973 p326, Haskell p22.

Firsts: He created the image of the artist as a man apart, independent & inspired, & was the first Italian  artist to make exhibitions his principal means of sale L&L.   Rosa was a founding father of Romanticism.   His background landscapes have novel picturesque features & wild sublimity Haskell pp 31-2,  L&L, Waterhouse1962 pp 183, 185

Personal: He was a flamboyant character with a craving for publicity who rebelled against the restrictions of contemporary patronage who refused deposits that limited his freedom of action, & thought it was pointless to set a price before a work was  complete.  Rosa boasted of not painting for money but purely for his own satisfaction.   He said he needed  to be “carried away by the transports of enthusiasm” & that he only painted when so minded.    Besides painting he was a poet, actor, musician,&  self-professed Stoic philosopher OxDicArt, Haskell p22, L&L

Patrons: The Medicis & Lorenzo Colonna OxDicArt, Haskell p155

Status: With Mola he was the leading representative of a distinctive Romantic strain in Roman painting in the mid-17^th century OxDicArt

Verdict: He was more derivative & conventional than appears; & he never completely outgrew his training as a painter of decorative genre L&L

Follower: Giovanni Ghisolfi Grove27 p154     

Influence/Repute: In England his influence in the 18^th & early 19^th centuries was exceptionally varied & profound .  During the 18^th century his landscapes & those of Claude were seen as the quintessential contrast between the sublime & the beautiful. Travellers & theorists of the picturesque referred to him with monotonous regularity in connection with bandit-haunted defiles, & landscapes with banditti now became popular.   During the 1770s & 1780s his works featuring witchcraft, dragons & sea monsters became popular, especially with the group of artists associated with Romantic Neoclassicism: Fuseli, Mortimer, Alexander Runciman & Romeny.   It came to be widely believed that Rosa had lived with bandits & participated in popular uprisings against Spanish rule in Naples, legends immortalised in Lady Morgan’s biography of 1824.   By then Rosa was seen a Romantic artist par excellence.   However his reputation was lowered by Ruskin Wittkower p326, Grove27 p154, OxDicArt

Grouping:  Romanticism  of which he was a founding father.  Horace Walpole when crossing the Alps in 1739 wrote, “Precipieces, mountains, torrents, woves, rumblings-Salvator Rosa.” Waterhouse1962 pp 183-4

..ROSCOE, Mark, 1974-, Scotland (Australia):

..ROSE, Guy, 1867-1925, USA; American Impressionism

Background: He was born in San Gabriel,  California, the son of a prominent California Senator Wikip

Training: At the San Francisco Art Association’s California School of Design under Virgil Williams, Warren Rollins & Emil Carlsen, 1885-8; & in Paris from 1888 at the Academie Julian under Benjamin-Constant, Jules Lefebvre, Lucien Doucet & Jean-Paul Laurens Wikip

Influences: Claude Monet his friend & mentor Wikip

Career: He was raised on an extensive Southern California ranch & vineyard.   Between 1890 1909 he exhibited five times at Paris Salons.  During the 1890s he lived in New York & illustrated for Harper’s Scribners & Century.   In 1899 he & his wife bought a cottage at Giverny & lived there from 1904 to 1912, making a painting trip to Algeria during the winter of 1900.  In 1913 & 1914 they  held a summer sketching school at Narragansett, Rhode Island; settled at Los Angeles in 1914, & during 1918-20 summered at Carmel-by-the-Sea, becoming exhibiting members of the art colony.  He became director of the Stickley Memorial Art School in Passedena but had a debilitating stroke in 1921 Wikip

Oeuvre: Landscapes, figure studies of young & attractive women, & religious works Gerdts1984 pp 243-4, wikip

Characteristics: He appears to have favoured strong blues & greens, & to have avoided bright sunlight Gerdts1984 pp 236, 243-4, Wikip

Friends: Frank & Vincent DuMond , & Frederick Melville Wikip

Grouping:  American Impressionism.  He belonged  belonging to the Giverny Group which exhibited  together in New York in 1910.   It included Karl Anderson, Frederick Frieske, Richard Miller, Lawton Parker, & Edmund Greacen Gerdts1984 pp 235-6.                                       

-ROSENQUIST, James, 1933-2017, USA:

Background: Born Grand Forks, North Dakota OxDicMod

Training: At the Minneapolis School of Art, the University of Minnesota, & the Art Students League, New York, 1955-6 OxDicMod

Influences: His excitement in 1954 when he entered an advertising factory & saw a sixty-foot long & wide painting of beer glasses & macaroni salads OxDicMod

Career: During the 1950s he worked as a commercial artist & billboard painter OxDicMod

Oeuvre: Paintings, prints together with environmental & three  dimensional works comprising , for instance, wood, barbed wire, & neon light.  However he has continued to produce his characteristic billboard-style works in which he juxtaposed what appeared to be sections of advertising & romantic magazine imagery, etc in unrelated scales OxDicMod, Brigstocke. L&L.

Characteristics: Gigantism, even one of his prints being 7 by 35 feet OxDicMod

Feature: His painting is the 86-foot F111, 1964-5, an image of the bomber which shows a little girl under a hairdryer & an atomic explosion.  It is notable because Pop Art did not usually contain explicit political statements  OxDicMod

Grouping: The Pop art movement in which he was a major figure OxDicMod

-Alexandre ROSLIN,  1718-93, France (Sweden):

Background: He was born at Malmo Grove27 p169

Training:  With the draughtsman Lars Ehrenbill in Malmo & the portrait painter Georg Schroder in Stockholm Grove27 p169

Career: He returned to Malmo & started a career in portraiture, 1742; became court painter for Brandenberg-Culmbach & head of the Kunst Akademie in Bayreuth, 1745; travelled to Italy & worked at the court in Parma, 1751-2; & in 1752 settled in Paris, soon becoming a leading portraitist & a member of the Academie in 1753.  He subsequently at the courts in Sweden, Poland, Russia & became a member Grove27 p169, OxDicArt, L&L

Oeuvre: Almost exclusively portraits Grove27 pp169-70

Characteristics/Verdict: His official portraits were sometimes somewhat cold & pompous but his   informal work displays his mastery of detail & the rendering of expensive fabrics & delicate complexions.  His work has been strongly criticised for the production of lifeless, dummy-like figures with frigid, inexpressive faces but he was certainly capable of conveying both characters, as in his portrait of Boucher, female charm, as in his Woman with a Fan Grove27 p169, OxDicArt, Brigstocke, Wakefield p72

Innovations: His works together with that of Drouis & many followers were a swing back from the naturalism of Tocque & Aved to a new formality & convention Wakefield p70

Friends: He was close to Boucher Grove27 p169

Status: He was one of the most accomplished court portraitists of the 18^th century with a position not unlike Pompeo Batoni’s in Rome Grove27 p169

Wife: Marie, 1734-72, was also a pastelist L&L

-Marie ROSLIN, (Giroust), 1734-72, Alexandre’s wife:

-ROSSELLI, Cosimo, 1439-c1506, Italy=Florence:

Background: He was born in Florence & belonged to a Florentine family of artists Grove27 p174, Brigstocke
Training: Gozzoli or Baldovinetti L&L
Career: This was successful, the highpoint being his invitation to Rome in 1481 where undertook four frescoes in the lower part of the Sistine Chapel alongside Botticelli, Perugino & Ghirlandaio.  He ran a busy studio OxDicArt
Oeuvre: Religious Frescoes & works in oils Brigstocke, Grove27
Verdict/Characteristic: It has been argued that he maintained high standards of craftsmanship without great distinction or originality.  His works are said to lack the distinctiveness or innovation of Verrocchio, Pollaiuolo, Botticelli, etc; & his compositions have been regarded a dull though enhanced by elegant & finely modelled figures.   However, his [as in] masterpiece the Procession of the Bishop with the Ampule of Blood in the Piazza S Ambrogio 1484-6  (Capella del Miracolo, S Ambrogio, Florence) is a skilful & attractive work featuring clusters of worshipers & spectators, including the appealing young girl with children.  It appears that his work was uneven & it needs to be re-evaluated OxDicArt, Brigstocke, Grove27 pp 175-6, webimages
Phases/Patrons : In the latter part of his career, he mainly concentrated on altarpieces for Florentine families & confraternities Brigstocke
Pupils: Fra Bartolommeo, Piero di Cosimo L&L
Collections: Gemäldegalerie, Berlin

**ROSSETTI, Dante Gabriel, 1828-82, England; Aesthetic Movement

..ROSSITER, Charles, 1827-97, England;  Victorian Modern Life:

Training: He was apprenticed to a picture restorer but attended classes at the RA School Ian Dodgson Fine Arts on web
Career: He exhibited at the RA from 1859 to 1890 WoodDic.
Oeuvre: Paintings, engravings & illustrations.  His paintings were mostly genre but he also produced  village scenes & historical works webimages,
Characteristics: His genre work has what appears to be a particularly wide range.  It features scenes of work & play, gladness & sadness, all ages from childhood  to grandparents, caring & affectionate mothers & fathers Webimages.
Feature: His [as in] Brighton & Back, RA 1859, is the only known painting depicting the rigours of third-class travel WoodC1976 p211
Wife: Frances mainly painted domestic scenes, although her watercolours of birds became a speciality WoodDic

**ROSSO, Giovanni, 1495-1540, Italy=Florence; Mannerism Movement

 -ROTHENBERG, Susan, 1945-2020, USA:

Rothenstein, Albert.   See Rutherston

-Michael ROTHENSTEIN, 1908-93,  Sir William’s son, England:

-Sir William ROTHENSTEIN, 1872-1945,  Michael’s father, England:

Background: He was born in Bradford & his father was a wealthy cloth merchant;.   The family had settled in England in the early 19^th century Studio4/1931

Training: 1888-9 at the Slade under Legros, & at the Academie Julian.   He became Whistler’s close friend & was encouraged by Degas & Pissarro OxDicArt

Influences: Ingres via Legros, & Impressionism’s prismatic palette Studio4/1931

Career: He spent his boyhood drawing, wandering the austere moors, & ransacking curiosity shops.   When 16 he went to London; & during 1889-93 was in Paris.   In  1893 he produced  his first lithograph portraits of Oxford Characters which were subsequently published under that title in 1896.   They were followed by England Portraiture, 1896 & Manchester Portraiture 1900);.  In 1895 he settled in London & in 1917 became professor of art at Sheffield University; Studio4/1931.   During 1920-35 he was Principal of the Royal College of Art OxDicArt

Phases: Early Whistlerian paintings.   From about 1898 he specialised in portraits of the famous, & from 1906 made a series of paintings of Jewish life OxDicArt, Studio4/1931

Circle: In Paris the Impressionists & their literary friends & supporters, including Edmond de Goncourt, Daudet, Degas, Rodin, Toulouse-Lautrec, Wilde, Whistler, Zola; & during early 1900s Augustus John & Orpen Studio4/1931

Beliefs: Pure abstraction is “a cardinal heresy” OxDicArt.  Unlike most artists of his generation he believed in the imporatance of subject matter Studio4/1931

Status: In 1914 Rothenstein was seen as a Symbolist influnced by Puvis de Chevannes along with Augustus John, Orpen, William Strang & Stanley Spencer UFJ p47.

Progeny: His son Michael, 1908-93, was an artist known for his lively & inventive prints L&L

-ROTTENHAMMER, Hans/Johann, 1564-1625, Germany=Bavaria:

Background: He was born at Munich, the son of an equerry at the Munich court Grove27 p227

Training: He was apprenticed to the court painter Hans Donauer, c1582-8 Grove27 p227

Influences: Tintoretto, Veronese, the Bessani, Palma Giovane Grove27 p228, L&L

Career: During 1591-5 he was in Rome & 1595-6 in Venice.  In Rome he at least sometimes collaborated with Bril who painted the landscapes & in Venice he provided figures for landscapes for Bril Jan Breughel. From 1606 he mainly worked in Augsburg where chiefly due to drink he contracted huge debts & died impoverished Grove27 pp 227-9.

Oeuvre: Altarpieces, decorative ceiling paintings & small mythological work L&L, OxDicArt

Characteristics: His paintings have a rich phosphorene colouring derived from Tintoretto & Palma Giovane for which he became famous & a lively figure style.  In his paintings the figures are often crowded & are gesturing & inclined O&V p343, webimages.

Phases: After his return to Augsburg & now painting larger works his figures, though still Venetian in pose expression, tended to become stiffer & more formalised Grove27 p228.

Innovation: Paintings on copper pre-Elsheimer L&L

Status/Influence: He was largely responsible for a distinctive Italianate, south German style derived from the16^th Venetian masters Grove27 p227

ROTTMANN, Carl, 1787-1850, Germany:

Background: He was born at Handschuhsheim.   His father was a drawing teacher at Heidelberg University MET1981 p271

Training: With his father in Heidelberg & at the Munich Academy Norman1987 p118, MET1981 p271  

Influences: Fohr, George Wallis (a Scottish landscapist who worked in Heidelberg, 1812-6), Koch, & reputedly Turner Norman1987 p118, MET1981 pp 271-2

Career: In 1818 he sketched in the Rhine & Mosel valleys & in 1819 began painting in oils MET1981 pp 271-2.  In the early 1820s he went to Munich & toured the Tirol.   Financed by Ludwig I, Rottmann visited Italy during 1826-7.   He returned in 1829-30 to make preparatory studies for the 28 fresco views of Italy & Sicily in the arcades of the Hoftgaren Palace which he painted during 1830-33.   Rottman visited Greece in 1834-5 & then painted 23 views in encaustic which the king had commissioned for the Neue Pinakothek  Norman1987 pp 118, 182, MET1981 p272

Phases: His early paintings are heroic landscapes in the style of Koch.  He chose a high viewpoint giving an impression that we were standing above & outside the landscape but the passage between different areas was unsatisfactory although by the late 1820s he was able to paint convincing recession.   His late freely painted landscapes are close to those of Turner   MET1981 p272, Grove27 pp 231, 233.

Characteristics: His foregrounds are usually loosely sketched inventions Norman1987 p118.  In his frescos for Ludwig there are symbolic elements with dead trees, streams & lumps of rock indicating transience but what is most impressive are the simplified, monumental forms Grove27 p232.

Repute: During the 19^th century he was the most highly acclaimed German landscapist Norman1987 p118

ROTTMAYR, Johann, 1654-1730, Austria:

Background: He was born at Laufen near Salzburg Hempel p113.

Influences: Italian fresco painting, Veronese & Rubens Hempel p113, Grove27 p233, L&L

Career: During 1675-88 he was in Venice employed in the workshop of Loth.  In 1695 he collaborated with Fisher von Erlach at the castle of Vranov (Frain) in Moravia inaugurating the great period of Austrian ceiling painting,   His masterpieces were at the Jesuit Church of St Matthias in Breslau, 1704-6, at the Liechtenstein Gartenpalais, 1706-8, & at   Peterkirirche in Vienna, 1715.   In 1719 he worked at Melk & afterwards at the Karlskirche in Vienna Hempel pp 113-5, Grove27 p233.

Oeuvre: Frescos, panel paintings & canvases inserted into stucco panels Grove27 p233.

Characteristics: After his return from Venice, he emphasised the solidity figures, with their expressive gestures & pose, through intense colour though this was less important than the overall effect.   In later work three-dimensional forms & strong colour were less important.   His late work tends towards greater composition clarity with colour used to define forms & more plastic figures Grove27 p233.  However

his work lacks Troger’s the dramatic vitality Hempel p115.

Status: He was the first major native dome & ceiling frescoist L&L

Grouping: High Baroque Hempel p115

Influenced: Troger L&L

ROUALT, Georges, 1871-1958, France:

Background: He was born in Paris Brigstocke
Training: He was apprenticed to a stained-glass painter & its workshop with its vivid colours & strong outlines makes a strong impact; 1892 Moreau (favourite pupil) at Ecole des Beaux-Artes, with Matiss&Marquet; international reputation, 1930s; from c1940 almost only religious works OxDicArt
Milestones: c1898 moral crisis/decision to paint modern religious subjects Whitfield p89; exhibits at 1905 Salon d’Automme but not in same room as Fauves Whitfield p88
Characteristics: of naked prostitutes of 1903-4: brutal depravity, his pain conveyed; ultimate antithesis of Greek ideal of beauty/idols of ugliness; religious aspect Clark1956 pp 344-7
Comparison with Fauves: not a landscape painter or preoccupied by light/colour; not buoyant/joyful Whitfield pp 88-9

[See Bowness p100]

ROUART, Henri, 1833-1912 (confusable with Rouault), France;  True Impressionism:

Background: He was born in Paris Grove27 p238
Training: At the Ecole Polytechnique as an engineer Grove27 p238
Influences: He had a passion for Corot owning over 50 works Grove27 p238
Career: He was prosperous with a factory in the Parisian suburbs & invented machines for making ice, etc.  Although only an amateur artist, he exhibited at the Salon during 1868-72 & at all the Impressionist exhibitions between 1876 & 1886, except 1882 when, although he paid the rent for the for the premises, he withdrew his paintings in support of Degas.  He was also a patron of the Impressionists & lent money to Monet.  During the Siege of Paris, he served with Degas in the artillery Roe pp 99, 141, 150, 208, Grove27 p238, Adler1988 p50.
Oeuvre: Mostly landscapes which he painted en plein air Grove27 p238, Adler1988 p69.
Friends: Degas who was his lifelong friend from the Lycée Louis-le-Grand Grove27 p238

Douanier/Henri ROUSSEAU, 1844-1910, France:

Background: He was born in Laval Norman1977
Training: He was self-taught through copying in the Louvre Brigstock
Influences: It was not apparently the progressive artists who admired his work, but  the academic traditions he sought to uphold L&L
Career: After service he worked in the Paris Customs service until 1893.   He began to paint around 1880 & exhibited at the Salon des Independents from 1886 Norman1977.   He endured great poverty, never actually rising to the rank of Douanier, & was buried in a paupers’ grave OxDicArt
Speciality: Jungle paintings from 1891 based on studies in the Paris Jardin des Plantes.   His portraits have a stillness & awkwardness, especially  his strange monumental children.   The  Norman1977, OxDicArt.
Characteristics: He painted scenes of imagination with intense colour & hard-edged vision Norman1977.   His portraits have a stillness & awkwardness, especially  his strange monumental children Brigstock
Friends: Signac, Pissaro, Redon & Toulouse-Lautrec, Marie Laurencin, Appolinaire, Pierre Lotti  Norman1977, Brigstock
Grouping: Naïve painting Brigstock

(Pierre Etienne) Theodore ROUSSEAU, 1812-67, France:

Background: He was born in Paris where his parents ran a tailor’s shop Bouret p91.

Training: From about 1826 he was at Remand’s (uncongenial) studio but its influence was small.   Later he studied under Guilllon-Lethiere, also a teacher at the Ecole des Beaux-Arts, but he baulked at the subject for the Prix de Rome & left TurnerDtoI p363, Bouret 91

Influences: At first Constable & then Dutch landscape TurnerDtoI p363.  

Career: From around 1830 he engaged in extensive travel beginning with the rugged Auvergne.   In 1831 he made his Salon debut.   He went to Normandy, met Paul Hued, & had two paintings in the Salon of 1833 but his work was criticised.   After further travel he rented a Parisian apartment next to that of Theophile Thore with whom he became friends along with Ary Scheffer.   However his work was rejected for the Salon of 1836 Bouret pp 91-5.    From then until 1841 it was constantly rejected (due to Bidault) & during 1842-48 abstention.   He was called “le grand refuse”.   During 1836 he made his first long Barbizon visit TurnerDtoI pp 363-4.   In 1848 he settled there L&L.   In 1866 he finally agreed to sell his plein air sketches TurnerDtoI  p364.

Speciality: Views from within the forest to clearings outside TurnerDtoI p365

Oeuvre: Landscapes & plein air studies (some of his most vital work) which were worked up into finished picture, sometimes over many years.   The use of bitumen contributed to their deterioration.   The exception was Hoar-frost Effect which was painted on the spot L&L, TurnerDtoI p365-6.

Characteristics: His brushwork was expressive & brusque L&L.   In contrast to  Constable’s dynamic nature, his paintings featured torrid mid-day or frozen winter evening stillness Clark1949 p154.   His paintings are luminous at times but often melancholic & dark like his temperament L&L

Status: He was the leading member of the Barbizon School R&J p181

Beliefs: “The rustle of the trees & the sprouting of the heather are for me the great subjects…if I can speak their language , I shall have spoken the language of all times”.   In his compositions he aimed to paint “that which is within us entering as far as possible into external reality of things” Honour1979 p 118.   “if you observe with all the religion in your heart you end up dreaming of the life of the infinite, you do not copy what you see with mathematical precision, you feel & you convey a real world which enfold s you with all its inevitability” Bouret p16.   Homer & Vigil would not have minded sitting in the Forest of Fontainebleau “& contemplating their poetry” R&J p181 

Verdict: He was the most free, original & accomplished of the French Romantic landscape painters Bouret p60.   His work requires slow consideration Clark1949 p154

Legacy: Late 19^th century academic landscape painting at the RA Clark1949 p154

..Theodore ROUSSEL, 1847-1926, England (France); British Impressionism Movement

Background:  He was born at Lorient McConkey1989 p157
Training: He was largely self-taught McConkey1989 p157, Grove27 p269
Career: He settled in England, 1878; met Whistler in 1885 & became an enduring friend; exhibited at the Society of British Artists  & joined NEAC, 1887, where he made a sensational debut with as in The Reading Girl (Tate Gallery) [which is a notable nude because of her casual posture & disregard for the viewer].  He was a leading exhibitor with the London Impressionists & particularly painted & etched scenes the Chelsea area Grove27 p269, Wikip, McConkey1989 p157
Oeuvre: Paintings in oil & watercolour, etchings & drypoints Grove27 p269
Characteristics: His landscapes were atmospheric & refined with sensitive handling of paint as in Approaching Storm, Dover, Kent (Usher Gallery, Lincoln) & Autumn Trees (Museum & Town Hall, Reading) Wikip, ArtUK, webimages
Innovation: He pioneered colour etching in England Grove27 p269
Pupil: Paul Maitland McConkey1989 p157
Model: Helen Pettigrew, 1867-1953.  She & her sisters Rose, 1872-1905, & Lily, 1870-1920, were popular & well-paid.   They also worked for Whistler, Holman Hunt & Millais.  Helen became Roussel’s mistress & bore his child but he failed to marry her when the opportunity arose Wikip, etc

..ROWE, Clifford, 1904-88, England:

Background: Born in Wimbledon to working-class parents E&L p121
Training: Wimbledon School of Art, 1918-20, & the Royal College of Art, 1920-22 E&L p121
Career:  He worked in an advertising agency & in the early 1930s lived in Russia designing posters etc in a Soviet Realist style.    In 1933 he was a founder of the Artists International Association Harrison p251, E&L p121.   He was secretary of the Hogarth Group, which was the Communist Party artists’ group M&R p23.   After the War he executed posters for the Labour government & trade unions & murals for the Electrical Trades Union.   He lived in Primrose Hill, London E&L p121
Characteristics: Scenes of working-class people at work & rest but he did not picture them as downtrodden or angry E&L p121
Politics: Communist Party M&R p23
Status: Left-wing Social Realism E&L p12
Collections: The People’s History Museum, Manchester

-ROWLANDSON, Thomas, 1756-1827, England:

 -ROY, Pierre, 1880-1950, France:

Background: Born in Nantes OxDicMod
Training: At the Ecole des Beaux-Arts, the Academie Julian & Ecole des Arts Decoratifs OxDicMod
Influences: Possibly the stories of Jules Verne which made a great impression on the young Roy.   In about 1920 he discovered the work of De Chirico OxDicArt
Career: After working in an architect’s office, he moved to Paris in 1904 OxDicMod.   From 1925 he exhibited with the Surrealists L&L
Oeuvre: Paintings, illustrations & stage design work OxDicMod
Phases: His early work was Neo-Impressionist & then Fauve-like OxDicMod
Characteristics: His later Surrealist work, with its bizarre & mysterious juxtaposition of objects, is similar to that of Dali & Magrite OxDicMod
Circle: The Fauves from 1908 OxDicMod
Friend: Boris Anrep from 1908 OxDicMod

..ROZANOVA, Olga, 1886-1918, Russia; Tzarist Impressionism Movement

Background: Born Malenki, Vladimir province.   Her father was a district police officer & her mother’s father an Orthodox priest OxDicMod, Wikip

Training: In Moscow Bolshakov Art College under Nikolai Ulyanov, courses at the Stroganov Art School, in the studio of Konstantin Yuon Moscow, 1904-10, OxDicMod, Wikip

Career: She moved to Moscow & joined the Union of Youth, 1910, & exhibited at its exhibitions.  In 1912 she met the poet & then husband Aleksei Kruchenykh, who introduced her to the Futurist concept of poetry without fixed meanings & with constant new words, which she then wrote.   In 1913 she joined the avant-garde group Supremos led by Malevich.  She headed applied arts for the Commissariat for the Enlightenment, 1916-7 L&L, Wikip

Oeuvre: Paintings & design OxDicMod

Phases: During 1913-4 her work was Futurist inspired but by 1916 her style was purely abstract Wikip, OxDicMod.

Characteristics: Her Futurist & abstract work mostly has sharp, pointed forms in dashing dynamic combinations in white, grey & black or bold colour Gray p211, Webimages

Innovation: She was in 1913 one of the first Russians to advocate abstraction OxDicMod

Verdict: Opinions differ.  She has been seen as a talented follower in the Russian modern movement & producing some of the period’s subtlest abstraction Gray p236, L&L

****RUBENS, Peter Paul, 1577-1640, Belgium; Baroque

Background:  He was born in Siegen in Westphalia into a respected Antwerp family.  His  father was a lawyer, former alderman, & a Protestant who took refuge in Cologne, 1568; & was secretary to William of Orange’s second wife  with whom he had an affair, which led to his temporary banishment in Siegen.  His mother’s father was a tapestry dealer Grove27 p287.

Training: With his relation the landscape Tobias Verhaeghe; from 1592 with Adam Van Noort; & from about 1595 under Otto van Veen who influenced him most Brigstocke, L&L

Influences: Titian, Tintoretto, Veronese, Barocci, Cigoli, Romano, Caravaggio, & Annibale Carracci  Wedgwood1967 pp 29, 31, 34,  Lingo p2.   Counter-Reformation humanists, such as Justus Lipsius, & Rubens’ brother Philip, who admired the ancients but thought that Christ’s triumph revealed the power of the one God Wedgwood1967 p59.   Lipsius advocated a Christian stoicism & exalted human reason, & has been described as a Deist NCMH4 pp33, 122

Career: Most of his childhood was spent in Cologne where his father encouraged him & elder brother Philip to develop their intellectual gifts.  Shortly after their father’s death the family moved back to Antwerp having re-converted to Catholicism.  In 1590 Rubens became a page to the Countess de Ligne-Arenburg at Oudenade where he probably learned courtly accomplishments.  He became a master in the Antwerp painters’ guild, 1598,   between1598 & 1608 he was in Italy, & from 1605 in Spain where he painted his [as in] Equestrian Portrait of the Duke of Lerma (the Prado).  Back in Antwerp he became painter to Archduke Albert of Austria & his wife the infanta Isabella who ruled Belgium, 1609, & he married Isabella Brant.  During 1609-21 he received prestigious commissions including the Raising of the Cross & the Descent from the Cross (Antwerp Cathedral), & a cycle of works glorifying the life of the French queen mother Marie de Médicis, 1622-25 (the Louvre).  Following his wife’s death, he became increasingly involved in diplomatic activity to promote the reunification of Belgium & the Netherlands, & peace between Spain & Britain which resulted in him painting the oils on canvas ceiling of the Banqueting Hall in Whitehall, & [the as in] Minerva Protecting Peace from Mars, 1629-30 (NG).  In 1630 he married the young Helena Fourment.  From about 1636 in semi-retirement he painted landscapes etc, at Het Steem, his newly purchased estate at Brigstocke, web, as in Four Studies of a Head of a Moor,

Oeuvre: Religious, mythological & historical works, animal hunts, genre, landscapes, portraits & festive decorations Brigstocke

Technique: Rubens’ grounds are unique, namely streaky brushstrokes of semi-transparent brown over a traditional white preparation.   His paintings pull together the expressive brushwork & looser handling of Venice & the rich & transparent paint of the North Grove23 p378

Catholicism/religion: As a positive person he was attracted by Jesuit activism & liked working for them W&J p10 ; Rubens’ Counter Reformation & almost Puritan belief that Elsheimer sinned through sloth which deprived the world of beautiful things & led to his despair Wedgwood1967 p73

Characteristics/Subject Matter/Beliefs: His nudes display God’s abundance with their tactility; & innocent & happy gratitude for life.   He had great ability to paint flesh Clarke 1956 pp 140, 144-6, 148.   His rapes range from violent through those that are ambiguous to non-violent Lapiths & Centaurs BAL.   There are twisting & dynamic patterns & forms in both his history paintings & landscapes as in The Conversion of S. Paul, & the Landscape with the Shipwreck of Aeneas Kitson1966 p43.   His subject paintings are typically filled with numerous figures, & there are often accompanying cherubs & putti Stevenson Ils.   Scenes of individuals undergoing violence or non-triumphant humiliation are less frequent than might be expected, viz three martyrdoms in progress (S. Sebastian, c1614; S. Ursula & Her Companions, c1623; S. Thomas, 1639), five  pre-Crucifixions (Raising of the Cross, 1610; Bearing the Cross; the Cross of Christ; & two  Flagellations); one or two live Crucifixions; & a few other subjects including the Capture of Samson; Massacre of the Innocents, c1611 & 1637; & perhaps two of the so-called rapes; far more frequent are scenes of Christian & Catholic triumph, nudes, amorous & happy couples etc. [Source for the above].  Rubens employed various techniques for idealisation, & to a greater extent than Van Dyck.   In their female portraits they enlarged eyes, raised ears to make necks look longer, & made foreheads loftier.   Rubens employed a shifting viewpoint, looking down on the eyes but straight on at the eyebrows Grove25 p285.

Colour:  Although not his invention, a Rubens speciality was the colour known variously as Rubens Brown,  Van Dyck Brown, or Cassel Brown, because it was originally based on earths found at Cassel & Cologne.    It is a transparent, rich, warm, mellow & appealing colour subsequently employed not only by Van Dyck but also by Reynolds & Gainsborough Ball pp 135-36, Wikip.  However, in many of his works the colour is forceful & highly dramatic as in his early St George, 1605-07 (The Prado) & the later Enthroned Madonna Adored by Saints, c1628 (Royal Museum of Fine Arts, Antwerp) in both of which the colouring matches the subject matter Ball p143; & See NGRubens p85, & KMSKA pp 136-7.

Technique: He made rapid chalk sketches from life Wedgwood1967 p34; realism & liveliness of his children & cherubs resulting from drawing his sons Wedgwood1967 p74; when painting skin he streaked quick, broad brushstrokes over a foundation layer of gesso Wedgwood1967 p79

Features: His classical studies Wedgwood1967 p24

Friends: Elsheimer Wedgwood1967 p35

Family: Five children were born to the couple, the last one (Constantina) eight months after Rubens died on May 30, 1640. Their firstborn was Clara Joanna, baptized on January 18, 1632, and she was followed by Frans (bap. July 12, 1633), Isabella Helena (bap. May 3, 1635), and Peter Paul Wikip

Workshop: During the period around 1617-22 he was most reliant on assistants, including Van Dyck.  Subsequently he made less use of assistants but often collaborated with other artists, including Brueghel, Snyders, Jan Wilden’s, Lucas Van Uden, Paul de Vos.  For his late commissions from the King of Spain he mobilised other artists to paint from his designs Wedgwood1967 pp 77-78;

Beliefs: He implicitly criticised a portrait which did not display facial animation & vigorous expression Martin p246

Innovations: He has been credited with inventing the  Baroque.   From about 1616 his paintings display Baroque movement & vitality with a spiral or zig-zag diagonal starting in foreground & leading to a climax.  They feature surging & twisting figures & limbs which are artificial but not contorted Wedgwood1967 p40, Kitson1966 pp 42-3.   He condemned  violence & hatred in his allegorical  Minerva Protects Pax from Mars, 1629-30 , & in his even more explicit [as in] Horrors of War (NG) c1637 1001 p232, Vaisey pp182-3.   [He appears to have been the first painter to have repeatedly used complimentary colours] as in his Enthroned Madonna with its orange & blue-purple; his [as in] Aneas preparing to Lead the Trojans into Exile, c1602 (Musee Nationale de Fontainebleau) with its red &green; & [as in] Tiger, Lion & Leopard Hunt, c1617 (Musee des Beaux-Arts de Rennes) with its green, yellow, orange & blue See NGRubens p56, RARubens pp 32-33.  His landscapes feature pioneering proto-romantic depictions of light, reflections, weather & atmosphere Landscape with Moon & Stars, 1637-8 (Courtauld, London) Brigstocke, RARubens pp 264-65, webimages  

Status: He was an Anti-Mannerist when young Friedlaender1955 p37

Patronage: The Jesuits, Philip IV of Spain & Charles I of England Brigstocke

Legacy: Rubens established a tradition of strong approximative brushwork as opposed to the clean, smooth finish of Poussin & the classicists.   This tradition was adopted by Delacroix, the French Romantics & Constable.   as in  It can then be traced through the Barbizon School to Impressionism Norman1987 pp19-20, Leslie p299..

RUBLEV / RUBYOV / RUYBLYOV, Andrei, c1370-1430, Russia:

Background: Russia was emerging from an age of internecine strife & Tartar plundering 50Rus pp 13-14

Career: He became a monk in his youth & spent many years in the Trinity-Saint Sergii monastery.   With Theophanes the Greek he decorated the cathedral of the Annunciation, Moscow, in 1405; & with Daniil Chorny the Cathedral of the Assumption, Vladimir, in 1408.   In 1424-7 Ruyblyov, Chorny & others he decorated the Trinity-Saint Sergii Monastery, Zagorsk.   He spent his last years at the Andronikov Monastery, Moscow 50Rus pp13-16

Characteristics: His images are profoundly humane & poetic: tender, kind, manly & wise.   It is notable that his Last Judgement for Vladimir cathedral depicts forgiveness, not punishment.   His work is distinguished by its delicacy, harmonious & refined colours, & beautiful silhouettes 50Rus pp14-16.

Feature: His Holy Trinity was painted in memory of Sergii Radonezhsky who helped stop civil was & unite the Russian princes in their struggle against the Tartars 50Rus pp13-14

Legacy: He had many pupils & followers 50Rus p16  Ruisdael.   See Van Ruisdael

Ruisdael.   See Van Ruisdael

-John RUNCIMAN, 1744-68, Alexander’s brother:

Background: He was born in Edinburgh Grove27 p334
Career: In 1767 he joined Alexander in Rome.   He had consumption, was depressed by attacks on his work, destroyed most of it, & probably committed suicide in Naples L&L, Macmillan1990 p119
Oeuvre: Religious & Shakespearian paintings & also etchings Grove27 p334
Characteristics: He was an artist of great promise & his [as in] King Lear in the Storm, 1767 (NG of Scotland), is a proto-Romantic work of enormous power & drama L&L,Waterhouse1953 p215
Friends: James Barry & Henry Fuseli Macmillan1990

..RUSINOL, Santiago, 1861-1931, Spain=Catalonia; Symbolism

Background: Born Santiago into a rich textile industrialist family.  Spain’s decline following the 1898 war with America Grove27 p350, Wikip, RAGarden p172
Training: Under Thomas Morgas Grove27 p350
Influences: Degas & Whistler Grove27 p350
Career: He went to Paris in 1889 with Miguel Utrillo & other artists & lived in the Moulin de Galette, &   devoted years to painting Spanish gardens Grove27 p350, RAGarden p22
Oeuvre: Over 1000 paintings of gardens, landscapes, interiors with figures & portraits Wikip
Phases/Characteristics: Initially views in Montmartre etc & interiors with figures.  His melancholic paintings of Spanish royal gardens eulogised faded glory.  The largely empty garden paintings in rich colours have a brooding atmosphere & even in sunlight there are dark areas.  However, he did paint a Laughing Girl, 1894 Grove27 p350, RAGardens pp 131, 131, 173  96-8
Personal: He was melancholic & a morphine addict RAGarden p173
Status/Influence: He led the cultural renewal of Catalonia creating an important cultural centre in the seaside town of Sitges near Barcelona Grove27 p350
Grouping: Symbolism Grove27 p350
Collections: Museums de Sitges, Cau Ferrat; his former house

Ruskin.  See Ruskin

RUTHERSTON/ROTHENSTEIN, Albert, 1881-1953, William Rothenstein’s brother, England:

 **RUNGE, Philippe, 1777-1810, Germany:

Background: His father was a prosperous shipowner in Swedish Pomerania MET1981 p272.   The family was devoutly Protestant L&L

Training: In 1797 he studied drawing with Herterich; & during 1799-1801 was at the Copenhagen Academy under Juel & Abilgaard MET1981 p272, OxDicArt.   He was then at the Dresden Academy till 1803 L&L

Influences: At an early age the pantheism of Gotthard Kostgarten, a poet & theologian, had a deep influence.   Flaxman was important later Grove 27 p337, MET1981 p272.   He learned more from the old masters, especially German painting from the late medieval & Renaissance period, than from academic teaching L&L

Career: From 1795 he was an apprentice in a Hamburg shipping firm MET1981 p272.   In 1801 he visited Friedrich & moved to Dresden.   From 1802 he worked on his Time of Day drawings & then on his Morning paintings.   In 1804 he painted his first major oils.   He returned to Hamburg where he mostly stayed; developed his colour theory; & corresponded with Goethe, whom he had met in 1803.   In 1807 he began suffering from tuberculosis MET1981 p272, L&L

Oeuvre: Landscapes, genre & portraits L&L etc

Phases: After 1801 he abandoned Neoclassicism MET1981 p272

Characteristics: These were clarity & economy with every element carrying a message.   He avoided historicism & had a rigid, sharp, intense & sometimes almost naive style L&L, OxDicArt.   Like Friedrich & 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  

Circle: When he first went to Hamburg he associated with the writer Ludwig Tieck MET1981 p272.   Overbeck paid an early visit to Runge & saw his mystical images & filigreed designs which in some ways echoed his own vague feelings on what art could express Andrews1964 p5.    He soon made contact with the Dresden Romantics -Tieck & the Schlegels, etc- after moving to Dresden Vaughan2004 p55.

Aim: He wanted to rejuvenate traditional Christian art by replacing biblical iconography with allegories of nature MET1981 p272.   He saw landscape as the art form of the future.   Runge also intended to paint vast Time of Day paintings that would be installed in a special building which, together with music & poetry, would produce a sense of ecstatic oneness in which everything would harmonise in one great chord L&L

Innovations:  Hitherto children had usually been represented as small adults or cuddly angels: Runge saw them as embodying nature’s vital forces R&J p85

Verdict: With Friederick he was the greatest German Romantic MET1981 p42

Circle: When he first went to Hamburg he associated with the writer Ludwig Tieck MET1981 p272.   Overbeck paid an early visit to Runge & saw his mystical images & filigreed designs which in some ways echoed his own vague feelings on what art could express Andrews1964 p5

Status: He has been linked to Blake, Friedrich & Turner & figures in Rosenblum’s Northern Romantic Tradition R&J pp 8-9, & 1975 Chs 1, 2.

Reputation: He was largely unnoticed during his life & he was then forgotten until 1906 & the Berlin Centenary Exhibition L&L, MET1981 p42

Collections: The Hamburg Kunsthistorisches L&L

 -RUOPPOLO, Giovanni, 1629-93, Italy=Naples; Baroque:

Background: He was born at Naples the son of a maiolica –a Italian earthenware- worker, & his brother, Carlo, painted pictures & maiolica Grove27 p342
Training: Paolo Porpora Wikip
Influences: The naturalism of Luca Frote, & Giovan Recco.  Then in the 1660s Giuseppe Recco, Marrio Nuzzi, Mario Nuzzi, Michelangelo Campidoglio, Roman Baroques still-life painting & Abraham Breughel Grove27 p342
Characteristics/Phases: His early work is naturalistic & dramatic, setting illuminated flowers & vegetables against a dark background.   After around 1660 his paintings are generally large & became more decorative with lavish, detailed arrangements of flowers & fruit as in Grapes (Musee des Arts Decorates, Paris) L&L, Grove27 p342
Patrons: His work was collected by aristocrats & wealthy merchants Grove27 p342
Status: He was the foremost Neapolitan still-life painter L&L
Pupils: Onofrio Loth Aniello Ascione Wikip
Influenced: Andrea Belvedere, Giacomo Nani Wikip
Nephew: Giuseppe, -1710, was also a still-life painter Grove27 p342

RUSKIN, JOHN, 1819-1900, England:

.. RUSSELL, Charles Marion/Kid, 1864-1926, USA; National Romanticism:

Background: Born St Louis into the upper class Grove27 p358
Influences: During childhood he became acquainted with Carl Wimar’s portrayal of the Missouri River tribes.  See Nicole Todd Buffalo Bill Centre of the West web
Training: He was self-taught & took up painting as a hobby web
Career: In 1880 went to Montana, worked briefly on a sheep ranch, spent two years assisting hunters & trappers,  & became a cowboy, painting & sketching during his spare time.   From 1888 he lived with the Blood Indians of the Blackfeet Nation & settled in the area of Great Falls in 1892, making a living as a full-time artist Grove27 p358, Wikip
Oeuvre: Over 2000 oil & watercolour paintings of cowboys, native Americans & landscapes set in the western USA & Alberta; also sculpture Wikip, Grove27 p358
Phases/Characteristics: Although he painted a few exceptional oils & watercolours before 1900 the vast majority of his best work was subsequent.   It focused on cowboy life as in Wagon Boss, 1909 (Gilcrease Museum, Tulsa, Oklahoma ) with its striking central cowboy against a panoramic background  painted in his customary clear colours Grove27 p358
Belief: “If both my hands were cut off, I would learn to paint with my toes.   It is not with my hands but heart what I want to paint” See Nicole Todd
Feature: Russell had great respect for the Plains Indians as in Indian Women Moving, 1898 (Amon Carter Museum of American Art, Fort Worth, Texas, in which they are riding bareback; & he supported the proposal for a reservation for the landless Chippewa which was successful Grove27 p358, Wikip
Collections: C. M. Russell Complex, Great Falls, Montana

 *RUSSELL, Morgan, 1886-1853, USA:

Background: Born New York.   His father was an architect OxDicMod
Training: Sculpture at the Art Student League & painting under Henri.   Later briefly at Matisse’s art school OxDicMod
Influences: Impressionism & Cezanne L&L
Career: Initially he planned to be an architect but in 1906 he was overwhelmed by the Michelangelo sculptures in the Louvre OxDicMod.   In 1906 he settled in Paris where he met the Steins.   By 1910 he was devoting himself increasingly to painting & in 1911 he met Macdonald-Wright with whom he developed theories about the analogies between colours & musical patterns, & launched Synchronism in 1913 OxDicMod.   He abandoned it 1916 but continued to paint abstracts of a looser & less constructed type L&L.   He returned to America in 1946 OxDicMod
Phases: His later work more figurative work is less memorable than his early abstracts & form about 1930 he painted large, religious pictures etc OxDicMod

-RUSSOLO, Luigi, 1885-1947, Italy:

Background: He was born at Portogruaro, Venice, the son of a clockmaker & organist.  In 1901 he joined his family in Milan Grove27 p445
Training: He was apprenticed to the restorer Crivelli Grove27 p445
Influences: Through friends he followed the ideas taught at Accademia di Brera   in 1909 he became a close friend of Umberto Boccioni.  They both hated the conventional & commonplace.  He now focused on the modern industrialised world & made prints of suburban landscapes, etc Grove27 p445
Career: In 1910 together with Marinetti, Boccioni, Balla, Carra & Severini he helped launch Futurism in painting & signed its two manifestos.  However, he abandoned art for musical studies involving new instruments in 1913, volunteered for the army & was seriously wounded; & returned to music.  In 1927   he moved to Paris, as a refugee from fascism & in 1929 recommenced painting.  He abandoned music, 1931; turned to oriental philosophies & occult sciences; settled at on Lake Maggiore, 1933; & after publishing a philosophical treatise returned to painting, 1942 Grove27 pp 445-6, L&L, OxDicMod.
Oeuvre: Paintings & etchings Grove27 p445
Characteristics/Phases: His Futurist works explore the poetics of movement & light, movement being indicated for by multiple, repetitious images, swirling lines, & in particularly by arrow head shapes in parallel formations as in The Revolt, 1911 (Gerents Museum, The Hague).  For light he used bright, strident hues.  These, together  with multiple images & snaky line, feature in Music, 1911 (The Estorick Collection, London).  When he returned to painting his style became more naturalistic but remained colourful Grove27 p445, Braun Pl 32, 33, p459, OxDicMod, webimages        

*Soloman VAN RUYSDAEL,  c1602-70, Van Ruisdael’ uncle,  Netherlands:

Background: He was born in Gooiland L&L
Influences: Pieter de Molijn, van de Velde Haak p242, OxDicArt
Career: In 1623 he joined the Haarlem painters guild OxDicArt
Oeuvre: He was very prolific & painted river & country landscapes & after 1630 excellent ice scenes, & from around 1660 smoothly executed still lifes usually with dead birds Haak p245, L&L
Speciality: Atmospheric & to begin with virtually monochromatic river scenes OxDicArt, Haak p243.
Phases/Characteristics: During the 1630s his work was very like van Goyen’s.   In their river scenes the predominant water covers the foreground & runs off slanted towers the back with the nearer bank usually having stands of trees & bushes with an intervening building.   The further bank has sketched grey-blue trees & a taller building.   The nearer bank is reflected in ruffled water.   There are fishermen & a loaded ferry.   Colours are restricted to grey & yellow-green, & yellow-brown.   During  the1640s his colours become brighter & clouds more prominent in a clear blue sky.   He now also painted broad bodies of boat-strewn water topped by dominant clouds.   Elsewhere coaches move across landscapes or reach an inn usually half hidden by tall trees Hak p244, OxDicArt
Verdict: His painting was superior to that of Pieter de Molijn having a far more subtle & natural atmosphere & better coloured Haak p242
Progeny: His son Jacob Solomonsz, 1629-81, was also a landscape painter Grove27 p455
Followers: Jacob van Moscher, Frans de Hulst, Wouter Knijff, Willem Kool, Cornelis van dr Schalcke Haak p245

-RUYSCH, Rachel, 1663-1750, Netherlands=Amsterdam:

Background: She was the daughter of a distinguished botanist & anatomist L&L
Training: van Aelst L&L
Oeuvre: Paintings of flowers & also insect & reptiles.   Only about 100 known paintings L&L
Characteristics: Asymmetrical compositions like van Aelst L&L
Patrons: The Elector Palatine, Johann Wilhelm, bought her entire output during 1710-13 L&L
Feature: She had ten children L&L

Ruysdael.   See Van Ruysdael

..RYABUSHKIN, Andrei, 1861-1904, Russia:

Background: the village of Stanichnaya where his father & brother were icon painters 50Rus p225

Training: School of Art, Moscow, under Perov; 1882-90 the Academy of Arts, St Petersburg, under Christyakov 50Rus pp 225-6

Influences: he was passionately interested in historical literature, chronicles & folk legends 50Rus p226

Career: his talent was noticed by a School of Art student who takes him to Moscow & enrolled him.   After the Academy he toured ancient Russian towns looking at buildings & museums.   He lived at estates outside St Petersburg & from 1901 at Didvino where he had a studio & house built.  He was frequently invited to peasant celebrations.   He died of tuberculosis 50Rus pp 225-6, 229

Oeuvre: historical genre painting 50Rus p225

Phases: initially the depiction of an exact likeness but from c1893 he adopted an overall colour structure designed to reveal the spirit of history 50Rus p228

Characteristics: sensitive observation, restraint, tender portrayal of feelings, & good natured indulgent irony.   He did not favour dramatic or tense situations 50Rus pp 225, 228

-David RYCKAERT/RIJCKAERT I, Belgium; Northern Realist Movement

-David RYCKAERT/RIJCKAERT II, Belgium:

-David RYCKAERT/RIJCKAERT III, 1612-61, Belgium; Northern Realist Movement

-David RYCKAERT/RIJCKAERT IV, Belgium:

-RYDER, Albert Pinkham, 1847-1917, USA; Symbolism

Background: He was born in New Bedford, Massachusetts Norman1977
Training: He studied with the minor artist W. E. Marshall & at the National Academy of Design from 1871 but was largely self-taught Norman1977, GibsonM p241, L&L
Influences: Edgar Allen Poe L&L
Career: From 1870 he was largely a solitary figure in New York; ten of his paintings were exhibited at the Armoury Show L&L.   He visited England in 1877; & France, Holland, Italy, Spain & Tangier in 1882 Norman1977
Oeuvre: About 165 known paintings many of which are small Norman1977, GibsonM p241
Phases: He mainly painted landscapes & pastoral scenes in the 1870s but turned to literary subjects around 1880 painting scenes from Shakespeare, Wagner & the romantic poets Norman1977
Technique: He worked slowly painting & re-painting using thick & not very stable paintwork L&L
Characteristics: Small, dark expressive visionary scenes often of the sea in dramatic, simplified forms  as in Siegfried & the Rhine Maidens, 1888-91. (NG Art, Washington) GibsonM pp 82, 85, L&L.
Feature: His studio was cluttered & dusty with a path from the door to the easel Norman1977
Status: He is regarded as a pioneering figure in American art GibsonM p 241
Verdict: He did not observe or analyse human or animal structure & his men & women look like slugs Hughes1997 p164
Grouping: Symbolism but it was unconnected  with the European movement L&L
Repute: A succession of American artists from Marsen Hartley to Jackson Pollock regarded him as an emblem of aesthetic purity & the link between tradition & modernism Hughes1997 p364

 *RYMANN, Robert, 1930-, USA:

Background: Born Nashville, Tennessee OxDicMod
Career: In 1952 he went to New York to pursue a career as a jazz saxophonist & for some years was a gallery attendant at MoMA.  His work received little attention until the late 1960s L&L, OxDicMod
Characteristics: His works differ in medium, handling, scale & support (coarse canvas, paper or metal) but from the mis-1960s have always been in white &, from the late 1950s on a square. OxDicMod, L&L
Beliefs/Aim: He wishes to avoid any suggestion that his paintings are saying anything.   “What is to be done with paint is the essence of all painting”  OxDicMod
Status: He has been wrongly regarded as a Conceptualist OxDicMod

Rysselberghe.   See van Rysselberghe